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Capital Reporting Company
Citizens Coinage Advisory Committee Meeting, 10/7/15
1

UNITED STATES OF AMERICA

DEPARTMENT OF THE TREASURY

CITIZENS COINAGE ADVISORY COMMITTEE
MEETING

Wednesday, October 7, 2015
10:36 a.m.

United States Mint Headquarters
801 Ninth Street, N.W.
Washington, D.C.

Reported by:

20220

Erick McNair,
Capital Reporting Company

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A P P E A R A N C E S

Members Present:
ERIK JANSEN
GARY MARKS
MICHAEL MORAN
DONALD SCARINCI
JEANNE STEVENS-SOLLMAN
THOMAS J. URAM
HEIDI WASTWEET
ROBERT HOGE*
MARY N. LANNIN, Chairperson

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A P P E A R A N C E S (Continued)
Also Present:
STEVE ANTONUCCI, U.S. Mint*
BETTY BIRDSONG
DON EVERHART, U.S. Mint
STACY KELLEY, U.S. Mint
BILL NORTON
APRIL STAFFORD, U.S. Mint
MEGAN SULLIVAN, U.S. Mint
MIKE UNSER, Coin News*
GREG WEINMAN, U.S. Mint

*Appears via telephone.

* * * * *

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

I would like to call to order

the Citizens Coinage Advisory Committee for October
7th and October 8th, 2015.

The members of the

Committee that we have present in the room are Erik
Jansen, Gary Marks, Michael Moran, Donald Scarinci,
Jeanne Stevens-Sollman, Tom Uram, and Heidi Wastweet.
And on the phone in Spain, we have Robert Hoge.
MR. ANTONUCCI:

Also Steve Antonucci in

Philadelphia.
MS. LANNIN:

Steve, nice to hear you.

The CCAC will consider the following items
during both days of our meeting.

We are going to

review and discuss the 2017 and 2018 Native American
dollar coins.

We are going to review and discuss the

candidate designs for the Congressional Gold Medals
honoring the World War II and World War II Native
American Code Talkers of the Pueblo of Laguna and the
St. Regis Mohawk tribe.

There will be a discussion of

the concept and theme of the 2017 Boys Town Centennial
Commemorative Coin Program and the 2018 America the
Beautiful Quarters Program.

There will also be a

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discussion of the designation of the CCAC members to
serve on a panel to select the 2018 design of the
World War I American Veterans Centennial Commemorative
Coin.

There will be a review and discussion of the

candidate designs for the 2017 America the Beautiful
Quarters Program as well as a review and discussion of
the candidate designs for the 2017 Lions Club Century
of Service Commemorative Coin program.
So before we begin our proceedings, which
members of the press are in attendance?
MR. UNSER:

Mike Unser with Coin News.

MS. LANNIN:

Okay.

Hello.

Is there anybody

else that is on the phone?
(No response.)
MS. LANNIN:

Okay.

All right.

So the Mint

staff, including Steve, who has let us know he is
here.

Do we have any questions that need to be

addressed or anything?

Anything you want to say

before we start the meeting?
MS. STAFFORD:

Okay.

There is one thing.

Anyone

on the phone, if you could please mute your phone.
you have the capability, please mute your phone.

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Thank you.

Okay.

REVIEW AND DISCUSS CANDIDATE DESIGNS FOR THE
2017 AND 2018 NATIVE AMERICAN $1 COINS
MS. LANNIN:

The first item on the agenda is

a discussion of the letter to the Secretary and the
minutes from the previous meetings.

Those items were

included in the meeting binders for the members to
review.

Does anybody have any comments or discussion?
(No response.)
MS. LANNIN:

minutes.

Okay.

I move to approve the

And the Secretary -- any seconds?
MS. STEVENS-SOLLMAN:
MS. LANNIN:

I second.

Jeanne, second.

Thank you.

All those in favor signify by saying aye.
(Chorus of "Ayes.")
MS. LANNIN:

Any opposed?

(No response.)
MS. LANNIN:

No opposed.

The ayes have it.

The motion is agreed to.
Okay.

We are now going to begin the

business of the Committee in April with your cough
drops and Kleenex.

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MS. STAFFORD:

It is public law 110-82 that

requires the Secretary of the Treasury to mint and
issue one-dollar coins in honor of Native Americans
the important contributions made by Indian tribes and
individual Native Americans to the development and
history of the United States.

The act mandates a

reverse design for these coins with an image
emblematic of one important Native American or Native
American contribution each year in chronological order
through 2016.
We will continue to release Native American
dollar coins per the legislation.

However, after

2016, there is no requirement to release them in
chronological order.

We will review designs for 2017

and 2018 today honoring Sequoyah of Cherokee Nation
and the Jim Thorpe of Sac and Fox, respectively.
We worked closely with the National Museum
of the American Indian on the concepts and designs of
these coins.

We also consulted with the Senate

Committee on Indian Affairs, the Congressional Native
American Caucus of the House of Representatives, and
the National Congress of the American Indian on both

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the concepts for these and the designs themselves.

We

also reached out to Cherokee Nation and the sons of
Jim Thorpe for their input on designs.
Please note that we removed any reference to
talking leaves from the Sequoyah materials based on
feedback from Cherokee Nation.

Their view is that the

term "talking leaves" is often used to describe
Sequoyah's invention, but there is no documented
evidence that Sequoyah actually used the term himself.
Cherokee likened this term to the story of George
Washington chopping down the cherry tree, a good story
but not grounded in documented history.
So some background on our 2017 subject
matter.

Sequoyah of Cherokee Nation, also known as

George Guess, 1779 through 1843, inventor of the
Cherokee Syllabary.

Sequoyah adapted writing of the

Cherokee language by devising symbols for each
syllable.

His achievement is one of only a handful of

examples in world history regarding the development of
an original writing system.

After 12 years of work,

Sequoyah unveiled the system in a demonstration with
his daughter, A-Yo-Ka.

News spread quickly, and

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Cherokees flocked to learn the system.

In 1821, the

Cherokee Nation adopted it as its own.

And within

months, thousands of Cherokee became literate.
The Cherokee Syllabary gave birth to Native
American journalism.

The first American Indian

newspaper, the Cherokee Phoenix, included editorials,
which embodied the Cherokees' determination to retain
their lands, news on the activities of the Cherokee
government, as well as relations with the federal and
state governments.

This written language helped

create a dialogue between Cherokee Nation and the
United States government, and assisted in the
preservation of the interests, hopes, and struggles of
Cherokee Indians during a unique time in our nation's
history.
Inscriptions:
"In God We Trust."

The obverse continues to bear

While the required inverse

inscriptions are "United States of America" and "$1,"
the edge-incused inscriptions are "E Pluribus Unum"
and "2017" or when we talk later about the Jim Thorpe
coins "2018."
Moving on to the candidate designs for the

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2017 Native American dollar coin program, reverse 1
depicts a cropped profile of Sequoyah writing "United
States of America" in Cherokee Syllabary along the
border of the design.

It also contains the additional

inscription "Cherokee Syllabary."

This design is a

preference of the Senate Committee on Indian Affairs
as well as the National Congress of the American
Indian.

Suggestions from them include adding

Sequoyah's name and perhaps replacing the inscription
"United States of America" that is written in Cherokee
with "Cherokee Nation" written in Cherokee.
Reverse 2 depicts a profile of Sequoyah
creating the original characters for the Cherokee
Syllabary.

The additional inscriptions are "Cherokee

Syllabary" as well as Sequoyah's name inscribed in
English at the lower border and in Cherokee above his
writing tablet.

This design is a preference of the

National Congress of the American Indian and the
Senate Committee on Indian Affairs.

One suggestion

was to change the inscription from "Cherokee
Syllabary" to "Cherokee Nation" written in Cherokee.
Reverse 3 depicts Sequoyah holding a writing

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plume and his tablet.

The additional inscription,

"Sequoyah," is inscribed in both Cherokee and English
along the bottom border of the design.
Reverse 4 depicts Sequoyah holding a copy of
the Cherokee Syllabary up to the viewer.

His name is

inscribed along the bottom border of the design in
Cherokee and English.
Reverse 5 depicts a quill and Cherokee
Nation's logo:

the seven-pointed star.

The tip of

the quill pen rests at the final stroke in Sequoyah's
name, which is written in Cherokee.
included in English.

His name is also

This is a preference of the

Senate Committee on Indian Affairs.

However, there

was some commentary that the final design should
include the likeness of Sequoyah.
Reverses 6 and 7 depict Sequoyah, either
writing or pointing to the characters of the Cherokee
Syllabary.

This is reverse 6 and 7.
Reverse 8 depicts an image of Sequoyah

holding his tablet.

The additional inscriptions are

"Sequoyah" and "Inventor of the Cherokee Syllabary."
Reverse 9 depicts Sequoyah looking at his

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tablet with additional inscriptions.

Well, there are

several Cherokee characters along the inner circle of
the design.

This is a preference of the National

Congress of the American Indian.

Suggestions include

removing the floating letters and including the
inscription "Cherokee Nation" written in Cherokee.
Reverse 10 features Sequoyah sitting at a
desk with a quill in hand and the additional
inscription "Sequoyah."

This design is a preference

of the Congressional Native American Caucus of the
House of Representatives.
Reverse 11 features Sequoyah with quill in
hand as he points to his newly developed syllabary.
The additional inscription is "Sequoyah."

This design

is also a reference of the Congressional Native
American Caucus of the House of Representatives.
Reverse 12 depicts Sequoyah pointing to the
syllabary as his daughter, Ay-O-Ka, looks on.

The

design includes the additional inscription "Sequoyah."
This design is a preference of the Senate Committee on
Indian Affairs.
And, finally, reverse 13 features Sequoyah

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and his daughter, who is holding the syllabary.

It

contains the additional inscription "Sequoyah."
And, with that, Madam Chair, back to you for
discussion.
MS. LANNIN:

Well, thank you.

I am not sure

that we have ever, at least in the time that I have
been here, had so many preferences set forth before
us.
First of all, to go back to a system that
has seemed to have worked very well and we had quite a
few choices, also, do you have any technical questions
before we start?
MS. WASTWEET:

April, can you clarify

specifically if this coin is to commemorate the
invention of the language or the inventor of the
language?
MS. STAFFORD:

Well, if I go back to the

opening remarks regarding the legislation, it is to
honor Native Americans and the important contributions
made by Indian tribes and individual Native Americans
to the development and history of the United States.
MR. WEINMAN:

So the answer is yes.

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(Laughter.)
MS. STAFFORD:

And the concept that was

developed was specifically about Sequoyah and his
contribution.
MS. WASTWEET:

So it is left up to an

interpretation of whether we want the inventor or the
invention?

Okay.
And, second question, on number 9, you said

there was a preference to remove the floating letters?
MS. STAFFORD:

Yes.

MS. WASTWEET:

Do those letters mean

something or were they just examples of the
characters?
MS. STAFFORD:

Examples of the syllabary.

MS. WASTWEET:

Okay.

MS. LANNIN:

Okay.

Thank you.
We have been given, it

looks like, if I have done this correctly, number 1,
number 2, number 5, number 9, number 10, number 11,
and number 12.
MS. WASTWEET:

Was it 10?

MS. STAFFORD:

Not 10.

MS. LANNIN:

I thought it was.

I am sorry.

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I thought it was 10.
MS. STAFFORD:
MS. LANNIN:

No.
My mistake.

Are there any

designs that we would like to eliminate going through
this very quickly?

And then we can talk about the

individual ones because there are so many.
MS. STEVENS-SOLLMAN:

Can we talk about the

ones that are the preferences -MS. LANNIN:

Sure.

MS. STEVENS-SOLLMAN:

-- and eliminate those

that aren't?
MS. LANNIN:

Sure.

That is not a problem.

MS. STEVENS-SOLLMAN:

I will move that we do

that.
MR. SCARINCI:
MS. LANNIN:

Second.

PARTICIPANT:

I am sorry?
The motion is to eliminate all

except preference.
MS. LANNIN:
MR. SCARINCI:

Do we have a second for that?

MS. LANNIN:

I second.

MR. SCARINCI:

Donald?

All right.

Can we repeat what would

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remain?
MS. STAFFORD:

Sure.

So if we are only

looking at the designs which have been marked as
preferences by the committees with which we work, it
is reverse 1, reverse 2, reverse 5, reverse 9, reverse
10, reverse 11, reverse 12.
MS. LANNIN:
MS. STAFFORD:

And reverse 13 is out; right?
Correct.

MS. STEVENS-SOLLMAN:
MS. LANNIN:

Okay.

So for the record, we are

eliminating 6, 7, 8, and 13.
PARTICIPANT:

Three.

MS. STEVENS-SOLLMAN:
MS. LANNIN:

And 3 and 4.

MR. SCARINCI:
information.

Three and 4.
Donald?

And one further point of

The ones that are recommended by members

of Congress are which ones?
MS. STAFFORD:

Reverse 1, reverse 2, reverse

5, reverse 9, reverse 10, reverse 11, and reverse 12.
So all of them.
MR. SCARINCI:
are.

All of them.

All of them

Okay.

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MR. MORAN:

Yes, all of them.

MR. SCARINCI:
MR. MORAN:

Okay.

They did multiples on us.

MR. SCARINCI:
MS. LANNIN:

I wish they would agree.
Some of them did several

preferences.
MR. JANSEN:

Madam Chair?

MS. LANNIN:

All in favor?

MR. JANSEN:

Just a comment.

I am sorry.

Erik?
I think this

Committee is very sensitive to the preferences of the
outside communities, related agencies, museums,
experts, foundations, and so forth in any of these
contexts.

I just want to be clear that we are

selecting the best art here and not necessarily
incorporating a standard policy here.
MS. LANNIN:

Okay.

That is so noted.

All

right.
Donald, would you like to begin?

All in

favor say aye, please.
(Chorus of "Ayes.")
MS. LANNIN:

Any opposed?

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PARTICIPANT:
MS. LANNIN:

Opposed.
Okay.

MS. STEVENS-SOLLMAN:
MS. LANNIN:

Excuse me.

MR. SCARINCI:

I am sorry.
No.

Jeanne?

It is just that no, we

are not establishing a policy.

No, we are not.

No,

we are not establishing a policy that we are ignoring
art.

You know, I think all of these designs are --

yes?

I am sorry.
MS. STEVENS-SOLLMAN:

I have a question.

What was the motion that we just voted on.
MR. WEINMAN:

The motion was to eliminate

designs number 3, 4, 6, 7, 8 -MS. STEVENS-SOLLMAN:

Oh, okay.

As a

culling?
MR. WEINMAN:

-- and 13 from consideration.

MS. STEVENS-SOLLMAN:
okay.

Okay.

So we had to --

Thank you.
MS. LANNIN:
MR. SCARINCI:

Thank you, sir.
Yes.

Sorry.

And I think if there

was any one of these that was like, you know,
outstanding art and it wasn't a preference, you know,

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we would probably all have, you know, rallied behind
it and fumbled on each other to make sure it was
included in our deliberations.
absolutely clear, you know.

So I just wanted to be

And, notwithstanding

that, of course, you know, there is always deference
to those people who are elected to serve the public,
as opposed to those of us who are appointed.

So I

think this is a good group of designs to look at and
to consider and a perfectly good way to narrow down,
you know, our deliberations.
For me, I think it is pretty clear, you
know, I think even among the broader group of them, I
think number 11 is the one that I would pick, for a
lot of reasons.
series.

I think it is consistent with the

I think it is a simple design.

You know, I

think it is a forceful and powerful design.
you can see clearly.

I think

You know, it communicates a

simple theme in contrast to number 12, which is more
storyboardish with the, you know, multiple figures and
a little busier, as opposed to 9, you know, that kind
of had these numbers, you know, these letters floating
in the field.

And we would probably have to make a

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motion, you know, to deal with cleaning it up.

And

then you have got the question about the pipe.

I am

sure we will hear other people talking about all of
those things after that design, you know, as opposed
to number 10, you know, which kind of looks a bit
cartoonish, you know, and with a single word below it.
So I think the one that is the most consistent with
the series and that is probably the most communicative
is number 11.
None of them are particularly strong.

You

know, obviously, nothing here is terribly abstract or
complex, you know.

But, then again, the theme that is

being depicted is going to require, you know, some bit
of learning and some bit of research.

And that is

kind of the beauty of this particular series.

So I

think you have to take every coin within its own
series, you know, and understand it within its own
series.
So, looking at it that way, I reach for
number 11 as the obvious pick.
MS. LANNIN:

Jeanne, would you like to go

next?

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MS. STEVENS-SOLLMAN:

Sure.

First of all, I

would like to compliment the artists for their
research and their design work on these medals.
thought they were very interesting.

I

When I reviewed

the portfolio, I did this a number of times and put it
away and go back to it.

I am always hopefully there

is one that really jumps out at me.
And the ones that I was happy to know that
some of people in Congress and the other stakeholders
enjoyed was 1 and 2.
their simplicity.

They spoke to me because of

It was obvious that this is

Sequoyah, and he obviously is creating the writing
information.
I think number 1 was very powerful because
it was so original.

And I think when we are looking

at these coins, I look for originality.

I look with

something that is totally outstanding that separates
itself from everything else.
If you look at number 2, it was interesting
to see the circle offset.

And I think that was very

important where we have somebody who is innovative in
Sequoyah's work to also be a little more innovative in

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offsetting that circle.

So I am definitely putting my

vote toward 1 and 2.
MS. LANNIN:

Thank you, Jeanne.

Erik, would you like to add something there?
MR. JANSEN:

Thank you.

Whenever I look at these -- Jeanne comes
back multiple times -- I try to look at them before I
have read the artists' comments and then read the
artists' comments to see if I got those from the
appearance of the art.
When I did that in this process, what became
very clear in my mind was if we are to carry forth
this luminal or otherwise message in the art here, the
distinctive, almost -- and I only say this because it
is so foreign.

The Cyrillic language often invites a

visual startling awareness of what a foreign, nonArabic character set can look like.

And so I think

the actual character set here might be a way to
visually wake up the observer to see there is
something going on here that is not in the normal flow
of life.

And I think that is an important piece of

this art.

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So when I went through these, I found myself
drawn to those designs that had the character set and
the startling exposure of that set.

Now, you put that

against the relatively small pallet of your quarter,
and it becomes a pretty bright line, I think, to look
at designs that will "work"; that is, convey the
message in those, where the details may lose the
message or the message is lost in the detail.

So I

put that out there for Committee members to look at to
make sure that you analyze the appearance in pallet of
messaging.
The second point I would like to make
relative to the motion to strike a number of these
designs, there was a technique used in 3 and 4, and it
appears slightly in design 9, which is almost a
fisheye effect, where we used the perspective of wide
angle to accentuate that that otherwise might
disappear in detail.

I will actually highlight it in

design 4.
I know it is not on the table for
consideration, but I want to give some acknowledgement
to the artistic technique and ID it here because I

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think it might be valuable going forward, from our
awareness and the feedback that the artist might take
away from our dialogue.
So I think that kind of opportunity to
discuss the art was lost in that motion.

And so I

want to bring it back onto the table just for the
record and with respect to the artist that deployed
that.

I like it.

I would like to see it again.

Don't interpret those designs and their elimination as
a rejection of that artistic approach.
In design number 1, I was very glad to hear
the assertion of changing the perimeter as it appears
from the 1:00 o'clock to 5:00 o'clock positions.
was going to ask, is it historically accurate?

I
Did

the Cherokee Nation and the use of this language ever
really translate the "United States of America"?

And

so I was questioning its authenticity on the coin.
If we adopt design number 1, I really like
that change.

I think it is respectful and appropriate

to the context we are trying to pass these designs
through for accuracy.
Design number 2, I really enjoyed the

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relative font size of the character set.
is important.

I think that

And I would echo Jeanne's comments.

The offset circular design was an eye-catcher to me.
I really like that.

It drug my eye to exactly where

that character set appears.

And I think the message

comes along that there is somebody committing to
communications something different here.

I like the

subliminal messaging and visual appeal of design
number 2.
On design number 5, a couple of historical
notes for accuracy.

What is the significance of a

seven-point star here?
MS. STAFFORD:

It is the symbol of the

Cherokee Nation.
MR. JANSEN:

Okay.

Thank you very much.

And the quill, while familiar to those
devotees of American Revolutionary commitment of
famous documents -(Music interruption.)
MR. URAM:

That is when the confetti all

starts coming down.
(Laughter.)

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MR. JANSEN:
PARTICIPANT:

Wow.
I guess that is it.

We are

done.
(Laughter.)
MR. WEINMAN:

A reminder to everybody to

please mute your phone when you are -(Laughter.)
MR. JANSEN:

So the question -- and maybe

when April comes back from her panic attack to the -(Laughter.)
MR. JANSEN:
essential symbol here?

Is the quill a true and
It appeared in so many of

these.
MR. MORAN:

Erik, can I answer that?

The

answer is yes because they used those quills to
transport gold in the 1840s.

And the gold fields of

Georgia very much is.
MR. JANSEN:

Okay.

So just a question on

that.
Continuing on to design number 5, this
Committee has many times asked for symbolic, as
opposed to pictorial approaches in the art.

And I

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want to acknowledge whoever the artist was for giving
us that so that we don't have just a picture cast nor
struck in metal here.

Actually, I like design number

5, if only on that basis, also on its own.

It lacks

the personification of the instigator of the
communications mode.

And that may be a tragic flaw

against the criteria the Committee wants to use, but I
did like design 5.
Designs 9 and 10 both felt caricature
cartoonish.

And so I don't care for either of those

designs and, in particular, design number 10.

I feel

like the Native American would=-be message here is
almost Anglicized by the subtle incorporation of a
businessman's tie or businesswoman's tie and collar
here.

I don't like that design on that very basis.
Eleven and 12 come in as secondary choices

behind probably 1 and 2 in my book.

I think their use

or the demonstration of the symbology, the character
set is lost.

And I think design number 12, in

particular, almost turns into a memorial of pedagogy,
as opposed to what we are really trying to do when you
talk about the mode of communications that is so

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important to the development of civility.
Thank you very much.
MS. LANNIN:

Thank you, Erik.

MS. STAFFORD:

Madam Chair, may I make a

quick announcement?
MS. LANNIN:

Certainly.

MS. STAFFORD:

For anyone on the phone, in

addition to keeping your phones on mute, if you could
not put us on hold, that would be helpful because that
is the music, the feedback that we just received.

So

just a note for those on the phone, and back to you.
MS. LANNIN:

Thank you.

MR. JANSEN:

I thought I said the magic

word.
MS. STAFFORD:

Sorry.

Thank you.

Just to confirm for Mr. Jansen, yes, we did
validate the Cherokee language with the Cherokee
Nation in terms of the translations.
MS. LANNIN:

Yes.

MR. JANSEN:

Thank you.

MS. LANNIN:

Gary?

MR. MARKS:

Thank you, Madam Chair.

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I guess some evidence that I have been here
perhaps too long is I will hearken back to 2008.
I think Donald will recall this.

And

We were considering

aspect 2 of the Lincoln cent reverse for 2009.

There

was a design I think was ahead of its time, a very
modern design.

The subject matter was Lincoln

learning how to or teaching himself to be literate,
and it was a hand.
out his name.

If I recall right, he was spelling

I always felt it was a terrible loss

that we didn't pick that one.
And so when I saw the collection here for
today, I was reminded of that design with number 1.
If we could bring that one up?

It is not exactly the

same idea but kind of reminiscent of that more modern
approach.

So I do find that design very appealing.
I think that it absolutely cannot go forward

without Sequoyah's name on it.

As I look at the

legislation, there does seem to be a heavy emphasis on
individuals.

And I think it would be a shame not to

give credit plainly to Sequoyah.
Also, I like the change in the inscription,
as was noted before, with the syllabary on the edge.

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So I really find that one very appealing.
Likewise, 2 is also very appealing.

I like

the offset circle, again, a little more modern
approach.

I am guessing it is the same artist.

I

would be pleased with either one of those selections.
I also want to comment on 5.

I really like

the simplicity of this design, particularly approve
the -- there is some wonderful negative space there
that would create some great contrast.

So I could

feel good about that one, too.
Those are the three that I really hope the
Committee makes a recommendation of one of those.

I

also want to mention that back when this series
started in 2009, the first design that was minted,
first reverse, used a style of font that was then
carried through 2010, '11, and '12.
it in '13 and '14.

Somehow we lost

It is a shame because it was

really lending some continuity or feel of a series.
And in any of these designs selected today, I would
like to after depending on what we pick talk about
maybe an additional recommendation that we consider
going back to that font.

I think it was a real aid in

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creating a feel of a series.
So those are my remarks.

I thank you, Madam

Chair.
MS. LANNIN:

Thank you, Gary.

Michael?
MR. MORAN:

Yes, ma'am.

April, in all due

respect, the lead-in on Sequoyah was a bit idealistic.
I want to set the record straight in that regard
because I think it will help explain why I am going to
recommend what I recommend.
1802.

The story started in

When Georgia and the United States cut a deal.

The United States would get rid of the Indians in
Georgia, and Georgia would cede the territory that
they claimed that is now Alabama and Mississippi.
There was a problem in 1802.

The United

States made a treaty with the Cherokee Nation leaving
them in place where they were, which included North
Carolina and parts of Georgia.
The Cherokee once they had this treaty in
place began what I would call a white manization in
that they adopted a constitution.
standalone.

Sequoyah was not a

He was part of the greater game plan with

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the Cherokee to adopt the white man's ways.
adopted their language.

They adopted farming.

actually settled on farms.
man's religion.
a white man.

They
They

They adopted the white

They became as close as they could to

In other words, they got with the

program.
Another thing they did was you know Sequoyah
had a second name.

They had a tradition of adopting

names of white men that were significant.

And that

became their names, which leads me to the second part
of this story, which revolves around the Cherokee
Phoenix.
In 1821 or 1822, as Sequoyah's language was
coming out, the missionaries that were down there
working with the Cherokee selected one Cherokee named
Buck.

They sent Buck north to Yale to go to school.

They were going to educate him.

Buck went north.

And

one of the things he did was he stopped in New Jersey.
Somehow he survived New Jersey.
(Laughter.)
MR. MORAN:

But he stopped there.

stayed at the home of Elias Boudinot.

And he

Elias Boudinot

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you may or may not recall was both president of the
Continental Congress, which was basically President of
the United States; and the third director of the U.S.
Mint.

He had retired to New Jersey.

And at that

point in time, he was president of the American Bible
Society.
Well, Buck was so significantly impressed by
Elias Boudinot that he adopted his name.

So you have

a second Elias Boudinot out there, who went to Yale,
came back, and started the Cherokee Phoenix, the
newspaper.

Now, we are into the late 1820s.
And the whole thing began to become

unraveled there because they had discovered gold in
North Carolina.

And it seemed to stop right at the

edge of the Cherokee Nation.
the boundary.

Well, it didn't stop at

And, furthermore, they discovered that

it wasn't just racer gold.

There was gold in quartz

seams there, particularly underneath the City of
Charlotte.

And that really started the rush and the

pressure to get at the Cherokee lands.
The State of Georgia passed legislation,
which effectively exculpated their lands.

The

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Cherokee were of color.

Therefore, they had no

standing and stayed course.

They could not defend

their right and title to their land.

By 1832, with

the gold rush fully on, they were basically being
pushed out of their territory.

And there was a clamor

from Jackson to get them out of Georgia.
until 1838.

This went on

At this point in time, in April of 1838,

the mint at Dahlonega was placed in service.

All of a

sudden, you have the United States Mint operating on
Indian territory.

Basically, Martin Van Buren, then

the President, signed the papers that set the Cherokee
and gave their turn-on to travel on the Trail of
Tears.

It is a tragedy.
There is another tragedy to this.

And that

is that the Cherokee had a law that you could not make
a treaty without the support of the rest of your
nation.

And the penalty was execution, death.

There

were a handful of the Cherokee leaders, including
Elias Boudinot, who felt like they were going to have
to accept the inevitable that there was gold on their
land and they were going to lose it and that they
needed to cut the best deal they could.

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They made a treaty, which permitted the
removal to Oklahoma.

And when the tribe completed

that treaty, Elias Boudinot was executed.
So there you have the real story.
rough one.

It is a

My point of this is that this is bigger

than Sequoyah.
Cherokee Nation.

This is a chance to recognize the
There were people who when this was

going on advocated that the Cherokee should apply for
statehood.

And today that would have happened.

they would have been granted statehood status.

And
They

should have been, but they were shoved out of there.
There is only one design here -- and thank
God it is good -- that really says this is more than
just Sequoyah inventing a language.
resilience of the Cherokee Nation.

It was the entire
And that is number

5.
It is a great design.

It is not to knock

your eyeballs out, but there is good negative space.
There is a seven-pointed star for the Cherokee Nation.
There is this quill writing "Sequoyah."

I would argue

they ought to be writing "Cherokee Nation."
got "Sequoyah" over there in English.

We have

I think that

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says more because if you just put the image of the man
there, you don't get the story of the Cherokee.

And

the story of the Cherokee is far, far, far bigger than
Sequoyah.
MS. LANNIN:
MR. MORAN:

Thank you, Michael.
It is in my book.

(Laughter.)
MS. LANNIN:

Excellent.

PARTICIPANT:

And he was moving to research

it.
MR. SCARINCI:

I wish you would do your

homework before you get here.
(Laughter.)
MR. MORAN:

I just got it out of the book

and read through it again and memorized it so I
wouldn't screw it up, Donald.
MS. LANNIN:

Wow.

That is impressive.

Thank you.
Heidi?
MS. WASTWEET:
MS. LANNIN:
MR. MORAN:

Tough act to follow.
Yes.

Usually you are, particularly

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animal faces.
MS. WASTWEET:

I am going to actually bounce

this back to you again, though, because I want to
understand more about how your bigger story really
ties in to Sequoyah because the project as I
understand it is isolating Sequoyah as a person forms
achievement in establishing this language.
said he was not acting alone.

And you

So if you could

reiterate just a little more on his part in the bigger
story?
MR. MORAN:

He was acting alone in that he

developed the language.
that.

There is no question about

But the development of the language was part of

the bigger picture of the Cherokee moving to adopt the
white man's ways.

And so yes, I am kind of finessing

this a little bit by doing the seven-pointed star, but
I think this design does finesse it and gets it out
there to where it is the Cherokee.

And Sequoyah is a

significant part of the story, not the entire story.
And that is the reason for the seven-pointed star.
And that is what makes me like that.
MS. WASTWEET:

So it seems to me, though,

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like you said, they were adapting English as -- no?
MR. MORAN:

No.

Their own language, just a

language.
MS. WASTWEET:

But you said as they were

attempting to assimilate into the American culture, to
fit in, they were adopting the language of the
American nation, which would be English or they were
-- so yes.

Make it clear on that.
MR. MORAN:

They were not adopting English

per se, but they were adopting a written language of
their own that was consistent with the customs and
practices of the white man.
MS. WASTWEET:

So developing their own

alphabet was part of their attempt to bring their
culture to the next level to fit within a developing
nation?
MR. MORAN:

am sorry.

Yes, yes.

MS. WASTWEET:

Do you have something?

MR. SCARINCI:

I just need to say --

MS. WASTWEET:

Yes.

MR. SCARINCI:

I just have to say this.

Go ahead.

Mike's story is about -- Mike is talking

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about the American conscience, I mean, not
particularly about what the story of this coin is.
And Mike is talking about a sad episode in American
history, resulting, by the way, in a U.S. Supreme
Court case where Justice Marshall ruled for the
Cherokee and was told by President Jackson -MR. MORAN:

"Enforce it."

MR. SCARINCI:

-- "Well, what you decide,

you go enforce and use in court."
MR. MORAN:

That is absolutely true.

MR. SCARINCI:
sad episode in history.

So Mike is talking about a
This coin is not talking

about a sad episode in American history.

We don't

talk about sad episodes in American history on
American coins.

We just don't do that.

In this particular series, there are many,
many, many more sad episodes than happy episodes.

And

if you notice, this is a happy series, not a sad
series.

So we are not talking about what he is

talking about.

It is great that he talked about it,

and it is great that he put it on the record for
history and numismatic history to know that we, this

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Committee, have always been concerned about the real
history of the American Indian in this country.
MS. WASTWEET:

That is a good point.

That

is a good point that we are aware of the negative
side, even though this series is trying to focus on
the positive and pull that out of the bigger tragic
story.

And, Mike, you are right that there is a lot

more going on to the Cherokee Nation, but I am not
fully convinced that that is the target of this coin.
This I think is a focused coin that is talking about
an individual, rather than the fuller nation.

That

would be a great topic for another coin to talk about
the Cherokee's bigger story.
MR. MORAN:

The Trail of Tears.

MS. WASTWEET:
is not the bigger story.
focused story.

Yes.

But I think this coin

I think this coin is the

And while I generally like the more

symbolic designs and the simple designs, the number 5
would look fantastic on a coin.

I think for this

particular project, I think I would prefer to see the
man portrayed.

I think that is what most clearly

represents this particular story and this particular

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project.

So, with that in mind, I will talk about

those designs that do feature him.
Initially I liked design number 11 because
of the wonderful use of texture.

Because we don't

have color on coins, the way we color them is with
texture and design and pattern.

And this design

achieves that, and I think it also still has the
feeling of a coin versus some of the designs that feel
more like a medal in their presentation.
However, in the spirit of Michael Bugeja,
who is not here, I want to caution us against having a
two-faced coin.

This is dangerously close to being an

observe-looking design.

So, therefore, that pushes me

to designs 1 and 2, which are similar.
There is some sway towards design number 1,
but I am going to prefer design number 2 for these
reasons.

On design number 1, I don't like the way the

dollar sign runs over the feather. It is a difficult
layering for the sculptor to make that clear.

It

looks much more clear in the drawing here than it will
on the coin.
elegant.

To run it over those layers is not

And that $1 should be moved somewhere where

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it is more clear.

And then we get into that dangerous

territory of now we are moving things around and
changing things.

The text in the negative space by

the face looks like it was just a cut and paste after
the thought.
design.

It wasn't thoughtfully put into the

This design looks like it was drawn for

something else and then adapted to this, it was
squished into the space the way the head is held.

So

I am going to prefer design number 2.
I love the fact that we have an offset
circle.

That is very creative.

We have been asking

for more creativity, and here it is.

Also, because of

the position of the body, it doesn't feel like too
much of an obverse design.

As Erik stated, to see the

symbols in big, bold shape so we can see them with our
eye is important.

We can see that those are

definitely foreign shapes.
letters.

They are not regular

So it drives home that point of originality.

So I think that this design is the one that is going
to hit all of the marks for me.
Design number 10 I think is very stiff in
its placement, and it doesn't flow.

I am not in favor

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of that.
And design 12, again, it is a dollar coin.
Let's not put too much on here.

This is getting into

too much small detail.
I think that completes my comments.
MS. LANNIN:

Thank you, Heidi.

Tom?
MR. URAM:

Thank you, Madam Chair.

I am going to limit my comments.

After

having heard my colleagues, I feel that number 2 and
number 10 -- and I do feel that number 5 with the star
is important, but I am kind of focused on 2 and 10.
And I, too, like the circle and some of the
modifications that would be made.
My one thought would be, is it possible to
have the seven-pointed star on the parchment or on the
writing, like a letterhead, so that the seven-point
star could be included in either of those designs so
that where the person is writing, particularly number
10, it would be like a letterhead almost?
mean, it could even be faded.

But, I

It doesn't need to be

pronounced but just the fact that the seven-point star

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could be included in either one of those parchmentlooking or tablet-looking designs there.

So I think

my votes would go more towards 2 and 10, but if there
is a way to add the 7-point star into some of the
other considerations that were being made for those
designs, then that would be a way of including that,
that element.
Thank you, Madam Chair.
MS. LANNIN:

Thank you, Tom.

I don't want to forget Robert in Spain.

So,

Robert, do you have any comments?
MR. HOGE:
MS. LANNIN:

Hello.

Is it unmated?

No, you are not muted.

We can

hear you just fine.
MR. HOGE:

Thank you.

I like the aspects described of reverse 2
and reverse 5, but I think that my preference probably
is going to go with reverse 11.

I like the costume.

We really don't know exactly what Sequoyah looked
like.

I guess he had the two paintings, Charles Bird

King and David, to begin with.
about the same.

But they are basically

These images of Sequoyah, each one

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looks different to me.

I guess we really don't know

quite what he looks like.

So I think we need to look

at the imagery, the portraiture, on whichever one of
these we would select.
I could be happy with some of the other
designs but prefer number 11.
Put me on mute again.
MS. LANNIN:
Okay.

Okay.

Thank you, Robert.

Tom has a correction to something he

said.
MR. URAM:

Yes.

I said 10.

11, not number 10, for the record.
MS. LANNIN:

I meant number

Thank you.

For adding the seven-point

star?
MR. URAM:
not 2 and 10.

Yes.

My choices are 2 and 11,

Thank you.

MS. LANNIN:

Okay.

To add to what -- I

mean, everybody has brought up really good points.
think that the one that appeals the most to me is
number 2.

We are talking about the fact that he

invented the syllabary.

And number 1 becomes fuzzy

where we think "Gee, what is this stuff?

I don't

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understand it.

It looks different"; whereas, in

number 2, just those symbols are at his eye level, at
our eye level.
in our hand.

We don't have to turn the coin around
And they are larger, and it becomes more

obvious that it is a different writing method.

So I

like number 2 for that reason.
I also agree with those of us that thought
that 5 was really good.

It was simplicity.

And by

adding the seven-pointed star, we are sort of showing
the background of where Sequoyah came from.

And we

are honoring the tribe that way.
Yes, Gary?
MR. MARKS:
on number 2.

I have a late technical question

Maybe Don would be the best person to

respond to this.

When we look at number 2, what is

going to be frosted and what is going to be the field?
I mean, I would think that the area right around
Sequoyah, that inner circle, that would be part of the
field.

On a proof, that would be polish.

Then those

outer bands, do you have a feel for what we are
looking at there?
MR. EVERHART:

Yes.

The way I interpret

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that, Gary, is that, as you say, the border area would
be polished.
be frosted.

The circle that surrounds Sequoyah would
And then the inner circle, which frames

his head, would also be polished.
MR. MARKS:

That is the way --

So just that kind of offset

circle kind of in the middle of all of the circles
would be the frosted one?
MR. EVERHART:
MR. MARKS:

Yes.

Okay.

MR. EVERHART:

Along with the relief, of

course.
MR. MARKS:

Right, right, exactly.

Okay.

Just listening to everybody's comments here,
I am settling more into number 2.
really has it all.
design.

I feel like it

It has a modern touch to the

It shows Sequoyah.

It shows him writing.

has the language.

It has his name.

What else could

we possibly want?

I mean, no, it doesn't have the

It

seven-point star, but absent that, I think that that
is just a solid design.

And it goes and it does

everything that I think is desirable for this coin.
MS. LANNIN:

Thanks, Gary.

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MR. JANSEN:

Madam Chair, focusing again on

2, it seems to be a popular design.

So I will drill a

little further into the sculpt here.
Don, where would you for maximum impact look
at incuse versus positive relief of this design?
MR. EVERHART:

I don't see any incuse

opportunities on this one.
MR. JANSEN:

It is a proof point.

Yes.

MR. EVERHART:

I am not seeing anything to

jump out to me and say, "This should be incuse."
MR. JANSEN:
lead the witness.

By my prior comments, I kind of

Would you go incuse with the

Cherokee character set here just to highlight that?
MR. EVERHART:

Well, the fact that it sits

on part of the problem would be my feeling on that.
MR. JANSEN:

Thank you.

MS. LANNIN:

Any further discussion?

Any

other ideas that have popped in mind?
(No response.)
MS. LANNIN:
vote.

Okay.

then we will begin our

I have asked Tom to help sort of coordinate

everything.

We have got Greg here with a template

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that is going to make tallying everything much easier
for us.
MS. WASTWEET:

Would like mind if I

reiterate our voting procedure for the record?
MS. LANNIN:

Go right ahead.

MS. WASTWEET:

I would like to remind

everyone about our voting system.
vote for just your favorite design.

You don't have to

rate them 1, 2, and 3.

You don't have to

And our voting system is not

just to choose the best of designs but also as a
feedback for the artist and the things that we want to
see again in the future.

So if there is a

characteristic here that you think deserves merit and
give it some points and give only your favorite the
top score:

3 being a score of excellent; 2 being a

score of good; and 1 being merit; and 0, of course,
being something you don't want to see again.
Thank you.
MR. WEINMAN:
MS. LANNIN:

Pass your ballot instructions.
While he is adding everything

into the computer, April, would you like to begin?
MS. STAFFORD:

Sure.

Moving on to the 2018

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Native American dollar coin honoring Jim Thorpe or
Wa-Tho-Huk, meaning path lit by lightning, or bright
path, with Sac and Fox, 1888 through 1953.
Born in the town of Prague, Oklahoma, Jim
Thorpe may be possibly the most versatile natural
athlete of the early 20th Century.

After a difficult

youth, running away from school after several family
crises, Thorpe came into his own at the Carlisle
Indian Industrial School in Carlisle, Pennsylvania.
Carlisle then had the services of one of the great
early football coaches, Glenn Scobey, Pop, Warner, and
fielded a national championship team, led by Thorpe.
At the time, Thorpe was the core of the school's track
and field team, also coached by Warner.

And the story

is that Warner was reluctant to let his track star run
the risk of playing football.
Thorpe was named to the all-American first
team in 1911 and 1912.

In 1911, Carlisle upset

Harvard 18 to 15 as Thorpe scored all its points,
making 4 field goals and a touchdown.

In 1912,

Carlisle won the national collegiate championship,
where it beat Army 27 to 6.

In that game, a cadet

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named Dwight D. Eisenhower injured his knee trying to
tackle Thorpe.
In 1912, Thorpe represented the U.S. at the
Summer Olympics in Stockholm, Sweden competing in the
new pentathlon and decathlon as well as two field
events.

He easily won both multi-event medals,

finishing first and 8 in the combined 15 events.

His

point record stood for two decades.
In an often-told story, King Gustav V of
Sweden, presenting Thorpe a special decathlon award,
told him "You are the greatest athlete in the world."
And Thorpe replied, "Thanks, King."
(Laughter.)
MS. STAFFORD:

Thorpe then embarked on an

incredibly varied career, with the public flocking to
his professional appearances in football, baseball,
and basketball.

He played for six teams in what later

became the National Football League.

In 1922, he

became the first president of the American
Professional Football Association, precursor of the
NFL.

In baseball, he played for the New York Giants,

the Cincinnati Reds, and the Boston Braves.

He also

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organized an all-Indian football team, reuniting some
Carlisle players.

Today, sports writers rank him at

the top of their lists of greatest athletes of the
20th Century.
So on to the candidate designs.

Reverse 1,

2, and 3 highlight Jim Thorpe's participation in
decathlon events held during the 1912 Summer Olympics
in Stockholm, Sweden.

This is reverse 1, reverse 2,

and reverse 3, which also incorporates a black sparrow
hawk, a reference to Thorpe's ancestor Chief Black
Hawk.

All of these designs also contain one or more

of the following additional inscriptions, "Jim
Thorpe," "Bright Path," "Wa-Tho-Huk," and "AllAmerican Olympian."
Moving on to reverse 4, this depicts Jim
Thorpe in the background while the foreground
highlights his achievements in football and as an
Olympian.

The design contains the additional

inscriptions "Jim Thorpe" and "The Bright Path."

This

design is the preference of Jim Thorpe's sons and the
Senate Committee on Indian Affairs.

One suggestion

was to include his Indian name, Wa-Tho-Huk, instead of

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"Bright Path."
Reverses 5 and 6 depict Jim Thorpe as a
football player or an Olympian discus thrower.

The

additional inscriptions include his English name and
his Indian name.

This is reverse 5 and reverse 6.

Reverse 7 depicts Jim Thorpe as he waits for
the javelin throw event.

It incorporates a stylized

black sparrow hawk, a reference to Thorpe's ancestor
Chief Black Hawk.

The additional inscriptions are

"Jim Thorpe," "Wa-Tho-Huk," and "All-American."
Reverses 8, 9, and 10 highlight Jim Thorpe's
football career.

This is reverse 8.

Reverse 9 also

incorporates his Olympic medals and a black sparrow
hawk, as we noted before, a reference to his ancestor.
And reverse 10 incorporates a silhouette of Chief
Black Hawk.

All of these designs contain one or more

of the additional inscriptions "Jim Thorpe," "Bright
Path," "Wa-Tho-Huk," or "Spirit of Excellence."
Reverses 11, 12, 13, 14, and 15 highlight
Jim Thorpe's athleticism.
13.

This is design 11, 12, and

And I will pause there to inform you that designs

11 and 13 depict Thorpe in his football gear, while 12

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has him proudly displaying his Olympic Gold Medals.
If we could just go back to 12 as that was a
quite important point for many of our stakeholders?
In the background of all three of these designs are
silhouettes of Thorpe engaging in the 15-meter run,
the hurdles, the shot put, and the discus throw
events.
Moving on to design 14, it depicts a moon
with baseball and football gear in front of him while
design 15 depicts him posed in his athletic gear.

The

designs contain one or more of the additional
inscriptions "Jim Thorpe," "Wa-Tho-Huk," or "1888 to
1952."
I would like to revisit reverse 12, which is
a preference of the National Congress of the American
Indian as well as the Senate Committee on Indian
Affairs.

Suggestions include placing the track and

field silhouettes on the left with football and
baseball silhouettes to better reflect his varied
career.
And reverse 15 is a preference of the Senate
Committee on Indian Affairs because it highlights

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Thorpe as an all-around athlete.

The use of his name,

birth, and death dates is especially liked as an
educational component.

And the committee did suggest

that we add his gold medals around his neck to help
contribute to the storytelling of Jim Thorpe.
MS. LANNIN:

Thank you.

Lots of possibilities here.

Technical

questions?
MR. MORAN:

Don, on number 10, how would you

treat the Indian silhouette in terms of the frosting?
Would it cause a problem or run together of the image
versus the -- right there.

Are there issues there?

I

mean, will you be able to get that, the Indian
silhouette, sharply out?
MR. EVERHART:

I think so.

I think we would

frost the field where the negative space is around the
silhouette.
itself.

And the relief would be the figure

And then I think that it would not be a

problem.

It would contrast well.
MS. KELLEY:

I might also like to add that

as you are looking into the feathers or coming out,
there are some of those areas that we have looked at

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that we would have to make sure that we would try to
make those as crisp as we could.

But I just wanted to

point that out.
MS. LANNIN:

Thank you.

Robert, are you on the phone?
you the last time.

I ended with

If it is all right with you, I

wanted to be -MR. HOGE:

Now I am.

MS. LANNIN:

Oh, yes.

MS. STAFFORD:

Sorry, Madam Chair.

I would

just like to reiterate I did note one of the designs
as Jim Thorpe's sons' preferences.

Just for the

Committee's information since we did it for 2017 -MR. HOGE:

Hello?

MS. LANNIN:

Yes.

Just a moment, Robert.

Okay.
MS. STAFFORD:

The stakeholder preferences

included reverse 4, reverse 12, and reverse 15, but
overall, Jim Thorpe's sons really liked reverse 4.
Their main concern was that he is depicted as an allaround athlete, specifically that of an Olympian.
so some of the designs that really focused on his

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football career were less embraced.

So I just wanted

to make sure that we communicated that on their
behalf.
MS. LANNIN:

Thank you very much.

MS. STEVENS-SOLLMAN:
MS. LANNIN:

Excuse me?

Just a moment, Robert.

Yes, Jeanne?
MS. STEVENS-SOLLMAN:

Are we to discuss all

of these, I mean, the entire portfolio?
MS. LANNIN:

I think so because I had

problems when I was looking at this because he was so
rounded as an athlete.

So I would like to discuss all

of the designs if we can.
MS. STEVENS-SOLLMAN:
MS. LANNIN:

Thank you.

Robert, I would love to hear

from you, please?
MR. HOGE:

Okay.

I have a hard time trying

to select one in particular of these.

Most of them

offer something of value that I think, you know, is
worthy of being on a coin, really.

Probably my

favorite just as a kind of an impression, though, is
number 11.

I can't really explain quite why, but I

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like seeing the old-time football uniform.

And, you

know, the letter "C" and the little figures of the
different sports in the background I like, too.

We

also see them on 12 and 13.
And that is it.
MS. LANNIN:

Thank you, Robert.

Tom, would you like to go next.
MR. URAM:

Sure.

Thank you, Madam Chair.

All the designs are really creative in one
way or the other.
11, 12, and 15.

However, I will focus on numbers 4,
On number 12, if you do add those

silhouettes, it certainly does give the Olympian
preference there if we change the silhouettes on the
left, like it was suggested.

And I think that would

make a nice design with the different background as
far as the proof goes or the design and how it would
strike as a medal.
I also lean towards number 4.
know why the barn is up there.

I just don't

I think I would rather

just see it with just the image of the barn.

I mean,

I think it depicts nice movement, and that is
bothering me.

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MS. STAFFORD:

Just for clarification, that

is his home.
MR. URAM:

Yes.

Well, okay.

Home.

Sorry.

See, so right there, I am looking at it as a barn, not
a home.

So that tells me why I don't like it.
Go ahead, Jeanne.

You were going to say

something?
MS. STEVENS-SOLLMAN:

That was --

MR. URAM:

So, you know, if we

Oh, okay.

did choose number 4, it would be great if you did put
the Olympian medals around the smaller version there.
You could add that in as well.
movement there.

And you would have the

So you could add in the Olympian

medals, too, if you wanted to further demonstrate that
and emphasize that achievement.
Thank you, Madam Chair.
MS. LANNIN:

Thanks, Tom.

Heidi?
MS. WASTWEET:

Thank you.

First of all, I would like to compliment the
Mint and the artists on a very nice packet.
hard to choose.

It is

There are some really good designs

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here, a lot of creativity.
for we are seeing here.

Things we have been asking

And so bravo.

Thank you for

that.
I will start with design number 4.

This

design would be fine if we were doing a Congressional
Gold Medal.

This is not a Congressional Gold Medal.

This is a dollar coin.
shallow relief.

Dollar coins are incredibly

And to have all of this layering,

especially to have a head on top of a chin of a large
head, all the background layering, the face, the very
tiny detail is just simply not appropriate for the
pallet.

It is a nice drawing.

but not for a dollar coin.

It is a nice design

I advise against

recommending this design.
Design number 8 I think is a really welldrawn design.

It has the feeling of being a coin,

rather than a medal.

And I like this very much.

It

does center on the football aspect, which we are
advised didn't go over well.
understand.

And I certainly

I want to compliment this as a nice

design and a nice drawing.
Design number 10 is by far my favorite.

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think this hits all of the points.
are honoring this individual:

It ties in why we

because he comes from

the rich cultural background of the Native Americans.
And it is very, very clear here.
design.

It is a creative

The outline or the silhouette, the head in

the background, is very descriptive.

It is a

beautiful outline, just a simple line that tells so
much, the use of texture and the negative space.

I

think this is a great design.
I am not a fan of altering the designs.

And

I only do so sparingly when I feel it is really
important.

And there are a couple of things I think

are really important here.

I would put the medals

around his neck, like we see in design number 9.
would complete the story.

That

And it would represent the

fact that he was a well-rounded athlete, rather than a
football player.
Then his name, "Jim Thorpe," it looks
crowded in that space.

And there is a lot of

lettering around the edge.

I would prefer to have his

name replacing the word "Bright Path" and have that
space where his name is now be a beautiful, opened

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space, which would make this design feel clean.

And

it is very appropriate for a one-dollar coin.
Design 12, I like the creativity here.
gestures are good.

The

It does tell the story of his

athleticism, that it does connect it to his heritage.
And I think it falls just a bit shy on that aspect.
Design 15.
Thorpe.

I went online, and I Googled Jim

And I could easily see the reference that

this image came from.

And I think that it falls a

little short as far as representing the full story.
It lacks originality compared to the other choices we
have.

So we have much better choices in this packet.
That completes my comments.
MS. LANNIN:

Thank you, Heidi.

Michael?
MR. MORAN:

It is always dangerous following

Heidi, particularly if you are going to vote for an
animal full-face one.
(Laughter.)
MR. MORAN:

But, you know, I am teachable.

I basically agree with everything she said on number
10.

I just want to ask a technical question.

It is

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my choice as well.
medals.

I was going to suggest additional

I like the fact that Jim Thorpe would be

moved to the perimeter.
MS. LANNIN:

That is my choice, period.
Thank you.

Gary?
MR. MARKS:

I think I will start with some

comments about designs I would not have us recommend.
Then I will move to one that I am truly excited about.
Going to number 4, Heidi already talked
about the relief issue.
of those images.
pallet.
this.

I would add to this the size

She had briefly mentioned the

But also let's talk about the proof finish on
Don, correct me if I am wrong, but I think what

we are going to see is everything from about, oh, 40
percent down from the top, it is all going to be
frost.
MR. EVERHART:
MR. MARKS:

Correct, yes.

What will happen there is those

images will just kind of be lost in there.

So I think

it is a nice drawing, as Heidi said, more appropriate
for a medal.
We could go to number 12.

There is some

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support for this one.

When I look at those little

silhouettes, I am not sure what sports they represent.
So I think the medals around the neck surely designate
the Olympics, but, as far as I can tell, every one of
those little images could be something to do with the
Olympics.

And where is baseball?

Where is football?

I don't see those images there.
And, besides that, let's remember, folks,
this is a dollar coin, only slightly bigger than a
quarter.

Those little images there are going to

reduce down to little ants.

And so to make out any

sense of it is going to be very difficult.

So while I

have heard some support here for this one, I would
really hope that we wouldn't go that direction.
If we could go to number 10, this is the one
that -- I think this one really pops.
for modern designs.

We have asked

We have asked for new and

different things that catch your attention.

And this

surely does it.
I am particularly fond of the silhouette of
Chief Black Hawk in the background.

It drives home

the Native American aspect of this.

I do not want

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this claim to get lost in athletics alone.

And a lot

of these designs in this collection, if you are not an
educated person about who Jim Thorpe is, who happens
to have a white man's name, that drives it home.

And

I think it is a tragic loss if we do not recommend
this design and it is not produced.

I think this is

the homerun.
If we were to recommend this design, I would
like to come back and talk about the font around the
perimeter.

I think we have captured the font that I

was talking about earlier in this name and in the
denominational designation.
So those are my comments, Madam Chair, and
thank you.
MS. LANNIN:

Thanks, Gary.

Donald?
MR. SCARINCI:

First of all, just to note, I

just want to note that the U.S. Mint did do a medal
for Jim Thorpe.

It happens to be a rarity.

It was

produced in small size, one-and-a-half-inch, in gilt
brass and brass.

You know, for what it is worth, I

paid $2,900 for my set.

That is how rare it is.

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PARTICIPANT:
MR. SCARINCI:

Really?
It is a series.

So when you

do this, you are probably going to want to do it
paired with the silver.

You know, a medal you should

do in silver or you could do the three-inch version of
the medal that you never did in three-inch.
So you can have a lot of fun with the
marketing on this.

So you want to tell the marketing

people this one if done right, this should be a smash.
And the recipient organization, you know, will do well
with this.
That being said, you know, that is probably
the most I have to say about this because the
selection to me is crystal clear.
And, you know, 10 makes you think.

It is number 10.
What I like about

10 is the silhouette or the shadow in the background.
You know, it really is a reflection of who we are.

It

makes you think.
You know, if we were doing a coin about me,
you know, maybe you would have, you know, a silhouette
of the apartment building in Union City that I, you
know, grew up in.

And, you know, it is who I am.

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this is who he is.

I just love this.

The artist who

did it, you know, really deserves all the credit in
the world and absolutely deserves to see this.
is the coin.

This

You know, I really don't think -- you

know, we can quibble about Jim Thorpe, and we can
quibble about the lettering.

And we can talk about

putting gold medals on, but this is a coin design that
makes you think.

And this is a coin design that tells

a story that is not a storyboard.
emotion.

And it conveys an

It does all of the things we want a coin to

do.
So in my mind, I am giving this a 3.
not giving anything else anything else.
This is the coin.

I am

I am sorry.

And if there is one coin for today,

this is the coin.
MS. LANNIN:
Thank you.

Showing you are here, Donald.

Thank you.
MR. SCARINCI:
MS. LANNIN:

That is it.
Okay.

I am done.

MS. STEVENS-SOLLMAN:

Jeanne?
Thank you, Donald.

You took the wind out of what I was going to say.
I do agree with my colleagues.

I loved the

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imagery in number 4, but, again, like Heidi said and
the rest of our group, this is more for a medal.
I would like to see it bigger.
lot of information in there.

And

I mean, it just has a
it is a wonderful

drawing.
I am drawn to number 12 with the little
figures in the background fence.
fence.

I guess that is a

It shows Jim Thorpe's athletic ability.

However, again, this is more of a medal size with the
information that is there.
I also think, you know, these little figures
are sort of like our celebration of the Marshall coin,
the medallion that we did.

That was such a positive

and beautiful medal that this detail I think is
important to bring to our Committee and let us see it.
However, I think it will be too small.

It will just

be way too small, and we are going to lose what those
images are.

I mean, I can tell what they represent

right now, but if we reduce it a little more, how much
are we going to see after it has been frosted and
struck?

I think that Jim Thorpe himself will be kind

of lost.

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So I am going to go with number 10.

Number

10 was what struck me every time I opened my
portfolios.

This is so powerful.

I don't think that

we can include, unfortunately, the wish of our
stakeholders to have all of his sports that we should
be representing.

And I don't think we should hang

Olympic medals on his chest while he is wearing a
football uniform.

I don't think that is correct.

this image of Black Hawk is so powerful.

But

And the

image of Jim Thorpe that comes through, he is really
inspiring.

So this is where my tendencies are going.
Thank you.
MS. LANNIN:

Erik?

MR. JANSEN:

I am going to kind of direct

comments two ways:

one for feedback; and then, second

of all, for selection.

On the feedback side, I think

several of these designs kind of have some anatomic
issues.

And so I would encourage the artists to make

sure we are getting anatomy right, whether it is arms'
length, shoulders, size of hands.
enough for the body?

Is the head big

These are important issues.

Nobody has raised them because I don't think they come

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in the popular designing so far here for the most
part.
Second of all, I think there is a very big
challenge here.

And that is, really, do we want to

highlight this Native American superstar as a football
player because the visual picture does tell 1,000
words in this story or is the picture bigger than
that?

And, whereas, my recommendations are going to

go a little bit against my words and I will tell you
why later, I tended to demote the football imagery
because I think the picture is bigger than a football
player or the game of football.
I love the diversity of these designs.
have so many different ways to go here.

We

And I thank

the artists for -- single artists put in multiple
approaches or just the multitude of the artists gave
us that diversity.
really wonderful.

I really like that.

That is

But within that diversity, I want

to try to consolidate some comments that have been
made by my Committee members here as feedback to the
artists.
Design number 4, with all respect to the

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preferences, this is a picture in metal.

I think a

lot of people have paid respects to this as a
wonderful piece of artwork.

It is not a coin design

that this Committee I think is going to go forward
with:

too much detail, small pallet.

Honestly, I

looked at this design, and I thought it might have
actually worked if you would eliminate the field and
the home and just make his face there and move some
things around.

It might have been an interesting

design, still a picture in metal, but it might have
survived the scrutiny.

So that is a vote against 4.

The point here, though, I want to make is
the popularity, the common theme of the designs that
have been highlighted here I think is a combination of
visual balance; symbolic backdrops; or messaging; and,
to a lesser extent, the portrait of a person.
number 10 carries that exact theme forward.

Design
It is a

real tug-of-war and not in an antagonistic sense,
almost in a "This is good.
good.

That is good.

This is

That is good" between the image of the Jim

Thorpe profile versus this backdrop that is just
incredibly large, graphic, clear, contrasting,

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symbolic message.

If you were to take and extent my

symbolic message to -- 11, 12, and 13 have this
beautiful visual balance of this horizontal stripe,
which gives the sculpture the flexibility of texture
against the traditional relief of the profile of Jim
Thorpe himself.
designs, I think.

Those are really visually appealing

with the image.

Again, it is the symbol balanced
And, although it hasn't been

mentioned, design 7 has that same kind of symbol image
balance.
And so the feedback to the artist would be
if you want to do an image, God bless you.
symbol as well or probably risk demotion.

Give us a
This

Committee appreciates negative space, visual balance,
inclusion of symbols to get the bigger message across
in balance with imagery.
Trying to be effective here in terms of a
selection, I gravitate to 10 as well.

I wish it

wasn't just football, but I think doctoring this coin
by saying, "Turn it into an Olympian" or "Put medals
around his neck" or something else is probably an
exercise in reduction of the net impact of the coin.

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This would be an absolutely gorgeous proof version.
think it is simple.

I

It works to the pallet size.

I like design number 12.

I think the head

is a little small to the body, quite frankly.

And I

do respect some of my other Committee members who
don't feel or recognize that the athletic images in
the background horizontal bar would stand out.

I

appreciate those comments.
Finally, I am not sure I could pick Jim
Thorpe out of a lineup based on the varying profiles
here.

We have got so many different facial

expressions here and faces.

I don't which one of

these profiles' faces is anatomically correct because
you take 15.

Compare it just to 14 next to it.

that the same guy aged?
guy.

Is

It is surely not the same

So I would say a little help in the anatomical

correctness.
My vote, all in, goes for 10.
a bingo design.

It has incredible visual intensity.

It works from the pallet size.
I said.

I think it is

And I think it is what

It is a combination of the image and powerful

symbology and the use of negative space.

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MR. MORAN:

Mary, could I make one quick

comment?
MS. LANNIN:
MR. MORAN:

Sure.
That horizontal striped fence

has been described as several things.

It is actually

a football field.
PARTICIPANT:
MR. MORAN:

I missed it.
You were at the Seattle game,

weren't you?
MS. LANNIN:
said about number 10.

I am going to echo what Erik
I just love that design.

And I

think the thing that I like about it is the slight
lift in the chin for pride.
MR. JANSEN:

Absolutely.

MS. LANNIN:

You know, you just --

PARTICIPANT:
MS. LANNIN:

Bingo.

Excellent.
"I won, and it just doesn't

make any difference."
MR. JANSEN:

Yes.

And the chin lift is

present in both the symbol and the image.
MS. LANNIN:

Exactly.

MR. JANSEN:

It is just such an

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amplification of things.
MS. LANNIN:

Exactly.

And I think it was

Heidi that thought it might be good to Jim Thorpe's
name replace where "Bright Path" goes.

So we can make

a motion after that, but, by far and away, my absolute
favorite was number 10.

So we are going to turn in

the votes, take a 10-minute recess.

And then Tom is

going to announce the winners of both.
(Off The Record)
MS. LANNIN:

Okay.

I would like to ask Tom

Uram to give us the results of our votes, please.
MR. URAM:

Thank you, Madam Chair.

For the

reverse designs, we considered number one, two, five,
nine -MALE SPEAKER:
FEMALE SPEAKER:

Which program?
If you can just read us

the -MR. URAM:
I'm sorry.

I'm sorry.

Pardon.

Yes.

Right.

We considered 1, 2, 5, 9, 10, 11 and 12.

Out of a possible 27 points, number 1 had 4; number 2,
19; number 3, 1; number 5, 11; and number 11, 12 on
the score.

So the choice is number two.

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FEMALE SPEAKER:

Number two.

So this -- oh,

I'm sorry.
MS. LANNIN:

Do we have any motions to

change this at all?
MR. MARKS:

Yes.

MS. LANNIN:
MR. MARKS:

Yes, Gary.
Okay.

For reference, I'm going

to refer us to the Jim Thorpe collection.

If we go to

design number one, I'm pointing to this font.
MS. LANNIN:
MR. MARKS:

Okay.

Okay.

But it's the font that I want to

address.
MS. LANNIN:
MR. MARKS:

Okay.
The font that I referred to

earlier that was prevalent, used from '09 through 2012
is the font you see before United States of America.
So I would make a motion -- I don't know what that
font's called.
MR. EVERHART:

It's Lithos.

It's called

Lithos.
MR. MARKS:

What is it?

MR. EVERHART:

Lithos.

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FEMALE SPEAKER:
MR. MARKS:

Lithos.

Lithos.

Okay.

Then I would

move that the Lithos font be substituted for the
recommended design for Sequoyah.
MS. LANNIN:

Is there a second?

MR. JANSEN:

Second.

MS. LANNIN:

Fair enough.

Okay.

All in

favor of Gary's motion to replace the font with
Lithos, raise your hands.
MS. SOLLMAN:
MS. LANNIN:

I have a question.

MS. SOLLMAN:

Oh.

I'm sorry, Jeanne.

MS. LANNIN:

I have a -- yeah.

MS. SOLLMAN:

More discussion.
Sorry.

answer this question for me.

Okay.

Don, maybe you can

United States of

America, is that Roman Times?

Is that what we're

still looking at, Roman Time font?
MR. EVERHART:

I don't know.

many of those faces that look alike.
one of those.

There's so

It could be any

But it's an italic face.

MS. SOLLMAN:
MR. EVERHART:

Okay.
Okay.

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MS. SOLLMAN:

So the question is if we go to

the Lithos fonts -- font, will that be the same as we
have for the Sequoyah?

Is that the same font?

I

mean, I like the fact that with this particular coin,
we have a difference in the fonts and if we go -- if
we make -- if we go through that motion, then that
font is going to be the same all the way around so
my -- I don't -- I think we have to consider how we
make this motion that by doing that we don't allow a
change in the fonts that maybe would be more -- make
the coin more interesting.
MR. MARKS:

Jeanne, can I help you?

MS. SOLLMAN:
MR. MARKS:

Yeah.

Please.

Thank you.

I'll make my motion to change

United States of America to the Lithos font.
MS. SOLLMAN:

But the Lithos font is so

similar to the lower -MR. MARKS:
MS. SOLLMAN:

Oh, I would beg to differ.

You think it's just different?

MR. MARKS:

I think it's much different.

MS. SOLLMAN:
MS. LANNIN:

No.

Okay.
Can we go back to number one

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again to see the Lithos font?
MALE SPEAKER:

Okay.

I've got it -- if you want to

see the red book, I'd be happy to show -MR. EVERHART:

There's also a thin and a

thick bold version of Lithos, too.

I would recommend

on number one on Sequoyah to go with the bold to
contrast with what's down below because that's kind of
a thin face.
MS. LANNIN:

Right.

MR. SCARINCI:

Are we discussing the motion

for -MS. LANNIN:

(Inaudible)

MR. SCARINCI:
oops.

How about instead of us --

How about instead of us picking a font, I think

if there's a desire to change the font, why don't we
just authorize the artist to pick a more, you know,
pick us a font and not us pick the different font?
MR. JANSEN:
MR. MARKS:

I would agree with Donald.
Is there a second on my motion?

MR. JANSEN:

I think I seconded your motion.

MS. LANNIN:

Erik did so.

MR. JANSEN:

But I think Donald's point

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about pontificating here is probably a good point.
MR. MARKS:

Let me speak to Donald's font.

The reason for my motion was to try to regain the
connectivity from year to year of the series.

And

that font was for the first four years part of that
connectivity, if you will, and I'm trying to pick that
back up.

So what Don's suggesting, I understand what

he wants to do, but it really doesn't accomplish the
reason for my motion.

I wanted that connectivity.

MS. LANNIN:

So right now we have Gary's

motion which Erik seconded.

All in favor of Gary's

motion, raise your -MS. WASTSWEET:
MS. LANNIN:
Heidi.

I have one more comment.

I'm sorry.

I didn't see you,

Okay.
MS. WASTSWEET:

Even though there's a

difference between the Lithos font and the font of the
lower levels, they're in the same family of fonts, and
so there's a little bit of a clash.

When using two

fonts within the same design, they should be from two
different families so that there's contrast rather
than clashing of the two fonts.

So it might actually

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be better, even though I like that littler font, to
keep with the continuity of the series and to have a
harmony of fonts, it might be better to have the same
font all the way around.
MS. LANNIN:

Now we look puzzled.

MR. SCARINCI:

No, no.

I'm not puzzled.

I

just will make a different motion if this one does not
succeed.
MR. MARKS:

I'll stand with my motion as --

MR. JANSEN:

I'll stand with the second.

MS. STAFFORD:
apologize.

Madam, I'm sorry.

I

I don't know if it's appropriate at this

time to reiterate it was this reverse that there was a
strong suggestion from stakeholders to change the
inscription "Cherokee Syllabary" to "Cherokee Nation"
written in Cherokee.

So I just want to make sure in

case you came back to that consideration that you were
taking that into consideration as you were considering
this motion.
MS. LANNIN:

So that Sequoyah remains in

that font, and Cherokee Syllabary is written in
Cherokee?

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MS. WASTSWEET:

That is a suggestion which

at some point I would ask that the committee take
comment upon.
MR. MARKS:

Yeah.

That's not my motion.

That could be picked up after this but -MS. LANNIN:
motion.

We need to vote on Gary's

So would you like to restate it once more for

the record since we've (inaudible)?
MR. MARKS:

The motion is to use the -- now

I've forgotten the name of your -MS. LANNIN:

Lithos.

MALE SPEAKER:
MR. MARKS:

Lithos.

Lithos font for United States of

America for purposes of regaining the continuity of
the series established from 2009 to 2012.
MS. LANNIN:

And Erik is the second.

So we vote on this motion.
hands.

One, two -- Bob?
MR. KANEHERS:

Okay.

All in favor raise your
Is Robert here?

MS. LANNIN:

Bob Kanehers.

MR. KANEHERS:

Robert Kanehers.
Or send me an email if need

be.

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MS. LANNIN:

So right now we have six ayes.

So it appears even without hearing from Robert that
the motion passes.
Are there any other motions, especially in
light of what the request was replacing?
MR. URAM:

I would make a motion that we

take that under consideration and put that on.

I

think it would be a nice addition.
MS. LANNIN:

Okay.

I --

MR. JANSEN:

Think what would be a nice

addition?
MR. URAM:

The changing of the Cherokee

Syllabary to Nation and written in that form, written
in -MS. LANNIN:

I'm --

MR. JANSEN:

I would speak against that.

I

think it destroys the understandability of the image.
MS. LANNIN:

I agree with Erik because none

of the rest of us understand what the Cherokee
Syllabary is.

How are we going to know what it says?

It needs to say -- if we have anything in Cherokee, it
needs to be next to something that we can understand.

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So I understand -MALE SPEAKER:
MS. LANNIN:

Yeah.
-- what they want, but I think

it's a little -MR. JANSEN:

In all honesty, I'm not sure --

I cannot even say it very well -- Syllabary is a
common usage, you know, common usage term.

If I were

to alter this I might -- but I'm not going to make
that motion because I think it's part of the statute.
MS. LANNIN:

So is anybody going to second

the motion that Tom made?
MR. URAM:

I'll withdraw the motion.

MS. LANNIN:

Tom withdraws the motion.

Do

we have any questions?
MR. MORAN:

Let me throw one more comment

in, Mary.
MS. LANNIN:
MR. MORAN:

Certainly.
Along the lines of my plea for

number five which was really driven by the sevenpointed star, I don't see really as I look here a
place to put the seven-pointed star, although if I
were messing with the inscriptions I might be able to

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find one.

Cherokee Syllabary, I think we're missing

an opportunity for the Cherokee Nation whether it's in
English or in their language.

And you know, it's just

a preference as opposed to the Syllabary motion.
MS. LANNIN:

Are you going to make a motion

on that?
MR. MORAN:

No, I'm not.

I'd like to have

some support from the committee so I don't drag this
out if it's a vote of one.
MS. STAFFORD:

I appreciate your comments.

I was just about to ask the same because the
suggestion at the root of it was that Cherokee Nation
be represented.

They happened to ask for it to be in

Cherokee but it was important that Cherokee Nation -that was a suggestion.
MR. JANSEN:
MR. MORAN:

I'd support that.
I would make a motion --

MALE SPEAKER:
MR. MORAN:

Yeah.

I support that.

I'll make a motion to change it

to Cherokee Nation.
MS. LANNIN:
MALE SPEAKER:

Okay.

Who wants to second?

But not in that language.

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MR. JANSEN:

I'll second.

MS. LANNIN:

But not in --

MR. MORAN:

Yeah.

Not --

MS. LANNIN:

-- Cherokee script.

MR. JANSEN:

In Arabic.

MS. LANNIN:

In Arabic script.

MR. JANSEN:

Replace the Syllabary with

MS. LANNIN:

All right.

Nation.

MR. MORAN:

That's my motion.

MS. LANNIN:

Is there any other discussion

on that?
(No audible response)
MS. LANNIN:
your hands.

All in favor say aye, raise

Is Robert available?

Let me see, one,

two, three, four.
FEMALE SPEAKER:
MALE SPEAKER:
MR. WEINMAN:
hear us?

Can you vote?

I'll abstain.
Robert's the swing.

Robert, are you -- can you
We can't hear you, so maybe

you should send me an email.
MS. LANNIN:

Because right now the motion is

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in danger of not passing.
MR. MARKS:

Can we put that in stasis for a

moment, recommend something else?
MS. LANNIN:
MR. MARKS:
seven-pointed star.

Sure.
I have a suggestion about the

Instead of the little dot between

Sequoyah and Cherokee, can we make that a sevenpointed star?
FEMALE SPEAKER:
MS. LANNIN:
MR. MARKS:

Very good.

That's good.

Is there a motion?
I'll make a motion that the dot

between Sequoyah and Cherokee be changed to a sevenpointed star.
FEMALE SPEAKER:
MS. LANNIN:

I second that.

Who would like to second?

FEMALE SPEAKER:
MS. LANNIN:

Second --

MALE SPEAKER:

Mike would.

All in favor?

We have a comment.

MS. LANNIN:

Comment, yes.

MS. KELLEY:

I would just like to comment

that looking at the size of that dot versus that
seven-point star, we may not be able to see that

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detail.

I just want to make sure that we point that

out, especially that size.
MALE SPEAKER:

Well, let me --

FEMALE SPEAKER:
MALE SPEAKER:

Pick a different size.
-- let me discuss that for a

moment.
MS. KELLEY:

So yeah.

We would have to make

it big -MALE SPEAKER:

People like me who have

loops, and this is a big deal, we'll know because it
will be there because I know you guys have the
precision to make that pop -FEMALE SPEAKER:
MALE SPEAKER:

Yes.
-- in a very small fashion.

I think the importance remains.
FEMALE SPEAKER:
larger.

I think you could make that

That would be my question.

If we could make

it larger -MS. SOLLMAN:

If you could make the same

size as the lettering so that the -FEMALE SPEAKER:
MS. SOLLMAN:

Yes.

-- and that would make sense

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that -FEMALE SPEAKER:
MS. SOLLMAN:

Yes.

MS. KELLEY:

I think that would be okay.
I just wanted to make sure that

we put that out there so everyone would understand
that.

We would need to make it larger in order for it

to pop.
FEMALE SPEAKER:

And I think that would be

appropriate.
MR. WEINMAN:
information.

Madam Chair, just a point of

I did hear from Mr. Hoge who votes yes,

so the previous motion carries.
MR. SCARINCI:
this as well.

I just want to comment on

I always either vote no or abstain to

these design by committee motions.

I'm going to vote

in favor of this one because, you know, as
miniscule -- and it should be miniscule.

I mean, I

think we're not looking to make this any bigger than
it is.

But you know, the little tiny, tiny, as

miniscule as it is adds a dimension to the coin that
makes it a little more numismatically interesting,
probably gets it, you know, written about and

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discussed and certainly the topic of innumerable
future coin club meetings, you know, for the next God
knows how long.
So you know, as a numismatist, I'm going to
vote in favor of this little design by committee
thing, since it doesn't really impact negatively in
any way on what the original artist conceived which is
kind of why I philosophically never vote for these
types of things.
MS. LANNIN:

So Gary's motion, seconded by

Erik, we're going to replace the dot with the sevenpointed -FEMALE SPEAKER:
MALE SPEAKER:

Star.
I think it's seconded by

Mike, Mary.
MS. LANNIN:
Michael.

I'm sorry.

Seconded by

All in favor?
Unanimous.

Great job, Gary.

And now we

will -MALE SPEAKER:
MS. LANNIN:

Wait.

Any other motions?

MALE SPEAKER:

I'm sorry?
Any motions?

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MS. LANNIN:

Are there any other motions, or

are we done with this one?
(No audible response)
MS. LANNIN:

Okay.

The next one we have Jim

Thorpe.
MR. URAM:

Thank you, Madam Chairman.

We

considered all 15 designs, and the following are the
results.

Number one has two votes; two has one; three

has one; four has three; five and six have zero; seven
has two; eight has three; nine has zero.

The

preference of the committee is number 10 at 25 votes.
Number 11 has 5; number 12 is 6; 13 is 2; 14, 1; 15,
1; and that was out of a possible 27 total votes again
with number 10 receiving 25.
Thank you, Madam Chair.
MS. LANNIN:
MR. MARKS:

Gary?
In the spirit of my first motion

on the last coin, I move that the text on the
perimeter of our recommended design, number 10, be
changed to the Lithos font.
MS. LANNIN:
MALE SPEAKER:

Is there a second?
Second.

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MS. LANNIN:

All in favor?

MR. JANSEN:

I'd like discussion.

MS. LANNIN:

Is there any discussion on

MR. JANSEN:

I would -- go ahead.

that?

MS. WASTSWEET:

If we change that font does

that -- because those letters are in there so
carefully, will that font change the spacing and cause
a problem to fit that lettering in there?
MR. EVERHART:

Well, we'd have to finagle it

a little bit but -MS. WASTSWEET:
MR. EVERHART:
MR. MARKS:

Is it finagle-able?
Finagle-able.

Is that a term of art, finagle?

MR. EVERHART:

But we do have space down to

the left of the $1 sign that we can move out.
move out lots of…

We can

If we have to move it closer to

that, we can work that.
MS. WASTSWEET:
MR. JANSEN:

Okay.

Thank you.

If we go with those motion,

then we really put our stake and reestablish this form
of connectivity for the series.

We missed it for two

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years, but we picked it back up for the -- for two
more.

And I would hope after I'm gone that you would

continue that tradition.

But I think this gets us

back to where maybe we want to be, so we'll see how
the motion goes.
MS. LANNIN:

Okay.

Any more discussion?

(No audible response)
MS. LANNIN:

All in favor of Gary's motion?

Motion passes.
MALE SPEAKER:

I would just like to I think

state the obvious, but I'm hoping in finagling the
font that we don't affront the profile as it exists
kind of between the 12 and 1 or 2 o'clock parts of the
coin.

That needs to remain unviolated negative space.
MS. LANNIN:

Heidi?

MS. WASTSWEET:

I would like to make a

motion to move Jim Thorpe's name to replace Bright
Path along the border.
MALE SPEAKER:

Second.

MS. LANNIN:

Any discussion?

Erik.

MR. JANSEN:

I think the text, if only as an

object of visual balance, the text Jim Thorpe, if you

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strike that out, I think it's going to mess a little
bit with the visual balance of the design.
MS. WASTSWEET:
MR. JANSEN:

How so?

I think it would imbalance it.

MS. WASTSWEET:
MR. JANSEN:

As within that space?

Yeah.

I think just an empty

space there, perhaps it's an echo in my mind of its
presence.

But it's feeling -MR. EVERHART:
MR. JANSEN:

I have a solution.
-- I don't want to pontificate

here.
MR. EVERHART:

I have a solution.

MS. WASTSWEET:

Don’t be afraid of

the(Inaudible) white space.
MR. JANSEN:
white space.

Yeah.

I'm liking this.

MR. EVERHART:

Don't be afraid of the
That's so quotable.

MR. JANSEN:

Erik, Erik.

MR. EVERHART:

I rest my white space.

MR. JANSEN:

I have a solution to that.

MR. EVERHART:

Okay.
I'd say we upsize the figure

of Jim Thorpe by 10 percent.

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MR. JANSEN:

Yeah, yeah.

Well, what I was

horrifically about to say was boy, if you move the
image of Jim Thorpe to the northwest about three or
four percent, it would nix the problem.

You just

nailed it.
MR. EVERHART:
MR. JANSEN:

Minor problem.
Yeah.

MS. WASTSWEET:

Okay.

Thank you.

That's a good solution.

Everybody's happy.
MR. JANSEN:

Fear not the white space.

MS. LANNIN:

So to restate -- I'm going to

restate Heidi's motion to remove Jim Thorpe's name,
replace Bright Path with Jim Thorpe's name, and take
Don's suggestion of enlarging the figure of Jim Thorpe
by about 10 percent or whatever the mint feels is best
to balance the coin.

Is there any discussion?

MS. SOLLMAN:
MS. LANNIN:
MS. SOLLMAN:

Yes.
Very good.

Yes, Jeanne.

Just one question.

If we take

Bright Path out of the picture altogether, do we then
diminutize his abilities in all these other sports
because Bright Path, Lightning, whatever was such a

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powerful concept that -- does that seem to exclude his
other abilities or not?
MS. WASTSWEET:

I think that the story

carries on beyond the surface of the coin.

We don't

have to put everything on -MS. SOLLMAN:

Right.

It was just the name.

I'm wondering if we can -MS. STAFFORD:
MS. WASTSWEET:

It's actually -We've got enough information

on there.
MS. STAFFORD:

-- Bright Path is actually a

reference to Wa-tho-huk which was his Indian name, his
given name.
MS. SOLLMAN:

Okay.

So it's actually

translation.
MS. STAFFORD:
MS. SOLLMAN:

So it's a translation, yes.

MS. WASTSWEET:

So we can just -Path Lit by Lightning was --

is the full name.
MS. SOLLMAN:
MS. WASTSWEET:

The full name.

version.

Bright Path is the shortened

But Wa-tho-huk, if it's represented there,

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is his Indian name.
MS. LANNIN:

As I understand it, when I was

doing some research on it that that's a birth name.
It refers to an event that happened around the time of
his birth.
MS. SOLLMAN:

Okay.

FEMALE SPEAKER:
MS. LANNIN:

So not with his sports.

Correct.

MS. SOLLMAN:

Not his sports.

MS. LANNIN:

Okay.

Thank you.

So is there any other

discussion on all of these -MR. SCARINCI:

Just one point.

think we're overdoing it?

Don't you

Like we're designing --

we're -- aren't we redesigning this coin by committee,
or do you think this is the right thing to do?
MS. LANNIN:

I think we're fine doing it.

I

think it's a great design, and we're just making it
work, fit better.
And we're not pontificating, Erik.
Is there any other discussion on this?
(No audible response)
MS. LANNIN:

Okay.

So I'm going to call the

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question, and we -- all in favor?
Motion carries.

Any other motions?

Anything else you want to do to this coin?
FEMALE SPEAKER:

No.

Spend it.

(Asides)
MS. LANNIN:

Okay.

We're going to recess

for lunch until 1:30.
(Whereupon, a luncheon recess was taken at
12:36 p.m.)
MS. LANNIN:

Ladies and gentlemen, our lunch

recess is over and we are back in session.

We want to

discuss the congressional gold medal for the Pueblo of
Laguna and the St. Regis Mohawk tribes.
MS. STAFFORD:

Thank you, Madam Chair.

It

is 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.

Silver

duplicate medals will be presented to the specific

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code talkers or the next of kin.

Bronze duplicates

will be struck and made available for sale to the
public.

While there are no required inscriptions,

their design consistency, the obverse designs
including the tribe's name, code talkers, and the
desired language unique to the tribe.

Reverse

inscriptions include World War I and/or World War II
as applicable to the war served and Act of Congress,
2008.
First, we will review ten uppers and seven
reverse designs for the Pueblo of Laguna tribe of
Laguna, New Mexico.

This is the 30th design completed

out of the 33 verified in the program.

We're

fortunate to have on the phone with us Mary Scott,
Benefits Services Manager, who is also our Pueblo of
Laguna liaison.
Ms. Scott, are you there?

And if so, would

you like to say a few words to our committee?
MS. SCOTT:

Hello.

MS. STAFFORD:
MS. SCOTT:

Hello.

Okay.

We can hear you now.

I'm from the Pueblo of

Laguna here in New Mexico, and I have with me the

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family of Mr. Day.

I have Joseph Day, Jr., and Denise

Garcia, who is the granddaughter.
to get this going.

And we're anxious

I have one question.

The

information that I had sent you earlier regarding the
first and the reverse side, we're confused here.

And

they have -- they indicated differences than what they
want.

So, I'm wondering if they can make changes.
MS. STAFFORD:

If you -- we'll go through

the designs, and certainly, if your preferences have
changed, we'll certainly be more than happy to discuss
that here.

As of right now, we have your preferences

listed as obverse 3 and reverse 4A.

But again, as we

go through the portfolio, if you'd like to comment on
any other designs you also like or a preference that
you have if it's changes, we'd be happy to hear that.
MS. SCOTT:

Okay.

MS. STAFFORD:

I'll go ahead and go through

the designs (inaudible) the Code Talkers Recognition
Congressional Medal Program.

First, the obverses.

We

have obverse 1, 2, 2A, 3, 4, 4A, 5, 6, 6A, and 7 that
depict a World War II code talker and symbols
representing the clan these code talkers were members

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of, specifically, the Big Turkey clan, and the Little
Corn clan.

Designs 4 and 5 include an eagle or the

eagle feather.

Inscriptions are Pueblo of Laguna code

talkers, with Laguna code talkers, Big Turkey, and
Little Corn in tribal language.
designs.

So, those will be the

Here we have obverse 1, 2, 2A, 3, 4, 4A, 5,

6, 6A, and 7.
And moving on to the reverses.

Reverses 1,

2, 3, 4, 4A, 5, and 6 depict variations of the Pueblo
of Laguna tribe seal, which features the dancing
eagle.

The inscriptions are Pueblo of Laguna, WWII,

43rd Bombardment Group, Act of Congress 2008, Big
Turkey and Little Corn in the tribe's language.
So, again, initially we had the tribe's
preference as obverse 3 and reverse 4A.

Are there

other designs you'd like to bring our attention to?
MS. SCOTT:
it's POLCRN-R-048.

Okay, yes.

So, for the reverse

And I think that's what we already

sent to you, right?
MS. STAFFORD:
MS. SCOTT:

That's correct.

And then the obverse design is

POL-CRN-0-03.

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MS. STAFFORD:
have.

Okay.

That is also what you

Thank you so much.
MS. SCOTT:

Okay, that's it.

Okay, good.

We just needed it clarified.
MS. STAFFORD: Okay, perfect.

Thank you.

All right, Madam Chair, I'll turn it back to the
committee.
MS. LANNIN:

First of all, do we have any

technical limitations in pulling off any of these
designs?
phone?

(Inaudible).

Or Steve, if you're on the

Okay.
So, why don't we begin with, do we have any

questions from the committee?
MS. SOLLMAN:
on the imagery.

This is a -- just a question

Is the dancing eagle that we have in

all of the designs except No. 6, is this all on the
seal, this specific iconic eagle?

Is that the seal

itself?
MS. STAFFORD:

You mean the seal of the 43rd

Bombardment Group?
MS. SOLLMAN:

No, I mean the seal of the --

the tribal seal.

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MS. STAFFORD:

So, you'll see that in 3, 4,

and 6 are artists' renditions of that.
MS. SOLLMAN:

Okay.

And the little imagery

at the bottom of 4, 4A, and 5, is that part of the
tribal seal?
MS. STAFFORD:

That's the symbol for the

43rd Bombardment Group.
MS. SOLLMAN:
MS. LANNIN:

Okay, thank you.
Any other questions?

All

right, Erik, would you like to start?
MR. JANSEN:

I was actually pleased with

really the selection here is really tremendous.
think the -- I personally like design No. 4.

I

I like

the way the feather and the corn are all balanced out
in there.

I think it's a beautiful feature of the

symbols of the tribe.
as well.

However, design 3 works for me

I'd probably like 6A over 6, just for the

balance of the perspective.

Design 5, I'm not really

fond of the way the gun is featured so aggressively.
Yes, these were soldiers, but I think the focus here
is the communications and not the firepower.
would be my preference on the obverse.

So, that

It would

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probably be either 3 or 4.
On the reverse, kudos to the artist who gave
us 6.

Truly.

I actually am going to give 6 a

considerable amount of weight here, because I think it
will make an elegant medal out of something that -okay, a number of these code talker medals have been
formulaic and it's refreshing to have the opportunity
to put a functional, if not symbolically appropriate
piece of artwork on the medal.
At the same time, I want to respect the
preference of the group here, and I personally would
favor 4A over the similar group of 4 and 5.

And in

addition, my other preference would probably be maybe
towards 3.

I like the simplicity of it.
So, that's where I come out on this one.

Thank you.
MS. LANNIN:

Thank you, Erik.

Jeanne, would you like to speak?
MS. SOLLMAN:

I think that we have to really

commend the artists for -- this is a particularly
artistic portfolio.
turkeys.

It's not just because I love the

I agree with our liaison with No. 3.

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wanting to know, if we chose that one, how would this
-- the images in the background, how would they be
handled?
UNIDENTIFIED VOICE:

There would be very

little relief.
MS. SOLLMAN:

Very little relief.

Would

they be crossing in low relief or would we lose them?
Would we lose that imagery?
UNIDENTIFIED VOICE:

No, I don't think so.

I think, you know, we could do them around -- say,
around 60-80 thousandths and then do -- figure around
two to three, something like that.
MS. SOLLMAN:

Thank you.

With that

information, if I can move on, I think that that one
has my preference.

I also like the fact that we have,

you know, titles of the clans on there as well as the
imagery.
On the reverse, I also agree with Erik.
think No. 6 was absolutely phenomenal.

I

And if we

matched that with No. obverse 3, we'd have a
spectacular medal.

But I also understand, you know,

that we have the logos of both the tribe and a

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bombardment group.

So, understandably, No. 4A would

be a choice, however.

My vote kind of goes with 06

for the creativity that we have.

The only question

that I have on that is the boot -- if this were truly
a dancer, would the boot be appropriate or would he be
wearing moccasins, if he were dancing?
UNIDENTIFIED VOICE:

The dress is

appropriate as to painting.
MS. SOLLMAN:

With the boot.

UNIDENTIFIED VOICE:
MS. LANNIN:

Uh-huh.

MR. EVERHART:

Don.
I think the host committee --

if the recipient is settled on 4A, you know, I really
like obverse 3.
reverse 4A.

So, I mean, I feel I could live with

Six is nice, but it's not consistent,

really, with the rest of the medals in the series.

I

like 1 a lot, but I could see, you know, I could see
the recipient needing that (inaudible).

So, since

this series is what it is, I'm not going to belabor it
or agonize over it.

But the reverse, 4A, is fine if

the recipient's happy with that.

I do think -- I do

agree with Jeanne that obverse 3 is a no-brainer.

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think it would be gorgeous on -- probably one of the
best ones in the series, actually.
MS. LANNIN:
MR. SCARING:

Thank you, Don.
Thank you, Madam Chair.

I

will address first the recipients' preference for No.
3.

Actually, I have great concern about No. 3.

My

concern is that, first of all, there's not much
negative space on this medal, which I think is going
to create a -- on the actual medal, it's going to look
different than what the drawing is.

On the medal,

it's going to look like the -- the drawing,
(inaudible), too, there's a lot on there.

I know it's

-- some of the items are going to be a low relief, but
at the end of the day, when you receive the medal,
it's going to look kind of jumbled.

So, I fear that

that medal, I know it has the images that perhaps this
recipient wants, but I would caution them against
their expectation of what will come of that in medal
form.

I think a much better -- I mean, we could pick

a number of these that are here rather than No. 3.
feel that strongly about it.

I think No. 3 is the

wrong move.

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Just for an example, one of the ones I think
is really clean and would execute well, 6A.
bring that one up, please.
here.

We could

There's some good balance

There's negative space.

It's a clear image,

and produced in a medal, I think it would really pop.
So, we'll see where we go with the recommendation on
that one.
But as far as the reverse, I think Don is
right.

A lot of the tribes and nations have gone with

their logos and such, and it looks like this might be
the same case with 4A.

However, from an artistic

point of view, extra kudos go to the artist who drew
No. 6.

I think that's a fabulous design.

Although

it's not picked in this instance, I would really hope
that this kind of work would continue to come to the
committee.

This is what we've been asking for and I

just think it's fabulous.
So, with that, Madam Chair, I've done and
I'll pass my -MS. LANNIN:

I think that you liked No. 6,

because it reminds you of the swirling skirts that was
in the --

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MR. SCARINCI:

Well, my guess is it's the

same artist, but I don't know that.
MS. LANNIN:
Michael.

We'll never know.

MR. MORAN:

Are you there?
Yes, I'm here.

I'm troubled,

because I have always felt like, when it came to the
code talkers that what the tribe wants, the tribe
should get.

So, here I go, off the cliff.

about the obverses first.

Let's talk

I think that in spite of

the fact that thematically we had good designs here,
we're -- we've strayed a little bit on execution.
I'll talk about, first, the weapon.

When I went back

and questioned what weapon these (inaudible) normally
carried, it was a carbine, which is not an

M-1, which

is there in 6 and 6A, and is not the submachine gun in
5.

It's a carbine, which the others are correct on.
The other thing that troubles me with 6 and

6A is that there's no strap.

You can see it there.

They always had a strap for their weapons.
The other thing I'm troubled with is
turkeys.

Let's talk turkey.

please, Megan?

Number one, people

That's a turkey, guys.

It's there.

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It's got a beard.

It's a turkey.

but I couldn't kill them.
kill a turkey.

It's what I hunted,

I've never been able to

Which says my IQ is terrible.

then, let's go to No. 3.

Now,

That's not a turkey, guys.

It's got to be reworked when it comes into the Mint.
It's a Swift Butterball.
(Laughter.)
At best.
not.

It's a turkey in strut, but it's

I've seen them in strut.

And that's -- we've

got a problem with that with the turkey.
UNIDENTIFIED VOICE:

It's a turkey.

Have

you stood beside one of these that do that?
MR. MORAN:

Yeah, it's just --

UNIDENTIFIED VOICE:

It doesn't really even

look like that.
MR. MORAN:

It’s the beard and some of that

other stuff that it just -- it needs help.

I know

they puff out when they strut.
UNIDENTIFIED VOICE:

It's missing its snoot,

that's all.
MR. MORAN:

Okay, it needs some help.

UNIDENTIFIED VOICE:

It's missing that, but

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otherwise, I think that's correct.
MR. MORAN:

That's an awfully big beard.

UNIDENTIFIED VOICE:

It is a very big

everything.
MR. MORAN:

Nine inches.

UNIDENTIFIED VOICE:
MR. MORAN:

Nine inches.

And the other thing, let's talk

about in terms of this one, is the carbine.

It looks

foreshortened to me because of the angle that it's
sitting.
MS. STAFFORD:

Mr. Moran, I should

interject, because I actually neglected to say this
before I introduced the designs.

As you know, we have

an ongoing relationship with the Department of
Defense, who reviews all of these for historical and
military accuracy with regards to uniforms and
equipment.

This portfolio is still with them.

The

had some other projects and so we absolutely will
receive that and incorporate all of their changes.
So, with that, I thank you for -MR. MORAN:

Well, the issue I've got here is

it just -- it's looks foreshortened as a carbine.

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perspective having it at an angle coming at you makes
it appear that way.

And I think that's a flaw that,

at least my eye goes to right away.

So, so much for

that one.
My -- if I were left to my druthers and I
still hadn't decided yet, I would be looking at 4,
because I think it's an elegant medal.
It's representative.

It's simple.

We don't have to get into

whether a turkey really looks like that or not.

Okay.

And the carbine there is fine.
Reverses.

I, too, like No. 6.

of the client is No. 4A.
to do on that.

The choice

I don't know what I'm going

I guess it's probably going to be 4A.

MS. LANNIN:

Thank you, Mike.

Heidi.
MS. WASTWEET:

Thank you.

I'd like to take

this opportunity to talk about symbolism.

We talk a

lot about symbolism on this committee, and we've seen
it done right and we've seen it done wrong.

And this

pack, I think, is a good illustration of symbolism
going right and wrong.

The Big Turkey and the Little

Corn are the names of the tribes.

So, in representing

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them symbolically, artists have used a turkey and some
corn.
symbol?

And what makes a turkey a turkey versus a
It has to be separated in the image somehow

to show us that it's a symbol, not an image
representing a turkey.
We look at obverse design No. 1, this is not
a symbolic turkey representing a tribe.
symbolic corn.

It's not

This is a turkey, and it looks like

it's walking behind a soldier.

And I question why the

soldier is sitting next to a turkey in a cornfield.
That artistically, the symbolism is not functioning.
And that is the danger in a lot of these designs is we
have literal turkeys instead of symbolic turkeys
representing what they're supposed to represent, which
is the tribe that has that name.
If we look at design No. 2, the way this -and the corn is a symbol.
or a literal corn.

It's not a literal turkey

The problem I have with this, even

though it functions as a symbol, but as a coin, if we
look at that turkey in No. 2, the position of the
turkey is such that I don't feel it's going to
translate well in a bas-relief medium.

There are so

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many different angles that you can represent this
turkey that would be artistically appealing in the
medium of bas-relief.

As a photograph of a turkey in

this position, he's quite spectacular.
is another thing.

And a drawing

Bas-relief is yet another thing.

And I feel like this position of a turkey does not
translate well, so this whole design, for me, falls
apart.
Design No. 2, I think is a much better
choice because it is clean of those problems with the
symbols and it has a very nice pattern around the
border.

It looks a lot like what we've seen before,

but it's a solid design.
Design No. 3, which is the preference and
asks approval here, I like the concept, but we have a
low relief in the background and a high relief image.
This design relies heavily on the execution of Bas
Sculpt.

But where this falls apart is again, the

position of the turkey.

The tail is run over the top

with letters and the gun and the soldier so that part
of the turkey that fans out is hidden and the head
looks a little cartoonish.

And then, that breast is a

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very peculiar-looking shape when you consider this as
a whole in bas-relief.

If this turkey were simply in

a different position, I'd probably get behind this.
But I can't endorse this design.
Design No. 4, here again, we have symbols
that work as symbols.
those tribes.

They're clearly symbols of

It works.

And design No. 5, here again, we have
literal images.

He looks like he's in a cornfield

with a turkey that's been shot down out of the sky.
It's very dangerous to cut things off at the edges
like this.

Please be aware of this.
And design No. 6, we have a peculiar

placement.

Again, our symbology's not working. I do

want to point to the fact there's a turkey behind him
and because of the position of his body, remember I've
said this before, gesture's very important.

The

gesturing of his body, the way he's facing, the
position of the turkey, it looks to me like he's
calling somebody about the turkey.
behind me.

"There's a turkey

Come get this turkey."
In design 7, the turkey's moved to the other

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side.

You don't have that problem.

Now, they look a

little more separated and it works a little better,
but it still, to me, is a little too literal.

But if

you look at the positon of the turkey here, the -sorry, Jeanne, what did you call that thing on his
beak?
MS. SOLLMAN:

Snoot.

MS. WASTWEET:

The snoot is there.

a very nice drawing of a turkey.

This is

This would have

worked well in the other designs.
So, in consideration of these symbols versus
literal images, I have to then cancel out those that I
mentioned are not working as symbols and go for the
more simplistic images in 2A and 4.
On the reverse, I'm on board with what has
already been said, so I would pass the microphone on.
MS. LANNIN:
MR. URAM:

Tom.
Thank you, Madam Chair.

going to work this a little backwards.
go to the reverse first.

I'm

I'm going to

think is outstanding also.

And first of all, No. 6, I
It's too bad that 6

couldn’t be the obverse and 4A be the reverse in my

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opinion.

It's just not going to work that way, but

it's a great rendering.

So, I'm going to go with 4A

with the choice of the beneficiary here.
And the -- working on to the obverse, I
agree with what Heidi said there on the striking of
this, in particular on how the bronze ones would be,
because of the washed out look or the sand look that
the medals depict.

Would a different -- if we had the

right kinds of patinas to work with, I think you could
really accentuate some of this, but I don't think that
we're -- there isn't -- right, there is no patina to
speak of.

So, I think that 3 is a great design, but I

think it will get washed out because of that.
leaning more towards the cleaner look of 4.

So, I'm
And for

the same reason, even though 2 is -- the depiction is
nice and clean and separated, I think that it could,
very well -- those borders will get kind of just
blended in on the medal.
would come out.

I just think that's how it

But to lean more toward obverse 4, I

think it would be a nice tribute for them.

Thank you,

Madam Chairman.
MS. LANNIN:

Okay, we have Robert in Spain,

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telling us what he thinks of (inaudible).
Robert, are you there?
ROBERT:

Hello, thank you.

The computer is

up now.
MR. URAM:
ROBERT:

Yes.
I would like to go with the tribe's

preferences as is often the case, but I would first of
all like to re-echo what Mike said about the firearms
in these things.

It looks to me as though there's

four or five different weapons here, and we need to be
sure about that.

And also, other details of the

uniforms are correct.
of footgear also.

I see several different types

And also, the helmets.

Some don't

even look like World War II vintage American helmets.
Also, I kind of wonder what is going on in
these images?

These are so much like all of the other

code talker features with a single soldier crouching
and talking on his radio equipment, but the 43rd
Bombardment Group was actually an Army Air Corps
division.

And I'm just wondering what exactly was the

action and what was their role, because maybe we're
showing something that isn't really correct for them

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if they were involved in airfields and flying and
things like that.

I would just like a little more

information about what would be most correct.

Does

anyone have any details on that?
UNIDENTIFIED VOICE:

April said the

inclusion of the 43rd Bombardment Group was a request,
but we hear what you're saying about the positioning
of the figures.

There was -- there's been no

commentary that there's an issue.

And of course,

we'll go and do our due diligence and do the research
again, and absolutely make sure we touch base with you
(inaudible) as well.
ROBERT:

Okay.

My preference is for the

obverse 4, actually, over the tribal preference 3.
But I'd be willing to go with that since that is what
their favorite is.
I've never seen a turkey look quite like
that.

Not that I've seen all that many turkeys, but

perhaps making those into symbolic corn and turkey
images that would be quite a bit smaller would work
with the design obverse 3.
And that's it.

I would go with the tribal

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selection for the reverse type as well.
MS. STAFFORD:

Thank you very much, Robert.

I have a couple of things.
favorite for the obverse is No. 4.

First of all, my

But I want to make

sure again that all of the uniforms, including the
footgear are okay.

And some of our other selections

such as 2A or 3, the boot is -- kind of has the toe
upturned.

I don't -- it just strikes me as being sort

of an odd way to picture a boot.
tip of the boot.

Take a look at the

So, my preference for the obverse,

because I think it it's really clean looking and I
agree with Heidi, these really become symbols, would
be No. 4.
And I will vote with the tribe for their
choice for the reverse, which would be No. 4A.
MS. LANNIN:

Thank you.

Do we have any

other questions, discussion, anything?

Okay, let's

vote.
UNIDENTIFIED VOICE:

Please pass your --

pass your ballot over to this section.
MS. LANNIN:

And while we're tabulating, as

soon as we get this organized, April, can you begin to

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talk about the next one?
MS. STAFFORD:

Sure.

St. Regis Mohawk.

So,

before I begin, I'll just reiterate that we have the
same instance here that DOD is looking at this
portfolio and will, of course, get back to us on the
details of the uniforms and weapons.
So, this is for the St. Regis Mohawk Code
Talkers Recognition Congressional Gold Medal.

We'll

review 11 obverse and 10 reverse designs for the St.
Regis Mohawk tribe from Akwesasne, New York.

This is

the 31st design completed out of the 33 verified for
the program.

We are very fortunate to have with us

today Chief Ron LaFrance, Jr.
Chief LaFrance, would you like to say a few
words to our committee?
CHIEF LaFRANCE:
inviting me here today.

First of all, thank you for

We are very proud of the

service of this country from our community members.
Both my grandfathers served in World War II on
opposite sides of the world.

One was stuck in the

Philippines in that awful place called Bataan.

And my

grandfather on my mother's side was one of the ones

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that liberated some of the concentration camps in
Europe.

And I'm very proud that they served this

country.
And it took a long time for us to come
together to go over these renderings, because we -you know, I come from a community that is very, very
artistic.

And when we saw these, we had some

concerns, because we didn't feel they were depicted
right.

And then we met with Betty and April and we

kind of, you know, we got through these.

And I think

the renderings that we chose are the best ones for our
community.
And I was telling April earlier that there
was one family that they were split.
reason, they were split.

For whatever

And then when I spoke to

them and told them that we were going to be presenting
their father with an award, they kind of got back
together.

So, they let all these things go.

And,

like, when I mentioned to them, I said, if you need me
-- I can get two medals and we can have two separate
award ceremonies for them.
to do this all as one.

And they said, no, we want

So, it means a lot to our

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community.
We have a Post Legion, 1479, that's been
there since 1949.

And the members are on the wall

today, and we're starting memorials that can be on the
wall, memorial (inaudible) in our community, and it's
receivable under good intention.

So, I'd like to

thank you for welcoming me here today.
MS. STAFFORD:
obverses.

Okay, so starting with the

All obverse designs depict a World War II

code talker and incorporate the Mohawk tribe clans,
Bear, Wolf, and Snapping Turtle, and an eagle and a
snipe also important to the St. Regis Mohawk tribe.
Designs are inscribed Akwesasne Mohawk Code Talkers.
Here is obverse 1, 2, 3 -- I'm sorry, can
you go back to 2?
preference.

Obverse 2 is the tribe's

Obverse 3, 4, 5, 6, 7, 8, 9, 10, and 11.

We come to the reverses.

Reverse 1 and 2

depict the Hiawatha Belt and war clubs.

They contain

the inscriptions World War I and World War II, Act of
Congress and 2008.

Here is reverse 1 and 2.

The

remaining designs feature either a profiled silhouette
or a realistic figure wearing variations of the Mohawk

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kastowa headdress.

Designs 5, 6, 7, 8A, and 9

incorporate one or more of the following.

Bear claw

necklace, war clubs, Mohawk Wolf belt, and Hiawatha
belt.

Inscriptions are World War I, World War II, and

Act of Congress 2008.

So, here are reverses 3, 4, 5,

6, 7, 8, which is the tribe's preferred reverse, 8A,
and 9.
Back to you, Madam Chair.
MR. SCARINCI:

Can I ask a question?

Is the

tribe united in support of obverse 2 and reverse 8?
There is no division in the tribe about obverse 2 or
reverse 8, correct?
MR. MORAN:

Correct.

MR. SCARINCI:

Can I make a motion that we

approve approve obverse 2 and reverse 8?
MR. MORAN:

Second.

MS. LANNIN:

All right, so let's vote on the

MR. JANSEN:

Could we have some discussion,

MS. LANNIN:

Any discussion?

motion.

please?

UNIDENTIFIED VOICE:

I just want to commend

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the artists on the reverses in particular.

The

obverses are fairly uniform amongst them, all
exceedingly busy.

On the reverses, however, I think

there are some really, really wonderful symbolic,
artistic assertions here.

I love the way the bond is

integrated into the weave of designs 1 and 2.

I love

the feel of the Native profile in both 8 and 9.

That

is one of the more energetic ones, for that matter, 8A
as well.

That is one of the more colorful, incredibly

wonderful profiles I've seen in any of the code talker
series.

And I don't want those comments to get swept

away, although an overall motion is not unacceptable
to me.
MS. LANNIN:
MR. MARKS:

Gary.
Chief, you mentioned when you

were speaking, that your people are artistic and I
want to commend you.
wonderful choices.

I think you've made some
For me, personally, the code

talker series, which is a tremendous series, there
have been plenty of times where there have been
beautiful, artistic works of art produced, and then
the various tribes and nations have passed over many

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of them.

I'm so pleased today that you've picked the

ones that you have, because I truly believe that you
will have the stand-out medal among all of the code
talker medals.

I truly believe that.

the beautiful one.

This will be

And as far as my collection goes,

that will be the name for your medal, because that is
fabulous.

So, thank you.
CHIEF LaFRANCE:

I thought I was going to

have to argue with each and every one of you.
(Laughter.)
And I can be very persuasive.
that's what my children tell me.
much.

At least

But thank you very

Like I said, we debated this for a long time,

and when we presented it to our legion, it was
overwhelmingly supported by them.
least 250 legionnaires at home.

And we have at
And I think the

oldest one is -- well, he just passed away.
like 93.

He was,

And then we have some kids that just got out

of serving in Iraq and Afghanistan, so, you know, it
was an overall acceptance of these renderings.

And

once again, thank you so much.
MR. SCARINCI:

As the maker of the motion, I

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would just like to -MS. LANNIN:

Can you turn the microphone

(inaudible).
MR. SCARINCI:

As the maker of the motion, I

just want to make sure it's on the record that this is
a great example of a success story of the way the US
Mint staff has been handling a very difficult group of
medals, and they should be commended.

You know,

they're resoundingly -- you know, this is some great
art.

This was a great result.

And clearly, the

recipients are not only happy, but it sounds like
there were some personal success stories as a result
of what you all did.

And that wouldn't have happened

but for your efforts that -- you know, and I'd like to
make absolutely sure that the acting director realizes
this and hears about this.
MS. STAFFORD:

Thank you.

It would be

remiss if I didn't point out that Betty Birdsong is -who we all know, is the program manager of the entire
Code Talkers Recognition Congressional Medals Program,
the entire series.

She's our chief contact with all

of the tribes and is really out in front.

So, I

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appreciate that.

It does belong to (inaudible), but

Betty is our primary reason for that success.

Thank

you for your time.
MS. LANNIN:
we should vote.

So, I guess all that remains is

(Inaudible).

Heidi, what (inaudible) you like to add to
the discussion?
MS. WASTWEET:

While I support the motion, I

just wanted to make a quick comment, another
compliment to the Mint.

This particular packet has a

wide span of quality, the good, bad, and the ugly.
And I want to thank you for that, because we've asked
you in the past to not cull out things and try to
second guess what we like.

Show us everything.

And

this is evidence that you are, indeed, showing us
everything.

So, thank you for that.

MS. LANNIN:

Should we vote to the motion?

All in favor of Donald's motion?
the room.

It's unanimous in

Is it unanimous in Spain as well?
ROBERT:

Yes.

MS. LANNIN:

It is.

All right, thank you

very much.

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The representative from the (inaudible)
would like to speak to us.
MS. STAFFORD:
there?

Yes.

Ms. Scott, are you

So, our liaison, after hearing the committee's

discussion, had some further consideration for the
comments that you made, and so, why don't you share
with us some thoughts.
Ms. Scott, are you there?
MS. SCOTT:

Yes, I'm here.

MS. STAFFORD: Okay.
MS. SCOTT:

If not --

Go ahead.

For the obverse side, the family

chose POL-CRN-002A.
UNIDENTIFIED VOICE:

No, no, there's no 2A.

UNIDENTIFIED VOICE:

Yes, that's the

obverse.
MS. SCOTT:
there.

So, there's not a lot going on

It's just, you know, the code talker with the

Pueblo of Laguna information.

And then, for the

reverse side, they chose CRN-R-05.
the symbols.

So, it separates

And the eagle, for your information, is

the tribe's emblem.

That's our logo.

And the turkey

and the corn are the clans of the individuals of Mr.

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Day.
MS. STAFFORD:

So, if I understand you

correctly, just to confirm -MS. SCOTT:

Yes.

MS. STAFFORD:

You're revising your

preferences to be obverse 2A and reverse 5.
MS. SCOTT:

Yes.

MS. STAFFORD:

So, I don't know if, Madam

Chair, if you -- the committee wanted to reconsider
their votes with that, or if the voting stands or -MS. LANNIN:

Ms. Scott, I'd like to, with

your permission, report the votes that we have for
both of the Congressional gold medals as they've been
tabulated for us so far.
MR. URAM:

Thank you, Madam Chairman.

For

the Pueblo of Laguna Code Talker Congressional Medal,
we considered all the designs.

Design 1, zero; design

2, one; design 2A received three votes; design 3, 16;
design 4, 18, and would be the preference of the
committee at this point; 4A was six votes; 5 had zero;
6 had zero; 6A had three votes; and 7 had zero.
For the reverse, we considered all the

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designs.

Design 1 received three votes; design 2, one

vote; design 3, zero votes; design 4, five votes;
design 4A, and the preference of the committee,
received 24 votes; zero (sic) 5 received zero votes;
design 6 received 18 votes; and this was out of a
possible 27 total.

Thank you, Madam Chair.

MS. SCOTT:
MS. LANNIN:
MS. SCOTT:

So, can I talk?
Yes, go right ahead.
Oh, okay.

So, for the symbol,

that -- for the 06 reverse, that is not our tribal
symbol, and it doesn't depict how we represent the
tribe.

And so, like, the 04A and 05, those eagles are

what depict the tribe and they represent the tribe.
MS. LANNIN:

Ms. Scott, we have -- when we

voted, we voted for 04A, which does, in fact,
represent your symbol.
MS. SCOTT:
MS. LANNIN:

Yes.

Okay.

So, are we in agreement on

that?
MS. SCOTT:
MS. LANNIN:

Yes.
Okay.

Gary, would you like to

make other comment?

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MR. MARKS:

When the committee conducted

this vote not so long ago this afternoon, it was
heavily influenced by what we believed the tribe's
preference was.
UNIDENTIFIED VOICE:
MR. MARKS:

Exactly.

So, at this point, if we're to

understand that the tribe's preferences are different,
I question the validity of our vote.

I don't think

it's a valid vote at this point, because I know for a
fact many of the members were swayed by what they
understood the preferences to be from the tribe.

So,

at this point, I'm not sure how the committee wants to
handle it, but perhaps a simple up and down vote, but
I just want to be on the record saying I don't believe
this vote is now valid.
MS. LANNIN:

Okay.

I think that the vote is

actually valid, but I would like to honor Ms. Scott
and the tribe's wish, because obviously, somehow, we
misunderstood what their preferences were.

And I

think a simple -UNIDENTIFIED VOICE:

They changed after

hearing (inaudible).

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MR. MARKS:

That's why I'm saying it's not

valid, ma'am, because (inaudible).
an incorrect premise.

People voted with

So, they were misled by

confusion or what have you, to make some selections
that they would not otherwise have made.

That's why I

say that I don’t think this is valid.
MS. LANNIN:

Would you like to make a

motion, Gary?
MR. MARKS:

Sure.

I would move -- they

wanted -- they are now -- let me make sure that this
is clarified.

If I understand now, the tribe is

expressing a preference for obverse 2A and reverse 5,
correct?
MS. SCOTT:

Yes.

MR. MARKS:

Okay.

Then I would make a

motion that the committee recommend obverse 2A and
reverse 5.
MS. LANNIN:
MR. URAM:

Second?
Second.

MS. LANNIN:

Tom seconds.

Any discussion

about this?
MR. SCARINCI:

Yeah.

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MS. LANNIN:

Donald.

MR. SCARINCI:

I mean, what is it based on?

I mean, is every -- are all of the stakeholders in
that room that just had this discussion?

I mean, who

just had this discussion?
MS. STAFFORD:

Family members, I believe, of

(inaudible).
MR. SCARINCI:

So, these are the relevant

people and they had this discussion after listening to
what we all said, and this is their conclusion?

Now,

are they sure this is their conclusion?
MS. SCOTT:

Yes.

MR. SCARINCI:
MS. SCOTT:

Okay.

This is it, right?

Yes.

MR. SCARINCI:
MS. LANNIN:

Okay.
All in favor -- any more

discussion?
Heidi?
MS. WASTWEET:
obverse.

I'm in agreement with the

It was one of my top picks to begin with.

2A, I think, is a good clean design.
though, I think is very cluttered.

The reverse,
And I still don't

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like the position of the turkey.
to look weird on the medal.

I think it's going

Even if we reposition the

turkey, I think the reverse is very busy and I think
that we are rubberstamping a design that is not the
best design if we go with 5.

So, maybe a motion

separate for obverse and reverse, instead of together?
UNIDENTIFIED VOICE:

Well, let's vote on the

motion to see if there's votes.
MR. MARKS:

With respect to the tribe and

their preference, I'll stand by my motion, if my
second does, too.
MR. URAM:

(Inaudible).

MS. LANNIN:

Let's vote on this motion.

All

in favor of Gary's motion?
UNIDENTIFIED VOICE:

Read the motion,

UNIDENTIFIED VOICE:

2A --

please.

MR. MARKS:

Yeah, the motion is to recommend

obverse 2A and reverse 5.
MS. LANNIN:
ROBERT:

All in favor?

One, two --

Yes, Robert.

UNIDENTIFIED VOICE:

Robert voted yes.

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MS. LANNIN:

So, we are now -- the Pueblo of

Laguna Code Talker Congressional Medal will be obverse
No. 2A, as requested by the tribe, and reverse No. 5,
as requested by the tribe.

And that should take care

of that.
MS. SCOTT:

Thank you.

MS. LANNIN:

You're welcome, Ms. Scott.

(Inaudible).
MS. SCOTT:

Thank you.

MS. LANNIN:

We're going to take a five-

minute recess, please.
(Off the record at 2:25 p.m.)
MS. LANNIN:

I'd like to call the meeting

back to order, please.
(inaudible).
gentlemen.

We're three minutes late

All right.

Welcome back, ladies and

April still has (inaudible).

Next up we

have the 2017 America The Beautiful Quarters Site
background information.
All right.

April, would you tell us about

the Boys Town Centennial Commemorative Coin?
MS. STAFFORD:

Sure.

It is Public Law

114-30 that requires the Secretary of the Treasury to

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mint and issue $5 gold coins, $1 silver coins, and
half-dollar clad coins in 2017 to commemorate the
centennial of the founding of Father Flanagan's Boys
Town.
Founded by Father Edward Flanagan in 1917,
Boys Town was a national leader in child and family
care, providing life-changing services to communities
across the country.

Father Flanagan's revolutionary

approach laid a foundation for the modern daycare of
children and families.
Boys Town is recognized for its research on
developing more effective ways to treat children with
emotional and behavioral issues.

Boys Town National

Research Hospital is a world leader in research on and
treatment of childhood deafness, speech problems, and
other communication disorders.
Boys Town has grown and thrived over the
past century, impacting the lives of more than two
million children and families across America each
year.

December 12th, 2017 will mark the hundredth

anniversary of Boys Town, Nebraska.
We are here today to hear the committee's

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ideas on design concepts (inaudible) for this threecoin commemorative program.

And, to this end, we've

provided you a packet of background information on
Boys Town for your consideration, and it should have
been in the front pocket of your binders that we gave
you.
Before we begin the discussion, however, we
are very fortunate to be joined by Dr. Jerry Davis,
our liaison for this program and Boys Town Vice
President of National Advocacy and Public Policy, and
Laura Tatten, Boys Town's Senior Vice President of
Marketing and Communications.
Dr. Davis, would you please say a few words
to our committee?
DR. DAVIS:

Well, first let me say how

grateful we are and how thankful we are that we have
this opportunity.

Our agency really has embraced this

as a way of honoring a hundred years of service past
and getting ready for another hundred years of equally
good service following.
Father Flanagan was way ahead of his time.
He took a system in America that was very abusive,

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very difficult -- whether we were talking about child
welfare or juvenile justice, both of them were built
on the notion that you put kids in large warehouses,
basically, work them, (inaudible) them, and, you know,
have them pay for their keep (inaudible).
Father had a completely different notion,
and what we like to eventually call it was the head
and the heart.

His heart was about (inaudible).

He

thought every child had worth -- just because they
were a child of God's, they had worth -- and that if
you put them in good environments and taught them the
right kind of skills, they could turn out to be very
good human beings.
And we have proven that for the last hundred
years that he was right.
America.

And it wasn't just in

And we'll talk -- even just -- I will try to

be very brief.

I'll also entertain any questions.

Father had a number of sayings that really
helped him change the way America cared for children,
things like "There are no bad boys."

That was at a

time when eugenics (ph) was part of what was happening
in this country.

And he said, "No, there are no bad

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boys.

There's only bad environment, bad examples, bad

training."
He said things like, "Every boy needs to
learn how to pray."

(Inaudible) he understood that

being connected to a higher power was absolutely
essential in overcoming some of the abuse and neglect
that had gone on.

You know, there were just so many

of those others that are in your packet, if you'd like
to review those.
Beyond just the American system, he also
traveled internationally at the request of the War
Department and the President, to look at places like
Japan and South Korea and Germany and Austria after
the war to say, "What do you do when countries have
these tremendous number of orphans and homeless
people?"
So he gave suggestions for all of that.
every one of his successors -- there have only been
four of them -- have added something (inaudible)
important, but one thing has maintained its
consistency throughout, and that's the heart.
We now are very different than we were a

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hundred years ago.

We now are doing some of the

cutting-edge brain research in this country on what
helps young people who have mental or behavioral
issued -- their brain can heal itself if given the
right kind of treatment.

So what is that treatment,

and how do we do that?
So it's just been a real evolution over the
years, but what's stayed the same is that every child
has worth, that they deserve to be in a place where
they're cared for and loved.
I have to tell you, we had a chance to have
nine of your artists come out to our place in the last
two weeks.
goodness.

What quality people they are.

My

I mean, I just couldn't -- I just couldn't

believe when I met them all.
Not only were they creative, but they were
so good with our kids.

And they would do things like

go to a ballgame and catch the kids as they were
coming and going and saying, you know, "This is such a
big deal that we've got to try to put all this on one
little coin.

What would you put?"

And the kids were very free with their

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advice, you know.

They're like, "Family and second

chances and childhood and" -- they just went on and on
and on.
But I was just so taken with the camaraderie
among the artists themselves and how much they respect
this committee.

They all look forward to getting the

transcripts, or some of them are probably listening in
now, to find out what your opinions are, because each
one of them said, "They always make me better as an
artist (ph)."
But I probably should let you just ask
questions or -- unless, Laura -- unless you've got
something you want to say.
MS. TATTEN:
DR. DAVIS:
MS. TATTEN:

I would, if you'll let me.
Yes, I'll let you.
My name's Laura Tatten, and I

run Marketing and Communications for Boys Town
National.

I thank you very much for having this here.

This is so exciting.
There's only two things I want to say,
because Dr. Davis can tell you all that.
around forever.

He's been

I have been at Boys Town for almost

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seven years now, but I've lived in the Omaha area all
my life, and I know -- I've always known of Boys Town.
I've always driven by.
worked there.

I had family members who

I knew what they did, what kind of --

everybody's seen the movie, everybody's heard the
name.
What I've learned -- there's two things that
I'll tell you.

One is what I've learned about Boys

Town is that there are a ton of great charitable
organizations doing wonderful work for kids and
families.

Boys & Girls Clubs, Make-A-Wish,

St. Jude's, I mean, there's just a lot of them out
there and a lot that help underprivileged youth,
after-school programs, et cetera.
But what Boys Town does is a little
different.

We take a subset of those kids who are

underprivileged.

We take a subset that is very

difficult to deal with, kids who have been abused,
neglected, kids who have gotten in trouble and really
aren't that sympathetic when you first meet them.
They're in the juvenile justice system when they cause
trouble.

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And those kids, at the teenage years, most
people would give up on them, and Boys Town doesn't
give up on them.

Father Flanagan would've never given

up on them.
And we, through -- we, not me.

I'm in

marketing -- (inaudible) individuals using a model of
care that has been tested and researched,
scientifically researched, years over year, create
life-changing changes for these youth who most people
will -- would've given up on.

And these kids come out

of Boys Town and become productive citizens, which is
-- you know, it's a miracle.

It's happening every

day.
The second thing I wanted to say is a
personal story.

When I was interviewing, I really

wasn't convinced I wanted to go work for Boys Town.

I

didn't know that I wanted to go work for them in the
private sector.

I didn't know if I wanted to go work

for a charity, didn't know what that meant.
So what happened, I was doing some research
and walked in the visitors' center, and a young man
was behind the desk, and he walked up and introduced

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himself.

"Hello, I'm Trent.

Good to meet you."

said, "Oh, do you work here?"
give you a tour.

He said, "Yes.

I

I can

I know all about the history.

I can

tell you all about Boys Town."
And I said, "So this is your job?"

He said,

"Yeah, but I also play football," and then he went on
to tell me all about football because they were going
to the state championship, and he was pretty proud of
that.
And we talked for quite a while.
very polite.
exciting.

He was very engaging.

He was

He was very

I just thought, I'm going to go on my own,

but, thank you.
you a tour?"

He said, "Are you sure I can't give

"No, I don't -- I'll come back if I want

one."
Well, I walk out, and it dawned on me that
he had probably been a juvenile delinquent.

Sure

enough, Trent had been a member of a gang, arrested
for gun possession.

God knows what he would've done

had he not been arrested at that point before he used
the gun or at least was caught using the gun.
And Trent graduated.

He was our Vice Mayor.

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He did obviously come from Boys Town.
tours.

And he gave

And I was on a tour with a donor one day, and

I said to Trent, "Hey, do you know (inaudible) here?"
"I am?"

I said, "Yeah."

I said, "You really

convinced me, and you were so polite.
polite young man."

You were such a

And by the (inaudible).

And so I -- after Trent graduated, I saw him
that day, and I saw him two years later.

Gives me a

big hug.

I'm going to

Said, "I'm doing really great.

Christian school.

I'm going to become a minister."

And he now works in North Omaha, which is a very
impoverished area with a lot of gang violence.

And

anytime there's a shooting and there's a group
gathering that tries to mend the community, he's at
the forefront, and he's on the news (inaudible).
So that's Boys Town to me.

And I -- from my

perspective heading up marketing, what I think is most
important for people to know about Boys Town, in
whatever way we can do this, is that we're still
helping kids and families, and it is not just a movie
and historical references.
important to me.

That's what's most

Thank you.

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MS. STAFFORD:

And because I know how

important having input into the designing concept is,
I've asked Dr. Davis and Ms. Tatten to take a seat at
the table to answer any questions or have conversation
about the topics for the three-coin commemorative
program.
MS. LANNIN:

I just had one question.

What

point do the children age out of Boys Town?
DR. DAVIS:
out.

We don't really let kids age

They leave our campus, but we (inaudible).

A

huge amount of our care happens after kids leave us
and are back in, so we continue to keep in contact
with them and (inaudible).

They typically leave our

campus when they turn 18, or 19 in some states, which
is when they become adults.
MS. LANNIN:

So the State sort of says that

their time is finished at that point.
DR. DAVIS:
MS. LANNIN:

Uh huh.
But then you go on after that

and make sure that they're placed where they need to
be placed for continued development?
DR. DAVIS:

A huge amount of what we've done

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over the years is to provide what we would call
charity care.

So when the state quit paying

(inaudible) -MS. LANNIN:
DR. DAVIS:

Oh, yeah.
-- was given an option.

MS. LANNIN:
DR. DAVIS:

Okay.
You can say if you want --

MS. LANNIN:

Well, because they're saying

the artist, you know, when they're, you know, aging
children or young adults on a coin -DR. DAVIS:

Uh-huh.

MS. LANNIN:

-- you know, how old they could

actually sort of make them (inaudible) a good
representation of that.

Okay.

Donald, do you have

Yeah.

I -- it's not as much

one?
MR. SCARINCI:

of a question as much as it is just maybe a little
piece of advice.

You're at the end -- you're at the

last phase of what was a very long process, an arduous
process, to get -- to get here, to get a -- to get a
commemorative coin approved through Congress and to
now actually be sitting here, talking about your

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design.
DR. DAVIS:

Right.

MR. SCARINCI:

And I think, you know, while

it's the end of the process for you, it's probably the
most important part of your ultimate result.

And you

really need to identify for yourselves -- and this is
a very important thing -- not -- and this is not a
question for you to answer to us.

It's a question for

you to discuss amongst yourselves, if you haven't
already, and that is, you know, what is your ultimate
objective with this commemorative coin?

Is it -- is

your objective to make money for your organization, or
is your objective to create a commemorative design,
you know, that -- you know, that you would like to
see -DR. DAVIS:

Narrative.

MR. SCARINCI:
your organization?

-- a narrative design for

What is your ultimate objective?

And I think those two things may very well be
diametrically opposed.
And, you know, we have seen designs that get
recommended by the host committees, and they're just

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adamant -- they think it's great, and we just tell
them, "No.

It's bad.

not pretty.

It's not going to sell.

Nobody's going to buy it.

It's

Only -- you

know, and you're not going to sell as much as you
think you're going to sell."

And, sure enough, they

don't even meet their -- you know, they end up getting
zero.
DR. DAVIS:

Uh-huh.

MR. SCARINCI:

And you could get that

information marketing-wise in this little book.

It's

called the Red Book of the United States Coins -DR. DAVIS:

Yep.

MR. SCARINCI:

-- and it's got a section on

commemorative coins with mintage (ph) figures.
you will -- you will make a correlation.

And

When you

look through mintage figures and coin designs, you
will see for yourself and use your own aesthetic that,
you know, in general -- I'm sorry -- in general,
aesthetically appealing coins, you know, pretty coins,
sell, and coins that have portraits on them and that
are not particularly aesthetically appealing, they do
not sell.

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And, you know -- you know -- and so that's a
process that you have to go through.

We always are

going to push you towards, you know, pushing the
envelope on aesthetically appealing coins.

The people

that you're working with, you know, (inaudible) know
that and they're going to certainly, you know, tell
you what you're going to (inaudible) has pushback from
us if you push for certain coins.
So you're going to go through this design
process.

You've already, you know, you know,

encountered, you know, the artists, and they're very
creative, and -- you know, as you saw yourself, you
know, great group of people.
So, you know, it's a fun part of the
process, and as tired as you may be to get to this
point, you know, it's like -- you know, it's like
designing a room, you know, the last 10 percent of the
decorations you put in the room make all the
difference.

And that's what you -- that's where you

are right now.
And it really is -- you know, you'll make it
a lot easier for yourself, you know, and ultimately a

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lot easier for us, if you identify your real
objective.

And, you know -- and I'd like to say you

could have both, you know, and I guess sometimes you
can, you know, and maybe you can if you're creative.
And, you know, it depends how fixated you
are.

If you're going to come to us with portraits and

that's really important to you -- as you can see, you
know, we give deference, you know, to you -- less
deference in commemorative coins than to Congressional
Gold Medals, but you get a lot of deference, you get a
lot of room, and, you know, if portraits are something
you've just got to have it, you just have to be aware,
you know, people are less likely to buy portraits.
And the things that do sell are pretty
designs.

You know, and if you could come up with

them, and if you could challenge the (inaudible),
those -- they'll do as much as you want because they
all want to get their -- they all want to get their
design approved, and they all listen -- you know, have
listened to this design after design after design.
So they're motivated and incentivized to get
their designs approved.

You know, we want to see good

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designs because we want to win awards and -DR. DAVIS:

Uh-huh.

MR. SCARINCI:

-- you know, we want the

United States coins to be great coins again.

And, you

know, so we're all -- we're all -- you know, we're all
rowing this boat in the same direction, and, you know,
I just think, you know, that the hard decision for you
is this decision that you're about to make.
And you've got to be honest with yourselves
and your own group, you know, what your real objective
is.
DR. DAVIS:

Good advice.

time talking about that.

We have spent some

We'll try to give you the

answer to it here.
MR. SCARINCI:
DR. DAVIS:

Uh-huh.

One of the things we realize is

that we're not designed.
MR. SCARINCI:

Right.

That's a great first

step.
MS. LANNIN:

It's the essential first step.

MR. SCARINCI:
MR. MARKS:

That really is.

Are we --

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MS. LANNIN:
MR. MARKS:
MS. LANNIN:
MR. MARKS:

Yeah.
-- doing our comments now?
Yeah, we're doing our comments.
Okay.

Can I go?

MS. LANNIN: A booster seat.
MR. MARKS:

Okay, thanks.

First of all, let

me say -- I'll echo just a little bit of what Donald
said without being too repetitious.

I would imagine,

from what I know of Father Flanagan and the heart he
had for people and for children, I would venture to
say the last thing he would want is to have his own
image on this medal.
And I just want to encourage you to keep
that thought in mind.
want?

What would Father Flanagan

Obviously, a great man who founded an

organization that has done so much good in the world.
And I think that's -- from my research, that's what
this medal needs to be about, about the good that this
organization has done in the world.
And when I read the legislation that went
through Congress, under the "Design of Coin" section,
it says, uh, that "It's to be emblematic of the

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100 years of Boys Town, one of the largest nonprofit
childcare agencies in the United States."
Okay?

So whatever we're doing here should

span a hundred years.

And I also read under the

findings -- one of them is "Boys Town was created to
serve children of all races and religions."

To me

that brings an image to mind of maybe a small grouping
of children of both genders, maybe some racial -MS. LANNIN:
MR. MARKS:

Diversity.
-- diversity, together, maybe

arms around each other, something of that nature, or
maybe the brothers' image -- maybe you mix it up, and
you have one of them as a female, to be inclusive and
kind of bring it into the modern age, still honoring
that iconic image.
So -- and those are just some of the
thoughts that ran through my mind.

Sadly, I won't be

on the committee when you come back again, but I will
be watching intently what this group does, and I have
great faith that the guidance you get from them will
be good.

I know these people very well, and they're

very good.

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The staff is exceptional, and I'm looking
forward to something that is just a home run, knockit-out-of-the-park piece of art, because the people
who buy these things, they like to buy them because of
their artistic appeal. And the ones that don't reach
that level, as Donald said, they don't sell.
they become rare, you know.

And then

That's a distinction that

maybe you want.
MR. SCARINCI:
MR. MARKS:

One that you don't.

And then they're expensive, but

here again, you know, if it's something that sells
well, then it'll always be, in future generations,
people who want to buy one on the secondary market,
they'll be able to afford to do it.
So those are just some thoughts to keep in
mind.

And for that, I'll cede any time I have left to

anyone else.
MS. STAFFORD:

Madam Chair, if I could, I

just thought it was interesting, what Gary mentioned
about the brothers and perhaps one is a female.

If

it's okay, I'd like to ask Dr. Davis just to maybe
tell us a little bit of the background about your

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original two-brother statue, the story behind that and
how -- the evolution that took place to -- for that to
change into, I think, part of your current logo, which
is of a young man and a girl he's carrying
(inaudible) -DR. DAVIS:

A (inaudible).

MS. STAFFORD:
DR. DAVIS:

Yeah.

MS. STAFFORD:
DR. DAVIS:

It's also in the (inaudible).

Uh-huh.

The way the logo came about, it

really was part of Father's belief system, and
(inaudible) all races, creeds, religions, et cetera.
And one day, when -- his second home was an old threestory home down in Omaha, Nebraska, and there was a
little kid by the name of Howard Loomis, who got
dropped off at the orphanage, and -- or this home, and
he had polio, so he had braces on his legs.

So some

of the bigger kids used to carry him up and down the
steps.

And Reuben Granger was one of those kids.
And one day, Father came down, a

particularly hot day, from the third-story floor, and
there was Reuben [sic], you know, being carried up the

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third floor.
And he said, "Isn't he getting pretty
heavy?"

He said, "He ain't heavy, Father.

brother."

He's my

Well, Father had originally made a little

begging urchin his fundraising symbol (ph), and he
immediately thought to change that, because he said,
"When kids learn to help each other, they get better
themselves."

And that's been a central philosophy at

Boys Town every [sic] since.
And about 2000, we actually changed the name
of Boys Town to Girls and Boys Town, because we had
taken girls.

It was close to 50/50, almost,

(inaudible) as to how many we serve of each gender,
and we involve so much market share that our lending
experts told us "You can't do that."
our logo going forward.

So we've changed

Our two-brother statute, it

will be unveiled -- Laura's been working with us to
have a brother carrying his little sister with a
pigtail on her -- on his back.
MALE SPEAKER:
MS. LANNIN:
MR. MORAN:

That's great.

Mary?

Yeah.
We have had several things that

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you probably should not do going forward.
you.

I commend

You did one thing right, getting all those

artists on-site so their heart gets into it.

So many

times, they do their designs off the Internet, and you
don't get your best work that way.
Be aware of the size of (inaudible), because
it dictates what can go on.
nickel.

A $5 gold piece is a

Whatever scene you have is going to be up

close because you can't take a perspective and put it
on a nickel.

Your best perspective is on the dollar

coin and something in between on the half dollar.
We have gotten into issues with this
committee -- and I don't think it's been our best
moments -- when we mix and match because we get
varying things, and we'll -- sometimes like a half
dollar reverse, but we think it goes with a dollar
obverse, and we end up shoehorning the two together.
I always hated it.

I have to take a bathroom break

when we do that, be somewhere else, anywhere else.
If you can come up with overarching themes
for the three coins to be designed -- in terms of the
designs, I think it would help our artists and give

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some more effective and original appearing -- we're at
our best when we don't design coins by a committee,
and I don't know how long you -- how much you were in
here for the earlier part of that.

We don't want to

go there.
And to reinforce Donald's point, we thought
that the Girl Scout coin would be a big seller because
you had the entire Girl Scout organization behind it.
It was not.

I would argue that I think that -- well,

Donald said it was hard to do.
hard.

I'm not sure it's that

I think that you can have a marketing success

-- you should have, with your alumni base.

You should

have a big marketing success there.
And with the aesthetics -- good aesthetics,
good designs, you'll sell it to the collector base too
because they'll all really get on with it.

And you'll

have a double winner there, and you'll make good money
with good art.
MS. LANNIN:

Heidi, would you like to

(inaudible) add anything?
MS. WASTWEET:
MS. LANNIN:

Sure.
Okay.

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MS. WASTWEET:

I've actually made quite a

few notes here, so if you'll bear with me.

It was a

big packet, and there was a lot of rich material here
to work with.

So I'd like to narrow it down a bit so

we're not too scattered.
And there was one phrase that really stood
out to me.

It says "Where that fabric is torn, Boys

Town mends it."

This was a really good imagery of --

that we can draw on.

So it would be really

interesting to see two images that were literally
stitched together, to somehow represent the repairing
of the torn communities and families and societies
that Boys Town repairs.

That would make some really

creative and interesting images.
MR. SCARINCI:

How about two-part coin?

MS. WASTWEET:

There you go.

MR. SCARINCI:

How about a two-part coin?

MS. WASTWEET:

Somebody's come from

(inaudible).
MR. SCARINCI:

It doesn't have to be - it

does not have to be on that coin board, because they
can do it.

They can technologically do whatever you

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want them to do.
FEMALE SPEAKER:

(Inaudible).

Let that be

on the record.
MALE SPEAKER:

(Inaudible).

FEMALE SPEAKER:

What does the legislation

FEMALE SPEAKER:

Thank you.

say?
Thank you.

For

the team.
MALE SPEAKER:

Good luck.

MS. WASTWEET:

A caution, anytime you

represent people, generic people, you run into the
issue of race and gender, so just be aware of that.
And as far as the history, you know, it's amazing that
this has been going on for a hundred years, and I
would like to see how that is relevant today as it was
a hundred years ago.
And I think that echoes what you were saying
of how it -- it does have a rich history, but more
spectacularly what it's doing today.

So we can have

the touches on the historic, but then make sure that
that's somehow relevant to today.
If we do the -- an image of Father Flanagan,

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which I'm not totally against, but let's not make it
just a portrait bust, a static bust, but do something
more creative with it.

I'm picturing rays coming out

from him because his influence spread out so much
throughout the community, or rays from his heart, or
something like that.

So it's not just a static

portrait, but something stylized a little more than
that would be appropriate.
And there were subtle suggestions of this
building, that building, a signpost, a statue.
recommend against all of those things.
not a place, it's a philosophy.

I

Boys Town is

It's not a building,

it's a community, and it's a group.

So to put a

building on the coin, I think, would be a complete
misdirect.
And we're not a fan of putting statues on
coins, but like original art, no matter how well that
statue is made.
The other thing -- sometimes we see -oftentimes we see the organization logos on a coin,
and oftentime that's appropriate.

In this instance, I

think -- personally I think that's not appropriate for

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Boys Town.
This is not a brochure.

We don't

(inaudible) phone number on there, directions to your
facility, the website address, and one of the sketches
here was a map showing Boys Town sites across the
United States.

That's very brochure-ish, and let's

not go there.
The idea of your logo is fantastic, the
brothers, one carrying the other, and that whole
philosophy of kids caring for each other, (inaudible)
not just care for themselves -- not just (inaudible)
themselves, but then help others.

That's fantastic,

and that's what your logo represents, so let's focus
on what your logo means instead of putting the logo on
there.
There are plenty of other places to put your
logo, on the packaging or on -- when you talk about it
(inaudible) talk about the coin, plenty of places for
the logo.

We don't need the logo taking up space on

the coin when we could do something so much more
interesting.
And then lots of good reference pictures

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that were provided, some neat pictures of kids
carrying other kids on their backs.

Artistically

speaking, it's really going to make a difference how
it's poised on the coin, and this is really a message
for the artist, to fit within the circle nicely and to
make sense on the small palette.
If the figures are too forward, it may look
like the legs are sprouting out from a strange place,
and you won't really get a sense of two people there,
but too much on one.

So working with models would be

great and to turn the bodies in such a way that it
really aesthetically makes sense and you could really
see what's going on on that tiny (ph) coin.
I think that was -- I think that's all that
I had.

(Inaudible)?
MALE SPEAKER:
MS. TATTEN:

Yeah.
We got some great direction

from Roger (ph) and his team, and the packet was put
together, not so much to suggest images, because we
know the art -- the original art and the artists will
come up with something, and having managed creative
process, I wouldn't want to pre-guess any of that.

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We're -- we just put together a bunch of
images that we thought represented things they should
see, so logo, Father Flanagan, some of the things you
mentioned, like buildings, that kind of thing.

Never

intended to be -- you know, we realize it's only a
coin kind of thing.
MS. WASTWEET:
MS. TATTEN:

Right.

Boys Town.

But more a feeling of "This is

This is the breadth of what we do."

The

map -- you know, "This is -- we are all over the
country" -MS. WASTWEET:
MS. TATTEN:
representation.

Uh-huh.
-- you know, kind of

So it was hard because (inaudible)

marketing -DR. DAVIS:

Because some of us had opinions,

right.
MS. TATTEN:

I would like to see it in the

brochure, but holding myself back, knowing it needs to
be a piece of art, this is just us, and this is who
Boys Town is and what it -- what it looks like.
definitely was not trying to push in any one

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direction.
MS. WASTWEET:

Good.

I've been on this

committee for five years now, and what I've seen
happen is these kinds of packets with all this
background information, it is valuable, and it is just
a jumping-off point.
But what happens in reality is sometimes our
group of artists take this as a longer list, and
they'll say, "Oh, they want to see this and this and
this and this and this."

They don't really understand

that it's a jumping-off point.

And we work with them,

and we've been encouraging them.

So the more we

emphasize that, the better.
MS. STAFFORD:

Yeah.

That's a great point.

And I just wanted to reiterate, when we first met with
Dr. Davis and Ms. Tatten, the first thing they said
was "We are not the artists.
that they do.

We appreciate the work

We want to tell you who we are, what we

do, what we're about, where we're going, and then just
see what they can bring to the table."

And I know

that's a wonderful place for us to begin.
And I appreciate you underscoring that, but,

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really, yes, this packet was created actually not so
much right now for the artists as for this committee
so that this committee could comment upon this
material, and whatever comes out of this discussion,
we could give back to the artists.
So whether that's look at the background
information and just bring us what you've got or
whether you want to make a commentary about how the
three coins are to work together, whether there's
supposed to be some kind of, you know, history, you
know, what they do now, looking -- any ideas you can
bring that we can pass to the artist, we're ready to
take (inaudible).

Thank you.

MR. SCARINCI:

Remember when -- I'm sorry,

(inaudible).
MALE SPEAKER:

No, it's okay.

MR. SCARINCI:

Remember when the -- remember

when the -- remember when the March of Dimes people
were here and they -- and somebody suggested -- I
think it was actually Mike.

I mean, somebody

suggested -FEMALE SPEAKER:

Yes.

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MR. SCARINCI:
an inset into a coin.

-- that they do put a dime as

And, you know -- and they just

wanted to -- they obviously wanted to go the
conventional way, and they did portraits, and, of
course, nobody bought them, and, you know, (inaudible)
what they wanted, but it didn't -MS. STAFFORD:

I love our March of Dimes

MR. SCARINCI:

Except they didn't sell.

coins.

think (inaudible).

I

So, you know -- but the -- you

know, but the -- but the -- but then Nooey did exactly
that.

I mean, CIT -- CIT, on behalf of Nooey, did

exactly that, and they made a fortune on the -- on the
little dime, and then it got taken off, and -- March
of Dimes.

And I don't know if they -- certainly March

of Dimes didn't get -- didn't get anything, but CIT,
the (inaudible) made money.
So, I mean, if they tell you -- and I would
say to the Mint, if they tell you they want to make,
you know, (inaudible) -FEMALE SPEAKER:
MR. SCARINCI:

(Inaudible).
If they -- if they tell you

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they want to make money, you know, then, you know, we
should -- we should -- you know, this is -- this is -this is a really cool opportunity, you know, to play
with, you know, the whole -- you know the whole
ephemeral (ph) thing.
You know, and maybe you can consider a
hologram on a coin for the first time on a U.S. coin.
(Inaudible) collapse down there, but they could do it.
And -- you know, and when you do a first -- and when
you do a first, you know, just like the baseball coin,
that sold out.

It --

FEMALE SPEAKER:
MR. SCARINCI:
it.

Yeah.
You know, the public loved

You know, they ate it up.

And when you -- you

know, and when you do a first, you know, it's going to
sell out, you're going to make a ton of money, and -you know, and if it's, you know, technologically a
first, you know, that would be cool.
And, you know, I kind of can see -- I kind
of see a Father Flanagan, you know, sun, you know,
light, hologram kind of thing.

I could kind of see,

you know, the male/female thing in the progression,

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the fabric that separates a two-part medal -- I could
-- two-part coin.

I could kind of see a lot of --

MR. JANSEN:

So, Donald, are you encouraging

a gold inset in the silver dollar?

"It's not heavy,

it's my brother"?

metallic.

MR. SCARINCI:

I could see --

MALE SPEAKER:

There we go.

MR. SCARINCI:

I could see it (inaudible)

I like --

I could see the second United States

(inaudible) metallic coin.
MR. JANSEN:

I mean, it depends --

You would sell ten times the

amount of gold that way if you -MR. SCARINCI:

If -- if you want -- you

know, if you want to make money, that's a different
kind of conversation.

And, you know -- and you should

not be intimidated about having a conversation, and
this group will certainly support any technologically
creative ideas that they give us.
DR. DAVIS:

I like the conversation a lot.

I mean, not to make money, although that's a -MR. SCARINCI:
DR. DAVIS:

Right.

Our -- I'll address that issue

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on that.

We started this process through Congress

with a bill (inaudible) surcharges back to Boys Town.
And we were willing to try to pass the bill like that,
even though that wasn't our wish.
sponsor's wish, et cetera.

It was our

So we were able to pass

this thing twice.
And what that money's going to be used for
is incredibly important.

We are beginning to break in

to some of the most high-risk communities in this
country and help to try to organize other investors
and not-for-profits that are there in a way that we
think we might be able to, after we earn our
citizenship, help make some real change in those
inner-city communities.
That's what everything that comes from this
coin dedicated to that, so we hope we do make some
money.

But it's far more important to us to have some

of the things that you're talking about that really
honors where we've been, where we are, and where we're
going.
MR. SCARINCI:

Uh-huh.

MALE SPEAKER:

You can do both.

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MS. LANNIN:

Greg needs to make a comment.

MR. WEINMAN:

I think I'm (inaudible).

MR. SCARINCI:
MR. WEINMAN:

Sorry, Greg.
That's okay.

No, with all due

respect to the incredible creativity of the committee,
the legislation unfortunately doesn't specifically
define what (inaudible) the content of currents are.
MR. SCARINCI:
MR. WEINMAN:

(Inaudible) content.
Yes, (inaudible) silver coins

not only must weigh 8.359 grams, but must be composed
of 90 percent gold, 10 percent -- or the gold -- I'm
sorry.

Ten -- 90 percent gold, 10 percent alloy.

The

silver must weigh 26.73 grams and contain 90 percent
silver and 10 percent copper; and the clad weighing
11.34 grams and must -- I mean, I guess we have some
flexibility on what the clad is made of, but it must
weigh 11.34 grams and have a diameter of 1.205 inches.
DR. DAVIS:
MR. WEINMAN:

The committee --

DR. DAVIS:

Unfortunately -The committee put that back in

as boilerplate.
MR. WEINMAN:

Yeah, it is, unfortunately,

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but -- it may be boilerplate, but it's also
(inaudible).
DR. DAVIS:

Yeah.

MR. WEINMAN:

(Inaudible) flexibility with

the metallic (ph) content of the coin that we might -MS. STAFFORD:

But the spirit -- but the

spirit of Mr. Scarinci's comments, I think, is
something that we all hear, and we're absolutely -MALE SPEAKER:

Yes.

MS. STAFFORD:

-- ready to take that back

and have as much conversation as we can to push those
boundaries.
MALE SPEAKER:

Maybe the boundaries

(inaudible).
MALE SPEAKER:

(Inaudible).

MS. STAFFORD:

Yes.

MALE SPEAKER:

I'm a lawyer.

MS. LANNIN:
MR. URAM:

Anybody have a question?
First of all, congratulations on

getting to this point, because I know -- I've spent an
hour, as I mend, or so with your representatives, so
I'm not going to belabor that.

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DR. DAVIS:
MR. URAM:

Right.
I think you guys are well in tune

into the network that you're working with and what
you're trying to accomplish.

Tomorrow we have the

Lions Club, who was in your position -DR. DAVIS:
MR. URAM:
DR. DAVIS:
MR. URAM:

Yes.
-- a year or so ago.
Yes.
And one of the things that they

were really concerned about was having their founder
on the coin.

And I think Father Flanagan on the coin

should be (inaudible) be honest with you, and I think
it's just how it's made out.
But one of the things that they did -- and
I'll just show you here -- they did eyeglass
(inaudible) -DR. DAVIS:
MR. URAM:
the front.

Yeah.
-- or they did the lion (ph) on

So they've added other motifs that will

enhance that image.
DR. DAVIS:
MR. URAM:

(Inaudible) -So I think that maybe look -- as

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Don had said there, look at the red book, see what
works, see what sells.

Your picture here, this -- you

know, having this depiction with a -- with a young
lady as well and the dog -- animals are always good.
And, you know, it would really enhance the image.
But I think for sure I would -- I would want
to see Father Flanagan on something, but it's how you
would surround it, whether it would be rays or
whatever.

But I think you could even go above and

beyond that.
But, having said that, good luck on the
adventure, and I'm sure your heart and the association
is well into it, but I think you'll do fine.
DR. DAVIS:
MS. TATTEN:

Thank you, sir.
I'm actually glad to hear you

say that because Father Flanagan was a very humble man
to some degree, but he was also the greatest marketer
I've ever -DR. DAVIS:
MS. TATTEN:

Absolutely.
He hired a professional

photographer who followed him around for years and
took photographs --

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FEMALE SPEAKER:
MS. TATTEN:

Really?

-- of various scenarios, which

we have a archive with all those photographs in them.
Yeah, he invited celebrities to campus for many
reasons: one, to get attention for the home; two, to
get money from them.
Yes, so he was the greatest marketer and
fundraiser ever.

So he had very great motives for

those activities.
MALE SPEAKER:
MS. TATTEN:
DR. DAVIS:

He knew (inaudible).
That's to help more kids --

Yeah.

MS. TATTEN:

But he knew that --

DR. DAVIS:

That's exactly right.

MS. LANNIN:

I just wanted to say that we

have the past, the present, and the future to work
with, and you have six sides.

You have six chances at

art.
MS. TATTEN:

Uh-huh.

MS. LANNIN:

So at some point, I think at

least one side will make almost everybody happen in
some instance.

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DR. DAVIS:

Uh-huh.

MS. LANNIN:

Yeah.

So -- but, I mean, I

agree with Donald: the more dynamic, the more
interesting (inaudible) things, the more
technologically interesting, that's going to make you
money, and we're not -- it's not Girl Scout cookies.
DR. DAVIS:

Yeah.

MS. LANNIN:

Yeah.

Now, it's (inaudible) to make

money, but if we can challenge Stacy and Don and the
staff, we're all for it.

Does anyone else (inaudible)

-- Erik?
MR. JANSEN:

I have three sets of comments:

one to the spec here, two to the (inaudible), and
three, an unusual item to try to drive a point home
with management in the Mint.
First of all, in terms of the comments,
Donald was absolutely right.
right on the money.

Okay?

Thank you.

His wisdom is

To Greg, to the Mint,

do we have a copyright issue with "He ain't heavy,
he's my brother," to the lyric and what predated what?
Sorry for not being a historian here.
MR. WEINMAN:

By and large, quotes are not

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copyrightable anyway, but it depends -FEMALE SPEAKER:
MR. WEINMAN:

(Inaudible).

Yeah.

And the quote in this

case certainly predates the lyric of the song.
MS. TATTEN:

They also gave -- they also

gave us the rights to that song.
MR. WEINMAN:

(Inaudible).

FEMALE SPEAKER:
MALE SPEAKER:

(Inaudible).
And we've worked that out

with Boys Town, so yes.
MR. JANSEN:

Second of all too -- thank you

-- the commentary on the portraiture, I made a note in
the margin prior to the comments here that including
his face is kind of a contradiction to the "I'm -whether I'm here or not doesn't matter because it's
God's work, not mine."
And so I would encourage you and your
organization to close your eyes and try to verbalize
the portrait (inaudible) see it, because I think it'll
lead you to creativity so that the portrait is more a
portrait of energy, his social relationships, his
style, which are really, I think, the transcendent

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pieces of anyone's portrait.
Second of all, Heidi -- listen to this woman
here.

No buildings, please.

it won't add value.

It won't work.

At least

And I just -- thank you for the

richness of your spec here.

There's a ton of stuff

here combined with the personal experiences.
I want to move on to the second point I
wanted to make, and this goes to hopefully the
committee as well as to you as to how you think of
these three coins and their utility and their content.
The legislation says we can sell 50,000
gold, 350,000 silver, and 300,000 clad half dollars.
Now, let me put that in a better perspective for you.
The silver's going to go out at a price point of
several hundred dollars.

The -- I'm sorry, the gold

will.
The silver'll go out at a price point around
50, plus or minus, depending on what silver does and
so forth.

And the clad half dollars somewhere in the

single digits.

I'd love to see it go out at 51 cents.

It never will.

Because at 51 cents, you could use it

as a marketing tool.

And you still may be able to at

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$5 and change.
Now, having said that, we have struggled as
a committee for the past couple, few years when we
encounter these three-coin, two sides, two-by-three
dimensionality here, picking and trying to match
images.

And I understand the Mint is actually

soliciting paired designs here.
I'm hoping the committee, when those
pairings come in -- one, I hope we have the discipline
-- we don't take half of a design and match it with
another half of a different design.
designs as a whole.
line to pairings.
with that.

We take the

I hope the committee can toe the
I mean, we'll get to be challenged

We've seen in in the past a couple times

on some Congressional medals, and it hasn't been
pretty, so I'm hoping we can do better with that.
To your guys' thinking, and also as a charge
to the artists here, I want to posture those three
coins on a hierarchy.

Now, the middle coin is your

money coin.
DR. DAVIS:
MR. JANSEN:

Uh-huh.
The silver -- when you do your

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math, the silver's your money coin. And so pay really
close attention to his advice: no buildings, please,
on that coin.

It's really important.

But I would posit the gold, the silver, and
the clad somewhat differently beyond that.
needs to be the ultimate thematic coin.

The gold

When we were

in the National Park system, it carried the moniker,
the charge of the National Park system.

When we got

down to the 50-cent piece, we made a coin that
appealed to kids so that it would sell in the National
Park Service stuff, because at nine bucks, that might
be a trinket of a child's youth that really lasts
through his life, plants plenty of seeds.
So I want you to think of these three coins
and the artists as well to kind of go from the general
at the high end to the specific at the low end, adult
to child in terms of content of appeal, principal at
the gold end to tactical as you move through silver
and clad; ethereal to (inaudible).
And so I'd put that out as just kind of the
conceptual context to lay these three coins in
perspective and, April, to charge the artists with

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really kind of the bigger contextual challenges so we
don't end up with some golds that should be on clads
and -- I mean, it's really hard, but I think it is
really essential if we're going to survive this
pairing process that's kind of new and bold and
different, but good.
And then the third point I want to make here
is really to give the staff here something to pass up
to management.

And, with all respect to Madam Chair,

I'm going to make a motion here.

I think it is so

important that the management of the Mint overlook the
financial pressures that are always used as the excuse
why it doesn't happen.

To invest a little bit upfront

to raise the quality, the depth, the breadth, the
experiential context that the artists have and get,
from this committee, as to what these coins should be.
In this case, we've had nine artists -DR. DAVIS:
MR. JANSEN:

Uh-huh.
-- that came to your

facility -DR. DAVIS:
MR. JANSEN:

Right.
-- and you have -- you've paid

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that.

I understand.
DR. DAVIS:
MR. JANSEN:

Yep.
A wise investment on your part,

I might add.
DR. DAVIS:
MR. JANSEN:

I think so.
I would like to see that the

management of the Mint really step up and realize that
you've got to spend money to make money; got to invest
money to get quality.

To spend the additional $5,000

or $10,000 on these coin programs, whether it's a
circulation mandated quarter to the next major
commemorative, because the quality of our output, Coin
of the Year, what we're satisfied with, numismatic
sales volumes that we were told this morning are
8 percent below projected levels, the quality of that
output, the achievement of those goals, really is
limited at the very front end if we don't inspire the
artist with the breadth of possibility and to give
them the -- not the laundry list, Heidi, but the
laundry line to hang out all the ideas.
DR. DAVIS:
MR. JANSEN:

Uh-huh.
And so my motion would be

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merely a philosophical statement from this committee
to encourage the Mint management to authorize spending
more liberally to educate the artists in front of
their charge than we're currently doing.
MS. LANNIN:

I'd like to ask Greg to address

your motion.
MR. WEINMAN:

Just two things.

Number one,

obviously, the point of information (ph), as you all
know, the Mint has to cover its costs under the law;
otherwise, the organization doesn't receive its
surcharges.

And so it's a (inaudible), obviously, and

something that, of course, the Mint is very conscious
of.
That said, I think the motion is on
borderline of what is the -- what's the charter of the
CCAC.

You know, you certainly have the authority to

talk about things, concept.

I'm not sure of whether

or not how we -- how we market is necessarily within
that -- in that parameter.

So I'd probably ask you to

reconsider (inaudible) and we'd obviously -- we've
obviously heard you and we'll -MS. STAFFORD:

Well, and for more

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information, just to round it out, if I could add in
the case with Boys Town, the three artists that made
up the contract group that are going to be on this
program, they actually were not able, during the time
period that was offered, to attend.

And Stacy, I

believe the artists in Philadelphia, did you want to
speak to that?
MS. KELLEY:

Yes, actually, this was offered

to the artists in Philadelphia.

I do have this as a

part of our budget for not only this program, but
other programs.

And for this one in particular, the

-- none of the artists were able to actually travel at
that time, but we do highly encourage that.
MS. STAFFORD:

And we have -- and I do --

it's one of those -- when it's a commemorative coin
program, we do have a very different view.

We make

sure our spending is in line and all of that.

But I

do know in the past we've had a lot of support from
management sending artists out.
I know for our September 11th Congressional
Gold Medal Series, the three that we did, we took
artists to each of those sites.

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MS. KELLEY:
MS. STAFFORD:

Yes.
And it was very important to

our leadership at that time that we do so.
MS. KELLEY:
MS. STAFFORD:

Yes, absolutely.
But I -- but I take your

point, and it's something I definitely -- we can pass
it along.

I think they would agree with that part of

it.
MR. WEINMAN:

Including to our marketing

folks.
MS. STAFFORD:
MR. JANSEN:
appreciate all of that.

Uh-huh.
Yeah.

Philosophically, I

Numerically, to the financial

statement, I think numismatic sales at the Mint number
in the hundreds of millions of dollars, and I would
argue what I'm speaking of might amount to $50,000 or
$100,000, which would be a small fraction to the
second decimal point of the sales.
So I would take issue on a numismatic front
with the materiality of the expenditure relative to
the payback, whereas a payback could add several
single-digit growth percentage numbers to that sale.

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So I think on an ROI basis, it's a no-brainer.
And to the -- speaking to the amortizing of
the costs on a commemorative program, the analysis
becomes very, very similar, because I think most of
these commemorative programs are going to be
benchmarked to produce, at a disappointing end, a
couple million dollars to a home run end -- no pun
intended.

I don't know what the baseball

commemorative series did, but I think it would be a
home run, probably 10 to 20 times that number.
Again, against a few-thousand-dollar
expense, the ROI's obvious, and the defense of why not
to do it financially is absurd.
MS. LANNIN:
wrap-up if we could.
MR. MARKS:

(Inaudible) okay, Gary, a quick
We're running a tad late.
Sure.

Maybe add onto what Erik

was saying, maybe in a little different way.

This

Mint organization has come so far in the last five
years, and there are so many accomplishments and
achievements that you can point to now, and I think
you should feel very good about that.
And I think what (inaudible) is saying now

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is that with those accomplishments under your belt, to
the extent you possibly can with the legislation and
the different limitations that you obviously have,
strive to be innovative, look for those opportunities
to do something different.

That's what your customer

base really thirsts for.
There's a lot of saneness in numismatics.
Be innovative.

You've proved that you can do this.

Impress us again.

So I guess whether there's a motion

or not, I think the record bears what this message is
now that let's go on and make this a great one,
because I think we've got an opportunity to do that.
We obviously have a phenomenal themed subject matter
here.

I am just sad I won't be here to help you all

make the choices.

So God bless you all.

MR. JANSEN:

Thank you, Gary.

MS. LANNIN:

(Inaudible).

FEMALE SPEAKER:
MS. LANNIN:

Well said.

(Inaudible).

Has everybody had a -- Jeanne,

would you like to contribute?

Anybody say anything

else on this point?
MS. SOLLMAN:

I don't think I could --

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MS. LANNIN:

We're a little late, and I just

want (inaudible).
MS. SOLLMAN:
MS. LANNIN:

-- don't think I could --

MR. HOGE:

Robert, are you -I'm listening, but I don't have

anything more to add.
MS. LANNIN:

All right.

Thank you.

So all

discussion for Boys Town is finished for the day.
FEMALE SPEAKER:
MS. LANNIN:

Thank you very much.

All right.

Let's move on to --

April?
MS. STAFFORD:

Yes.

Okay.

So, again, a

design concept discussion for the 2018 America The
Beautiful Quarters Program.

You have been provided

the background information.

I'm happy to read through

it.

So we'll start with the Pictured Rocks National

Lakeshore, which is in Michigan.
Pictured Rocks National Lakeshore embodies
wild beauty on the Lake Superior shore.

Established

in 1966, it's the first national lakeshore (inaudible)
park that (inaudible) the Lake Superior coast for more
than 40 miles.

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The shoreline consists of 200-foot-high
colorful sandstone cliffs, numerous beaches, and 300foot-tall sand dunes.

The shore (inaudible) over 100

miles of trails offer visitors superb opportunities
for hiking, backpacking, camping, and sightseeing.
Lake Superior and inland lakes offer boating
opportunities, including kayaking, (inaudible), and
boat tours among the cliffs.

There is abundant

wildlife, such as black bears, deer, and porcupine, as
well as bald eagle and peregrine falcons.
The lakeshore features an impressive
collection of maritime historic resources, including
two former Coast Guard stations, the Munising Range
Lights -- I hope I'm saying it accurately -- and the
Au Sable Light Station, a magnificent lighthouse and
double (ph) keepers' quarters that dates back to 1874.
Through informal discussions with
representatives from Pictured Rocks National
Lakeshore, we've identified the following possible
devices (ph) for the quarter: Lover's Leap, which is a
sandstone arch formation on the Lake Superior
shoreline; Chapel Rock; Miners Castle rock formation;

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Pictured Rocks cliffs; Grand Sable Dunes; the Au Sable
lighthouse.
And we're hoping that we have a
representative from Pictured Rocks on the phone with
us.

Our liaison is Susan Reece.

Susan, are you with

us?

That's unfortunate, but if there are any comments

from the committee with regard to what artists should
consider for the Pictured Rocks National Lakeshore
designs for Michigan, we'd love to hear them.
Okay.

So nothing to add there.

I'll move

on to Apostle Islands National Lakeshore in Wisconsin.
Apostle Islands Lakeshore was established in 1970 to
protect certain significant islands, shoreline, and
light stations of the United States and their related
geographic scenic, historic, and scientific values.
The park includes 21 islands in Lake Superior and a
12-mile-long strip of mainline shoreline, encompassing
over 69,000 acres, almost 40 percent of which are Lake
Superior waters.
The park lies within the heart of the
ancestral and modern homeland of the Ojibwe people.
The park features pristine stretches of sand beaches

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and coves; spectacular sea caves; some of the highestquality stands of remnant old-growth upper forests in
the Midwest; a diverse population of birds, mammals,
amphibians, and fish; and the largest collection of
National Register lighthouses and lighthouse complexes
in the National Park system.
Visitors to Apostle Islands enjoy a variety
of recreational activities, including freshwater sea
kayaking, sailing, boating, fishing, hiking, camping,
and, in the winter, visiting the unique ice caves,
accessible by walking on the frozen surface of the
lake.
Through informal discussions with
representatives from Apostle Islands National -Islands National Lakeshore, we have identified the
following possible devices for the quarter and would
love to hear your comments on them: Devils Island
Light Station, the Sand Island Light Station, a
kayaker at the Mainland Sea Caves, Ice Caves, the
Outer Island sand spit, and visitors at Julian Bay.
MS. SOLLMAN:

And we should have Bob

Krumenaker with us from Apostle Islands.

Are you

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there, Bob?
MR. KRUMENAKER:
MS. STAFFORD:

Yes, I'm here.
Okay.

Would you like to say

a few words to our committee?
MR. KRUMENAKER:
participate in this.
Pictured Rocks.

Well, we're delighted to

You heard a little bit about

The two parks are somewhat similar

and, frankly, if you had any questions, I may be able
to answer those about that park as well.
And we clearly want to distinguish between
the two, as they're successive national lakeshore
(inaudible).

I will also say I have the great

pleasure of being the Acting Superintendent at
Everglades National Park last year when that quarter
was released, so I've been through at least some of
this before (inaudible) experience.
MS. STAFFORD:
one offer.

Okay.

So we have a two-for-

If any committee members have questions

about either Pictured Rocks or Apostle Islands, we
have someone on the phone that could answer those.
Any comments from the committee about things the
artists should consider for these quarters?

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MS. LANNIN:
Is that on?

No?

I would like to ask our -- oh.

Is that on?

Okay.

I would like to

ask our representative, would -- how do you feel about
having the light stations depicted?

I mean, we have

light stations from Pictured Rock, and obviously you
wouldn't want to be in competition with them, so would
you or would your people have a special request?
MR. KRUMENAKER:

My guess -- and here's

where I might be stretching a little bit beyond -- I
think the most iconic thing in Pictured Rocks are the
rocks themselves.
MS. LANNIN:

Right.

MR. KRUMENAKER:

I was surprised, frankly,

when it came down to me as that was the choice there.
But if it was the choice there, it probably shouldn't
be the choice here.
We do have something that April did not
read.

We've got two of the light stations that we're

recommending.

They both are in very scenic locations,

so we would actually recommend, if that was the
choice, not just be the building, but be the building
on top of the geology (inaudible) particularly unique

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setting.
But we're open to discussion.
here are very unique.

The ice caves

Something else that we had

offered that didn't get passed on is there's some
really amazing aerial views of the matrix of islands
out in the lake.

That's a possibility (inaudible)

place.
I think any of these are acceptable, but I
do agree with having -- most parks have light
stations.

Most parks have rock formations.

That

probably isn't the best way to go.
MS. LANNIN:

Thank you.

Erik?

MR. JANSEN:

In the description of the

national lakeshore in Michigan, Pictured Rocks,
maritime historic resources are mentioned.

Can you

give us a little bit of history that might have some
tethers for some ideas?
MR. KRUMENAKER:

That's where I may be going

a bit beyond my knowledge of Pictured Rocks, but they
have this one lighthouse and this one Coast Guard
life-saving station.

I don't know their origins in

terms of years, but I'm pretty sure they're both 19th

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century.

And where both parks have a somewhat similar

story is that we were both in the early stages of the
settlement of Lake Superior when there was a lot of
day (ph) shipping for iron ore, timber (ph), and
copper going out of the Upper Peninsula, Michigan,
Wisconsin, and Minnesota.
So these light stations and these
(inaudible) were much more important more than a
century and a half ago than they are today.
MR. JANSEN:

I might charge the Mint to,

before you publish these to your authors, to maybe
augment this with a little bit of historical
perspectives so we get a few narratives there that
might bring in some kind of verbs as opposed to
strictly nouns in the briefing here.
Regarding the Apostle Islands, you mentioned
a diverse population of birds, mammals, fish,
amphibians.

Recently we've had Mark Twain -- we had a

frog on a coin, I think, and -FEMALE SPEAKER:
MR. JANSEN:
two tomorrow.

Uh-huh.

-- we may look at a turtle or

I don't know if collecting animals on

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coins is a big trend, but would there be any notable
fauna that we should add to the list?
MR. KRUMENAKER:

Probably nothing that's

unique (inaudible), to be perfectly honest.

We don't

-- we have wolves in both parks, although it's not
what either park is best known for, and there is
another park, Isle Royale, up here which is better
known for wolves than we are.
Both parks have bald eagles, ospreys, and
very attractive birds, but nothing that's even unique.
Probably the closest thing that we would have unique,
but it wasn't really on our list, is the piping
plover, which is a shorebird (inaudible).
here in Apostle Islands.
Rocks.

And that's

I don't know about Pictured

But I think this is probably not the best

place for (inaudible).
MR. JANSEN:

Thank you.

MS. LANNIN:

I'd like to ask a question.

do know that people collect coins (inaudible) for
certain people, but I would like to know if these
lighthouses are still actually operable.
MR. KRUMENAKER:

Yes.

I'll speak for

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Apostle Islands.

I know for sure we have more light

stations than any other national park in the country,
and all but one still has active aids to navigation,
either in the tower or adjacent to the tower.
Probably none of them are really still
essential for navigation, but the Coast Guard does
maintain those lights, and so that is a very important
part of the (inaudible).
MR. JANSEN:

How many would there be?

MR. KRUMENAKER:

There's nine standing light

towers in the park, which are in seven distinct
locations.
towers.

Two of these places actually have two

And, in fact, the newest addition of a

lighthouse to the National Park system happened here
at the Apostle Islands with a Congressional Act last
December.

It's a light that was constructed in 1915,

so we celebrated its centennial by adding it into the
park this year.
MS. LANNIN:

Okay.

Well, I like the idea of

something built a century ago still providing what's
necessary for people who need it, so I think -MR. KRUMENAKER:

I will point out, though,

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that that's actually the youngest one in the park.
MS. LANNIN:

What's the oldest one?

MR. KRUMENAKER:
MS. LANNIN:

1856.

All right.

Well, thank you

very much.
MR. KRUMENAKER:
MS. LANNIN:
guess.

You're welcome.

I'm a fan of lighthouses, I

Heidi, you had a comment?
MS. WASTWEET:

Just a quick comment to

repeat advice that we've given in the past for these
programs.

A quarter is not a postcard.

Many scenes

from these parks that I see online are absolutely
spectacular photographs of these wondrous scenes of
nature, and on a coin it doesn't translate.
As we've seen with, for example, the Arches
National Park, sometimes rock formations do work on
coins if they're done correctly and simply, without
trying to put in too much distant landscape.

So just

be cautious in that and try to focus in on solid
objects, like unique floral fauna, lighthouses,
(inaudible) sort of thing.
MS. STAFFORD:

That's it.

Any more questions for

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Mr. Krumenaker?

Thank you so much for being with us.

We really appreciate it.
MR. KRUMENAKER:

You're quite welcome.

Thanks for having me.
MS. STAFFORD:

Thank you.

Moving on to

Voyageurs National Park in Minnesota, Voyageurs
National Park was established in 1975 to preserve, for
the inspiration and enjoyment of future generations,
the outstanding scenery, geological conditions, and
waterway system, which constituted part of the
historic route of the voyageurs who contributed
significantly to the opening of the Northwestern
United States.
The rocks, which make up the park, tell the
oldest story.

As part of the Canadian Shield, these

2.7-billion-year-old rocks form the core of the North
American Continent and were only exposed 10,000 years
ago by significant glaciation of the region.

Mile-

thick sheets of ice scraped their way across the
landscape, exposing the rocks and scouring out future
lake basins.
This combination of glacial activity and old

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rocks tells the story of continent creation and
shaping.

The park protects over 200,000 acres of

iconic Minnesota Northwoods lake country, a third of
which is water.

The combination of rocky shorelines,

the meeting of the southern boreal and northern
hardwood forests, and the open water creates a
distinct home for bald eagle -- bald eagles, loons,
moose, and wolves.
Voyageurs is best experienced from the
water.

Traveling through the park by boat allows

visitors to travel back 200 years to the time of the
fur trade.

The voyageurs traveled these same waters

in 26-foot birch-bark canoes, transporting furs and
trade goods throughout the interior of North America.
Through informal discussions with
representatives from Voyageurs National Park, we've
identified the following possible devices for the
quarter: Grassy Bay Cliffs, Anderson Bay, Kettle Falls
Hotel, and Ellsworth Rock Garden.
We're not sure, but we're hoping that we
have a representative from Voyageurs National Park
with us on the phone.

Is anyone there from Voyageurs?

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No?

Okay.

Any comments on this one?
MS. LANNIN:

Any comments on Voyageurs or --

MR. JANSEN:

I canoed there several times in

my youth, and I think a visit there would reveal the
following experiential ideas.

If you go to Voyageurs,

there is one activity that is unmistakable and everpresent, and that is canoeing.
And the canoe is a subject of a -- what's
become an iconic Canadian coin recently with a -- and
I'm seeing nodding faces -- with the (inaudible) the
present and the past.
taken.

Unfortunately, that idea's been

Fortunately, there are many more ideas out

there (inaudible).
So I would argue canoes, everything about
canoes, the Northern Lights, the howl of a wolf, the
garb of the voyageurs.

These are all ideas I'd put

out there.
MALE SPEAKER:

it.

(Inaudible).

MS. LANNIN:

Go ahead.

MR. JANSEN:

I don't remember.

I read about all of this.
FEMALE SPEAKER:

I read about

I saw it (inaudible).

Any other comments?

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someone from Minnesota, I'm just saying please do not
use a mosquito, which is also known (inaudible).
MR. JANSEN:

See, that (inaudible).

FEMALE SPEAKER:

(Inaudible), you know, one-

third of Minnesota is lakes; the other two-thirds are
mosquito carcasses.

Strike that from the record.

Okay.
FEMALE SPEAKER:
comments?

Anybody else have any

(Inaudible) -MR. JANSEN:

I have a video of mosquitos in

Alaska to show you.
MS. LANNIN:

Ooh.

MR. JANSEN:

Yeah.

MS. LANNIN:

All right.

Let's move on to

something a little warmer, a little sunnier, in
Georgia.
MS. STAFFORD:
Seashore in Georgia.

Cumberland Island National

Cumberland Island National

Seashore was established in 1972.

It maintains the

primitive, undeveloped character of one of the largest
and most ecologically diverse barrier islands on the
Atlantic Coast while preserving scenic, scientific,

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and historical values and providing outstanding
opportunities for outdoor recreation and solitude.
Cumberland Island contains a rich
concentration of cultural resources that recount 4,000
years of human habitation and include a remarkably -a remarkable diversity of ethnic and social
backgrounds.

With almost 18 miles of pristine beach

and one of the largest oak maritime forests remaining
in the United States, Cumberland Island provides an
unparalleled visitor experience.
Cumberland Island National Seashore protects
the largest designated wilderness area on the East
Coast barrier island.

The island's physical location

provides visitors opportunities to experience outdoor
recreation in an uncrowded, undeveloped setting.
Moreover, this isolation helps to preserve and protect
the island's fragile nature and cultural resources.
Through informal discussions, we have
identified the following possible devices for a
Cumberland Island National Seashore quarter: oak
forests; beach and sand dunes; salt marsh; sea
turtles; shorebirds, or wading birds; Dungeness Ruins;

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chimneys; the first African Baptist church; and Plum
Orchard Mansion.
I'm hopeful that we have a representative
from Cumberland Island National Seashore with us.
Gary Ingram with us?

Okay.

Is

We'd love to hear the

committee's feedback on this quarter's design.
MS. LANNIN:

I guess I have a question.

In

a former life, I thought I could play golf, so I was
-- I was somewhere in the shores of South Carolina or
along one of the barrier islands, and one of the
things that I noticed was that they -- the buildings
that they built, especially the early settlers, were
actually built out of the shells off the shore and
had, as a result, a really distinctive look.
And so I'm not sure what the first African
Baptist church looks like or what Plum Orchard
Mansion, how that might be (inaudible).

I would also

wonder if those islands had permanent residents so
they really, truly are barrier islands, because, you
know, the Outer Banks, North Carolina are littered
with, you know, mini-mansions that he people can rent,
and so I just didn't know if this was really kind of

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out there.
MS. SULLIVAN:

Well, at this point, it's a

national park, yeah, so there's nobody living in the
national park.

I believe -- and I hope I'm getting

this right -- Plum Orchard Mansion was actually built
when a family lived out there.
MS. LANNIN:
MS. SULLIVAN:

Okay.
And so that is a beautiful

old mansion, but (inaudible) national park.
MS. LANNIN:

Okay.

So the entire island,

then, is the national park, not just part of it?
MS. SULLIVAN:
MS. LANNIN:

I believe so.

MS. STAFFORD:

Okay.
And obviously when -- we'll

have design kick-off meetings with the artists who are
assigned these quarters, and we'll have
representatives from the parks there to answer their
questions and such, but -MS. LANNIN:
MS. STAFFORD:

Okay.
-- for sure we -- any

commentary from the committee, we'd love to
(inaudible).

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MS. LANNIN:
comments?

Anyone else have any other

Here's another (inaudible) opportunity.
MR. JANSEN:

You know, for a -- for a

beautiful place like this that just fits the template
of many similar beautiful places like it on the East
or other coasts, I'm looking at phrases about 4,000
years of human habitation, iconic discoveries, and
(inaudible) that statement.
I've spent enough time in Florida and the
coast there to have a visual of this thing, and I
think it'd probably be a disservice to just have an
overhead view of a hurricane.

But, I don't know,

seems to be -MS. LANNIN:
MS. STAFFORD:

Okay.

Next to last?

Block Island National

Wildlife Refuge in Rhode Island is located 12 miles
off the southern coast and sits on a terminal moraine
shaped by glacial till deposits, creating rolling
dunes.
Totaling 134 acres, the refuge is
distinctive because the staff worked closely with
other conservation organizations in an effort to

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protect the land.

One partner, the Town of New

Shoreham, operates the adjoining North Light, the
island's first lighthouse built in 1867.

It has an

interpretative display highlighting the importance of
barrier beach habitat and the protection of the piping
plover and other migratory shorebirds.
Block Island National Wildlife Refuge is a
critical migratory bird stopover point on the Atlantic
Coast.

Fruit-bearing shrubs provide essential food

for more than 250 species of birds that come to rest
there.

These wild lands are also known

internationally for spectacular birdwatching and
provide a breathtaking walk along the barrier beaches.
Through informal discussions with
representatives from Block Island National Wildlife
Refuge, we've identified the following possible
devices for the quarter and, of course, are hoping to
hear some ideas from this committee: the North Light
lighthouse and piping plovers.
So hoping we have a representative from
Block Island with us.
Island with us?

Is a representative from Block

Okay.

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MS. LANNIN:
MR. HOGE:

Does Rhode Island -(Speaking Spanish).

MS. LANNIN:

Robert, you're speaking

Spanish.
MR. HOGE:

I'm going to put it on mute now.

MS. LANNIN:

Thank you.

MALE SPEAKER:
MS. LANNIN:

Okay.

Bad day for April.
Well, I think we have an

opportunity for lots of distinctive lighthouses.
don't have a problem with that.

I

Some people might,

but I think that they were their own prominent style
of architecture at the turn of the century, so …
MR. JANSEN:

Madam Chair?

MS. LANNIN:

Yes?

MR. JANSEN:

There was an idea that came out

of the mind of a child in the UK which manifested into
a set of -- and I'm sure Donald or Laura could
probably add in to this, and maybe (inaudible) -manifested itself as about a half a dozen coins that
the British Mint produced and together made a collage
of a single image.
MR. URAM:

The crest -They just did that.

It just came

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out.
MALE SPEAKER:
MR. URAM:

Oh, yeah, they did.

I have a picture of it

(inaudible).
MALE SPEAKER:
MR. JANSEN:

Yeah, they did.
The point here -- and this

perhaps is too big of an idea, too big of an idea for
the legislation, too big of an idea for the mintage
process, and maybe too big of an idea for any one
artist to tackle, but we were -- we were admonished
that there was a lot of water coming in these five
images, and they're five wonderful aquatic -- pick the
word you want -- national assets here.
I would challenge an artist out there to
come with a unifying idea and present it with the five
ideas, if only to challenge us to take a really big
bite here.
MS. LANNIN:

All right.

Thank you.

Well,

I'd like to take a five-minute recess (inaudible)
necessary and we will get -- how about a seven-minute
recess (inaudible)?
(Whereupon, a brief recess was taken.)

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MS. LANNIN:

All right.

So the next order

of business will be the World War I coin, and I would
like to turn it over -- this is a jury (ph) design -and I would like to turn the meeting over right now to
Greg Weinman.

He's going to explain the voting

process.
MR. WEINMAN:

Sure.

So this is the election

of jurors from the CCC (ph) just from the (inaudible)
2018 World War I American Veterans Centennial
Commemorative Coin.
On December 16th, 2014, President Obama
signed into law the World War I American Veterans
Centennial Commemorative Coin Act.

This Act directs

the Secretary of the Treasury to issue in 2018 $1
silver coins in commemoration of the centennial of
America's involvement in World War I.
This law includes a unique provision, under
which the designs for the coins will be selected by
the secretary based on the winning design from the
jury compensated (ph) design (inaudible).

The expert

jury will be chaired by the Secretary of the Treasury
or his designee and will consist of three members from

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the CCAC, who shall be elected by such committee, and
three members from the Commission of Fine Arts, who
shall be elected by such commission.
This past July, representatives from the
Mint and the chairperson were charged with
facilitating the election of three expert jurors for
this effort of the CCAC.

It was determined by Mint

counsel -- that'd be me -- that to be eligible for
election to the jury, a CCAC member must have
sufficient time remaining in his or her term on the
CCAC to complete the effort, until the fall of 2016.
This past August, we reported that six
eligible members have expressed an interest in serving
on the expert jury, and the Chair requested that each
member review the list of candidates as well as
paragraphs submitted by each describing his or her
interest in this opportunity and any special
qualifications he or she would bring to the task.
The Chair requested that each committee
member identify two individuals for whom they would
like to support, excluding themselves.

And, as the

chair was an eligible candidate, she requested that

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(inaudible) be sent via email to the Mint liaison,
Bill Norton, and to myself, Greg Weinman, by
September 3rd, 2015.
With all the preferences submitted, the
three candidates with the most support are Heidi
Watsweet, Donald Scarinci, and Mary Lannin.
MS. LANNIN:

Thank you, Greg.

At this time,

I would like to entertain a motion to formally elect
Heidi Watsweet, Donald Scarinci, and myself, Mary
Lannin, as the three members from the CCAC to serve on
the World War I Commemorative Coin expert jury.
MR. SCARINCI:
MR. MORAN:

So moved.

Second.

MALE SPEAKER:

All -- is there any

discussion?
MS. LANNIN:

Is there any discussion for the

record?
MS. SOLLMAN:
MS. LANNIN:

Yes, I have --

MS. STAFFORD:

Okay.

Yes, Jeanne?

I have a question that we

don't have -- it seems like we don't have an expert
(inaudible) military activities -- do you know -- on

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this committee?
MS. STAFFORD:
that.

So I can actually speak to

Much as we do with any program that goes

through the regular review, we work with the liaisons
to identify a subject matter expert to provide that
historical expertise.
MS. SOLLMAN:

Yeah, because that --

MR. WEINMAN:

Yeah.

MS. SOLLMAN:

I was worried we don't have,

like, an historian, like -- unfortunately, Mike Moran
is (inaudible).
MS. STAFFORD:

Understood.

So we'll make

sure that the liaison with whom we work has a
historian available to the jurors for any questions
and to provide feedback.
MR. WEINMAN:
another way.

And we had -- talk about that

There's nothing that says any other

members of the CCAC cannot consult with the members of
the jury.

And certainly -- the jurors are certainly

welcome to seek the guidance and the consultation of
the other members of the CCAC, including the member
especially qualified by his education and experience

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in American history.
MS. SOLLMAN:
MS. LANNIN:

Yes.
The other thing is the three

members of the Committee on Fine Arts, I'm not sure
who they are or what their background is.
MS. SOLLMAN:
MS. LANNIN:
MS. SOLLMAN:

Exactly.

I --

So --- understand that.

Yeah, I

understand that clearly, but, you know, I was
disappointed that we didn't see (inaudible) on here,
because I think he's a valuable historian to us now.
MS. LANNIN:

Well, we can certainly ask for

consultation.
MR. WEINMAN:

And the other thing I might

mention is although (inaudible) entirely -- there
isn't (ph) legislation -- it's possible that there
could be other similar juries -FEMALE SPEAKER:
MR. WEINMAN:

Yeah, exactly.

-- for the (inaudible).

FEMALE SPEAKER:

Exactly.

But when we do --

if we do have -MR. WEINMAN:

Uh-huh.

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FEMALE SPEAKER:

-- similar juries, then,

you know, maybe our committee members would think to
those issues that would be important.
MS. LANNIN:

Any other discussion?

Okay.

All -- I'd like to call the question -- all those in
favor, say "aye."
ALL:

Aye.

MS. LANNIN:

Opposed?

MALE SPEAKER:
MS. LANNIN:

Aye.
(Inaudible).

Okay.

Then the

motion carries.
FEMALE SPEAKER:
MS. LANNIN:

Thank you.

portion of the meeting.
tomorrow.

Congratulations.
This concludes this

We will resume again

We have -- we're in recess.

We have

another administrative meeting, which begins slightly
earlier, at -- can you refresh me on that (inaudible)?
MALE SPEAKER:

8:15.

FEMALE SPEAKER:

8:15.

FEMALE SPEAKER:

And then a very special end

of day around noon tomorrow (inaudible).

So recess.

(Whereupon, at 4:09 p.m., the meeting was

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adjourned.)

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CERTIFICATE OF NOTARY PUBLIC
I, ERICK MCNAIR, the officer before whom the
foregoing proceeding was taken, do hereby certify that
the proceedings were recorded by me and thereafter
reduced to typewriting under my direction; that said
proceedings are a true and accurate record to the best
of my knowledge, skills, and ability; that I am
neither counsel for, related to, nor employed by any
of the parties to the action in which this was taken;
and, further, that I am not a relative or employee of
any counsel or attorney employed by the parties
hereto, nor financially or otherwise interested in the
outcome of this action.

ERICK MCNAIR
Notary Public in and for the
District of Columbia
My commission expires:
Notary Registration No.:

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CERTIFICATE OF TRANSCRIBER

I, MARY E. YOUNG, do hereby certify that this
transcript was prepared from audio to the best of my
ability.

I am neither counsel for, related to, nor
employed by any of the parties to this action, nor
financially or otherwise interested in the outcome of
this action.

October 14, 2015

MARY E. YOUNG
Transcriptionist

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CERTIFICATE OF TRANSCRIPTION

I, WENDY C. CUTTING, 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.

______________
October 14, 2015

________________________
WENDY C. CUTTING
Transcriptionist

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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.

_________________

________________________

October 13, 2015

Sarah Veach
Transcriptionist

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CERTIFICATE OF TRANSCRIPTION

I, KAREN EHATT, 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.

_________________

________________________

October 13, 2015

KAREN EHATT
Transcriptionist

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1

DEPARTMENT OF THE TREASURY
UNITED STATES MINT

CITIZENS COINAGE ADVISORY COMMITTEE MEETING
On October 8, 3015
At 9:00 a.m.
801 9th Street NW
Washington, DC 20220

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

Good morning.

here, Michael, Gary, Donald?

Okay.

Everybody
I would like

to call the Citizens Advisory Coinage Committee
back to order.

Is my mic on?

UNIDENTIFIED:

Yeah.

Citizens Coinage

Advisory.
MS. LANNIN:
Good morning.

Okay, we’ll start again.

Okay, there we go.

Good morning.

This meeting of the Citizens Coinage Advisory
Committee is called into order.

Today the

Committee will review and discuss the candidate
designs for the 2017 American (inaudible) program
and the 2017 Lions Club Century of Service
Commemorative Coin Collection.
of the press that are here?
on the phone?

Are there members

Good morning.

Anybody

Do I hear anyone on the phone?

And

we have two of our colleagues today that are on the
phone with us, we have Robert Hoge, still in Spain,
and Tom Uram back in Pennsylvania.
MR. WEINMAN:
UNIDENTIFIED:

Tom, are you on the phone?
He was.

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MR. WEINMAN:

Tom?

And Robert are you on

the phone?
UNIDENTIFIED:

Do we have a phone?

MR. WEINMAN:

I don’t think so.

MS. LANNIN:

He was on the phone

upstairs.
MR. HOGE:

Hello, this is Robert.

MS. LANNIN:
MR. WEINMAN:

Good morning.
Hey, Robert.

And Tom are

you on the phone?
MS. STAFFORD:

He went to Doug’s house.

MR. WEINMAN:

It appears that he’s not on

the phone.
UNIDENTIFIED:

Excuse me, it was Doug?

MS. STAFFORD:

It was Doug, he changed

the number.
call him.

Because if he was on here I didn’t
I think it continues over.

MR. WEINMAN:
MS. STAFFORD:
agenda.

(inaudible)
Yes, so the top of the

Yeah, for the public reading.
UNIDENTIFIED:

(inaudible) and they don’t

ask each other.

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MS. LANNIN:

So we’re calling Tom Uram to

-MR. URAM:

Tom present.

MS. STAFFORD:
MS. LANNIN:

Okay, we got him.
There we go.

MR. WEINMAN:
Greg Weinman.

Tom, good morning, this is

Can you send me an email right now,

we have communication that way?
MR. URAM:

Will do.

MR. WEINMAN:
MS. LANNIN:

Thank you.
Okay.

So Ms. Stafford is

there any announcement that you would like to make
at all?
MS. STAFFORD:

Only that in reviewing the

America the Beautiful Quarters Program we’re going
to start with Ozark and then start at the beginning
of your packet and work our way through.
MS. LANNIN:
anything?

Okay, anybody else have

If not (inaudible)?
MS. STAFFORD:

Sure.

The United States

Mint America the Beautiful Quarters Program is a
multi-year initiative authorized by public law 110-

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456, the Americas Beautiful National Parks Quarter
Dollar Coin Act of 2008.

The Act directs the

United States Mint to mint an issue 56 circulating
quarter dollars with reverse designs emblematic of
a national park or other national site in each
state, the District of Columbia and five US
territories.
The coins obverse features the familiar
restored 1932 portrait of George Washington by John
Flannigan, including subtle details in the beauty
of the original model.

Inscriptions for the

obverse are “United States of America” “liberty”
“in God we trust” and “quarter dollar”.

The

reverse inscriptions are the name of the site and
the host jurisdiction, “2017” and “e pluribus
unum”.
So starting with Ozark National Scenic
River ways.
obverse one.

This is in Missouri.

We’ll start with

This design depicts a canonist

traveling down a river with cliffs towering above
the water on side.

The park attracts visitors with

its variety of recreational opportunities,

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including canoeing, swimming and fishing.

Obverse

two features a spiny softshell turtle peering above
the water looking at a kayaker passing by.

Obverse

three depicts the overflow falls of Alley Spring
near the Alley Mill.

This spring is located at the

foot of a picturesque limestone block.

Obverse

four and five depict Alley Mill, a steel roller
mill built in 1894.

This merchant mill was used to

convert wheat into flour.

Much of the original

milling equipment is still in place and visitors to
the park can tour the mill.

This is obverse four,

which is the first preference of the site and
obverse five.

Obverse six depicts a man canoeing

down the river and coming upon a group of wild
horses drinking by the river’s edge.

Obverse seven

features a white tailed deer and fawn near the
river’s edge with Alley Mill in the background.
Obverse 8 and 8(a) depict Alley Mill.

This is

obverse and obverse 8(a), which is the second
preference of the site.
We should have Dena Matteson, Acting
Chief of Interpretation for the site with us on the

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phone.

Would you like to say a few words, Dena,

are you there?
MS. MATTESON:
you.

Yes, I’m here and thank

Yes, I appreciate this opportunity and

appreciate all the designs that have been submitted
to us.
well.

You know, we’re editing our suggestions as
And I just wanted to reiterate that our

desire is for us to have a coin that depicts both
natural and cultural.

And we feel that Alley Mill

being our most iconic cultural site within the park
does a good job of representing for us with its
location right on the edge of Valley Springs.
MS. STAFFORD:

Thank you very much.

So

would you like to vote upon the Ozark designs with
regard to that?
MS. LANNIN:

I would like -- are you

prepared to begin?
MR. JANSEN:

No.

MS. LANNIN:

Erik, do you have other

questions, anything from this table for us first
before we vote?

Do we have any technical questions

for the personnel?

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MS. WASTSWEET:

Sorry.

Could you tell me

the second preference under 8(a).
MS. STAFFORD:

8(a).

MS. WASTSWEET:

And when you say second,

you mean the before it was that first one?
MS. STAFFORD:

They made two preferences

and the order of their preferences are obverse four
and after that 8(a).
MS. WASTSWEET:
MR. JANSEN:
representative.

Thank you.

I have a question for the

I’ve never been to the river ways.

But if you were to compare it as a site of
recreation versus a site of historical
significance, how would you weigh those two
dimensions here?
MS. MATTESON:

Well, you know, our

mission is twofold to preserve both the
recreational opportunities and the cultural aspect
of the area.

Our primary focus for our visitors

probably is recreation for most of the year.
MR. JANSEN:

Thank you.

And I assume

that would be canoeing, fishing.

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MS. MATTESON:

Yeah, and horseback riding

and hiking.
MR. JANSEN:

Are there still wild horses

there?
MS. MATTESON:

There are.

MR. JANSEN:

Wow.

MS. LANNIN:

Wow.

MR. JANSEN:

That is amazing, thank you.

MS. LANNIN:

Yeah, I believe that Mike

Amazing, huh?

Moran also has a question.
MR. MORAN:
representative.

I have one question for the

Could you explain the significance

of the spiny turtle in that design please?
MS. MATTESON:

Actually, I’m not sure

where that turtle came from.

I think that was just

an artist’s idea for representing the river.

I

don’t believe we submitted that as one of the
symbols that would represent us necessarily.
MR. MORAN:

It’s not anything unique to

the park at all?
MS. MATTESON:
MR. MORAN:

No.

Okay, thank you.

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MR. SCARINCI:

Can I ask a question?

I

know you said this probably through something else.
Alley Mill, that seems to be essential to you.
Would that be -- would you like be unhappy if that
was not on this coin?
MS. MATTESON:

I think that there would

be some unhappiness with that, yes.

Because Alley

Mill has been such a key feature of the park and
one of the locations in the park that people
recognize as associated with us.

It’s our most

heavily visited site in the park.
MR. SCARINCI:

I was afraid of that.

Okay, great.
MS. LANNIN:

Okay, Erik.

MR. JANSEN:

Thank you, Madam Chair.

I

think there’s probably a preference in this
committee to avoid architecture on coins per se.
And we appreciate your comments as to the
significance of the mill.

And my guess that’s

going to be a bit of discussion in today’s reviews
just as kind of a heads up.

As I look at these

designs I kind of drew a line, one side or other of

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that thought.
doubt about it.

It is a gorgeous mill, there is no
And I actually appreciated the

dynamic of the water next to the mill and that was
one of the things I highlighted on the design.

I

think in this committee we try to emphasize the
importance of symbolic representation as well as
literal.

In the past we’ve tried to move away from

pictures in metal.

The coin is not to be a

photograph necessarily, although sometimes it’s
tempting to consider it that way.

Because when you

sculpt a photograph with grays and blacks and
whites it’s difficult and different to translate in
to relief.

So I think you’re going to hear some

comments along those lines today I’m guessing.
But the point I want to make is when I
look at these coins I try to find life, I try to
find energy and I try to find action and I try to
pay attention where the artist is steering my eye.
Because in that active and subtle active assertion
the artist sets his agenda or her story or plot.
And so when I review these designs I look for life
and action, hence my comment that I appreciate the

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water going into the mill.

So when I look for life

and action I see with the mill in particular I see
designs four and five as being preferred.

Having

said that, I think there’s a danger in design four
that creek could end up looking like a roadway to
be quite frank.

Because very often people

affiliate buildings with the roads that service
them.

Neither four or five would be my choice,

however.

I would honestly prefer designs one and

two on this page and it’s because of the energy and
the spirit in design more than anything.

And three

it is a little more than generic in my mind and
could be confused easily with something Candy Lands
[ph], the Grand Canyon, the Sierras, about anywhere
where you have fast moving water coming out of a
geologically active area.
My favorite is probably either design one
or design two.
two.

I love the playfulness of design

I don’t know where the artist is focused on

the turtle.

I do love the way the native space

around the turtle defines his being under water
versus the waterline.

And, of course, I think that

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waterline is a scoping challenge here.

I like the

energy, I like the playfulness of that.

Design

number one I like the way the artist has used the
technique of very tight perspective along the -- is
that the gunnel of the canoe, what is the side of
that canoe?

Along the side of the canoe.

I think

the key to the scope here is to get that wave just
right, because that’s where the energy of this
design, you can just feel that paddle about ready
to go forward in the water and the kayaker pull
himself forward or herself forward around and
ahead.

So those would be my preferences and those

particular setting and the reasons for them.

Thank

you.
MS. LANNIN:
MS. SOLLMAN:

Thank you, Eric.

Jeanne.

Thank you, Madam Chair.

I’m looking at all of these designs and really I
think the artists did a very good job.

Especially

rendering the architecture, especially in 8 and
8(a).

I think those buildings are quite wonderful.

However, when this design is shrunk down to the
size of a quarter I think we’re going to lose the

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integrity that it has.

If we were doing a metal

and then I think all of this information would be
preserved.

When I look at number five we don’t

have as much information in terms of the sighting.
I think that it’s compromised in number four by the
river, which Erik saw.

I really believe it could

be interpreted as a road.

So we have to eliminated

all of those.
And going to the recreational aspect of
this park, the canoes are great.

I love the fact

they’re introducing the wild horses in number six.
However, when I look at number two, number two is
so simple and beautiful and it is a recreational
aspect with that, I believe it’s a kayak in there.
The turtle soft shell is definitely native of the
area.

The artist did an incredible job, and I

compliment that person, on actually making his feel
believably moving that turtle through the water.
So when I’m looking at this very simple design it
says water, it says recreation in the kayaker, I’m
thinking that as this piece and design is reduced
to the size of a quarter we’re going to have a

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beautiful quarter.
river ways.

A quarter that represents the

I appreciate the rally behind the

Alley Mill, but I can’t.
MS. LANNIN:

Thank you, Madam Chair.

MR. SCARINCI:

Thank you, Jeanne.
Okay.

Donald.

I’m kind of glad

I’m going towards the (inaudible), you know,
because that can save us a little time maybe.
thinking maybe (inaudible).

I’m

Okay, I think, you

know, I think it’s, you know, it’s unfortunate that
it’s going to make them unhappy if we don’t give
them the building, okay, the Alley Mill building.
But I think we have to make them unhappy.

And the

reason I think we have to make them unhappy is
because of the other four designs that we’re
confronted with.

We only have two opportunities in

the group of five coins for 2017 to come up with
really, you know, eye popping, you know, pretty
coins.

And one of those opportunities I believe is

with this coin, you know, which is, you know, I
completely agree with Jeanne, you know, and I
recommend, you know, (inaudible) as well.

You

know, and I’ll make more general comments, but you

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know, I mean number two is, you know, it’s just a,
you know, really special coin and we haven’t done
this before.

So it’s kind of unique and amazing in

three inches, you know, it’s going to be a coin of
the (inaudible), so for 2017.

So, yeah, they’re

going to be nice.
But, you know, here’s our problem.

Other

than this one and we have another opportunity for
something pretty, you know, with the effigy
reference, you know, the first six coins that we’re
presented with the texture have real potential.
So, you know, I’m assuming we’ll all be talking
about the ones up here.
go with one of those.

So we’re probably going to
And that has real potential

to be a pretty coin.

This one has real potential

to be a pretty coin.

The other coins for 2017

quite frankly are all monuments and buildings.

I

mean when I look at what else we’re looking at, I
mean, you know, we’ve got work to do.

We’ve got

Fredrick Douglas, you know, we’re going to look at
Ellis Island, you know, then we’re going to, you
know, the same old same old, you know.

There’s

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nothing else in the grouping of five that’s going
to really stand out and tell somebody buy me.

So

unless you’re already in the series there’s
nothing, you know, if you’ve been collecting the
National Park Series and you need to buy 2017,
unless we come up with two or at least one of the
coins that are pretty, we’re doing nothing to
entice somebody who’s like looking at these coins
maybe for the first time in 2017 to say, hey, you
know, I want to buy that.

You know, and when the

new market spends a fortune on marketing dollars,
you know, to get people’s interest for the first
time for the series, you know, you want them to -when you get someone’s attention, you know, because
you’ve spent the money to get their attention, you
know, once you’ve got their attention you want them
to see something good, right.

And you want them to

be inspired to click, buy it now.
ultimately the goal.

That’s

Okay.

So, and these coins the first time, let’s
just be, you know, we now know, we’ve now gotten
track record with these coins, they’re first seen

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as a group.

You know, when they’re offered for the

first time to the public they’re seen as a group of
five.

I think the first time they’re offered is as

a set of five.

So you see them as a set of five.

So odds are, you know, the first time buyer of the
coins in the series is going to see them as a group
of five and look at them and say, hum, you know,
yeah, I think, you know, yeah, I’d like to buy
that, you know, or not, you know.

And then, of

course, all the people like me and Gary, you know,
we’re going to buy it anyway.

So it doesn’t matter

what they look like, I’ll buy the stupid Alley Mill
even in 8(a), you know, even if we pick 8(a).
Okay, so anyway, all that being said, you know, I
think, you know, I’m setting up, you know, our
person for the letdown that they’re probably not
going to get the building on this coin, all right.
So they could, you know, make sure they have their
coffee and another donut, or whatever they need in
the next couple of -- in the next half hour before
we vote.

That all being said, and all that

preparatory work aside, first all, now let me just

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say this.

You know, this group of designs, you

know, and (inaudible) in this quarters.

But let’s

talk about these right now since that’s what we’re
dealing with.

You know, I think, you know, you

really, you know, once again, the artists you
really, you know, on a roll, the artists are on a
roll.

You know, Erik is right about, you know,

one, you know, you just did it.

This is beautiful,

you know, it’s just a beautiful design.

You know,

two is just that’s what I want to see, you know, I
want to see two, you know.
haven’t done that.

And, you know, we

I mean a lot of other countries

and that’s been done obviously.
it.

We haven’t done

It’s going to be an oh, wow, thing, it’s going

to be cool, it’s going to be every kid is going to
say cool.

You know, I’m going to say cool.

the one I’m going to vote for.

That’s

And three even

though, you know, I really intend to, you know,
there are rules, I know I have to like give
encouragement, you know.

And I want to give

encouragement to move along.
You know, I also, you know, as it goes,

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you know, if I had to pick in an Alley Mill, you
know, if I was forced, you know, because if I was
forced to pick an Alley Mill it would because of
our other coins in the group that, you know, we
could -- that we could make nice, it would probably
be number four.

You know, because you’re showing -

- I like the way the artist, I like the
perspective.

I like the way the focus is on the

movement of the water in that coin, I think it
really works.

I like the use of the upper half of

the coin, you know, for the, you know, for the
building.

While the lower half emphasizes, you

know, what the mill is, which is really a good
place to get the movement of water.

I also really

like the perspective on six with the canoe and the
paddling in back of.

You know, so as a group, you

know, as I group, I mean I think there’s four
winners in here.

And but I think the big winner is

number two and I’m going to support number two for
all of those reason that I just elaborately said.
And I hope I didn’t set a pattern anybody else
having to talk as long as I just did.

So --

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MS. LANNIN:
MR. MARKS:

Thank you.

Gary.

Erik, I’m promising not to

talk as long as you did.

Okay, you know, I’ll

address my remarks directed to the folks from Ozark
Airways.

I want to talk about why is it we have

designs on coins?

Well, the primary reason is to

indicate the nation of origin on the monetary value
of it so it can be an item of commerce.

But the

other matter there’s an opportunity for nations to
convey messages.

And in this instance we have a

program where we’re celebrating beautiful places in
America, America the Beautiful Quarter Series.

So

when we think about the purpose of this program,
purpose of the design on a coin the design is
something that beyond the statutory necessities of
the coin, the design is something that when it
first hits a viewer’s eye you want it to pop and
have a message that speaks something to the person.
It’s a non-verbal message.

Andin this case we want

to convey beautiful things that make an impression.
We want that first impression to be meaningful, to
have impact, to be memorable.

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And I think you have an opportunity here
for of the 56 quarter, I think, that will be
produced in this series you have an opportunity
here with one of these designs to be one of the
best, if not the best that this series will
produce.

I’ve been through this whole series, I

know what the other designs have been in the past.
Many of them good, some of them not so good.
number two, I’ll bring you to number two.

This

That’s

the one that when you see it you have a very
pleasant reaction.

And that pleasant reaction will

reflect on those river ways.
Buildings, now let’s talk about the
building and let’s talk about the size of the
designs that we look at.
designs.

We like at eight-inch

And I’ve talked about this many times.

I

think we get seduced by the size of the design and
we marry ourselves to what we see on an eight-inch
design.

Now, number four, if you look at number

four, I hope you have the same tear sheets that we
have on the black background.

When you look at the

lower right-hand corner of the page we provide what

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the image will really look like.

And in this case

the mill diminishes to something that for that
moment of ah-ha where the citizen they think -- I’m
not talking numismatics, I’m talking about
commerce.

Someone slides this quarter across the

counter to a customer, the moment of ah-ha is lost
because there’s nothing to ah-ha about, because
there’s a lot of busyness going on and a lot of
small things.

Now, if you want something to go ah-

ha and something that would be memorable and
perhaps even -- there’s a program that’s run by an
organization worldwide for coin of the year.

If

you want something that will probably get an
nomination for coin of the year, which there hasn’t
been anything in this series that would even come
close to that, you’ve got that opportunity here.
One from notoriety that would bring the Ozark river
ways and that would be number two.
spectacular design.

This is

The turtle is large enough

that when you encounter it in commerce you’re going
to have that ah-ha moment.
What’s that all about?

Wow, look at that.

And then at the top it says

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“Ozark River ways”.

What a wonderful promotion for

the river ways.
So I would encourage you to rethink your
direction with what you want to do with this
quarter.

You have a wonderful opportunity here and

I’d hate to you see you go in a direction of a
design that is so busy and muddled and so small
that it really doesn’t have the impact that I think
you desire.

Especially when you have something

like number two just waiting to happen.
MS. STAFFORD:
MR. MARKS:

So then --

I’m done.

MS. STAFFORD:
to interrupt you, Gary.

Pardon?

I’m sorry, I didn’t mean
I just know that our

liaison does have to pop away to a meeting.
Because you were addressing directly I wanted to
reach out and ask if she wanted to make any
comments to the committee prior to having to peel
away.

And let her know that we absolutely will

make sure the transcript of the remaining comments
get to her.

Dena, are you still with us?

MS. MATTESON:

Yeah, I sure am.

And I

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actually have a little while.
MS. STAFFORD:

Oh, good.

MS. MATTESON:

I’m (inaudible) and I’m

listening the comments and I’m being polite, that’s
for sure.
MS. STAFFORD:
wonderful.

All right, great,

All right, so if you are able to stay

with us a little bit more then we’re glad to hear
that and we will keep going.
MR. MARKS:

Well, actually, you know

what, I want to say one more thing.
MS. LANNIN:

You’re about to (inaudible),

MR. MARKS:

I get as much time as I want.

okay.

(Laughter)
MR. MARKS:
I’ll be brief.
of the coin.

This is my last meeting.

I addressed the circulating aspects
I want to address briefly the

numismatic aspects.

If you’re a coin collector

when you look at the number two design in proof, a
proof quality coin you have basically let’s call it
in colors.

They’re not really colors, but you have

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frosts and you have polish.
mirrored finish.

A polish is like a

And the raised elements itself

will be frost and the recessed flat images or
spaces will be polished.
So in this case we’ll have the turtle
raised, so that’ll be a nice white frosted finish
and the water around it will be this wonderful
mirrored surface.

Now let’s think about that.

are conveying water.

We

I mean this is such an

awesome opportunity you have here, please don’t let
it get away.

The canoer of a boat he’ll be frosted

and the sky behind the canoer you’re going to have
that polished again.

Spectacular.

This will be

the standout in the numismatic collection for this
year 2017, you know, I’ll venture to say probably
the entire series.

So both the circulating side

and the numismatic side you have a homerun here, I
really encourage you to consider what your
opportunity is here.

And that’s all I have Madam

Chair, thank you.
MS. LANNIN:
MR. MARKS:

Thank you so much Gary.
And I was still shorter than

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Donald.
(Laughter)
MS. LANNIN:
MR. MORAN:
even briefer.

Michael.
I’m going to be pretty much

I struggle with these quarters from

the day I walked onto this committee.

And what

I’ve learned is almost nothing in any detail works.
You generally have to have one thing on your design
and keep it as simple as possible.
In that regard all of the mill images,
even though they’re well done in the large
sketches, basically disintegrate into a faucet mess
on a proof coin and even worse on a general coin
for circulation.

And let’s face it the park wants

these coins out in circulation and in everybody’s
hands.

So it’s not just the numismatists that know

about the barter.

And just you won’t be able to

decipher the design elements of the mill on a
quarter, no matter what on the general strike.

So

I eliminate all of those at once.
Of the others clearly the turtle was the
best.

I give the kayaker, I wish it were in there,

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it’s just one element of the design that makes it a
little more complex.

It has a role to play on the

quarter, but it’s just a little bit of complexity
that we don’t necessarily need.
vote’s going to be.

But it’s where my

And with that I’m done.

MS. LANNIN:

Thank you.

MS. WASTSWEET:

Heidi.

Thank you.

As a west

coast resident I’m coming to this with fresh eyes,
because I’m not familiar with this park.

So I’m

coming at this as I think a lot of people when they
first get this quarter in their hand that they’re
(inaudible) for the first about this wonderful
resource.

And I can imagine, as I’ve done my

research and I see photographs of the mill in the
photographs is spectacular.

It’s a bright red

historic building against a lush green background.
That wonderful image is not conveyed in a coin.
Especially on the size and without the color.

If I

were to get this coin in my hand I would just think
it’s a house in the woods.
my interest.

And that doesn’t strike

If I get this quarter in my hand and

I see this turtle and the person interacting with

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that turtle that makes me want to go to see this
park.

And that’s what we are really aiming for is

to educate people about these resources in our
country and get them to go visit and support those
places.

And a design like number two does that.

It’s going to attract children and adults alike and
make them want to go visit this park.
wonderful design.

It’s a

It’s bold enough, it’s detailed

enough to work at both the (inaudible) size and the
larger size.

I’m in strong support of number two.

Design six I like the idea of the wild
horses, but this perspective is not appropriate for
the size of the quarter.
up well in the hand.

The horses will not show

I think that is all that I

have to say.
MS. LANNIN:

Thank you Heidi.

Robert,

would you like to join us?
UNIDENTIFIED:
MS. LANNIN:

I guess not.
Robert, are you here?

about Tom?
MR. URAM:
Chairman.

Okay, thank you Madam

In looking at design too I felt the

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buildings on any coins does not say what the target
says.

However, I will vote with the turtle as

well.

And I would suggest to the (inaudible) and I

know (inaudible) is to look around at the -there’s a numerous series of turtles that are out
there right now and in water.
very well protected.

And the water is

And the difference between

the top of the water and underneath the water like
in here it’s very well done.

We haven’t

necessarily gotten water (inaudible) just yet, but
I think we’re close.

And here would be a perfect

coin to make that contrast and to really add some
(inaudible) I think in the crystallization of the
water be appropriate.

So with that I think that

the park would be really proud of it.

Thank you

Madam Chairman.
MS. LANNIN:
you available?

Thank you Tom.

Robert are

I don’t hear from Robert.

right, I’ll just add my comments.

All

All the turtle

lovers out there I really, really like design
number two.

And I actually like the kayak on the

top, because I think it shows hopefully man’s

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latten impression on our national parks so that
they’ll be there forever and ever for the rest of
us to enjoy them.

And there’s nothing impressive

about the turtle, it’s just like, oh, another
species, another nice day somebody’s enjoying the
river where I live.
presumably.

He’s going to live a long time

The kayaker is enjoying himself.

I

just like, I like that they’re both sharing the
same water.

And so my vote will be number two.

And the liaison would like to make some final
comments I have just been informed.

So please go

right ahead.
MS. STAFFORD:

Well, if you could check

to see if she’s left.
MS. LANNIN:
said she was.

Oh, I’m sorry, I thought she

Do you have any further comments

after hearing what our initial decision is?
MS. MATTESON:

No, I don’t.

I do

appreciate all the comments and it has given me a
different perspective to convey for our management
team and, you know, possibly share some of those
points that you all have made about the ability for

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the design to be interpreted and also to generate
interest.

And so I just appreciate being able to

hear that part of the coin making process.
MS. LANNIN:

Well, I think from what my

colleagues have said you have the opportunity to
have just an incredible point in this series.
other national parks will be jealous.

And

So with that

-MR. WEINMAN:

Robert is there.

He just

need to go (inaudible).
MS. LANNIN:
get.

We have one more opinion to

Robert.
MR. WEINMAN:

We’re working on it.

Try

again Robert.
UNIDENTIFIED:

I know how to do it.

MS. STAFFORD:

Oh, you do?

UNIDENTIFIED:

I know how to do it.

MS. STAFFORD:

Yeah, just one second.

MR. WEINMAN:

One second, Robert, we’re

working on that and apologize.
MS. LANNIN:
MR. WEINMAN:

It just isn’t easy is it?
Technician stuff

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(inaudible).
MS. LANNIN:
UNIDENTIFIED:

Okay.
This is still (inaudible).

I’m sorry.
MR. WEINMAN:

We apologize Robert, we are

-MS. STAFFORD:
MR. WEINMAN:

(inaudible)
Yeah, we’re having

technical issues and we don’t have a visual.
take care of it.

We’ll

We apologize we may not be able

to get your comments at this time.

If there’s

something you want to say you can send me an email
and I will communicate it.
MS. LANNIN:
our discussion?

Okay, are we finished with

I think we’ve had a great group of

decides in this group.

So if we could turn in our

votes.
MS. STAFFORD:

Madam Chair, may I start

reading out Effigy Mounds?
MR. WEINMAN:
votes.

Everybody please cast your

And to Robert and to Tom please email your

ballot at this time.

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MS. LANNIN:

Yeah, that next.

MS. STAFFORD:

Moving onto Effigy Mounds

National Monument in Iowa.

Design one depicts an

aerial view of an Effigy Mound in the shape of a
bird.

This particular mound is part of the

Marching Bear Group, a collection of mounds located
in the south unit of the monument.

Designs two and

three depict aerial views of Great Bear Mound, the
monument’s largest mound.
three.

This is design two and

Designs 4, 4(a) and 4(b) depict variations

on an aerial view of three Effigy Mounds that are
parts of the 15 mounds that comprise the Marching
Bear Group.

This is design 4, 4(a) and 4(b), which

is the preference of the site.
Design six features a bird effigy and a
bear effigy against a depiction of the Mississippi
River as seen from Fire Point Outlook.

The

inscriptions read “Air, water, earth and people”.
Design seven and eight depict hands holding earth
with a bird effigy above.

Design eight also

features the Mississippi River in the background
and mounds from the Marching Bear Group.

This is

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design seven and eight.

Designs 8(a), 8(b) and

8(c) depict the Mississippi River in the background
the bird effigy at the top of the design.

The

lower halves of the design feature variations of
the bear effigies.

Design 8(a) also features the

inscription “air, water and land”.
8(b) and 8(c).

This is 8(a),

Design ten depicts a bird effigy

with a lush forest in the background.
And we should have with us Jim Nepstad,
Superintendent of the site on the phone with us.
Jim, are you there?

And if so, would you like to

say a few words to the committee?
MR. NEPSTAD:

Yes, we’re here.

Just

wanted to let folks know that you are addition
passing the designs around to staff, we also had a
chance to show some of the preliminary designs at
least.

Travel members who are intending the travel

consultation that was taking place in the park in
early August.

And so the parks program

incorporates the (inaudible).
MS. LANNIN:

Do any of our members have

any technical questions that they would like to ask

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before?

Gary.
MR. MARKS:

Madam Chair, it’s not really

a technical question, but as we begin our review I
just need to put on the spot, I request that our
issue go first.

I would really love to know what

Heidi has to think about all this.
MS. LANNIN:

I was about to ask Heidi.

MR. WEINMAN:

I’ve got one question

Madam.
MR. MARKS:

I don’t have a technical

question, but I just really want to hear from her
first.
MS. LANNIN:

Absolutely.

MS. LANNIN:

Michael did have one.

MR. MORAN:

I’ve got a quick one.

Do, on

the tenth one where they have the dark line, I
assume that would be this.

Can you really do that

on a quarter?
MR. EVERHART:

I think it’s, yeah, I

think it’s wide enough that we can polish that line
that delineates the bird.

I don’t think that would

be a problem at all.

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MR. MORAN:

Okay.

MS. LANNIN:

Heidi, would you like to go

first?
MS. WASTSWEET:

Thank you.

As a designer

I can appreciate how very difficult this particular
program was for the designers.

It’s a beautiful

site and an amazing resource that this country has
in this site.

But it’s so difficult to portray on

the medium of the line.

And we talked about to use

for this some kind of vote before the planners did
their designs.

And we decided that it was

appropriate if you would try to portray the mounds.
As part of the process first you talk about an idea
and then you put it down on paper and then you see
what it looks like.

Sometimes it works and

sometimes it doesn’t.
And again, I think that none of these
designs truly meet the mark.

As drawings, of

course they tend to look different than the coins
and actual size.

I think it’s too difficult to

really get the scope of what we’re looking at.
attempts to see the trees from an aerial view I

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don’t think we’re going to read very well the
images.

I think we’re going to look just soft and

undetailed.
So as a reaction to seeing these and I
have some other ideas of what we can do to make
them a little bit better.

And I’d like to propose

some of those ideas that came out of the discussion
that we had last night.

And Mike and I suggest

that we give this another go around.
not that this is a bad thing.

Because and

This is just a

natural part of the process that sometimes it
doesn’t always get it the first time around.

Let’s

have a discussion and I think go one more time
around and see if we can do better.
In researching I went to the website of
the park and I saw a wonderful old map.

And I’m

going to hold this up for the committee to see a
little bit.

It’s a blue map with the sites on it.

You can see where the mountain is, you can see
where the mounds are.

And there’s a little compass

that was here to give the directions, so you get an
orientation of where these are situated.

And I

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think this or a variation of this could work quite
well.

The addition of the compass throws as a

sharp detail to the softer mounds, so you have a
little contrast there.

And it gives the

orientation to the back overlooking at the site,
physical site and carries the orientation of that
site and then to see more of the mounds.

I know we

can’t fit them all in there, but I think we should
have more of them in there to see how they relate
to each other, the particular position that they
are set, how they relate to each other.

But I

think there were very good with the March of the
Bears.

And then to see these dotted lines

represent the mountains around them.
And don’t be afraid to not fill and try
to crowd every bit of the space on the coin.
can have a little (inaudible).

We

Like we talked

about yesterday, it’s okay to have some open space
around these because Effigy Mounds is a large
place.

And it’s okay to have some space, to

breathing space around the design on the coin.
Because the mounds themselves are so simple when

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you have this quarter right here in your hand those
images are going to pop out, going to be very
distinct.
In the designs we’re looking at on the
page there’s some texture added there, which is I’m
going to presume is when you represent the grass.
But if you are looking down from an aerial view at
these mounds they’re so large we don’t really see
the grass texture.

So it actually confuses the

size of what we’re looking at.

You can’t see the

blades of grass as a texture.

And if it is simply

even texture, you make that more fuzzier than they
already are I’m concerned about the use of those
textures.

So having said that I would like to make

a motion to ask the artist to please try one more
time with those comments in mind to try to put in a
compass rose, creativity, see a little more of the
mounds.

I don’t want to direct exactly what they

do, but my motion is I would like the artist to
take another crack at it
MR. MARKS:
MS. LANNIN:

I second that.
Gary’s a second.

Okay.

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there any discussion about it?

All in favor of

Heidi’s motion of the sketches fine-tuned raise
your hand.

Oh, Erik, sorry.
MR. URAM:

Tom aye.

MS. WASTSWEET:
MR. URAM:

Oh, he’s voting.

MS. LANNIN:
Okay.

This came in as a vote.

Tom aye.

MS. STAFFORD:

favor aye.

This is a question.

Tom is an aye, okay.

All in

So Tom three, the motion passes.

So the sketches will go back to their department.
MS. STAFFORD:

We received your motion

that we would like the sketches to go back to your
art department.

And we will absolutely take that

back for discussion.
MR. NEPSTAD:

Okay, thank you.

MR. JANSEN:

Madam Chair.

MS. LANNIN:

Yeah, Erik.

MR. JANSEN:

I think I feel a bit of an

obligation in the wake of that motion to at least
invite any comments, thoughts, help, inspiration
from the committee members.

Because I think to

turn this back saying let’s do better, I think we

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need to at least spend a moment or two exploring
what better might be.
prescriptive.

I’m not trying to be

Quite the opposite, I’m trying to

open the vision here, if only to kind of remassage
the artistic process.
the representative.
affinities here?

And to that end let me ask
Jim, are there any cultural

Could we maybe back up in our

artistic visioning here back up to maybe groups
that might have an affinity here, their particular
imagines, their particular characteristics?

Maybe

kind of vision quest this thing instead of maybe it
on so literally as kind of geography.
MR. EVERHART:

We certainly have a lot of

contacts with a number of tribes that are
culturally associated with the place.

If you

wanted to incorporate some of that I could easily
put you in contact with them.
MR. JANSEN:

I’m actually a native of

Indiana and we have some mounds as well.

And I

know if I over project here in error, please
correct me, because I don’t want to do that.

But

what I’m feeling here is maybe there’s an opening,

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an opportunity to jump off from the -- if these
mounds are at all similar to some that I have
experienced in Indiana and Illinois there’s a
sacred element here.

And when you enter that realm

lots of things become relevant and possible.
that’s a dimension that could come here.

Maybe

I

understand that there’s uncertainty about
historical record here, which makes it perhaps a
little difficult to be sure.

I’m trying to just

brainstorm here.
MS. LANNIN:

Well, I’d like to make a

comment very much along the lines that Erik was
saying.

In some ancient cultures in Europe

archaeoastronomy is very important in the place in
the temples.

So I’d like --

MR. JANSEN:

Yeah, it may very well be

when you’re at the mounds the story is not on your
foot, but overhead.
MS. LANNIN:

Exactly.

And so I would

like, it’s sort of a two-part question, what tribes
have been associated with the mounds in this area
that archeologists think actually built them.

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Especially if they have any symbols, modern day
symbols that may match up to the older symbols that
we’re seeing in these mounds.

And also, you know,

I like Heidi’s idea of the compass rose in terms of
positioning.

For all we know birds can by flying

as an earth star.

And that might mean --

MR. JANSEN:
false inspiration here?
MR. NEPSTAD:
complicated story.

Jim are we coming in under
I mean -No.

It’s kind of a

I mean there’s not an

individual tribe associated with these mounds.

If

you go far enough back in time many of the tribes
that we consult with, you know, tribes that are now
separate physical entities were actually part of a
larger people, sharing a common language even.
so, you know, I can’t just point to the whole

And

nation in Wisconsin, for instance, and say, you
know, talk to them, the Iowa tribe, I think two
different Iowa tribes are associated with it as
well.

And back when the mounds were built there

was no difference between what we think of as
separate tribes.

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And so it would be necessary to have
conversations with several tribes.

There probably

are some archaeoastronomy connections.

As a matter

of fact, you know, I strongly suspect and, you
know, this is my personal feeling, but I strongly
suspect that the Marching Bear route is actually
modeled after what we think of as the Big Dipper.
MS. LANNIN:

Ah.

MR. NEPSTAD:

The bears precisely matches

the handle of the Big Dipper.
interesting connections.

Some really

Now, whether there’s

widespread acceptance among the tribes about these
ideas, you know, they’re new ideas, (inaudible).
MR. JANSEN:

Jim, were you on the call as

we were discussing the prior coin design?
MR. NEPSTAD:
MR. JANSEN:

Yes, I was.
All right.

So when I say a

successful design here is really where the dynamics
of the small pound size a quarter meet the
inspirational openings of the site.

It’s really

not about either one, it’s the meeting of the
visual coins and the site itself.

And it’s where

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those two things meet.

And maybe there are some

ideas that might give us a little bit of zing,
energy, eye appeal that is also appropriate and
definitive.

So I’ll leave it there.

But I didn’t

want the committee to turn this back without
carrying our bit of the load here to get the job
done.
MS. LANNIN:

Jeanne, it looked like

wanted to speak.
MS. SOLLMAN:
this issue.

Yes, I do want to speak to

I’m learning more about Effigy Mounds

as the meeting goes on.

And I thank you, Mr.

Nepstad, to allow us to portray this beautiful
site.

I think when we turn this packet back to the

artist I’m going to just speak a little bit about
what I found important in what we have received and
what I think is more successful and not.
Our representatives have been thinking
that Fort Lee was their choice.

And if I had to

choose from all of these this would be my choice
also.

It’s clean.

It’s not as much of a popup

that I’d like to see in terms of being spectacular.

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But it’s a gentle representation of just a few
mounds.

And I think when Heidi was talking about

putting more on a coin, we have to be careful not
to put too much on this tiny little coin.

So maybe

choosing those three mounds was an appropriate
idea.
If we look at one, two and three there’s
I guess the river is encompassing the name of the
mound.

I’m not sure what that empty space, that

narrow space means.

But I don’t think that that’s

a very successful way to represent these mounds you
have now.

The text in here and it’s confusing and

distorting.

I think no text at all in that field

is helpful.

I think when we do the architectural

renderings of the trees they should look like
renderings of the trees.

If you go back and look

at the how architects communicate trees in designs
there’s a little bit more information in terms of
their branches and so forth, that you know that
these are trees, not another mound.

So in three

I’m not sure if I’m looking at trees or mounds, but
both are there.

And these are little things that

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you might think about while you’re redesigning or
resubmitting.
In the last group, six, seven and all the
eights and tens, I don’t think the mound bird
should be flying over the Mississippi.
that just doesn’t work out well.

Somehow

I know that the

Mississippi is important to you, but I don’t know
if that’s the way we want to depict it.

So with

those ideas and suggestions maybe keeping it
simply, again, keeping it simple.

I love the idea

that the Big Dipper is represented in the Marching
Bears.

I don’t think that that can be represented

on a small coin, but it’s a beautiful idea.

And I

thank you, Mr. Nepstad for sharing that with us.
That’s all I have.
MS. LANNIN:
comments?

Does anyone have any other

(inaudible)
MR. HOGE:

Hello, this is Robert.

MR. WEINMAN:
MR. HOGE:

(inaudible)

A couple comments.

Having

been a (inaudible) director in Iowa and having
visited (inaudible) familiar there with the museums

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and archeological people I’d say what impressed me
really is the enormous size of these mounds.

And

this is something that’s not really well conveyed
in these for coins.

And also there the site is

separated from the Missouri River by rather
depressing large power vanes and surrounding
woodlands.

So it’s a little bit confusing to have

images put into the context of what I assume must
be a representation of the river too.

I would tend

to favor number 4(b), again, because it’s
relatively open.

(inaudible) convey, but it

probably would be among the most powerful that
could be shown when we reduce to the size of a
coin.
I’m wondering if there’s any way we could
get a better sense of scape on these things.
Perhaps changing the trees a little bit would help.
But it’s difficult to get an idea of the size of
these mounds from any of these pictures.

That’s

it.
MS. LANNIN:
MR. URAM:

Thank you.
Oh, Madam Chairman.

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MS. LANNIN:
MR. URAM:

Yes, Tom.
There have been a couple

questions on how this might work on the different
striking here.

You know, the design being what it

is how can that be achieved?

(inaudible) or it’s

going to be (inaudible) more well defined.

And

maybe when it goes back to the artist maybe that
ought to be a big consideration.

Because as we

know some of the (inaudible) has just been too much
and everything just kind of gets dissolved.

So

just a comment from Don on maybe (inaudible).
MR. EVERHART:

The thing I see on these,

the way I would proceed is to show the relief of
the mounds themselves.

Actually have them built up

a bit from the background with rounded edges.

And

maybe a lighter laser frosting in the background it
to make it stand out.
recommend on this.
MR. URAM:

I mean that’s what I would

Because it would be -Well, I think to get the depth

of perception that Bob was just talking about it’s
really going to come down to how the striking
occurs.

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MR. EVERHART:

Yeah, and I think that to

go that route would also be more true to what the
designs are here.
MR. URAM:

Yeah, because I think some of

those designs are going to, you know, I don’t think
going back really much is going to happen.

And how

much different is it going to make, but really it’s
going to come down to the process.

But thank you

Madam Chair.
MR. EVERHART:

I think this is a perfect

chance to do some really nifty laser frosting.
MS. LANNIN:

Stacey, you have a comment?

MS. KELLEY:

Yes, just to add to what

Donald is saying.

We can pull up basically the

high relief on those, really pull it up on this
side of the coin while having the other side of the
coin to remain low.
mentioned a map.

Earlier Heidi you had

And as we were talking we did

have some designs that were submitted and it really
came down to coin ability.

Because as we looked at

this unless they try show, try to show this entire
map to show the location of these, the size of them

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to try to get down inside they just look like
blobs, for lack of a better term.
I’m saying?

You know what

So we were struggling with that.

But

as far as looking at 4(a) we could definitely
probably relief on that and also do some things
with the finish that could make those pop.
The one thing that I would want to just
make sure is to look at the scale of the trees,
because you all mentioned this.

Just to make sure

that from the size of these mounds is that how is
that in relation to the trees?

Just to make sure

that it’s really accurate, if you will.
MS. WASTSWEET:
more comment.

And if I can just add one

The tree on number two has some

texture detail in that tree.

You can see little

branches and the little kind of trunks.

That’s

quite what I’m talking about in terms of an
architectural rending of a tree.

And if that was

in the trees in (inaudible) I think we have the
understanding it was a tree, not a mound.

And

therefore if those are trees that gives us scale
those mounds are bigger than the trees.

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MS. KELLEY:

That makes sense.

MS. LANNIN:

Thank you.

MS. KELLEY:

I mean I think that

definitely makes sense in him doing that.

I think

we could definitely take those and move those, you
know, do something like that.
MS. SOLLMAN:

Yeah.

And, you know, maybe

those branches would be different, a different
texture or something that would highlight the fact
that it’s a tree.
MS. KELLEY:
MR. EVERHART:

Right.

MS. SOLLMAN:

You’re referring to -(inaudible) or some of the

trees had lost their leaves.
MR. EVERHART:

But you’re referring to

actual architectural drawings where they have these
symbols of trees that they used from when you look
down on them.

And that’s exactly what I was --

MS. SOLLMAN:

Yeah.

Yeah, and I think

that if you just change it would help to save the
tree without going on a whole sculpting the tree.
MR. EVERHART:

Yes.

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MS. SOLLMAN:

Just needing a --

MR. EVERHART:

More just symbolic.

MS. SOLLMAN:

As a symbolic tree.

MR. EVERHART:

Because it’s a symbolic

image to begin with.
MS. SOLLMAN:

Exactly, yeah.

And then

the frosting of the bear or on the mounds, which
would make sense because now we have a different
texture all together, tree from mound.

I think we

need to make that difference.
MS. LANNIN:

Thank you, Jeanne.

Heidi’s

been patiently waiting for her turn.
MS. WASTSWEET:

Just briefly I wanted to

point out that the design 4(b), which is
(inaudible) does not have any indication for polish
at all.

So the proof version of this coin would

have no polishes.

And then of the designs that we

are saying here, my personal preference would have
been number ten.

That’s the one that appeals to me

of what we’re seeing here.
MR. EVERHART:
comment, Heidi.

All right, just one

And I know you realize this, but

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the border would be polished on these too.
MS. WASTSWEET:
the border was raised.

Well, sorry, I thought

Is that just a (inaudible)?

Isn’t it more raised than the frost?
MR. EVERHART:
MR. MARKS:
MS. KELLEY:
MR. MARKS:
MS. KELLEY:
MR. MARKS:

They’re polished.

They’re raised and frosted.
No, not this one.
Oh, I’m sorry.
That’s polish.
So there’s been a lot of

discussion about the numismatic finishes and so
forth.

We know there’s going to be a couple, at

least several hundred thousand or several hundred
million of these made for circulation.

And I guess

I have a concern what those look like.

Because we

don’t have all of the same kind of tools to portray
a design, just the strike that we have for the
numismatic.

So are these imagines -- I mean

there’s not going to be any contrast.

They’re just

going to kind of be, for lack of a better way to
describe it, kind of these lumpy indications on the
coin.

And so I was wondering what are we putting

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out to the public?

And so if Don or someone wants

to comment on that I just don’t know what the
answer is on that.
MS. KELLEY:

That’s something that we

definitely have to look at.

Yeah, as we’re looking

at the die life and such as we’re manufacturing
these for circulation.

But we could in looking at

this we do have the flexibility to do a couple of
different levels of the frosting that would hold
up.

It’s not the preferred way, because it does

not -- we don’t get the die life out of it.

But

that doesn’t mean that it can’t be done.
MR. MARKS:

Are you talking about

circulating it, frosting with circulated coins?
MS. KELLEY:
talking, yes.

Something that we were

Which these are new, so --

MR. MARKS:

Okay.

I didn’t know you

could do frosting on a circulated coin.
MS. KELLEY:

No, no, no, no.

I’m sorry.

That’s just -UNIDENTIFIED:
MS. KELLEY:

(inaudible) you mean?
Yeah.

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MR. EVERHART:

Yeah, just one other thing

that just occurred to me.

If I was going sculpt

this I would actually put the texture in my hand so
that where you see the darkness underneath these
effigies, that would be, you know, more of a harder
hitting texture and then the differentiation
between the lighter of the part of raised mound.
So that visually when I’m working on this I would
see how it’s going to look and I wouldn’t have to
count on, you know, what’s this texture or that
one’s frosted.

I would actually hand put the

texture in myself.

So that, you know, like I said,

when I was in the sculpture phase I could fine tune
to where I felt it was appropriate and then that
would pop as much as possible.
MR. WEINMAN:

And again you’re speaking

that would be relative to the circulating version
of this.
MR. EVERHART:

Yes.

MR. WEINMAN:

Okay.

All right, thank

you.
MS. LANNIN:

Well, thank you everybody

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for your input.
MR. WEINMAN:

Just to clarify.

Do you

want to expressly vote on this?
MS. LANNIN:
back to the artists.

We have motions to send it
But I have opportunities in

my hand for the 2017 American the Beautiful
Quarters Program, those that are national scenic
river ways.

Number one received 13 votes.

turtle, number two, received 25.
number three.
number five.
seven.

Zero for eight.

the turtle rules.
this coin?

Zero votes for

Two votes for number four.
One for number six.

The

Zero for

Two for number

And 8(a) received one.

So

Does anybody have any motions on

Heidi.
MS. WASTSWEET:

I mean I don’t have a

motion, but a suggestion that we could put the
turtle on the screen processing.

I would just

suggestion that the upper part with the water and
the canoe if that part were lowered a little bit so
more of the turtle’s head was out of the water I
think it would read better on the coin.

Just a

consideration for the art department to look at

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that, not an actual motion.
MR. JANSEN:

(inaudible), but I was there

was a little more at the top above water portion
here.

So you just addressed that even better.
MS. WASTSWEET:

And that would give a

little more sky.

turtle.

MR. JANSEN:

Yeah.

MS. LANNIN:

Okay.

So we have the

Hopefully we’ll have the turtle.
MS. WASTSWEET:

Hopefully we’ll have the

turtle.
MS. LANNIN:

April.

MS. STAFFORD:

So moving on.

I want to

say thank you to our liaison from Effigy Mounds.
appreciate you being with us.

So moving onto the

I

Fredrick Douglas National Historical Site in the
District of Columbia.

Design one features

Frederick Douglas giving a speech from a podium.
Design two depicts Frederick Douglas meeting with
Abraham Lincoln.

As one of the foremost

abolitionists Mr. Douglas met President Lincoln on
three occasions in planning the role of African

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American men both free and slaves in the
prosecution of the war.

Douglas recruited African

American men for several regiments, including the
celebrated Massachusetts 54.

The President

publically acknowledge Fred as his friend on the
occasion of his second inauguration celebration.
Design three depicts Frederick Douglas
seated in front of his home in Washington, DC with
the North Star shining above.

It was the North

Star that Douglas hoped to guide him to the free
states of the north on his first attempt to escape
from slavery.

And North Star was later the name of

his anti-slavery newspaper.
Design four depicts Frederick Douglas
seated at a writing desk with his home in
Washington, DC in the background.
the preference of the site.

Design four is

Design five and six

feature two views of Cedar Hill, Frederick Douglas’
home in Washington, DC.
And I believe we have with us Dr. Dr.
Ka’mal McCarlin, museum curator of the site.
McClarin are you with us?

Dr.

And if so, would you

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like to say a few words to the committee?

Okay,

Madam Chair.
MS. LANNIN:

So do you have any technical

questions about these coins?
all right.

Anything?

Nothing,

Why don’t we begin this discussion with

the people furthest away from us.

Robert are you

there?
MR. HOGE:
MS. LANNIN:

Yes, I’m here.

MR. HOGE:

Okay.

MS. LANNIN:

Hello.

MR. HOGE:

We can hear you.
Okay.

Again, with these we

have a problem with representations of buildings,
whether we want to do that.

I guess that really is

the site, but the (inaudible) is the important
aspect in it.

It was an important home, because it

was his home.

And I think, I guess for me number

one is probably the best representation of him.
He’s clearly, you know, delivering his auditory
then, you know, gesturing.

And I think it’s a

powerfully accurate image of him.

The others are

all attractive, but it’s kind of hard to say, it

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looks like a (inaudible) coin.

I would vote for

number one.
MS. LANNIN:

Thank you.

Tom are you with

us?
MR. URAM:

Yes, thank you, Madam Chair.

I tend to lean towards number one and number two.
Three does have the house back there.

I don’t

think that the others would -- I know that it’s
representative of a building and (inaudible)
buildings.

But I think the image in number one

giving the auditory is great.

And I also like

number two, because Lincoln was always very popular
and I think having Lincoln on this coin would be
appropriate and another dimension for the Lincoln
collectors out there as well.

And I think it shows

a lot of interest in history there.

And I think

I’m for number two and then I’d vote to number one
as well.

But I’m leaning toward number two or

number one.

I appreciate the preferred number

four, but I don’t think that house is going to fit
well the way it is on there on the coin and so
forth.

So I lean towards number two first and then

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number one.

Thank you Madam Chair.

MS. LANNIN:

Thank you Tom.

MS. WASTSWEET:

Thank you.

Heidi.
I’d like to

commend the artist, his drawings are quite nice.
Design number three and four I think would be great
if we were to make a larger coin, a congressional
bill perhaps, or even a commemorative.

But as a

quarter I think these designs are too much for the
pallet.

I really like design number one, I think

this is simple, straightforward.
perspective.

I love the

We don’t often see perspective in

figurative designs.

I feel like I’m really

standing in front of him, he’s looking right at me,
he has emotion and gesture.

All the things that I

continue to emphasize here in the committee,
gesture is so important.

And this hits the nail on

the head, this has the gestures and it’s
appropriate for the size of the coin.
well on the circulating and the proof.

It will read
I just

couldn’t ask for anything more than this.
Design number two I think I would not
recommend this.

I think the gestures are stiff.

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appreciate what it’s trying to do, but I see too
much quality between the two characters, it doesn’t
emphasize Frederick Douglas as the subject of the
design.

I see two men as the subject, rather than

the core figure.

So I would not recommend that of

these designs.
As far as five and six goes, just having
the building by itself I think is too static, it
doesn’t draw any interest.
to know more about the coin.

It doesn’t make me want
Show my support to

design number one.
MS. LANNIN:

Thank you.

Michael.

MR. MORAN: I’ll be brief.
design number one.

I support

The thing I want to do here is

that he is speaking before a white audience,
something that was certainly an exception in the
times.

I think that’s powerful.

It presents

Frederick Douglas as he is, as he would want to be
known, as an equal human being.

And it’s more than

about the house, it’s about Frederick Douglas.
MS. LANNIN:

Thank you.

Erik.

MR. JANSEN:

Thank you Madam Chair.

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seems to me that talking about Fredrick Douglas
ought to be about Frederick Douglas.

It shouldn’t

be about his house or even Abraham Lincoln, it
should be about Frederick Douglas.

So I think

number one is the best portrayal of that.
focus on Mr. Douglas.

They

Those are my comments.

MS. LANNIN:
MR. SCARINCI:

Thank you.

Donald.

I don’t think it can be

about -- I think one and two are out, because this
is the national parks commemorative coin series.
It’s not the Frederick Douglas coin or the Abraham
Lincoln coin or the Civil Rights Movement coin or
anything else, or the slavery coin.

It’s a

national commemorative -- it’s a national parks
commemorative coin, that’s what the series is.

So

you’ve got to, I mean like it or not, we’re stuck
with the building, you know, in the coin.
So that’s why originally when I was
looking at these I said, you know, our two
opportunities for art are those two coins, because
the rest of these are buildings and statues.
think we’re stuck with the building.

And, you

So I

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know, I kind of ruled out one and two completely.
And if the recommendation, you know, if the
recommendation is number four I’m going to support
number four.
number three.

So actually I think more so than
And it’s obviously more interesting

than number five and six.

So once you eliminate

one and two, which I really you have to eliminate
for this particular series, I think we’re probably
left with number four as the best in the group.
(inaudible)
MS. LANNIN:

Thank you.

MS. SOLLMAN:

Jeanne.

Thank you, Madam Chair.

That was my question to the representative if we
had them here, was do one and two satisfy the fact
that this is a park?

We’re celebrating Frederick

Douglas in one and two as the person.

That we have

Frederick Douglas on the coin -- the other coins
with the buildings, you know, scenic home, this
whole thing to me is very confusing.

And so is the

building, is this a historical park?

Do we say

Frederick Douglas scenic home, is that what we’re
celebrating, the building?

You know, I think

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Donald is a little bit correct there.
MS. STAFFORD:

Jeanne, we can actually

have conversations with our liaison about that if
you’d like her to pass on -MS. SOLLMAN:
please?

Oh, thank you.

Would you

Yeah, I’m confused about it really.
MS. SULLIVAN:

Sure.

Yu know, I think as

Donald said for them a big part of the importance
is his home here, this is really celebrating his
home in DC.

Obviously Frederick Douglas is an

amazing figure.

But the park really thought that

it was important to have as well rounded
representation of both Douglas and of Cedar Hill,
his home, because that is what their park
celebrates.
MS. SOLLMAN:

Okay.

Now, my next concern

is will we represent Douglas and Cedar Hill in the
report both of those imagines become very small.
So if we’re celebrating the building and the park
is it possible (inaudible) while I’m in here to go
with six, well, either five or six, which is
rendered quite lovely, they don’t look like it’s

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the same building, but even if were made a little
larger, just coming out more to the edges so we
have a big building, something big there then I
could accept one of those two, five or six.

I’m

not sure we need to have Frederick Douglas on the
coin at this point.

Thank you.

MS. SULLIVAN:

I just, just to add, the

park did give me sort of a ranking of the designs,
and number six was their next choice, but they
didn’t officially make it a second choice.

But

it’s next on their list.
MS. SOLLMAN:

It’s a very good building.

MS. LANNIN:

Gary, do you have a comment

before I got on here?
MR. MARKS:

No?
No.

Thank you, Madam Chair.

It seems to be that we were given a packet with
designs that met the specifications for this
program, for the subject matter.

Now we’re being

told by members that maybe some of these designs
are not legitimate.

So I’d like some input from

staff or people about whether or not one and two
are legitimate designs for Frederick Douglas, what

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did we call this, Frederick Douglas National
Service.
MR. WEINMAN:

There’s nothing about the

designs that raises the rule, the legality of the
rules.

The site, as the site is being honored

obviously this program we would like (inaudible).
How you wonder, how you -- the legitimacy is more a
question for the committee than it is for counsel
for the (inaudible).

In other words I look at the

design, we look at the designs from do they meet
the statute or an authority.

A great example would

be we can’t have a head and shoulders bust on this,
because the statute specifically states that we
cannot have a two-headed coin and therefore cannot
do a head and shoulders portrait.

It doesn’t say

that we can’t depict a site using symbolism or
other devices that the artist (inaudible) feel are
important to the site.
And so in other words we move from -- the
packet you have in front of you has been reviewed
for accountability, it has been reviewed for
appropriateness, it’s been reviewed for legality.

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Whether or not it’s a legitimate depiction in the
sense that it means (inaudible) depiction is a
matter of discussion of this group.

Which is

exactly the conversation we’re having.
MR. MARKS:

Thank you, Greg.

That does

bring to mind the quarter we did for New York.
MS. SULLIVAN:

Saratoga?

MR. MARKS:

Pardon me?

MR. JANSEN:

Saratoga.

MS. SULLIVAN:
MR. MARKS:

Saratoga?

Saratoga, thank you.

For

Saratoga we didn’t show the battlefield, we showed
two hands passing a sword.

So we can argue that

that wasn’t legitimate because we weren’t showing
the field.

So I don’t see the problem here.

I

think this is a wonderful opportunity to celebrate
the man who this site was made after.

And I don’t

know how you can get for a feel from the subject
matter like celebrating the namesake.

Thank you.

MS. LANNIN:

Eric.

MR. JANSEN:

With all due respect,

Donald, I always appreciate your perspective and

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your expertise.

However in this case I think this

discussion has two causes for celebration.

The

first one being transcended of common sense or the
lawyers in the room.

And in that sense this is

about the ideas of the man and the home he grew up
in.

It was little bit like the home I grew up in,

so it should be about me.

This is about a man, an

order, a capable iconic human being who became a
timely, at the time, if not iconic image of an
emerging man who showed the world how wrong their
limited thinking was.

To turn this into a building

is an abomination.
And I think the only choice here has to
be the preference of something symbolizing what the
man stood for.

My favorite is image number one.

I

think there might be a bit of an adjustment to the
imaging if it gets selected.
discussion.

We’ll have that

I think the iconic visual here when we

just put a turtle on a coin for a wetlands or a
mountainous geographical site I would argue the
meeting coin, this coin has eye appeal and the
message it was intended to carry forwards is

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something about the iconic presence of the man.
He’s not here and no one here was there in person
at the time.

So the best that we have quite

frankly are images and representations.

And I will

use the word a shock of hair is what I think so
many people who have an image of him will relate
to.

And I think image number one carries forward

that familiarity that impact.
I love the idea of image number two.

I

think it migrates the coin from the man to the
issue of his day, which I think is the wrong
direction to go.

So my strong recommendation is

for image number one.

And I celebrate that as the

second celebration today.
MS. LANNIN:

Thank you, Eric.

I have to

admit that I really gravitate toward number as
well, because when you close your eyes you think
Frederick Douglas, that’s the face that I think of.
Not necessarily as an older man.

I think of him as

more of the firebrand that he was when he was, you
know, in his 40s.

And then I listen to what Donald

said, you know, this is a national historic site.

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So if you’re a site you need to go somewhere.

And

so I can understand then the preference that the
stakeholder has in wanting to actually see the
house.
And to Jeanne’s point having Cedar Hill
alone on a coin if we did bleed it out the image,
you would have to have the full Cedar Hill.
can’t just be part of it.

It

Can their preference of

number four be done such that we don’t need to see
all the house?
foreground.

And he’s not quite so much in the

Do we know when Cedar Hill was built

in relation to his age?
MS. SULLIVAN:

Because I have -I have all that

information.
MS. LANNIN:

You do?

MS. SULLIVAN:

One of the things that I

actually want to say, this wasn’t the house he grew
up in.

Frederick Douglas was a slave.

He was born

a slave and that’s, I think, a very important part
of his story.
his retirement.

This is the house he built towards
He built it in 1877, which is

actually a big deal.

I mean he was born a slave

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and then, you know, in his retirement built a home.
MS. LANNIN:

Okay.

So with that comment

I think that as much as I like number one, the
preference of number four is what I would
personally vote for, because see he actually built
a house.

It was unthinkable probably at that time.

So this is a shining accomplishment in his personal
life.

And it also gives us a site and a place to

go to.

So with that, unless there’s any other

comments -- Heidi.
MS. WASTSWEET:
MS. LANNIN:

Briefly.

Yeah.

MS. WASTSWEET:

Briefly, excellent

arguments on both sides of the subject.

I can see

both sides very clearly for representing the man
himself versus his place in the park, the fact
about the house, all great arguments.

I come back

to the pallet, but I think I’m still leaning toward
design number one.

Again, if this were a larger

coin I would definitely vote for design number
four.

If we do fall on the side of the argument of

representing the man and the building and we’re

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between design number three and four, I would get
this from a sculpture’s perspective.

If this

project hit my desk and I had to sculpture in this
shallow relief, which one of these designs would I
want to sculpt?

And that would be design number

four situated just in a way that is more conducive
to the lower.
four.

So between three and four I go with

But as a whole the packet goes I think I’m

still leaning toward design one.

But I will let

the wisdom of vote hold the day.
MS. LANNIN:

Thank you.

discussion, why don’t we vote?

So no further

While we’re voting

would you like to read the subject?
MR. WEINMAN:
sheets.

Please pass in your voting

And with those not here would you please

send me your ballot.
MS. LANNIN:

Okay, moving onto Ellis

Island, Statue of Liberty National Monument in New
Jersey.
MS. STAFFORD:

Design one shows an

immigrant family approaching Ellis Island with the
hospital building in the background.

The man looks

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forward with determination, a representation of
Ellis Island as the island of hope.

The woman

looks back concerned that Ellis Island is also the
island of tears where families are separated and
individuals were denied entry into the country.
The child represents the future growth and
prosperity of the United States due to immigration.
Design two depicts an immigrant woman
approaching Ellis Island with the hospital building
in the background.

Design three features an

immigrant family waiting on Ellis Island hoping to
be granted entry into the United States.

This

design is the third preference of the site.
Designs four, five and six feature years
of the Ellis Island ferry building and its art deco
aspire.

The ferry terminal has been referred to as

the happiest place on the island because those who
made it this far had successfully passed legal and
health inspections and would now be permitted to
start their new life in the United States.
design four.

Five.

This is

And design five is the second

preference of the site.

And design six.

Design is

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the first preference of the site.
Design seven and eight depict the Ellis
Island Immigrant Hospital.

The hospital was the

first and one of the largest public health
hospitals in the United States.

Immigrants who did

not pass the health inspection on arrival to Ellis
Island were sent to the hospital and detained until
they recovered or were deemed too sick to enter the
United States and sent back to their home
countries.

Nine out of ten patients were cured and

allowed to entered the United States.

That

concludes our designs, I’m sorry, seven, eight,
nine.

I’m sorry, seven there.

with design eight.

I apologize, we end

And we should have John

Piltzecker, Superintendent of the site with us on
the phone.

John, are you there?

And if so, would

you like to say a few words to the committee?
MR. PILZECKER:

I am.

Good morning.

We

paid particular attention to ensuring that the
buildings that were depicted in the various
renderings were buildings that are actually located
in the State of New Jersey.

Some of you may know

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that Ellis Island that has buildings that are in
the State of New York and also buildings that are
in the State of New Jersey.

So the hospital

building and the ferry building are both located in
the State of New Jersey and we thought that was
important, since this was a New Jersey coin.

I’m

very interested in hearing what the committee has
to say.
MS. LANNIN:

Thank you.

for the representative?

Any questions

Heidi.

MS. WASTSWEET:

I would like to ask the

representative between designs number one and
number three, which both feature families, can I
basically ask why the preference was for number
three over number one?
MR. PILZECKER:
depiction.

Because it’s a happier

People are looking pretty serious and

ready to go, that’s really it.
MS. WASTSWEET:

Is there a desire to

downplay the seriousness of the time?
MR. PILZECKER:
MS. LANNIN:

No.

Okay, thank you.

Donald.

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MR. SCARINCI:
question?

John, can I ask you a

This is Donald Scarinici and I actually

I happen to live in New Jersey and I happen to have
a law office in Jersey City and I go to Liberty
City parking lot.

So let me ask you this.

In

Ellis Island there’s an area where there are
plaques, some personal plaques of families who, you
know, immigrated through there.

Is that -- would

you say that was the most heavily visited site, the
most heavily visited thing, the most heavily viewed
thing on Ellis Island?

When people go to Ellis

Island what do they look at the most?
MR. PILZECKER:

When people go to Ellis

Island they go to the main immigration building,
which has the registry building, also called the
Great Hall, which the building is the most iconic
building of Ellis Island.

I would not say that

everyone goes to the Wall of Honor, which was
installed in the 1990s during upon raising effort
to raise private funds for the rehabilitation of
Ellis Island.

That is actually in New Jersey.

main immigration building is not in New Jersey,

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it’s in New York.
MR. SCARINCI:

Now, how about the walkway

that goes from Liberty State Park to Ellis Island,
does that work or does that function, do you use it
anymore?
MR. PILZECKER:

Well, I mean it was built

in the 1990s to facilitate the restoration of Ellis
Island.

That’s a utility bridge, it’s used for

deliveries, it’s used for ambulance service.

It’s

not a public bridge.
MR. SCARINCI:

Right.

There’s a view

from that bridge that’s, you know, pretty cool
though if I recall correctly.

I guess where I’m

going is I really have to make a motion to get the
designs on this.
just can’t.

I can’t vote for any of these.

I

And, you know, you can all vote it

down, you can all vote the motion down.

But I have

no choice, I cannot, being from New Jersey I can’t
let this stand.

I think there’s so much you could

do with Ellis Island.

I think you could, you know,

I think you could do close ups of registry books.
I think you could do close ups of the wall with

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names.

I think you could do, you know, I mean I

think you could get a wall of names.
I mean I think you can do, you know,
there’s that view from that, you know, that bridge,
even if you go up close, you know, to Ellis Island
and do it from the lower view, you know, you could
depict, you know, the island itself, you know, from
the New Jersey side, you know, with a view of
Jersey City.

And, you know, which, you know, shows

past and present success.

You know, the success of

immigration and how immigration built America.

I

mean just look at Jersey City and look at the tall
buildings and look at what’s going on, you know,
and certainly from a New Jersey point of view, you
know, my ancestors came into Ellis Island.
So it’s a very important thing that, you
know, people that came there and settled in New
York, maybe came to New Jersey or came right to New
Jersey.

So I think it’s regionally very important.

I really don’t think we got it, you know, by far.
And, you know, I’m sorry, but you know, four
through eight just don’t cut it for me.

I mean I

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just can’t live with it.
a motion.

So I’m just going to make

It’s okay, you can vote it down if you

want, but I’m just going to make a motion to, you
know, to reject all designs and to request that we
see new designs for Ellis Island.
MS. LANNIN:
MR. MARKS:

Is there a second?
I’ll second.

MS. LANNIN:

Okay.

Eric, any discussion?

MR. JANSEN:

Yeah, I’m going to kind of

carry forth the fact versus the humanity in the
story.

Factually Ellis Island is a place.

Physically there are buildings there that processed
names that weren’t (inaudible).

And from there

transitioned to what really happened there, which
is where lives were changed and livelihoods were
created or destroyed.

And I think that is the

story more than the architecture.
There are thousands of administrative
buildings which rise or fall below the threshold of
these buildings except for what happened there.
And I think what happened here is the story here.
So I’m actually really sympathetic with Donald’s

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thoughts here.

Because I think the time here might

be better invested with the committee expanding the
specification and the artistic charge here to bring
a little more humanity and the story of humanity
here.

Because I believe that’s what Ellis Island

really is.
MS. LANNIN:
MR. MARKS:

Gary, another comment?
I seconded the motion.

I

didn’t want -- as someone who lives in this area
and is very familiar with the island I wanted to
give respect to his perspective.

Also, I have hope

that I would like to hear from other members what
their thoughts are.

I was hoping for something

with probably a little more pizazz.
If I were going to vote this set that we
have in front of us I’d probably go to number one,
the one that’s up on the screen.
think it tells the real story.

Just because I
I think number

three, yeah, maybe they look happier, but the story
of the immigrants was not always happy.

It was a

challenge and an ordeal to have to go through.
to be honest about that and honor it, I think

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that’s the right way to approach this.

So if

there’s one in this collection that I would go for
it is number one.

But I’d like to hear other

members and their thoughts about whether or not we
have the materials here to go forward, deal with
it, or if we should support Donald’s motion and ask
for something new.
MS. LANNIN:
MR. MORAN:
about the immigrants.
buildings.

Michael.
Everybody here knows it’s
It’s not about the

If I were to vote it would be number

one, because it’s the best in an insufficient
selection.

Number three won’t come out in a

recognizable manner on a circulation quarter.

I

doubt they had the money for a flag anyway.
There’s just -- and the negative space there in the
building it’s the way negative space would outline
the people.

And as everybody here is eluded, there

are so many personal stories there of heightened
emotions, both negative and positive.

I’m going to

support Donald’s motion.
MS. LANNIN:

I’d like to vote.

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MR. HOGE:

Mary.

MS. LANNIN:
MR. URAM:

Oh, I’m sorry.
I would tend to agree.

I

think Don brought up some good points there on the
ball and he threw the ball to the people who came
and the buildings, that there could be a whole
collage of different things here that would be very
emotional that would be a true tribute.

So I would

tend to support the motion.
MS. LANNIN:

Robert, do you have any

comments before we officially vote on Donald’s
motion?
MR. HOGE:
Chairman.

Yes, thank you, Madam

I would support number three because it

shows people looking toward the iconic buildings of
Ellis Island with a sense of understanding that
this is the source for which came many people who
formed the United States.
it’s not inappropriate.

And that’s why I think
And I think it’s

appropriate the idea of people and of the
structures of historic sites to an extent not about
a paper or the buildings necessarily given on a

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coin.

And I think that the buildings here really

kind of do (inaudible) justice.

But perhaps this

could be cleaned up a little bit our artist and
give a somewhat stronger sense and I would support
it.
The others designs, first of all the
buildings I think don’t really convey the sense of
Ellis Island.

Number one I don’t think that it’s

for us to try to convey a sense of sadness about
immigration, I think it’s something to celebrate.
And also number two, it’s sort of mysterious thing,
it’s sort of a Pandora’s box.

But I would go with

number three.
MS. LANNIN:

All right, we’re voting on

Donald’s motion to add additional ideas and
sketches.
MR. HOGE:

Yes, I am not in favor of the

motion.
MS. LANNIN:

To request additional

designs, did you hear that part of it?
MR. HOGE:

Yes, I did.

But I think if

the committee is satisfied with number three I

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would be too.
MS. STAFFORD:
MS. LANNIN:

Call for the collection.

collection.

Let’s call for the

Let’s vote on Donald’s motion.

All in

favor of requesting additional designs and perhaps
some reworking of the current designs that we have,
all in favor say aye.
UNIDENTIFIED:
MS. LANNIN:
MR. URAM:

Aye.
Raise your hand.

Tom, aye.

MS. LANNIN:

Sounds like it’s unanimous.

MR. SCARINCI:

I don’t think Robert would

vote for it.
MR. HOGE:

Nay.

MS. LANNIN:
unanimous.

Nay, okay.

Not quite

The motion has it.
MS. STAFFORD:

thank you for joining us.

Ms. Piltzecker, do you -Do you have any final

comments?
MR. PILZECKER:

I would just say that we

have thousands of architects in our collection,
including many, many photos.

And all of them are

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available to any artist who may be rendering these.
MS. STAFFORD:
be in touch.

Thank you so much, we’ll

Moving onto the George Rogers Clark

National Historical Park in Indiana.

Designs one,

two, three and four feature the George Rogers Clark
Statue with the memorial in the background.

Design

one also includes a depiction of the northwest
territory Clark was coveted with winning in the
American Revolution.

Additional inscriptions

include “resolute and bold” and “daring and bold”.
This is design one, two, three and four.
Design five depicts American Colonel
George Rogers Clark standing outside the
surrendered Fort Sackville where an American Flag
flies above.
and bold”.

It includes the inscription “daring
The surrender of Fort Sackville, which

Clark secured in February 1779 after its army
marched through freezing flood waters assured
United States claims to the frontier, an area
nearly as large as the original 13 states.

This is

the site’s fourth preference.
Design six and seven depict George Rogers

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Clark starring up at the flag outside the
surrendered Fort Sackville.

In design six the

additional encryption reads “a few men well
conducted,” a phrase taken from Clark’s letter to
Virginia Governor Patrick Henry.
six and seven.

This is design

Design eight depicts George Rogers

Clark standing in front of Fort Sackville.
Design eight is the second preference of
the site.

Design nine depicts George Rogers Clark

with the interior of Fort Sackville in the
background.
site.

This is the third preference of the

Design ten features George Rogers Clark

leading his men through the flooded plains
approaching Fort Sackville.
first preference.

This is the site’s

Design 11 depicts George Rogers

Clark on the march to Fort Sackville as he gestures
to his men to follow.
Designs 12 and 13 features the George
Roger’s Clark Memorial.

Above the 16-door columns

reads the encryption “the conquest of the west,
George Rogers Clark and the Frontiersmen of the
American Revolution.”

Inside the rotunda are seven

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murals and a bronze statue of Clark.

We should

have with us Frank Doughman, Superintendent of the
site on the phone.

Frank, are you with us?

And if

so would you like to make some comments to the
committee?
MR. DOUGHMAN:

Yes, I’m here.

interesting listening to the committee.

It’s been
We’ve

learned a lot about what goes into coins and some
of which we wish we had known maybe before we took
action.
But our thinking has been that we would
like to highlight the Clark story and falling into
the national significance of the site and stay away
from the monument and the statue which were built
150 years later.

They’re iconic of the park and

ionic in who we are, but that’s not the story or
the reason we’re here.

And we could live with any

of the images, we like them all, but we do have
some preferences.
MS. SOLLMAN:

Can I -- I have never --

sorry.
MS. LANNIN:

Thank you.

Jeanne.

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MS. SOLLMAN:
park.

I have never been to this

And I’m wondering is the fort still there,

is it representative?
MR. DOUGHMAN:

It is not.

And we were

having that discussion as you were talking about
the Frederick Douglas site.
any longer.

The fort is not here

The memorial does sit on that site.

So archeologically there’s a plausibility that
pieces of the fort remain.
MS. LANNIN:
questions.

Anybody have any further

And Gary’s requested to be the first to

comment on these.
representative?

Any further questions of the
All right, Gary< you’re up.

MR. MARKS:

Thank you, Madam Chair.

I’d

like to just comment, well, first of all let me say
to the representative thank your on this line to
show more what the park is about rather than a
statue or something of that sort.

I think that

you’re moving definitely in the right direction.
But I’d like to comment on (inaudible) on
number ten.

Can we bring up number ten?

Seems to

me that we really want get out what the park is

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about.

It’s about one thing and this image showing

Clark leading his men in that battle.

Folks that’s

what they did and it’s an active depiction of what
happened and why there is this historic site that
we want to celebrate.

I think a lot of the coin

collectors out there will really gravitate to this
image.

And I think, you know, it’s got some

wonderful negative space that will coin very well.
So I’m definitely an advocate for this design,
mainly because it tells the story.
story about what happened.

It tells the

I think that’s really

what you have with this coin in particular, because
it’s a great story of (inaudible) to our nation.
And so with that, Madam Chair, I’ll pass the mic to
someone else.
MS. LANNIN:
Gary.

Donald.

Thank you for your comments,

I’m sorry, I was just going to head

that way, Erik, we’ll get to you.
MR. SCARINCI:

Yeah, I think there’s some

nice designs here I could -- I think there are some
nice designs here.

You know, given the fact that

the fort doesn’t exist, you know, and since the

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monument was erected many years later and, you
know, I’m very happy that there’s not insisting on,
you know, a coin to monument it.

Probably the most

active interesting design is the recommended
design, number ten.
Saratoga.

It is about -- it is more like

And just to carry on, you know, what I

guess Gary had said about the Saratoga, if you
remember, you know, we’re better with, you know,
with that more abstract representation.

You know,

because there really wasn’t anything on the site,
you know, that the artist were able to work with to
give a depiction of, you know, of the site that
would be unique, other than maybe a cannon.

I

think those were the four choices were probably
about cannons, a lot of cannons.

So, you know, the

more symbolic representation was just about the
only thing you could do was to have a photograph.
And I think that’s the same thing, it
appears as the same thing with this park.

You

know, if we had an insistence on monument, you
know, or if the fort, you know, if there was even,
you know, a stick left in the fort, you know, we

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may have to consider, you know, showing something
of the fort in it.

But, you know, since that’s not

the case I mean you’re really looking between an
act of seeing a passive scene, you know, a more
passive, the more passive.

So I guess when I’m

thinking logically about this, you know, now you’re
looking, you know, once you’re past the fact that
you can’t depict this park in any meaningful way
with interpreting with anything that existed at the
time, with any monument that’s there, so you know,
we’re past that.
depict this park?

And so, you know, how do you
So you depict this park with

what it really represents, whether in the abstract
or, you know, in the tangible.

We’re going to deal

with anything that might abstractly represent.

We

aren’t dealing with things that might, you know, be
realistic representations, things like (inaudible)
this park.

So what are we dealing with?

We’re

dealing with passive scenes or active scenes.
passive scenes being things like, you know,

The

(inaudible) I also recommend designs five, six,
seven.

And like me, you know, for reasons that

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we’ve talked about nine (inaudible), you know,
those are all people maybe standing there
(inaudible).
Or we can look at something active, like
10 or 11.

And we’re not going to talk about 11.

I

don’t think we should really we should talk about
11 (inaudible).

So there’s no need to take about

favoritism, we can talk about (inaudible).

So I

think, you know, to talk way too much on this, I
mean you needed to say I agree with Gary, which
would’ve been the easiest way to say this.

But

for, you know, I elaborated a little bit more on
why I agree with Gary.
MS. LANNIN:

But, you know -You’re being Donald.

MR. SCARINCI:

I’m being Donald, so

I gave you my lengthy reason for why Gary, I think
Gary was right on this topic.

I think we, you

know, I think the correct choice is number ten.
MS. LANNIN:
MS. SOLLMAN:
enlightened my day.

Thank you.

Jeanne.

Thank you, Donald.

You’ve

I appreciate the

representative mentioning that there is no fort

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there, so it changed my mind a whole lot about I’m
going to support.

And I like Gary’s reasoning for

supporting number ten and I have to agree with him.
I think we have a lot of energy there.
that honestly (inaudible) on ten.

Thank.

MS. LANNIN:

Erik.

MR. JANSEN:

If I can ask the

representative a question.

I think

Am I correct, or maybe

you would best describe, did we defend the fort or
take the fort?
MR. DOUGHMAN:
MR. JANSEN:

We took the fort.

MR. HOGE:

So we took the fort.

MR. JANSEN:

We took the fort.
Right, and that’s the

difference I think in this story versus the iconic
battles of the Revolution or otherwise where we put
an American flag over a fort saying we withstood.
This is not about withstanding, this is about
taking their fort away from them.

This was a

defeat of great -- I really appreciated the
representative stage in saying we’re trying to get
some respect here for the significance that took

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place out in the middle of the woods.
wasn’t even a state until 1860.

Indiana

So this thing was

39, 40 years before the place was even organized to
the point the state was just a territory out in the
middle of nowhere.

And in a sense was kind of the

edge of the world in terms of the colonial
presence.
So I’m reminded in many respects of the
discussion that took place around the quarter
design we did about three years ago, Perry’s
Battle.

Remember Lake Eerie and I put the Lake

Eerie in and, of course, memorializing a naval
battle that was taking place, War of 1812.
MR. MORAN:

Yes.

MS. WASTSWEET:
MR. JANSEN:

Yeah.

Um-hmm.

And the whole idea was the

battle took place in the lake, but there’s this
tower on this island, hard to get to.
this?

What’s the imagery?

How do we do

And we sent the art

back and it came back a second time.

We settled

for a picture of a statue within the welcoming
center.

And, you know, here we are again groundhog

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day.
So as much as I took pity on my legal
friend here Donald last time, I’m going to stand
while it’s recording here and again say this is
about what happened there.

I actually grew up in

Indiana and I’ve been to this memorial.

It is this

ironically round, it’s kind of a round equivalent
visionary piece to the Lincoln Memorial here in
Washington.

I don’t dare compare the two.

But

architecturally they’re very similar in the round
versus in the rectangle.
very proud of this.

And people in Indiana are

And I think people of Indiana

know their own history and appreciate that nobody
respects what took place here where we tilted and
tied on the Red’s presence if not ability to use
this city railroad against us.

Is that a fair

statement?
MR. DOUGHMAN:
well located.

Yeah, that’s actually very

And we do talk about memorial in

conjunction with the length and how similar they
are.
MR. JANSEN:

So to have last discussion,

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again, this is about what happened there, not
there.

And imagine ten has a reality to it.

This

was a bunch of folks that were sustaining their
livelihoods on the frontier who decided their
biggest threat for a change wasn’t Mother Nature,
it was somebody else.

And I don’t know if would

ended up on design number ten or if there would’ve
been other alternatives more similar reflecting the
bold, daring nature of what took place.

It was not

about a few men well conducted, it was about a
bunch of guys just beating the tar out of some
people in the woods.

And that’s what -- because I

remember what it looks like.

So I don’t know if we

would have more choices or better choices, but my
choice here is number ten.
MS. LANNIN:
MR. MORAN:
things that Eric said.

Thank you.

Thanks Eric.

Mike.

I’m going to repeat a couple
I think the average citizen

of the United States has lost sight of the fact
that the northwest territories would not have come
to us had not George Rogers Clark and his men waded
through water and won its victory by surprise only.

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Obviously by ferociousness, but not overwhelming
numbers.
I originally liked number one, because it
said and it’s the only one that does say that by
including the northwest territory.

On the other

hand I wish I’d known that we had a problem with
the reality, the statute should’ve known that.
didn’t.

I

So with respect to the fact that we can

choose it you go to number ten.
I recall a painting somewhere of Clark
wading through waist sea water.

And this is

grounded in summary, but it was (inaudible).
again, this is a quarter.

And we’ve seen this

before, there’s one figure too many here.
works on a quarter.

But

Two

The third one is going to be

very difficult to distinguish, except for our proof
coins for the guy on the street who picks it up and
it’s going to be three figures, maybe he can see
one over there on the left-hand side.

Probably

not, as you just don’t have any vision to begin
with.

I will vote for number ten, but I sure

would’ve loved it if you all could figure out and

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put down what is territory up there.

And

(inaudible) the committee, I’ll vote for number
ten, but with some reluctance.
MS. LANNIN:

Thank you, Michael.

MS. WASTSWEET:

Thank you.

In the spirit

of wading through water and (inaudible) against the
time here.

First I’d like to make note of designs

one through four and commend the artist for
attempting to use these images in a well thought
out design.

These are well designed and well-drawn

and nice designs.

Unfortunately, I’m never in

favor of a statue on a coin if we can avoid it all.
So I won’t be voting for these, but I just do want
to give an honorable mention to the artists.

I

think these are well defined and (inaudible).
My favorite design in the packet is
design number eight.
not there.

I don’t mind that the fort is

His land’s not there either.

So we are

not going to -- I think that’s the problem with the
fort and it’s a problem with the men.

They’re both

(inaudible), they’re just in the (inaudible).
that part doesn’t bother me.

So

I think this design

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is brilliant because the way the fort so
artistically frames the man.

I think it shows a

distinguished gesture, it’s well drawn.

If the

detail of the fort is kept very minimal it really
highlights the shapes of the bodies.

(inaudible) I

love this design.
Design number ten, which has a lot of
favor, when I look at the actual size printout on
our page it’s really quite busy for the size of the
pallet.

I don’t dislike this design, but I do

think it’s quite busy.

If you’ll notice the third

character in the back as he drops back behind the
first two characters his clothing fades into
nothingness.

That’s a good thing.

I wish it were

even more so, because then that would have helped
clarify all the characters from one another.
it’s drawn here it is quite busy.

As

And so therefore

I still gravitate back toward number eight whereas
clarity is formulated in the nature of the design.
It’s just beautiful.
MS. LANNIN:

I’m done.
Thank you, Heidi.

Robert

are you there?

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MR. HOGE:
Chairman.

Yes, I am, thank you, Madam

I would like to point out several things

that struck me regarding the images in number
eight, nine, ten and eleven.

These all show Clark

as a frontiersman, the costume.

However, eight,

nine and ten the rifles are all incorrectly drawn.
And on number eight and nine swords being shown
where it is actually about 1850 (inaudible), so
it’s (inaudible).

In number 10 and 11 are the two

pieces that really show action here.

But number 10

to me seems very busy and also the rifles are
incorrect in the rendering.
his homework.

The artist didn’t do

On number 11 the artist did do his

homework and the figure which is intended to
represent Clark there is shown properly equipped
for a battle with the powder horn, bullet pouch,
with a knife.

It would kind of be nice to show him

with a tomahawk, which is the way Clark actually
did win this fort was to wear or execute several
Indian prisoners with tomahawks in front Lee
Garrison.

So the violence in number ten would be

appropriate too, because it’s pretty aggressive.

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But I would have to vote for number 11 for all
these as the best historical representation.

I’m

not too much in favor of the background of the
trees in the water.

But I think that they do a

good job of showing the interoperability of Carter
as he’s gesturing leading his men forward and is
correctly shown in the apparel, with the equipment
of the time of the period.
MS. LANNIN:

So thank you.

Thank you, Robert.

April,

do you have a comment?
MS. STAFFORD:

So just wanted to see if

our liaison could comment upon the rifles if
they’re correctly rendered in the designs that Mr.
Hoge noted.
MR. DOUGHMAN:

Yeah, actually number ten

was revised from our first draft at our request
because of the weapons.

Clark’s army was mostly

Kentucky and Virginia frontiersmen.

And the rifle

was a very important part of the story.

The rifle

that’s drawn into the image when it was redone are
actually from images of rifles that we have in our
collection.

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MR. HOGE:

This is Robert again.

If you

look closely you will see that the rifles in number
11 is actually directly drawn from an actual
weapon.

Whereas the weapon that’s in place on the

others in number ten are not correctly drawn.
also don’t show the right (inaudible).

They

So the

artist took too many liberties copying the actual
weapons.
MS. LANNIN:

Well, goodness.

MR. JANSEN:

I might kind of buttress

Robert’s highlighting the contrast here.

In number

11 I think I would question the accurate rendition
of the length of the barrel.
too long in that drawing.

I think it’s a little

And I’m with Robert on

this, I think those rifles at the time I think had
a much more specific ram rod for reloading.

Of

course, this predates cartridges, of course.

And

so I’m with Robert encouraging at least be
historical.
MS. LANNIN:
MR. URAM:

Tom, do you have comments?

MS. LANNIN:

Mary, Tom here.
I’m sorry.

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MR. URAM:

Mary, Tom here.

On number ten

I think (inaudible) and I like in that design and
so forth (inaudible) too.

The representative’s

already checked that it’s an actual drawing.

Maybe

they could (inaudible) the liberty of them to
ensure the accuracy.

That’s it, thank you.

MS. LANNIN:
MR. SCARINCI:

Okay, thank you.

Donald.

Yeah, I think when Hoge

hedges like that where he’s not so sure of himself
I think we should absolutely check it and make sure
that we’re doing the right thing.
MS. LANNIN:
Okay.

Okay, thank you, Donald.

I have to say that I think my favorite was

number ten.

But there are two things that I’d like

to comment on that can also be fixed by the artist.
Is that fringe that’s on their clothing?

It looks

for all the world like my own (inaudible).

And if

I want to see I want to see fringe, if that’s the
accurate clothing.

And also the pool of water,

their bodies are moving forward, but the water
doesn’t match the direction their bodies are
moving.

Water would be like as if they were

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standing still.

Do you think?

MS. WASTSWEET:

No.

I think that that

wave, that pressure on his thigh going through
there is indicating that he’s moving through the
water.
MS. LANNIN:

Okay.

MS. WASTSWEET:

And the water is going

that way, but he’s going that way.
MS. LANNIN:

I guess I want to see, I’d

like to be a little bit more dramatic, because they
are wading in water and that’s so difficult to do.
MR. JANSEN:
done?

Heidi, how is that best

Because on the eight-inch drawing you can

see a bit of a wake in front of the leading man’s
waist.

There isn’t a clear kind of horizon on the

water.

Maybe the artist just didn’t think about

it.

Maybe if he can -- when taking (inaudible) and

reduce it down to the one inch pallet how do we do
that?
MS. WASTSWEET:
it’s drawn.

I think it’s fine the way

If you try to throw a horizon line in

it it creates a can of worms.

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MR. JANSEN:

Right.

MS. WASTSWEET:

And the way it’s drawn

there is no horizon line, it just fades off into
the distance.

It’s all polished down and it’s even

polished behind the ripples until it becomes solid
underneath the figure.

So I think it’s drawn

accurately and it will translate well.
MR. JANSEN:

Well, it certainly comes

forth as three pretty highly charged warriors here.
And the water in the final pallet could disappear.
I don’t know, it gets lost in the (inaudible).
MS. WASTSWEET:
MR. JANSEN:

I think if you --

I mean that’s what Mary’s

reacting to on it.
MS. WASTSWEET:

I think if we try to add

any more ripples and waves that it’s just going to
add more business to an already busy design.

And I

think it works enough where you know that it’s
water, is enough to show that it’s water.

Our

imagination will fill in the rest.
MR. JANSEN:
comment.

That would be a generic

Mary, I apologize, I sense your sense of

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urgency here.

To the artist that I think produced

all three of these images or perhaps more I think
there’s some artifacts of his digitals tools that
are kind of distracting here.
MS. LANNIN:

Yeah.

MR. JANSEN:

And I’ll just go to a

specific, just for a matter of an example here I’ll
go to page eight or drawing number eight rather.
Just look at his hat, okay.

There is this

artificial black line with almost a halo around a
dead white area.
the tool.
intent.

Which I think is an artifact of

Perhaps it actually is his artistic
If it is I’ll go to ten and look at the

third, if you will, to the nine o’clock direction
in the drawing, the third of the three soldiers.
Look around his hat.

It’s almost bizarrely

silhouetted against the guy behind him.
it’s an artifact of the digital tool.

I think
Maybe I’m

overreacting to artistic intent, but I find it
really distracting.
MS. WASTSWEET:

If I were scoping that I

would interpret that as an infused line as meant to

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separate the figures with a sharp edge just as an
artistic device.
MR. JANSEN:

And that’s what I’m really

asking here.
MS. WASTSWEET:

But that’s up to the

sculpture.
MR. JANSEN:

Is that an intentional item

or is that an artifact of his tool?
MR. EVERHART:

Yeah, I can address that.

I think this is the style in which this particular
artist draws.

And I think what he was attempting

to do is address exactly what some of the concerns
were, is the distinguishing between the figure
behind him and the figure in the foreground.

But

that line would be pretty much ignored I think in
the sculpture and we would indicate relief drop off
to show the different planes.
MR. JANSEN:

This is the end point of my

question.
MR. EVERHART:

That’s the way I interpret

it.
MS. LANNIN:

Okay, we are running about

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15 minutes late.

Finish up.

My favorite would be

I’d say number ten for the action in it.

And I

will distribute the -- the current sheets have been
distributed and lets vote.

Why don’t we take a

five-minute recess.
MS. STAFFORD:

Yeah.

(Whereupon, at 11:15 a.m., the
morning session concluded.)

AFTERNOON
MS. LANNIN:

We're running a little late.

I'd like to get to our lesson.

(Inaudible.)

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(Pause.)
MS. LANNIN:

All righty.

I'd like to

read the results of the American Renewable Forest
work at the George Rogers Clark National Historic
Park.
First, number one received three votes.
Number two received zero.
three.

Number three received

Number four received zero.

received one.

Number five

Number six received two.

seven received zero.

Number

Number eight received six.

Number nine received one.
Action one of number ten received 22
votes and is the Committee's choice.

Number 11

received five, and both 12 and 13 received no
votes.
Do you have any -- I'm sorry.

Do you

have any motions to fix any of the -- yes, sir?
MR. JANSEN:

Along the lines of

discussion of the artist's rendering around the
perimeter of the rifles and characters in number
ten -- I don't know whether this is a motion or
just a request of the sculptors --

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MS. LANNIN:

Just a comment, maybe?

MR. JANSEN:

Yeah.

To just make clear

how you're going to interpret that drawing to the
Committee so we understand what we're going to get
if that design should (inaudible.)
MS. LANNIN:

Okay.

Thank you.

Now we'll

move on to -- I'm sorry?
UNIDENTIFIED MALE:

(Inaudible.)

MS. LANNIN:

Frederick Douglas

Okay.

National Historic Site.
MR. JANSEN:
question?

Could I get an answer to the

The question was how are the sculptings

going to interpret that image?
MR. EVERHARD:

I thought I did address

that, but what I would do is pretty much ignore
that and just use that as a device to separate the
planes that are going on.
So there would be a sharp demarcation
between the plane -- between the figure at the
eight o'clock position.
MR. JANSEN:
MR. EVERHARD:

Yeah.
As opposed to the one

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before -- above him, rather.
MR. JANSEN:

Right.

MR. EVERHART:

So, you know, it's just

more or less just something to pop the figure out
visually, but when we get to the sculpture we're
going to ignore it.
MR. JANSEN:

Thank you.

MS. LANNIN:

All right.

I'd like to go

on to the Frederick Douglas National Historic Site.
Our reverse number one is our winner with 21
points.
Number two with three votes.
three had two votes.

Number

Number 14 is our second

favorite with 15 votes.

Number five had one vote,

and number six had three votes.
So in reverse, number one for Frederick
Douglas, and reverse number ten for George Rogers
Clark.

Any comments?
MS. STAFFORD:

(Inaudible.)

UNIDENTIFIED MALE:
MS. LANNIN:
MR. HOGE:

Hello?

Yes, Robert?
Hi.

This is Robert.

I have a

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comment for the George Washington Park, number ten.
These soldiers need to be redone to the extent that
they are actually armed.

They're carrying rifles

but they don't have any armaments, so they wouldn’t
be a threat in that position.
They need to have powder horns, bullet
pouches, knives, tomahawks, anything like that.
They're not equipped to do battle.
MS. LANNIN:

So are you making a motion

or is it just a comment?
MR. HOGE:

Well, I'd comment that the

artist needs to improve this rendition.

They need

to be armed by figuring number 11.
MR. EVERHART:

I would certainly support

that thought.
UNIDENTIFIED FEMALE:

I'm just trying to

wonder about that -MR. EVERHART:
MR. HOGE:

Sounds like a motion, Bob.

Okay.

I will make a motion

that the figures be enhanced to the extent that
they're shown accurately equipped with the
necessary weaponry.

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MR. JANSEN:

Second.

MS. LANNIN:

Erik seconds.

Any other

discussion on that?
(No audible response.)
MS. LANNIN:
motion?

All in favor of Robert's

Tom, are you voting yes on this motion?
MR. URAM:

Yes.

MS. LANNIN:

That it carries.

MR. URAM:

That the motion carries.
Yes.

MR. JANSEN:

Thank you, Robert.

MS. LANNIN:

All right.

We're moving on

to the 2017 Lions Club International Century
Service Commemorative Coin Design Program.
MS. STAFFORD:

Thank you.

It is Public

Law 112-181 that requires the Secretary of the
Treasury to mint and issue one dollar silver coins
in 2017 to commemorate the centennial of the
establishment of Lions Clubs International.
Founded by Chicago business leader Melvin
Jones in 1917, Lions Clubs International is the
world's largest service club organization whose
mission it is to empower volunteers to serve their

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communities, meet humanitarian needs, encourage
peace, and promote international understanding
through Lions Clubs.
Lions Clubs International has awarded
hundreds of millions of dollars to fund five unique
areas of service; preserving sight, combating
disability, promoting health, serving youth, and
providing disaster relief.
Some of the many notable works of the
Lions Clubs include their involvement in the
drafting of the United Nation's Charter in 1945 and
the establishment of the Sight First program in
1990.
This program has been credited with the
prevention of serious vision loss in 30 million
people, and improved eye care for hundreds of
millions more.
On June 7th, 2017, Lions Clubs
International will celebrate 100 years of community
service to men, women, and children in need
throughout the world.
Do we have a Lions Clubs International

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representative on the phone with us?
Bloomkey (ph) or Melitta Cutright?

Michele
Are you with

us?
MS. CUTRIGHT:

We're both on.

This is

Melitta Cutright.
MS. STAFFORD:
Thank you for joining us.

Wonderful.

Wonderful.

Would you like to make a

few comments to the committee?
MS. CUTRIGHT:
comment.

I would like to make a

I found your previous discussion very

interesting.

I grew up in the State of Illinois

and have been to the George Rogers Clark Memorial
many, many times, so I look forward to seeing the
designs.
I think you have seen the ones that were
our recommendations, and we're here to answer any
questions from you.

Michele, are you there?

(No audible response.)
MS. STAFFORD:

Okay.

So we'll move

through the portfolio and point out the preferences
of the liaison and take questions at the end.
Thank you.

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All obverse designs carry the required
inscriptions "Liberty, In God We Trust," and
"2017."
Obverses one and 1A present a portrait of
Lions Clubs International founder Melvin Jones,
with a pair of eyeglasses in his hands as he places
them on the face of the viewer.
In obverse one, an inscription, "Do
something for somebody else," is depicted with some
words magnified by the lenses of the eyeglasses.
Obverse two, the Lions Clubs and
Commission of Fine Arts, obverse preference,
depicts Melvin Jones paired with the Lions Clubs
logo.

Additional inscription reads, "Melvin Jones,

Founder."
Obverse three portrays Melvin Jones in
front of the globe with the inscription, "We
serve."
Obverses four, five, and six present
Melvin Jones together with a lion.

In design five

the lion is depicted in silhouette reminiscent of
the Lions Clubs international logo.

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Additional inscriptions include, "We
serve,” “Lions Clubs Founder," and "Melvin Jones."
This is design four, five, and six.
Oberse seven through ten feature Melvin
Jones super imposed over the Lions Clubs Logo.
Additional inscriptions include, "We serve,”
“Melvin Jones," and "Founder."

This is obverse

seven, eight, nine, and ten.
Obverse 11 portrays a child putting on
eyeglasses and Melvin Jones with the inscriptions,
"Lions Clubs” and “Melvin Jones."
Versus 12 and 13 depict portraits of
Melvin Jones with the inscription, "Melvin Jones,
Lions Clubs Founder."

This is obverse 12 and 13.

Moving on to the reverse designs.

They

all carry required inscriptions, "United States of
America,” “E Pluribus Unum," and the denomination.
Reverses one through 4A depict the Lions
Clubs International logo.

In design one a stylized

globe placed behind the logo signifies the global
presence of the Lions Clubs.
Inscriptions include, "Since 1917,

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Strength, Courage, Fidelity, Action. Celebrating
100 Years of Service, 1917," and "2017."

This is

reverse one.
Two, three, four, and 4A.

Reverses five,

5A and 5B feature a lion or lions set against the
globe.

In design five a torch accompanies the lion

symbolizing Helen Keller's charge to Lions to
become knights in the crusade against darkness
through their aid to build -- through their aid to
the blind and visually impaired.
Reverses five and 5A include the
inscription, "Since 1917."
5A, and 5B.

This is reverse five,

This design is the Lions Clubs and the

Commission of Fine Arts preferred reverse design.
MR. SCARINCI:

5A and 5B.

MS. STAFFORD:

5B, right here.

And it

features a cub accompanying a male and a female
lion with the inscriptions, "Celebrating 100 years
of service."
Reverses six and seven present a male and
female lion in profile with inscriptions, "Since
1917," and "Celebrating 100 years of service."

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This is design six and seven.
Reverse eight features a male and female
lion in profile with the inscription, "Fidelity,
Action, Courage, Strength," lined up to spell the
word "Lion" vertically.
Reverses nine and 9A depict a male and
female lion with the inscriptions, "Strength,
Courage, Fidelity, Action, Lions Clubs," and "Since
1917."

This is reverse nine and 9A, which

additionally depicts a lion cub.
Reverse 10, 11, 11A, and 11B feature a
male and female lion superimposed over a globe with
additional inscriptions including "Lions Clubs, 100
years of service, celebrating 100 years of service,
100 years," or, "Strength, courage, fidelity, and
action."

This is reverse 10 and 11, which both

additionally feature a lion cub.
Moving on to 11A, which features a Lions
Clubs International logo, and 11B.
Reverse 12 shows two lions standing on a
globe with latitude and longitude lines, getting it
formed beneath their feet.

An additional

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inscription reads, "Since 1917."
Reverse 13 depicts a pride of lions
walking together.

Inscriptions include,

"Celebrating 100 years of service."
Reverses 14 and 14A present a pride of
lions at rest.

Reverse 14 includes the Lions Clubs

logo and additional inscriptions include, "100
years of service; Strength, courage, fidelity,
action," and "Celebrating 100 years of service."
This is design 14 and 14A.
Madam Chair?
MS. LANNIN:

Do any of our members have

any questions for the Lions Club representative
now?
MR. JANSEN:

Oh.

MS. LANNIN:

Okay.

It was really for

April.

MR. SCARINCI:

Would it be correct -- is

it correct to assume that obverse one and reverse
one are designed by the same artist?
MS. STAFFORD:

Would you want to assume

that?

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MS. CURTIGHT:

Yes.

MR. SCARINCI:

Good.

obviously the one I liked.
MS. STAFFORD:
MR. JANSEN:
comment here.

Okay.

That's

One and one.

Erik?
And that kind of begs a

We're -- the analytical side of me

says before you even try to wade through this eye
candy we have, which is -- I'm swamped by the
reality that either these images are so bold and
strong that they're easy to draw or the artistic
talent is just so incredibly good.
This is eye candy.

I'm just -- I'm just

swamped with the quality of -- especially the
reverses.

My goodness.
But the analytic side of me says as a

committee we're going to be toying with this
pairing unit here because we have the Lions logo
and so almost before you even weigh the merits of
the art you have to respect the compatibility
issues and ask yourself, "What are we going to do
with the logo?"
If it's going to be there, is it an

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obverse or reverse, and whichever one you make,
choose, or divulge into, it ends up affecting the
choice of the other set of artwork to be done.
So I personally don't have a ton of
preference at this point.

I'm going to listen very

carefully, but you almost have to address that up
front and I don't know how we do that as a
committee, where, if the logo goes.
MS. STAFFORD:

Jeanne, do you have a

comment?
MS. SOLLMAN:

Yes.

For our

representative, is it imperative that the logo be
on this or do you prefer the abstract quality
(inaudible) realistic lions on the reverse.
MS. CUTRIGHT:

I think that the most

recognizable thing about Lions Club International
is the logo.
MS. SOLLMAN:

The logo -- so in that way

the logo in reverse number one and two?
MS. CUTRIGHT:

I personally like it in

the -- not the reverse, I like it in the body in
the front.

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MS. SOLLMAN:

You want it in the front.

MS. CUTRIGHT:
MS. SOLLMAN:
I'm confused.

Yeah.
So in the front -- I think

Preference wise, one and two?

MS. CUTRIGHT:
MS. SOLLMAN:
understand now.

My preference is 02.
Okay, two -- 02.

Okay.

I

Thank you.

MS. CUTRIGHT:

And if I could tell you

why I think we like that one?

Mellon Jones' (ph)

name is not well known outside our circle.

His

picture is not that well known.
The logo is -- lining them all three
together gives, I think, recognition to the people
who know the logo and -- if you're driving through
a small town in the United States, you're going to
see that logo as you drive in.
MS. SOLLMAN:

Correct.

MS. CUTRIGHT:
was part of our thinking.

Quite likely.

And that

Also -- and Michele

could comment maybe about this -- by far that is
the best representation of what Melvin Jones looked
like in the pictures, the one in 02.

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MR. JANSEN:

Reverse number two.

MS. CUTRIGHT:

Yes.

MS. STAFFORD:

Obverse number two.

MS. CUTRIGHT:

I'm –now showing the

obverse in front, right?.
MR. JANSEN:
MS. CURTIGHT:

Correct.

Yes.

Yeah, obverse number two.

That's Michele -- you have found and looked at
many, many pictures of Melvin Jones.

Wouldn't you

say that's the best one of him?
MR. JANSEN:
preferences?

So, again, the -- your

Because I'm not clear at this point.

MS. STAFFORD:

Obverse two, and reverse

5B.
MR. JANSEN:

Thank you.

Obverse two and

reverse 5B.
MS. STAFFORD:

And just so -- and just to

speak to the point of likeness, as we have before,
we can always improve the likeness of a figure that
is depicted.
Thank you.
MS. LANNIN:

I would like to call on Tom

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first for any comments.
MR. JANSEN:

Tom, are you there?

MS. LANNIN:

Tom, you here?

(No audible response.)
MS. LANNIN:

Tom?

MR. JANSEN:

Tom?

(No audible response.)
MS. LANNIN:
MR. URAM:

How about Robert?
Hello?

MS. LANNIN:
MR. URM:
happened there.

I'm here.

Oh, I'm sorry.

Okay.

Tom?

I don't know what

To the representatives, first of

all, congratulations on having a commemoration of
such magnitude.
Having been a past District Governor of
Rotary International, I can really -- this is good
for all service clubs and congratulations on it.
And, you know, I know we've talked to the
points on logos and so forth, so -- for the logos
on the coins, I should say.
However, in this instance I think I -with the stakeholders here, I would definitely

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agree that it's something that should be on there
because it is so recognizable.
And I think what we have to do when we're
looking at this -- we're not only looking at a coin
that is going to be here in the United States, but
this is going to have International appeal, so my
first thought was, I really like number one with
the eyeglasses because of the work of -- once
again, that's kind of regional Lions versus the
International.
And I know how important it is -- when
the stakeholders were here a year ago -- that
Melvin Jones be on the obverse.
And so, in having said that, I guess
number two with the logo on the back would be the
most recognizable and the most appealing to not
only the Lions Club, but its members
internationally as well.
So I would agree that we have to include
the logo.

It wasn't something that I was really

excited about, but taking it from a community
service point of view, and the recognizable -- I

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mean, they're so well recognized that it's
important.
So, as much as I like these designs and
they're just -- as Erik has said, he did some
great, great designs -- having the logo on the
front is probably the way to go because that is
symbolized with the founder, Mr. Jones.
And then going to the reverse, I -- let
me get back there -- the stakeholders choice of 5A
-- 5B, I'm sorry.
I like it a lot, but I would rather see a
little bit more of the globe, so I'd lean a little
bit more towards number 11 versus number 5B, simply
because there's more of a globe there.
11A wouldn't work because we have the
logo already on the front, which is a good place, I
think, to put it, and work on strengthening the
back.
All of these designs for the reverse are
just so well done.

I would go with the -- I think

it's going to be a winner either way.

I think by

having the founder on the front you serve the clubs

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and the millions of -- a million three, or a
million four members that you have.
And then you serve the (inaudible)
community with great design also on the reverse
side.
I think it's a real winner and I would
once again congratulate you guys.

I would

certainly consider voting for 5B, but I'd also like
to hear the rest of the Committee as it relates to
some of the designs such as reverse 11.
And I'd just like to, you know, once
again, say that Lions Club and all of the other
clubs, you know, whether it's around the corner
serving the community or around the world, I think
the Lion's should be proudly roaring.
So, thanks for your -- thanks for your
time.
MS. LANNIN:
MR. URAM:

Thanks so much, Tom.

MS. LANNIN:

Thank you, Mary.
I'd like to call on Robert

and then if we could sort of quickly move through
the great choices that we've got to keep the

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Committee on time.

I'd appreciate that.

MR. HOGE:

Hello.

Robert?

Thank you, Madam

Chair.
These are hard to select, but I would
have to go with the Committee's selection.

If the

portrait of Melvin Jones is the best on number two,
and it includes the logo, I can't see how we could
go wrong by now choosing that one.
On the reverse it's showing all of these
various attractive images of lions.
they're going to be real winners.
choose among them.

I think
It's hard to

I agree with Tom that it's nice

to see the world in a little more space there with
the little group of lions in number 11.
But I would not be adverse at all to
going with the stakeholders preference of 5b.
Thank you.
MS. LANNIN:
MS. WASTWEET:

Thank you, Robert.
Thank you.

Heidi?

On the

obverses I love the creativity of obverses one and
1A, but if we are facing the challenge of fitting
on the logo, then I would have to go with the

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preference for number two.

I think it's a strong

choice, but I will -- I don't have a strong opinion
there yet.
On the reverses, for design, there's the
preference for 5B.

I didn't comment on that.

I'd

like to say that these lines are drawn just
beautifully.

I think they're really gorgeous.

I do have a couple of issues on the cub.
Although adorable, I think it is out of proportion
with these adult lions.

I think it's too small.

If you would skip forward to 9A as a
comparison.
cub.

I think this is the proper size of a

But I preferred the lions in 5B, so then that

moves me to design 5A, which simply eliminates the
cub.
I think that steps over the problem of
the cub being too small, and it just focuses on the
adult lions.

It's a bold image.

It's gorgeous.

The other issue with 5B is the way the
lettering runs over the top of the animals,
especially where you see E-Pluribus (ph) -- you see
the b-u-s and u runs over the -- halfway over the

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arms -- excuse me, legs of the lion and the cub,
and all the texture of the main -- it doesn't look
like it's a problem in the drawing, but I can tell
you in the sculpture that is a problem.
It's a technical challenge.
going to read well.

It's not

It's not going to be elegant.

Yes, it can be done, but it's not going to be done
well.
I would steer clear of that and I would - if the stakeholders like the direction of design
5B, I would encourage them to consider 5A instead.
That would be my choice.
MS. LANNIN:
MR. MORAN:

Thank you.

Mike?

I'm certainly going to give

the stakeholders number two on the obverse as a
reasonable design.

Good likeness that simplifies

the scope.
It also simplifies what you do on the
reverse.

You can go with the Lions in some form or

fashion.
I have a bit of a problem with Tom Uram's
suggestion of -- what is it?

Number 11, because I

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don't like the extension of the animals over to the
rim of the coin.

It's awkwardly drawn right there.

So you're back to 5A and 5B, and I'll
figure that one out when I write it on the
scorecard.
MS. LANNIN:
MR. MARKS:

Gary (ph?)
Well, it's hard to really

express everything I want to right now.

I'll start

by saying that as someone who dedicated -- has
dedicated his life to public service as a
professional City Manager, I remember two service
clubs, Rotary and Optimist.

I think it's great.

This is my last program to go out with a service
club.
I also am gratified that this portfolio
is absolutely gorgeous.

You know, this is an

example of what my hopes and my aspirations were,
so thank you so much.

And to the artist,

phenomenal work.
The obverse number two is the one that I
was hopeful for, so I'm happy that we're -- it
looks like the Committee and the Lions are in

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agreement with that.
If we could go to 5B, one of the things
I'd learned early on in this process was that a
pretty drawing doesn't really necessarily mean a
pretty coin, especially in the proof variety.
And while it certainly won't be ugly -- I
think it will be an attractive coin, but I think
with this 5B -- I think with the other
possibilities that have been offered here, I think
5B is a lesser one.
And because of the fact that there's not
a lot of field, there's not a lot of balance
between the raised objects in the field, we've
clustered the animals together so on the proof
version there's going to be a lot of black frost.
So, just -- you know, for the Lion's
people, I'm probably not communicating this well,
but it's not going to look like the drawing.
Beautiful drawing -- absolutely gorgeous drawing.
I personally happen to think that the
designs of -- represented in six, seven, eight -give the balance of field -- the background goes --

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that white area you see there, for the members of
the Lion's listening in -- that will all be a
mirrored background, and it will offset the lions - you know, a nice frosted color on metal, and it
will pop.

It'll pop off of there.
The design you've chosen doesn't pop.

It's all going to be a lot of white.

There's no

contrast.
I think some contrast around the edges,
depending on how they sculpt it -- maybe even a
little contrast in that globe up there -- then a
lot of that is just going to be white.
So, that's just my thought about that.
Ultimately you won't go too wrong because it'll
still be an attractive coin, it just won't be
everything that I would want for a service club of
the Lion's International.
So, with that, I sign off.
MR. URAM:
question for you.

Gary, Tom here.

Just a

What would you think about

number 10 with (inaudible) behind it, then, instead
of the field?

That would still create the

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International spot using the globe there -- with
more globe.
I was getting more towards the globe on
number 11 then the animals themselves, but -MR. MARKS:

I would prefer the more

minimalist approach where we could -- we could
magnify the mirrored surfaces in the background to
make them -- make the objects pop.
I think number 10 is just -- there's too
much.

There's -- and if there's any criticism to

the designs for these reverses, it's that some of
them there's just too much here, even for a silver
dollar.
So, just in my humble opinion, I think
number 10 is in that category of too much.

So,

with that, I sign off.
(Applause.)
MR. SCARCINI:

It's appropriate that I

follow Gary's last comment.

Last comment, last

comment, last comment.
First of all, just to make it clear, I
really do like -- I like the thinking and the

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playfulness behind one and one, obverse one and
reverse one.

I think, you know, that's the kind of

thing, you know, I'd like to see more of in the
future.
You know, with that being said, you
know, I don't want to belabor this.

I think the

majority of the people are going in the direction
of two, obverse two, so I'm not going to stand in
the way of that.
You know, I'll support obverse two.

I do

think, however, in the reverse I'm going to support
reverse 5A instead of 5B, and my thinking is I just
don't like a little cub, and I think number one,
there's just something wrong with it.

I don't know

what it is, but it's something wrong with it.
And I think that the two -- you know, the
two animals, you know, look a lot more powerful,
and especially -- I think if it would pop out it
would be -- hey, it would just make it nice.

I

think it'll make a nicer dollar coin.
I think 5A will make a nicer dollar coin
and it will be powerful, it'll be lions on a coin,

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people like animals, like lions.

I don't really

think we’ve done a lion on U.S. coins.

Before we

may have, but I don't think we have.
So, I think 5A is successful.

That being

said, I think my recommendation is if we go with -if the CCAC supports 5A as a reverse, the
Commission on Fine Arts has already supported 5B as
a reverse.

We just punt that on up to the

Secretary and let him decide.
MS. LANNIN:
MS. SOLLOMAN:

Thank you.

Jeanne.

Thank you, Madam Chair.

I agree with Donald's -- also with my
other colleagues -- with obverse 1A.

It's a

(inaudible) and I congratulate the artist who
conceived that idea.
I think that it would have been a great
coin, however, it doesn't have the logo on it and I
think this is important for this coin.
I also agree with our representative that
this is the best likeness of Melvin Jones on number
two.
So I will be supporting number two.

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the obverse, as Heidi said, these lions are great.
If I had to pick one of the 5's, 5A and 5B, I'm
gravitating toward less is more, and in five, which
just has a single line, I understand that probably
it's more desirable to have the two lions -- to
have a lioness there to represent gender diversity.
So I'm having trouble choosing between
five and 5A.

5B is too complicated for the size of

this metal, and a little cub lion is kind of run
thing.

Maybe he needs Lion help, I don't know, but

I think by eliminating that will probably eliminate
that problem.
Thank you.
MS. LANNIN:

Thank you, Jeanne.

MR. JANSEN:

Okay.

two directions here.

Erik?

So, I kind of have

One of them is vote your

inspiration, and the other one is kind of vote the
easy way.
Inspiration makes me turn to obverse
number one.

I think if you were to ask Melvin

Jones he'd say, Vote for my idea, vote for the
standard, vote for the message.

Don't vote for my

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face."

And that's not out of disrespect for the

man, quite the opposite.
I think the use of the eyes, the way it's
-- he designed one, in particular, not 1A -- the
way the glasses screw up the text is kind of like - as I look at this coin, it all kind of visually
fits really well.
If my eye is drawn to the tension, the
discord, what the heck is going on down there?

It

doesn't flow well.

Do

I need to understand that.

something for somebody else.
And so suddenly this obverse turns from
the portrait of a man behind an iconic organization
of wonderful stuff to, do something for somebody
else.
And now you honor the energy called his
life's effort that was put into this organization.
That's voting the inspiration.
Now, if you go with me on that, then on
the reverse you kind of have to say, okay, what
happens to the logo here?

I think the committee

has pretty much blown out the first five literal

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endorsements of the logo.
I turn to 11A, guys.
gorgeous proof.

This would be a

I think we can deal with the

awkwardness of the way the male's body bleeds to
the edge.

I think if we put the charge back to the

artist to say give us the rest of the body just
like he gave us that profile here, I think we'll
get it.

We just have to ask for it.
The proof will be gorgeous here, guys.

And let's face it, a silver dollar, iconic coin,
iconic pallet, a collector's preference, the proof
will outsell uncirculated two to one.
MR. SCARINCI:
MR. JANSEN:
gorgeous proof.

Right, Gary?

Almost always.
This thing will be a

We've got the frosty animals,

we'll have the globe with the continents in polish
done, right?
UNIDENTIFIED MALE:
MR. JANSEN:
the oceans in texture.

Yes.

The continents in polish,
We have the contrast that

will just make the lion symbol pop.
It will appear bigger than life.

It

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won't be the size of a dime here.

It will visually

dominate the optical appearance of this coin.
So, I'm going to advocate, vote the
inspiration here.

Obverse one, reverse 11A.

want to go with the flow, fine.

You

I will respect the

preference, the obverse two, which liberates you to
pick a reverse that doesn't need the logo.
I would say if you're a five player, 5B
will be a tragic proof.

It won't work.

turn into a frosty blob.
a lot.

It'll just

5A won't improve on that

Five actually starts taking you to around -

-- I don't really like it that well.
But I think 5B is the worst choice here.
That's not a baby lion, that's just a small lion.
If you want to see what a cub looks like, go down
to 9A.

There you've got a cub.

And I'm not sure I

like the chin lines in nine or 9A.
I can certainly appreciate Gary's liking
simplicity on these lions.

For a silver dollar,

folks, that proof carries the day, I think we have
to respect how the proof rendering will happen.
And I come back now to 11A, which is both

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the inspiration, and I think inspiration is the
only way to go here.

So I'm going to put my weight

behind one and 11A, and I'm not going to support
two because I want to make sure inspiration has its
chance.

Thank you.
MS. LANNIN:

Thank you, Erik.

Everybody

who would like to submit their voting sheets -- or
you already did that?
MR. JANSEN:

I didn't hear that.

MS. LANNIN:

I said, everyone would like

to submit their voting sheets.

Let's do that.

And

we're going to have a five minute break, and then
something else is going to happen.
MS. STAFFORD:

Okay.

Thank you to all

the liaisons from Lion's Clubs for joining us.
appreciate it.

We

Thank you.

(Recess.)
MS. LANNIN:

Mr. Norton, if you would sit

MR. NORTON:

I'm almost ready.

MS. LANNIN:

We're almost ready, and

down -Almost

ready.

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before we do anything we have to read votes.
All right.

Okay.

Ladies and gentlemen, let's

read -- let's do the Lion's Club International
Century of Service Commemorative Coin Program.
Obverse number one received 13 votes.
Obverse number 1A received four.

The winning

obverse is what the stakeholder has a preference
with 22 votes -- is obverse number two.
All the rest of the obverses received
zero votes.
For the reverse, reverse number one
received one.
zero.

Two, three, four, and 4A received

Reverse number five received six.

Reverse

number 5A with Heidi's suggestion to remove the cub
is the winning one, which received 18.

The

stakeholders preference was then down to four votes
for 5B.
Reverse six received one.
received seven.

Reverse eight received one.

votes for number nine.
each for ten and 11.
11B.

Reverse seven

Three votes for 9A.
Six votes for 11A.

No
One

None for

One for 12, and none for the remaining 13,

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14, or 14A.
And now I would like to say something.
Committee Members, it is a privilege that I
recognize our former Chair, Gary Marks, who is
retiring as a member of the Citizen's Coinage
Advisory Committee.
You can't deny that Gary has brought
passion and commitment to the committee by a
consistent and constant voice for America's coins
that we will greatly miss in the future.
I greatly appreciate his steadfastness as
Chair of this incredible group of individuals, as
someone to serve our country in advancing the
history of the United States through coins and
metals.
The committee will now recognize Deputy
Director Richard Peterson for a presentation.
MR. PETERSON:

Thank you very much, Mary.

It is my honor and privilege to be here today to
recognize Gary on the occasion of his retirement
from the CCAC.
And you see some presentations we have

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here.

I'd like to invite Don Everhart to make a

few remarks and make his presentation from here.
MR. EVERHART:
remarks today.

I wasn't prepared to give

I just want to say to Gary, it's

not going to be the same without you here and it's
going to be hard for me to see the Committee
without you here.
We really appreciate what you've done for
us, and I thought you've always had the Committee's
best interest at heart when you've made your
decisions, and I thought you made good decisions.
And I wish you the best of luck.
(Applause.)
MR. EVERHART:

My description -- Gary

liked that design I did for monuments mintage.
wasn't picked.

It

And it says, "Art is the activity

of free minds."
It's the visual evidence of free minds,
so I put to the fellow artist with a free mind -and he requested this from me and I'm glad to give
it to him.

I think he got what I was trying to say

with this reverse design.

I'm not sure a lot of

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other ones did get it though.
MS. LANNIN:

Nice.

MR. PETERSON:

So, in January of 2011

Ken Yenkey (ph) directed the United States Mint,
and shortly thereafter was my very first CCAC
meeting, and my involvement with the CCAC before
that was rather limited.
But then, as I became Director, and I
meet the CCAC for the first time, I would say, oh,
we've got (inaudible.)
The relationship was not on solid ground.
The Committee had gone off and produced a blueprint
of recommended actions.

I read that in full detail

and took it to heart, and over the next several
years we set about to implement each and
every one of those actions.
Gary's leadership at the CCAC is defined,
and the help that he received from others here in
the room, and those who have already ended their
time at the CCAC, really came to drive our road map
over the last four plus years.
So, Gary, I just want to thank you

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personally for the time you've spent with me,
coaching me, bringing me up to speed on our work,
and American coinage and how to -- you know, what
the word iconic really means.
What is the iconic image of the theme
that we put on our coins, and how do you capture
that spirit with one or two small emblematic
devices?
So, your time and commitment in educating
me, I will be eternally grateful for that.

Thank

you.
(Applause.)
MR. PETERSON:

We're going to introduce

you right here in just a minute to make the
presentation, but you had asked to have the Suu Kiy
(ph) medal, which was one of your first
Congressional gold medal designs that you were -that you were in CCAC for, to be doing your
presentation.
This is the program from the ceremony
where she was honored, and we're going to get you
one of these as well.

Thank you.

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It's my pleasure to introduce our
Principal Deputy Director, Red (ph) Jeppson.
MR. JEPPSON:

Thanks.

You know, I was

thinking about the timeline when you mentioned that
Gary has been here for eight and a half years.

So

that means that I've been here for the last half
years.
There was eight years that preceded me
being here, and so I thought it was appropriate
that Dick kind of give the remarks.
But I just want to make two -- a couple
of observations real quick.

I came from a

different agency prior to coming here and we had
two committees that we were required to run.

And

so -- and then there were a couple more that I
actually sat on by statute of where I was.
And when you look at how well this
committee functions here with your team, it really
is a role model.

I've had an opportunity to see

it.
Sometimes I'm afraid that if some of our
fellow citizens saw how the committees function or

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were attended, or got down to business, they would
be a little baffled and maybe disappointed.
But I can tell you wholeheartedly that
I'm so impressed with the way that it's staff and
committee work together to really do the work of
the people here.
So, with that, I think that we can
contribute that function, and in no small part to
Gary and his leadership while he was the Chair of
the -- and also was a member of the committee.
So, with the deepest of gratitude from
the United States Mint, to the extent we represent
the public at large, thank you for what you've
done, for your contribution of time, sacrifice,
intellect and talent to the Mint.
So, again, thank you, Gary.

You will be

sorely missed here as a member of this committee.
Thank you.
(Applause.)
MR. PETERSON:

Let me read this citation

here that's on the presentation.
"The United States Mint's certificate of

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distinguished public service present to Gary Marks
in gratitude for your distinguished public service
to the Secretary of the Treasury and the United
States Mint, as both a member and Chairperson of
the Citizen's Coinage Advisory Committee."
"In recognition of your exemplary advice
on themes and designs of the nation's coinage and
medals, of commemorative coin mintages and the
events, people, and places deserving of
commemoration on coins."
"Your exceptional work has both advanced
the hobby and has held the United States Mint to
fulfill its mission, ensuring that each coin and
medal connects every American to our Nation's
greatness and a future of hope."

Signed,

(inaudible.)
(Applause.)
MR. PETERSON:

Ladies and gentleman, it's

my pleasure to introduce Gary Marks.
MR. MORAN:

Did Donald write it for you?

MR. MARKS:

Chairwoman Lannin,

distinguished members of the CCAC, Principal Deputy

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Director Jeppson, Deputy Director Peterson, and the
amazing Mint staff, let me address you all as
friends.
My wife Lorie was unable to be here
today, yet it was because of her and her support
over all these years that I was able to serve.
While I was working here with all of you, she was
back at home taking care of life.

It would not be

possible for me to adequately express the
thankfulness I have for her in her support of me.
Likewise, it would be impossible to
communicate all that I'm feeling now, and also
fully express the debt of gratitude I feel to each
and all of you, so I will focus on just a few of
the most essential points.
First, it's with great appreciation and
thanks I receive this handsome plaque.

This

recognition will occupy a special place of display,
both on a physical wall and in my heart.
It is the tradition of outgoing members
to select a medal produced during their tenure to
be displayed on their service plaque.

For me, the

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choice was fairly easy.
I chose the Aung San Suu Kyi Medal,
designed and sculpted by Don Everhart.

Of all the

Congressional gold medals the Committee has helped
create during my tenure, the medal awarded to Suu
Kyi as a defender and champion of liberty speaks
most deeply to me.
For me, Suu Kyi stands as a living Miss
Liberty, thus the theme of liberty well, and
beautifully executed, explains my selection of the
Suu Kyi medal.
Here's another design that I highlight as
particularly special to me.

In fact, of the

thousands of designs this committee considered and
evaluated during my eight plus years of service,
Don Everhart's Free Minds design, prepared as part
of the Monument's Congressional Gold Medal program,
stands as the most personally impactful design to
me.
The best art has the ability to speak to
your sensibilities, and in some instances to reach
out and grab your heart.

Don's design grabbed my

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heart about something near and dear to me.

Art.

The inscription, "Art is the visible
evidence of the activity of free minds," so
eloquently communicates the link between art and
its literal and evidentiary place in human freedom.
The design is a beautiful portrayal of
the symbols of art.

Visual art, performing art,

and literature drive home that point.

And the

butterfly, a symbol of beauty, grace, peace,
complexity, and delicacy, is the perfect image to
represent the soul of fine art.
In many ways the design speaks to the
essence of what we do as a committee and staff
team.

We are all players in the conveyance of art,

the evidence of free minds, to the nation and
world.
And for me in my service here, as many of
you have heard me say so many times, it's always
been all about the art.
Don graciously agreed to sign this design
for me and it will occupy a space next to my
service plaque, and it will serve as a prized

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memento of my work here with the committee and my
service to the United States Mint, and by
extension, the Nation.
For the balance of my remarks, I want to
talk about what we did and how my service changed
me.

First, what we did, and more precisely, what

we accomplished.
Cultural anthropologist, Margaret Mead
once said, "Never doubt that a small group of
thoughtful, committed people, can change the world.
Indeed, it is the only thing that ever has."
Friends, we change the world of American
numismatics.

We change the artistic narrative that

is so routinely and frequently encountered by our
Nation's people through coins.

The magnitude of

that accomplishment is truly immeasurable.
done.

Well

Well done.
In early 2011 this committee published

the blueprint for advancement of artistic
creativity and excellence in United States coins
and medals, and would funnel through -- often
uncommon in government, the Mint staff embraced and

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implemented the blueprints recommendations, every
one of them.
The changes were many and meaningful.
The design process moved from sales and marketing
to a division focused on the Mint's sculptor
engravers, and focused on art quality.
The sculptor engravers were moved
upstairs from the basement in Philadelphia to a
location more suitable for artistic pursuit.

The

Mint conducted a call for artists that resulted in
the addition of 20 or so new members of the
artistic infusion program.
The role of the CCAC was expanded to
include input on design themes prior to the
execution of designs.
And, most importantly to me, the Mint and
committee now enjoy a relationship that allows the
free exchange of numismatic expertise and ideas on
a broad range of issues.
The result of those changes are well
known to all of us.

Examples of design and

excellence now fill the pages of the typical

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program portfolio.

The portfolio from this meeting

is Exhibit A on that.
Their coins and medals have been the
result, and I am very proud that I have been given
permission to give some proof about that.
I am able to announce that the coin of
the year awards, run by the Prossy (ph)
Organization, has just very recently named in four
of the ten categories that they've awarded the
United States mint coins for nomination.
huge accomplishment.

That is a

That is the first nominations

the Mint has received since 2009.

We are on our

way, folks.
And that accomplishment of their coins
and medals is so important.

The designs on United

States Coins and Medals are more than simple
illustrations on medal disks.

They are expressions

of the values, aspirations, and shared heritage of
our nation.

They serve as illustrations to the

world of the essence and the story of America.
Therefore, the designs on United States
coins and medals necessarily must be of quality and

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must reflect the inspiration appropriate and
befitting the ideals of our great nation.
The products of the United States Mint,
over the years since the blueprint, have
increasingly met that challenge and I am heartened
to leave my post now, seeing a new legacy of design
excellence building and going strongly and
powerfully ahead into the future.
But the work is never done.
issuance of the 24-karat gold High

The

Relief Liberty

coin was a great success and stride forward for our
team.

And the silver medal of the same design

it will ultimately produced in 2016 will be a
success of several more magnitudes.

Of that, I

have no doubt.
I urge the Committee to keep recommending
steps in advance of artistic creativity and
excellence.

The proposed art medals program

remains a powerhouse of innovation just waiting to
be released.

I urge the Mint to make the program a

reality.
Letting our artists explore and create

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the positive collateral impact on America's coins
and medals will be tremendous.

Of that I also have

no doubt.
So now, finally, how this experience has
changed me.

Artist and Author Flavia Weedn is

quoted as saying, "Some people come in to your
lives and go quickly.

Some stay a while.

Awaken

with us with new understanding with the passing
whisper of their wisdom and leave footprints on our
heart.

And we are never ever the same."
Oh, my.

How each of you has helped stir

a change in me, and now you will leave footprints
on my heart.
Collectively and individually you've
educated me in the elements of design, metallic
arts, minting processes, and American history.

It

has been such a rich education.
And along the way, my work with each of
you -- the opportunity to gain from your knowledge,
the constant exposure to art -- through that
process something special happened in me.
You, each of you, in a multiplicity of

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ways, has helped me rediscover my own creativity.
Perhaps without knowing it, you helped me learn
again something I had lost in childhood, how to
express myself artistically.
It's been an amazing journey to first
rediscover my art, and then to pursue and grow in
it.

I paint colorful abstracts with oil on canvas,

create something I call wall sculptures, and for
the past two years I have been focused on medalic
design and the creation of silver art medals.
So, know this, while you're carrying on
the work of producing the Nation's coins and
medals, I will be busy with my newfound time
producing my own artistic creations and feeling
grateful for all that you have invested in me.
More than anything, I cherish the many
friendships I have in this room.

Please know that

regardless of where life takes each of us from this
point forward, my heart holds a special place for
each of you.
And as you carry forward now, please,
please, never forget it's all about art.

God bless

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Capital Reporting Company
Citizens Coinage Advisory Committee Meeting, 10/8/2015
163
you, folks.

Thank you.

(Applause.)
MR. PETERSON:

I would like to invite the

members of the CCAC to come up and join Gary and we
can get a group photo, please.
And then the folks at the mid will come
up afterwards and join Gary and get some pictures.
(Pause.)
MR. WEINMAN:
MS. LANNIN:

Let's adjourn the meeting.
I would like to -- with

business concluded with that great speech, Gary -before we get our photo done I would like to
adjourn the meeting.
MR. MORAN:
MS. LANNIN:

Do I have a second?
Second.
All right.

The meeting is

adjourned.
(Whereupon, at approximately 12:45 p.m.,
the meeting of the Citizen's Coinage Advisory
Committee was adjourned.)

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CERTIFICATE OF NOTARY PUBLIC

I, ERICK McNAIR, the officer before whom the
foregoing deposition was taken, do hereby certify
that the witness whose testimony appears in the
foregoing deposition was duly sworn by me; that the
testimony of said witness was recorded by me and
thereafter reduced to typewriting under my
direction; that said deposition is a true record of
the testimony given by said witness; that I am
neither counsel for, related to, nor employed by
any of the parties to the action in which this
deposition was taken; and, further, that I am not a
relative or employee of any counsel or attorney
employed by the parties hereto, nor financially or
otherwise interested in the outcome of this action.

ERICK McNAIR
Notary Public in and for the
DISTRICT OF COLUMBIA

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CERTIFICATE OF TRANSCRIBER
I, Wendy S. Sardina, do hereby
certify that the foregoing pages 1 through 84,
inclusive, are the true and accurate and complete
transcript to the best of my ability, prepared from
verbal recording made by electronic recording by
Chaz Bennett on September 30, 2015 in Silver
Spring, Maryland, and have verified the accuracy of
the transcript comparing the typewritten transcript
against verbal recording.

Wendy S. Sardina
10/13/15

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CERTIFICATE OF TRANSCRIPTION

I, ANNMARIE WASKO, 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

ANNMARIE WASKO
Transcriptionist

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