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From YouTube: City of Charleston Commission on History 11/17/21
Description
City of Charleston Commission on History 11/17/21
B
C
B
C
B
B
So,
as
far
as
I
know,
the
way
this
has
come
to
our
committee,
which
is
something
that
we
don't
normally
handle,
is
from
what
I
understand.
Two
of
our
members,
robert
rosen
and
councilman
griffin,
suggested
that
it
might
be
good
to
come
to
our
committee.
We
have
weighed
in
on
the
past
calhoun
statue
and
from
my
understanding
you
know
you
have
you
have
the
attachment
as
the
letter
it
came
to
the
city
of
charleston,
so
my
understanding
is
that
you
know
whatever
we
decide
will
go
forward
to
city
council,
but
city
council
itself.
B
So
that's
my
understanding
of
it
so
again,
so
our
vote
today
will
just
be
taken
to
city
council
today,
but
then
I'll
now
turn
to
the
folks
from
los
angeles
from
the
west
coast
and
if
whoever
wants
to
introduce
themselves
first
hannah
or
and
is
it
hamza?
Am
I
pronouncing
that
correctly
and
both
of
you
are.
D
All
right
so
I'll,
try
and
keep
it.
I
try
to
keep
it
to
10
minutes
max
just
so
I
can
get
to
questions,
but
I
prepared
some
remarks
for
for
this
historic
commission,
but
first
I
just
want
to
thank
you
and
the
city
of
charleston
for
granting
us
audience
for
learning
about
our
project
and
more
bluntly.
D
D
This
is
just
a
a
a
kind
of
cultural
literacy
reminder,
I
suppose,
while
it
isn't
bronze
los
angeles
is
arguably
responsible
for
the
biggest
of
all
of
the
confederate
monuments,
namely
dw
griffith's,
birth
of
a
nation
which
did
more
to
promote
the
lost
cause,
I
would
say
than
any
bronze
statue
ever.
Could
that
said,
I
don't
have
to
remind
anyone
that
these
are
turbulent
and
divisive
times
so
much
so
that
we
are
left
asking.
Where
are
the
spaces
for
civil,
honest
exchange
and
discourse?
D
D
In
essence,
this
exhibition
is
about
the
soul-searching.
We
have
to
do
as
a
country
and
if
I
can
share
screen,
do
I
have
the
power
I
do
have
the
power.
Thank
you
for
granting
me
the
power.
Let's
see
where
would
it
be?
Where
am
I
looking
I'm
looking
for?
I
think
here
I
think
I
want
to
share
this
there
we
go
okay.
D
D
This
is
the
unite,
the
right
rally
in
charlottesville
and
it
was
made
painfully
clear
on
may
25th
2020
in
minneapolis,
with
the
murder
of
george
floyd,
so
the
goal
of
the
project
is
to
mark
what
is
an
historic
moment.
On
a
biographical
note,
I
did
not
expect
to
see
confederate
monuments
taken
down
in
my
lifetime.
D
These
same
sentiments
apply
to
our
having
elected
a
black
president,
but
I
want
to
be
precise,
more
precise
about
what
I
mean
by
historic
when
referring
to
epic
events.
We
talk
about
making
history,
but
this
is
not
what
I
mean
by
historic
moment.
I
mean
a
moment
when
we
are
made
aware
of
the
fact
that
we
are
living
through
history.
D
This
is
a
moment
when
we
are
made
conscious
of
the
ways
and
degrees
to
which
we
are
connected
to
the
past,
connected
to
what
is
our
shared
history,
american
history,
from
the
civil
war
through
reconstruction
through
the
era
of
jim
crow?
Through
the
civil
rights
movement
to
today
and
again
by
today,
I
would
cite
june
17,
2015
august
12
2017
with
unite
the
right
and
may
25th
2020
just
for
starters
in
terms
of
moments
that
give
us
deep
pause
for
deep
reflection.
D
The
scholarly
publication
will
be
a
notable
roster
of
voices,
academics,
specialists
in
the
field,
social
critics,
historians
getting
at
the
monuments
from
a
number
of
different
angles.
The
public
programs
will
take
place
a
year
before
the
exhibition,
which
is
slated
for
fall
of
2023,
not
fall
of
2022.
D
You
guys
have
an
earlier
copy
of
the
proposal,
but
for
obvious
reasons,
things
got
pushed
back
a
year,
our
partners
in
crime.
In
terms
of
realizing
this
exhibition.
Our
partner
is
the
la
museum
of
contemporary
art,
la
moca,
as
it's
referred
to.
They
have
a
very
large
facility.
The
geffen
center
downtown,
which
is
a
very
it,
was
an
old
hardware
store.
I
think
it
dates
back
at
least
a
century,
but
it
as
a
facility
it
has
the
the
the
it
can
hold
and
house
the
monuments.
D
So
so
real
quick
run
through
the
decommissioning
of
confederate
monuments
occurred
in
two
waves.
The
first
wave
was
kicked
off
in
2015
after
the
dylan
roof
and
the
the
tragedy
took
place
at
emmanuel
ame
in
charleston,
and
for
that
reason
alone,
having
charleston
in
the
exhibition
is
of
utmost
importance.
D
D
Two
years
later,
after
the
events
in
charleston
mitch,
landrieu
was
able
to
muster
the
votes
with
he's
the
mayor
of
new
orleans
with
the
new
orleans
city
council
to
have
the
statues
of
new
orleans
taken
down.
So
between
2015
2017
new
orleans
was
the
first
to
fall
essentially,
but
those
two
years
again
mitch
landrieu
was
working
behind
the
scenes
to
get
the
city
council
on
board
to
remove
these
statues.
D
Second,
in
line
charlottesville
following
new
orleans
lead
wanted
to
remove
the
robert
e
lee
statue.
As
early
as
april
22
april
2017,
the
city
council
voted
in
favor
of
its
removal
as
a
reaction
to
that
august.
12
2017
unite
the
right
rally
and
it
was
in
reaction
to
the
unite
the
right
rally
that
the
first
really
big
wave
of
decommissions
took
place
right
so
right
after
the
united
right
rally,
protesters
in
durham
north
carolina
yanked
this
one
down
destroyed
it
in
the
process.
D
Gainesville
florida
removed
one
of
its
confederate
soldiers
in
the
dead
of
night
baltimore
removed
four
confederate
statues
in
response
the
university
of
texas
in
austin.
They
took
down
four
considerate
confederate
statues
in
august
as
well.
So
action
reaction
is
what
defined
the
first
round
of
decommissioning
and
then
up
through
august
20th
2018,
and
that's
when
silent
sam
was
toppled
at
the
university
of
north
carolina,
and
it
was
after
this
that
the
project
monuments
was
conceived.
D
May
20th
2020
changed
everything.
The
second
wave
of
decommissioning
happened
after
the
murder
of
george
floyd,
so
it
went
from
35
monuments
when
the
project
was
conceived
to
then
in
2020
160.
monuments.
In
terms
of
the
number
that
we
were
looking
at
for
the
project,
and
so
it
was
also
at
that
time
monuments.
D
The
decommissioning
of
confederate
monuments
was
its
own
issue
and
police
brutality
was
a
separate
issue
and
the
murder
of
george
floyd
they
merged,
and
I
think
this
image
that's
why
I
chose
this
image.
Just
with
the
black
lives
matter,
sign
being
projected
onto
the
robert
e
lee
statue,
so
birds
in
hand.
These
are
monuments.
D
We've
been
given
the
green
light
from
these
different
entities
and
municipalities
to
borrow
their
monuments.
The
four
from
baltimore,
so
you've
got
frederick
brookstall.
This
is
the
soldier
and
sailors
monument
roger
taney
back
here
he
was
the
supreme
court
judge,
who
decided
both
the
dred
scott
decision
and
the
he
struck
down
the
missouri
compromise
and,
in
effect,
started
the
civil
war.
D
So
bradenton
florida
in
manatee
county.
This
is
an
obelisk
15
feet
high.
This
is
not
its
current
state
when
they
went
to
take
it
down.
One
of
the
cranes
the
rigging
snapped,
it
fell
it
broke
and
I
actually
asked
to
borrow
the
obelisk
in
its
broken
state
as
a
reference
for
those
of
you
who
will
indulge
me
in
terms
of
art,
historical
jokes,
broken
obelisk
by
barnett
newman,
which
is
a
very
famous
sculpture.
It's
an
edition
of
four
the
museum
of
modern
art
has
one.
D
This
is
a
sculpture
by
lewis,
amitay
and
it
is
from
houston.
It's
called
the
spirit
of
the
confederacy,
a
male
allegorical
figure,
and
it
is
currently
in
the
possession
of
houston's
african-american
museum.
John
guess
is
the
director
of
the
museum
there.
He
was
very
very
excited
about
the
project
and
it
was
he
said.
This
is
precisely
the
kind
of
thing
that
we
would
we
want
to
be
a
part
of,
as
he
is
now
looking
and
I
think
it's
quite
a
beautiful
move,
for
you
know
one
of
the
big
questions.
D
These
things
have
come
down
what
to
do
with
them.
So
one
approach
has
been
about.
You
know
how
do
we
if
they
go
to
museums
or
cultural
institutions?
How
are
they
contextualized,
and
I
think
it's
quite
a
beautiful
move
in
this
instance
for
the
african-american
museum
to
take
one
of
these
figures
and
john
guess
was
really
specific
about
not
wanting
a
named
subject,
so
he
didn't
want
robert
e
lee,
but
specifically
he
wanted
the
spirit
of
the
confederacy,
precisely
because
it
was
allegorical
because
what
it
embodied.
D
But
I
think
it's
a
really
a
great
move
in
terms
of
before
we
were
talking
about
adding
plaques
to
these
as
a
way
of
recontextualizing
right.
But
sometimes
you
know
how
we
understand
something
depends
on
where
we're
seeing
it.
So
this
is
randolph
women's
randolph
college
in
lynchburg
virginia
used
to
be
randolph
women's
college.
D
So
this
was
actually
done.
This
sculpture
has
its
own.
In
addition
to
that
anecdote
about
it,
which
is
there's
much
to
be
said
about
that
more
than
an
anecdote,
it
was
it's
by
the
brother
like
his
name
of
gutson
borglum
and
gutson.
Borglum
was
the
sculptor
who
did
the
maquette
for
stone
mountain
georgia,
but
who
ultimately
did.
D
This
obelisk
and
the
important
part
of
I
mean
it's
a
relatively
generic
monument
in
terms
of
being
an
obelisk,
but
it
is
the
inscription
that
is
what's
what's
important
and
it
is
one
of
the
few,
perhaps
the
only
monument
whose
inscription
makes
clear
that
this
is
a
monument
to
white
supremacy
right.
So
it's
about
the
battle
of
liberty
place
in
which
the
carpetbagger
government
was
ousted,
but
then
the
federal
government
came
in
and
reinstated
the
reconstruction
era
government.
C
D
D
Just
also
talk
about
calhoun,
as
it
relates
to
other
statues
that
will
be
included
in
the
exhibition
that
make
for
interesting
bedfellows
in
relationship
to
calhoun,
who
was
a
seminal
figure,
not
just
in
obviously
north
korea
or
south
carolina's
history,
but
in
american
history,
in
terms
of
the
events
in
south
carolina
were
a
dress
rehearsal
for
the
civil
war
and
not
only
the
famous.
You
know,
slavery
is
a
positive
good
speech,
which
I
recently
taught
to
my
class.
D
D
D
That's
not
at
all
what
this
exhibition
is
about
the
furthest
thing
from
our
minds
and
the
reason
I
was
mentioning
california
as
being
complicit
in
it
is
to
that
effect.
We
don't,
even
though
we
know
about
these
things
coming
down,
who
this
is
a
teachable
moment.
I
mean
you
know
not
grading
on
a
curve,
I
would
say
I'm
a
c
minus
student
of
american
history,
which
is,
I
think,
pretty
good
in
the
big
picture
sense.
D
What
do
they
represent?
They
are
not
in
a
lot
of
cases.
History,
even
though,
as
objects.
They
have
a
history,
so
to
be
clear
about
those
separate
lines
is
important,
so
next
door.
This
is
josephus
daniels
who
was
prominent
north
carolina.
He
owned
the
biggest
newspaper
founded
the
bono
owned
and
found
the
biggest
newspaper
in
north
carolina
out
of
raleigh,
but
was
seminal
in
in
fermenting.
D
The
family
has
agreed
to
lend
the
sculpture
to
the
exhibition
and
they
were
very
and
they're
very
sensitive
about,
and
I've
given
them
full
in
terms
of
an
open
book
with
respect
to
the
exhibition,
letting
them
know
what
our
plans
are
for
the
display,
what
will
be
around
it,
who
we're
going
to
show
it
with
what
we're
going
to
juxtapose
it
against.
But
in
terms
of
the
complexity
of
these
individuals
right,
he
was
a
white
southern
democrat
of
the
period
right.
D
D
Stephen
foster
city
of
pittsburgh
is
long.
Stephen
foster,
stephen
foster,
notable
american
composer
of
the
19th
century
old,
susanna,
camptown
races,
a
number
of
hits
all
humble
and
noble,
but
he
wrote
a
lot
of
the
music
for
menstrual
z
acts.
So
in
this
sculpture
it
was
taken
down,
as
he
sits,
atop
his
muse
right,
the
muse
being
a
remus
and
uncle
remus
type
figure
that
people
in
pittsburgh
found
offensive
along
with
statuary
we're
also
including
street
signs
from
montgomery,
alabama
and
new
orleans.
D
These
streets
have
now
been
renamed
in
the
case
of
montgomery.
It's
going
to
be
renamed,
for,
I
believe
it's
fred
gray,
who
was
rosa
parks's
attorney
and
a
prominent
civil
rights
attorney.
So
jefferson
davis
avenue
will
be
renamed
fred,
gray
avenue,
but
it
speaks
to
these
cities
in
the
south
as
sites
of
layers
of
history
right.
It's
not
only.
This
is
where
the
civil
war
took
place,
which
is
also
you
know,
ground
zero
for
the
civil
rights
movement
right
so
to
have
it
played
out
literally
in
these
intersections
right.
D
D
So
these
are
pieces
where
we're
still
in
negotiation
with
the
various
parties,
who
are
the
stewards
of
these,
these
pieces,
elberton
georgia.
This
is
the
elberton
granite
association.
This
is
duchy,
as
he's
referred
to.
He
is
the
first
decommissioned
confederate
monument.
He
was
yanked
down
by
an
angry
mob
that
couldn't
that
couldn't
they
thought
he
was
a
a
a
union
soldier
and
not
a
confederate
soldier.
He
was
indeed
a
confederate
soldier,
but
they
yanked
the
statue
down
it
broke
into
parts.
D
D
So
this
is
also
richmond,
we're
hoping
to
borrow
these
this
very
large
piece.
It's
a
sculpture
of
matthew,
fontaine,
murray,
let's
pronounce
it
even
spelled.
M-A-U-R-Y
he's
considered-
and
here
he
is
as
a
civilian
in
his
civilian
guys
he's
known
as
the
father
of
modern
oceanography.
He
was
actually
in
the
confederate
navy,
but
his
his
studies
of
the
tides
are
still
used
today
in
terms
of
shipping
navigation
routes,
but
he
had.
D
He
believed
that
the
fate
of
the
americas
was
in
its
relationship
to
south
america,
and
so
he
went
down
to
mexico.
He
was
on
the
lamb
right
after
the
civil
war
for
a
while,
but
he
wanted
to
basically
make
deals
in
terms
of
ties
between
southern
slavery
and
the
use
of
slave
labor
in
the
south
and
central
america
to
extract
resources
from
there.
So
the
relationship
between
slavery
and
colonialism.
D
You
know
construction
right,
he's
three
burning
these
feet
at
the
bottom
1861
1865,
but
these
are
water
fountains
and
I
think
it
would
have
been
clear
in
terms
of
who
could
drink
at
those
water,
fountains
and
the
meaning
of
the
segregated
water
fountain.
So
the
connection
between
the
confederate
monument
and
the
jim
crow
era,
segregation
being
played
out
materially
in
this
artifact
is
what's
interesting,
so
I'll
stop
there
and
hannah,
and
I
can
answer
questions
you
might
have,
and
so
these
pieces
would
be
displayed
along
works
of
contemporary
art
as
well.
B
But
again,
since
some
of
us
are
visual,
some
of
us
are
not.
If
you
know,
if
people
know
how
to
use
the,
I
mean
people
know
how
to
put
the
questions
you
know
in
the
chat.
We
can
do
it
that
way.
If
people
want
to
raise
their
hands
either,
you
know
through
an
icon
or
through
actually
visually
raising
their
hand,
I'll
try
to
keep
track
of.
Who
has
the
question
first
and
call
people
order
and
also
to
if
you're,
on
the
phone?
B
E
D
E
D
D
D
Some
of
the
articles
that
have
appeared
in
scholarly
publications,
as
well
as
the
mainstream
press,
one
of
the
really
great
op-ed
pieces
that
got
a
lot
of
attention
and
it's
carolyn
and
hannah.
If
you
could
help
me
out,
but
the
name
of
the
op-ed
piece
is
my
body
is
a
confederate
monument
and
it's
a
piece
about
her
family.
D
I
mean
la
mocha
is
one
of
the
preeminent
museums
of
contemporary
art
in
the
country.
So
we
didn't
mean
to
scare
anybody
off
because
of
their.
You
know
doubts
about
scholarly,
but
again
they
will
be
professionals
in
the
field
whose
work
has
been
peer,
reviewed
with
phds
in
the
leading
voices
on
the
subject
of
the
civil
war
reconstruction
and
this
class
of
statuary
and
monuments
in
general,.
B
F
F
D
E
I
can
I
can
add,
on
that
my
name
is
hannah
burstein.
I
was
I'm
the
research
assistant
for
this,
so
I've
been
working
with
hamza
on
this
project
since
late
2019
and
specifically,
I
think
charleston's
calhoun
monument
has
a
really
interesting
history
in
terms
of
its
popular
narrative
and
folklore,
because
the
first
iteration,
as
many
of
you
I'm
sure,
are
aware.
E
E
D
D
So
I
really
like
having
stephen
foster
in
the
exhibition
and
josephus
daniels,
I'd
like
to
use
as
a
as
a
way
of
there's
a
photographer,
hugh
mangum,
who
operated
a
a
portraiture
studio.
Very
simple,
but
his
negatives
have
just
come
to
light
and
basically
his
negatives
included.
You
know
anybody
who
came
in
for
a
quarter
or
dime
could
have
their
their
portrait
taken
and
he
did
not.
You
know
you
take
the
picture.
Click
have
an
image.
D
B
B
She
went
off
to
new
york
and
hung
out
with
walt
whitman
et
cetera.
It
was
known
as
the
queen
of
bohemia
and
she
is
a
feminist
and
she
went
ended
up
in
san
francisco,
your
end
of
the
world,
but
she
stole
the
money,
which
is
why
the
statue
was
not
built
until
after
the
civil
war
but
anyway.
So
please
include
that
in
your
narrative,
if
you.
B
A
F
All
right
of
calhoun
advocating
cutting
off
the
fingers
of
people
who
didn't
pick
a
certain
amount
of
fat
and
that
those
kinds
of
stories
need
to
be
told
as
well
the
brutality,
the
utter
you
know
of
these
figures,
some
of
these
figures,
and
they,
you
know,
is
relied
by
their
by
the
criminal.
The
criminal
element
they
associated
themselves
with,
as
harlan,
is
bringing
out
with
the
with
this
tale.
F
We
find
that
same
phenomenon
happening
today,
where
you
get
people
who
don't
seem
to
have
a
high
moral
sense,
getting
into
positions
of
power
and
threatening
any
form
of
human
advancement,
but
that
that
that's
what
what?
What
what
I
see
and
I'm
hoping
this
angle
will
be
brought
out.
As
I
mentioned,
I'm
also
interested
in
seeing
connections
between
local
museums
and
the
black
side.
Outfit.
B
A
Hi
and
thank
you
so
much
for
the
presentation,
it's
interesting
that
y'all
are
are
taking
this
on
and,
of
course,
I've
had
the
opportunity
to
be
at
mocha
la
which
is
a
terrific
museum
and
getting
to
know
your
organization
as
well.
So
just
a
couple
of
museum
questions,
my
assumption
is,
is
that
the
city
will
be
provided
with
a
facilities
report
as
to
how
these
objects
would
be
displayed.
A
Yes,
I
do.
I
do
think
it's
important
that
this
group
and
the
city
have
an
opportunity
to
see
the
actual
scholars
that
you
choose
to
write
the
various
chapters
in
the
catalog.
It
would
also
be
helpful
to
know
your
final
selection
of
artists
that
are
going
to
create
new
works.
To
cut
to
are
you
pairing
the
artists
with
a
particular
piece,
or
are
they
just
going
to
be
responding
generally
to
the
confederate
monuments.
A
D
But
all
we
can,
all
of
those
requests
will
give
you
a
full
list
of
all
the
scholars
that
we're
choosing
for
the
publication.
We
can
give
you
in
terms
of
museum
protocols.
You
know
loan
everything
insured
door-to-door
in
terms
of
security.
You
know,
la
moca
is
a
fully
accredited
museum,
so
yeah
all
those
protocols
will
be
totally
in
effect
and
in
play.
You
know
so
and
we
can
provide
you
with
all
the
city
will
get
in
in
terms
of
the
loan
and
the
insurance
policies.
D
A
D
That
would,
if
that's
a
it's,
a
timing
issue
right
now.
We've
just
switched
over
to
dealing
with
the
publication
because
at
a
certain
point
the
publication
is
what
drives
your
timeline?
Yes,
I
know
yeah
you
so
so
that's
where
we
are
now
in
terms
of
so
trying
to
secure,
at
least
at
minimum.
You
know
a
green
light
or
a
go-ahead
right.
You
know,
so
we
can
say
that
it's
included
and
then
we
can
give
you.
You
know
drafts.
D
It'll
be
la
mocha,
but
we
there's
the
possibility
in
in
terms
of
collab,
who
will
be
the
distributor
right,
so
we
could
be
on
a
university
press
or
or
la
mocha
could
and
could
go
it
alone.
But
I
know
that
in
terms
of
their
publications
department
right,
they
they
work
with.
You
know
delmonico
prestol
and
they
have
their
own
distribution
apparatus.
A
D
The
or
the
the
upper
midwest,
the
midwest,
the
and
and
those
are
just
often
you
know
off
the
top
of
my
head
in
terms
of
strategic
locations
and
museums
who
have
the
facilities
to
accommodate
the
exhibition.
But
the
exhibition
is
actually
modular
in
so
far
as
there
are
going
to
be
new
commissioning
new
works
so
that
if
a
smaller
university
gallery
were
to
take,
they
could
take
ap.
You
know
that
was
part
of
the
exhibition,
for
example
right,
so
it
can.
A
D
D
D
Right
now
the
tremaine
is
the
is
the
main
one
is.
That
was
the
main
one,
but
the
ford
is
on
ford
is
on
board
and
melon
is
on
board,
and
so
we
need
to
submit
to
them
budgets,
but
they
are
they've.
Given
us
the
nod
that
this
is
a
project
that
we
want
to
support
so,
and
I've
spoken
with
darren
walker,
president
of
the
ford
foundation
and
the
folks
at
the
melon.
So.
A
D
A
C
A
A
If
there
is
an
outline
of
the
catalog
itself,
which
of
course
has
to
be,
you
know
if,
if
foundation
is
going
to
be
backing,
it
they're
going
to
need
that
anyway,
you
know
what
you
think
the
structure
of
it
is
going
to
be
in
terms
of
chapters
etc
and
then
also
some
sense
of
how
the
new
pieces
are
going
to
interplay
with
the
historic
ones,
because
I
mean
are
they
going
to
be
of
the
same
scale?
Are
they
going
to
be
much
smaller?
Are
they
you
know?
D
D
D
D
This
is
by
hank
willis
thomas,
and
the
name
of
this
piece
is
suspension
of
hostilities.
Obviously
the
you
know
in
terms
of
popular
culture,
this
is
the
dukes
of
hazzard.
This
is
the
car,
the
general
lee
as
it
was
referred
to,
and
he
has
you
know
gotten
the
same
car
and
made
a
replica
of
the
the
car,
and
actually
you
know
so.
This
is
the
piece
we
endorse.
Give
you
a
sense
of
scale
that
we're
talking
about
in
terms
of
you
know,
counterpunch
to
the
monuments
themselves
right.
A
D
D
D
A
G
D
E
D
E
E
E
E
E
E
E
E
We
feel,
like
the
people
of
charleston,
have
been
told
that
the
monument
would
be
treated
with
respect.
So
we
were
hoping,
for
example,
that
the
south
carolina
state
museum
would
take
it.
We
were
hoping,
for
example,
the
charleston
museum
would
take
it
and
the
story
behind
that
monument
is
a
fascinating
story
involving
a
lot
of
different
people.
I
mean,
and
so
what
what
I
don't
want
to
see.
You
said
the
object
of
this
was
not
shaming.
E
I'm
not
convinced
of
that.
I
think
the
whole
object
of
the
whole
enterprise
enterprises
shaming,
but
but
I
could
be
convinced
to
the
contrary,
and
I
was
I'm
not
I
don't
know.
I
just
met
you.
You
seem
like
a
very
charming
intelligent
young
man,
and
so
I'm
just
expressing
to
you
that
that
I
know
speaking
just
for
myself,
I
really
do
not
want
this
monument
to
be
treated
disrespectfully
and
and
used
for
political
purposes,
and
so
so
that
is
worrying
me
and,
and
that's
my
misgiving.
E
E
The
statue,
the
city,
the
legal
thing
was
just
some
great
lawyering
on
the
part
of
the
city
that
they
took
it
down
because
of
some
legal
loopholes.
The
owners
of
this
the
real
owners
of
the
statute,
the
washington
light
infantry,
I
think,
would
never
have
taken
it
down.
So
so,
there's
a
whole
lot
to
this
story
and
I
I
think
I
think
we
feel
a
real
obligation
to
the
public
that
charleston
is
going
to
act
responsibly
with
regard
to
our
historic
monuments.
E
E
I
have
argued
with
them
publicly,
so
I
I'm
really
not
on
board.
You
know
with
this
whole
political
correctness,
let's
shame
everybody,
and
so
I'm
very
concerned
about
how
this
is
going
to
be
done
if
it's
done
correctly
as
you're
explaining
it
and
if
it's
well
done
and
it's
educational,
maybe
it's
something
we
should
consider,
but
I
I
I
would
like
to
know
more.
I
would
like
to.
I
really
would
like
to
know
more
about
it.
B
D
There
is
much
to
know-
and
that
is
one
part
right,
but
to
address
the
aims
of
the
project
in
terms
of
reflection
and
soul,
searching
after
what
has
gone
on.
It
is
that's
a
critical
part
of
the
project.
Now,
whether
or
not
you
were
to
think
that
that
was
somehow
politicized,
my
response
would
be.
I
don't
just
say.
I
don't
want
to
see
this
used
politically,
when,
in
fact,
that
monument
is
all
about
politics,
so
much
more
so
than
anything
that
we
could
do
with
it.
D
D
E
Thank
you.
This
is
not
a
question.
I
I
looked
at
this
issue
long
and
hard,
and
I
did
some
background
research
and
I'm
gonna
do
something.
I've
never
done
at
one
of
these
meetings
and
I've
been
a
lot
of
them.
I
actually
put
on
paper
exactly
my
thoughts
so
that
there
wouldn't
be
any
it
would
be
clear
and
it's
really
a
follow
up
to
what
robert
said.
E
I
I
want
to
let
the
folks
know
in
california.
I
approach
this
not
only
as
a
member
of
the
history
commission,
but
as
a
former
member
of
the
south
carolina
archives
and
history
commission,
as
well
as
a
former
board
member
of
the
south
carolina
historical
society.
So
I've
devoted
a
lot
of
my
off
life.
I
was
a.
I
was
an
attorney
for
a
number
of
years
to
south
carolina
history.
E
I
believe
that
we
as
a
commission
have
a
responsibility
to
both
the
city
of
charleston
and
the
state
of
south
carolina
to
not
allow
the
calhoun
statue
to
become
a
pawn
in
the
hands
of
individuals
and
organizations
about
which
we
know
little
and
over
which
we
have
no
control
like
him
or
not.
John
c
calhoun
was,
and
is
one
of
the
most
important
south
carolinians
in
our
state's
history
and
one
of
the
most
important
and
influential
americans
of
the
19th
century.
E
F
D
So
that
would
be
so
it
isn't.
It
doesn't
stay
like
this
right,
everybody's
holding
on
to
their
thing
and
we're
trying
to
open
up
this
thing
and
trying
to
show
that
this
is.
This
is
what
this
is
one
of
working
in
the
field
of
contemporary
art.
I
had
to
step
back
and
to
say
what
are
what's:
what's
what
what
what
is
going
on
now,
that
is
of
national
significance
right.
What
is
really
and
not
just
in
the
world
of
contemporary
art
per
se,
but
in
culture
at
large,
and
so
these
monuments
coming
down.
D
Is
that
event
right?
But
in
terms
of
you
know,
how
can
we
address
that?
What
what
what
what
to
conceive
of
an
exhibition
that
wouldn't
just
be
about
monuments
right,
but
to
actually
have
the
things
themselves
to
be
able
to
deal
with
them
directly
materially
historically,
who
are
the
personages
that
we
are
talking
about
right?
So
it
is
precisely
an
exercise
in
getting
the
different
entities
to
open
up
to
really
make
it.
This
will
be
an
exhibition
of
national
scope
and
significance
as
far
as
its
political
nature.
D
Again,
this
is
not
for
the
faint
of
heart.
We
can
disagree
ideologically
about
many
many
things.
That
is
that's
just
the
way
the
world
modificates
this
right,
but
that
to
be
when
you
say
that
if
there's
not,
if
we
can't,
if
you
would
like
to
write
something
about
calhoun,
if
there's
something
that
you
would
want
included
about
calhoun,
if
there
is
a
piece
of
writing,
if
you
want
to
talk
about
his
accomplishments,
that
is
fine.
D
There
is
no
way
you
could
talk
about
calhoun's
accomplishments
in
the
round,
but
the
fact
that
he
was
pro-slavery
and
foreshadowed
the
civil
war
is,
I
would
say,
pretty
big,
and
this
is
the
occasion
where
we
want
to
open
that
up.
So
it's
definitely
not
going
to
be
an
examination
of
calhoun
and
his
many
many
accomplishments
and
his
many
many
achievements.
We
want
to
put
it
in
the
context
of
what
has.
D
Slavery
and
his
legacy
that
that
just
to
be
just
to
be
frank
about
it
and
if
in
it
it
as
far
as
calhoun
and
the
speech
of
slavery
as
a
positive
good,
it's
hard
to,
if
you
really
want
to
get
into
it,
let's
talk
about
calhoun,
I
mean
that's
as
a
an
architect
of
the
anti-abolitionist
position.
That
is
what
is
important
about
calhoun,
at
least
in
terms
of
this
exhibition.
Just
to
be
frank
with
you
about
it,
you
know,
but
these
are
shows.
D
This
is
what
but
wanting
to
open
it
up
and
to
show
you
the
scholars
that
we
have
involved
right
this
this
dealing,
you
know
what
just
to
give
you
an
example.
It
would
be
easier
for
me
to
contact
a
museum
in
italy
to
ask
them
to
borrow
an
old
masterwork
than
it
is
for
me
to
call
these
different
pitt
county
alberon,
county
charleston,
charlottesville
richmond
new
orleans.
D
More
important,
this
is
this
way
right.
This
is
the
way
this
is
more
important
right.
This
is
what
I
think
we
as
far
as
a
north
star
in
issues.
We
should
that
museums
should
have
on
their
radar
right.
This
needs
to
be
addressed.
This
is
an
important
undertaking
and
I
don't
wanna,
you
know
it'll
be
easier
to
shy
away.
There
are
a
million
other
shows
I
could
do
or
whatever
this
is
a
tough
one.
D
H
Mine's
not
really
a
question
per
se,
it's
more.
I
just
want
to
thank
everybody
for
all
their
comments.
So
far
you
know
I
serve
on
the
city
council
not
for
much
longer,
and
I've
had
the
pleasure
of
serving
on
this
commission
for
the
last
four
years,
and
these
are
the
kind
of
discussions
that
we're
going
to
have
to
have.
H
I
don't
think
this
is
a
question
that
is
going
to
be
answered
today.
I
think
there's
still.
People
in
this
group
want
some
more
documentation,
some
some
clear
ideas,
but
I
can
tell
you
that,
ultimately,
this
group
is
going
to
have
to
decide
whether
or
not
we
think
it's
the
best
interest
of
the
city
of
charleston
to
move
this
forward
to
the
city
council.
H
But
I
think
this
is
the
first
of
many
discussions
as
long
as
the
city
of
charleston
has
ownership
of
the
statute
to
say
well,
do
we
want
to
loan
this
out
and
and
once
we
do
it
the
first
time,
then
other
people
are
going
to
come
and
ask
I
mean
I
think,
if,
if
it's
done
this
time
around
you're
going
to
have
more
organizations,
more
museums
that
want
to
come
and
and
loan
and
have
it
loaned
to
them.
But
this
is
more
than
just
a
a
historical
museum.
H
This
is
an
art
museum,
and
so
they
may
have
an
artist
that
wants
to
create
a
piece
of
art
that
may
mirror
the
characteristics
of
the
statue,
but
maybe
they
want
to
use
some
of
their
expressionism
to
you
know
make
their
own
piece
of
art
that
maybe
doesn't
paint
the
statue
in
a
great
light.
But
these
are
all
things
that
we
all
have
to
think
about.
H
I
just
don't
think
in
here
for
an
hour
and
20
minutes,
and
we
could
sit
here
probably
for
four
hours
tonight
and
talk
about
it,
but
I
think
there
still
needs
to
be
some
more
information
that
that's
been
requested,
and
I
really
don't
think
that
this
group,
I
don't
think
we're
up
against
the
wall
in
terms
of
time.
Are
we,
sir?
I
don't
think
this
decision
has
to
be
made
today.
H
I
think
that
taking
a
step
back,
maybe
looking
at
some
more
information
that
could
possibly
be
provided
in
regrouping
again
in
a
couple
of
weeks
or
a
month.
You
know
this
exhibit
isn't
until
2023.
I
know
that
you
need
it
by
the
fall
of
next
year.
The
city
council
is
going
to
have
some
new
members
come
january,
the
fall
of
23
fall
of
23
23,
so.
H
Yeah
we've
got,
we've
got
some
time
and
we
want
to
make
the
decision
that's
best
for
all
of
our
citizens
here
in
charleston,
but
I
don't
think
anybody
should
walk
away
from
the
discussion
thinking
anything
but
positive,
because
these
are
the
discussions
that
are
going
to
come
up
as
a
society.
Things
have
changed
and
this
is
a
museum
of
art
and
if
they're
going
to
have
contemporary
pieces
that
are
going
to
be
in
this
exhibit
as
well,
then
there's
a
good
chance.
H
I
would
say
that
there
is
going
to
be
a
contemporary
piece,
that
I
mean
you
look
at
the
example
of
the
general
lee
up.
You
know
with
the
face
of
their
the
the
the
front
bumper
up
in
the
air.
You
know
that
is
obviously
an
expressionist
piece
and,
and
they
somebody
could
make
a
similar
contemporary
piece
that
could,
you
know,
show
the
what
how
they
feel
about
the
calhoun
monument.
Maybe
they
don't
feel
very
well
about
it.
So
I
think
that
this
is
a
great
conversation.
I
appreciate
this.
H
I
think
it's
all
good
conversation
to
have
our
city
council
isn't
going
to
be
able
to
dive
into
this.
In
depth,
like
our
commission
is
willing
to
do
so,
I
appreciate
it
and
I
just
I
hope
we
don't
try
to
make
any.
You
know
rash
decisions
today,
because
I
think
we
all
need
to
take
some
more
time,
maybe
reach
out
to
people
that
we
owe
reach
out
to
other
historians
reach
out
to
the
community.
H
B
Well
thanks
councilman
griffin,
that
was
eloquent
and,
as
I
said
earlier
anytime,
that
anyone
wants
to
make
a
resolution
regarding
what
you
said
or
something
else.
We
are
open
to
that.
But
we
have
three
people
who
want
to
speak
and
then
I
would
encourage
them
to
make
a
resolution
in
the
or
put
a
motion
forward
just
in
the
just
just
for
time,
but
michael
allen
wants
to
speak,
then
angela
will
speak
and
then
dale
will
speak.
G
G
G
As
long
as
I
did,
I
know
there
are
certain
individual
partnerships
that
are
important
in
this
arena
of
sensitivity
like
the
african-american
museum
association,
like
the
national
trust
or
historic
preservation
like
the
national
park
service
and
so
many
other
african-american
preservation
organizations,
not
only
in
the
south
but
across
the
nation.
So
my
first
question:
have
you
all
intersected
with
any
of
these
organizations
or
groups
or
entities.
D
Right
they
are
all
colleagues
and
so
right
now
we're
in
the
stages
the
show
is
finally
taking
shape
in
terms
of
learning.
You
know
the
pieces
that
we
are
able
to
secure
right
so
once
the
show
has
its
shape,
we'll
definitely
reach
out
to
the
california
african-american
museum,
the
underground
museum
here,
to
see
how
we
can
partner
with
them
or
if
there
are
projects
they
want
to
take
in
conjunction
with
the
show
at
at
la
moca.
So
that's
definitely
and
that
that's
it's
you
know
we
cannot
do
this
without
doing
that.
G
Well,
I
would
also
encourage
you
to
maybe
dig
a
little
bit
deeper
21
years
ago.
The
park
service
tackled
a
subject
very
similar
to
this,
and
that
was
to
say
very
publicly
at
any
national
park
service
site
associate
the
civil
war
that
slavery
was
one
of
the
central
tenets
of
the
war,
because
the
park
service
was
not
seeing
that-
and
I
was
a
part
of
that
they
are
colleagues
of
mine
that
are
still
in
the
agency.
Now
some
of
them
have
retired
that
served
as
the
historian
for
the
national
park
service.
G
Yes,
and
perhaps
some
of
the
comments
that
you
have
heard
now
deals
with
people
level
of
comfort
and
sensitivity,
and
maybe
because
I
have
one
that's
been
in
the
trenches
had
to
push
even
against
you
know
the
odds,
I'm
more
comfortable
and
and
and
feel
quieted
by
this
process,
but
for
others
this
may
be
a
little
bit
more
harder
for
them
right.
I
understand
that,
but
I
think
at
the
end
of
the
day,
we
have
to
see
how
we,
as
americans
can
learn
from
this.
G
We
can
gain
from
this
and
also
have
a
better
understanding
of
this,
because
no
matter
how
we
want
to
shake
it
or
or
not,
deal
with
it.
The
consequences
of
the
person
that
you
asked
us
about
today
have
ramifications
in
our
state
in
2021
and
that's
a
reality
and,
along
with
the
other
individuals
that
you
desire
to
bring
a
part
of
this
journey.
So
again,
this
is
about
a
national
story
that
happened
to
have
its
roots
here
in
charleston,
but
this
is
about
us
as
a
nation
as
a
people
as
a
country
and
a
community.
G
So
I
think
there
may
be
some
things
that
we
still
need
to
hear
from
you
all.
I'm
not
adamantly
opposed
to
this
adventure.
Let
me
be
very
clear
about
it,
but
I
think
there
are
a
few
other
pieces
that
would
be
helpful
to
for
me
to
understand
to
have
a
clear
picture
of
what
the
outcome,
because
often
these
type
of
adventures
is
about
faith.
It's
what
you
can
see
in
the
future
and
understand
and
believe
it
in
your
heart,
but
everyone
cannot
see
what
you
see.
Perhaps
your
experience
and
your
exposure
is
not
there
right.
G
A
E
Can
you
hear
me
yeah?
Okay,
sorry
about
that?
I
just
wanted
to
add
really
quick,
that
I
appreciate
both
david
and
michael's
words,
and
I
think
for
for
me
in
doing
the
research
for
this
project.
What's
been
so
interesting
is,
is
the
complicated
nature
of
these
people
like
calhoun,
who
have
contributed
so
much
to
american
history
and
the
way
that
our
government
works
and
his
contributions
to
the
proliferation
of
slavery?
E
And
I
think
it's
it's
that
contradiction
and
that
combination
that
is
really
what
the
exhibition
is
about
is
diving
into
those
really
complicated,
murky
waters
of
how
people
people
are
people
and
complicated,
and
how
do
they
end
up
on
pedestals
and
what
what
parts
of
that
are
distilled
into
those
monuments?
So
I
just
wanted
to
say
that,
and
thank
you
both
for
those
those
words.
D
In
doing
this,
project
was
about
maybe
a
year
ago,
a
full
year
ago,
at
some
point
in
in
looking
at
hannah's
news
feed
that
I
realized
that
what
we
were
doing,
that
we
were
the
keepers
of
the
information
of
the
map,
basically
of
what
was
going
on
at
the
local
level
in
each
of
the
different
municipalities.
In
terms
of
these
things
coming
down
right,
there
was,
you
know
the
the
local
news
stories
right,
who
were
the
players
involved?
D
What
was
the
degree
of
contention
around
them
coming
down,
and
so
this,
as
a
the
the
it's
important
to
me,
that
the
publication
and
the
exhibition
document
that
right,
okay,
that
they
actually
capture
this
moment
in
terms
of
it,
isn't
just
that
they've
come
down
and
here
are
the
objects,
but
the
process
you
know
by
which
they
were
taken
down
right,
correct
and
they
they
vary
in
from
place
to
place.
Right,
especially,
you
know,
charlottesville's
very
different
than
than
than
you
know
what
went
on
in
alabama
county,
for
example,
something.
D
D
Is
it
it's
frederick's,
virginia,
okay
in
frederick
virginia
the
an
auction
block
that
was
as
if
not
more
contested
amongst
the
city's
black
population
than
between
the
city's
black
population
and
a
pro-confederate
argument
right,
the
city's
black
population,
whether
or
not
this
object
should
stay
on
public
view.
It
was
split
between
those
who
said
I
have
ancestors
who
were
here.
I
am
you
know
who
are
slaves.
I
am
a
descendant
of
those
slaves
and
I
do
not
need
a
reminder
on
public
view
of
this
and
then
the
other
side
was
I
am
from
the
town.
D
I
am
a
descendant
of
slaves
who
are
from
this
town-
and
I
want
this
acknowledged
through
this
object
on
view
in
public
right.
So
ultimately,
it
was
taken
down
and
given
to
the
historic
society
there,
but
I
find
those
kinds
of
arguments
important
to
include
right
in
the
in
the
in
the
in
the
catalog
and
again
it's
it's.
It's
it's
place
to
place.
So,
in
terms
of
artists
responding,
there
is
one
example
where
there
is
contention
around
and
it's
the
cherokee
nation
stan
weighty,
whether
or
not
they
will
be
willing
to
loan
it.
D
But
the
issue
of
the
cherokee
freedmen
right,
who
were
slaves
that
were
owned
by
the
cherokees
who
were
freed
and
then
after
being
freed,
were
told
that
they
could
then
sign
become
members
of
the
cherokee
nation
and
they
became
known
as
the
cherokee
friedman.
So
they
are
descendants
of
the
cherokee
freedmen,
who
are
members
of
the
cherokee
nation,
not
by
blood,
but
by
virtue
of
having
been
slaves
of
the
cherokee
right.
D
So
there's
a
whole
amount
of
contention
about
trying
to
remove
them
at
one
point
from
the
books,
but
the
federal
government
stepped
in
and
said:
no,
they
have
to
be
included
on
the
books.
So
there's
an
artist
that
I
would
like
to
invite
to
do
a
piece
about
the
cherokee
friedman
right.
Even
even
whether
or
not
we
have
the
monument
or
not
it
is.
It
is
a
particular
chapter
that
shows
the
complexity
right
that
there
was
already
an
internet
scene.
A
Right,
well,
that's
very
helpful
to
know
I
mean
I
have
a
tremendous
amount
of
respect
for
la
mocha
and
for
ellie
county,
and
I
know
these
institutions
quite
well.
I
know
the
caliber
of
artists
that
they
attract
and
would
be
very
interested
to
see
how
this
exhibition
unfolds
over
time.
Your
description
of
the
auction
block
reminds
me
of
the
conversation
around
the
stephen
lock
piece,
oh
stephen,
that
was
recently
that-
and
he
was
here
just
recently
as
our
distinguished
lecture
speaker
talking
about
monuments.
The
last.
A
D
C
D
C
All
right,
thank
you,
mr
chairman.
I've
been
making
a
good
number
of
notes,
so
I
just
want
to
make
a
few
comments
and
it's
been
so
much
been
covered.
I
think
my
comments
will
cover
dixie
likes
to
do,
but
I
appreciate
the
opportunity
to
hear
this
conversation
and
mr
walker
and
miss
bernstein.
I
appreciate
the
professionalism
that
you
present
to
us
and
the
information
is
very
interesting.
C
C
C
The
calhoun
monument
and
statue
was
owned,
property,
it's
owned
by
the
fourth
brigade,
which
is
another
historic
militia
organization
in
charleston.
The
washington
light
infantry
is
a
component
of
the
fourth
brigade.
The
fourth
brigade
owns
marion
square,
but
we've
never
owned
the
statue.
The
statue
was
given
over
to
the
city's
care
and
control
by
the
association
from
ladies
at
the
time
that
had
it
constructed
they
have
met
their
purpose.
They
were
going
out
of
existence
and
they
gave
the
statue
over
to
the
city's
tear
and
control.
C
It
sat
on
with
permission
from
the
fourth
brigade
property
owned
by
the
fort
brigade
and
the
second
that
the
statue
was
removed.
The
ownership
of
the
ground,
which
the
ownership
was
always
with
the
fourth
brigade,
but
the
control
of
the
property,
came
back
to
the
fourth
brigade,
the
second
that
the
statue
was
removed
so
that
just
to
clarify
who's
who,
in
that
picture,
the
other
thing
miss
bernstein.
C
In
fact,
that's
calhoun
street
always
has
been
since
it
was
boundary
street,
but
it's
it's
always
been
a
mixed
section
and,
historically
speaking,
somebody
can
correct
me
if
they
know
better,
but
it's
not
like
it
was
put
in
a
minority
section
and
that
those
folks
had
to
look
at
it.
We
all
looked
at
it
over
the
many
many
years,
we've
seen
it
in
different
ways.
I
think
that's
the
point.
C
C
C
Mr
chairman
fuel
indulged
me
just
a
little
bit
more
again.
I
appreciate
the
professionalism.
Mr
walker,
you
started
out
very
early
by
saying
there
was
certainly
no
intention
of
shaming
the
calhoun
statue
and
I
believe
that
you
believe
that
that's
not
your
intention
and
I
don't
think
that
any
of
the
people
who
are
working
with
you
have
that
intention,
but
I
do
believe
in
fact
shaming
will
result.
C
C
B
B
My
thought
was-
and
forgive
me
for
editorializing,
but
before
I
do,
I
want
to
thank
everybody
for
their
input,
and
I
also
want
to
thank
many
of
the
commissioners
who
have
not
come
to
previous
meetings,
knowing
the
import
of
this,
and
so
then
the
the
the
resolution
that
I
or
motioned
that
it
seemed
to
me
that
people
were
inferring,
councilman
griffin,
robert
rosen
and
a
variety
of
other
people
david
as
well.
You
know
possibly
suggesting
that
more
information
be
gathered
again.
B
C
C
C
No
formal
report
has
been
given
to
the
mayor
that
I'm
aware
of
or
to
the
city
council
in
the
sense
of
what
should
we
do,
what
types
of
proposals
should
we
be
looking
at?
We
appreciate
that
y'all
are
out
front
for
your
purposes,
but
for
I
believe
for
the
city
of
charleston,
or
at
least
for
me,
as
a
commission
member,
I
think
it's
a
little
early
a
little
early
to
be
making
the
move
as
progressive
as
this
one
would
be.
Thank
you,
mr
chairman.
B
F
I
wanted
to
say
that,
after
considering
the
written
proposal,
which
is
which
has
been
surpassed
by
a
new
one
and
the
comments
and
information
brought
today,
I
believe
that
this
is
one
of
the
most
creative
uses
that
that
statue
could
be
put
to
it's.
It's
not
our
decision
to
make
for
the
public.
It
is
the
public's
decision
to
make
through
their
elected
representatives.
F
F
But
this,
I
think,
is
a
step
beyond
that.
It
gives
the
statue
a
new
life
and
allows
it
to
perhaps
begin
to
redeem
itself
of
the
evil
that
it
represents
in
the
minds
of
many,
because
we
can
learn
from
it
because
it
can
make
us
better
people,
and
so
I
think
that
that's
the,
I
think,
that's
the
objective
of
the
of
the
exhibit,
and
I
would
wholeheartedly
support
it
as
something
very
creative,
very
unique
and
historic.
B
H
B
B
Is
there
any
any
more
discussion,
any
discussion
so
hearing
that
I
think
we
can
vote
in
the
way
if
we
do
this
before,
like
we
did
before
and
accepting
the
minutes
of
those
of
us
who
are
visual,
raise
our
hands
and
those
of
us
who
are
not
visual,
why
don't
we
all
raise
our
hands
and
speak
at
the
same
time?
Those.
So
I
would
ask
people
right
to
who
have
muted
themselves
and
vote
to
take
themselves
off
of
it.
A
B
C
B
B
F
B
B
We
do
appreciate
your
time
and
we
will
be
back
in
touch
and
again,
if
you
want
to
use
me
as
the
point
person
or
a
city
improvement
as
just
sending
the
information
on
and
confirming
the
types
of
information
that
we
want
delighted
to
serve
in
that
and
again,
thank
you
all
people,
goodwill
and
good
night.
Thank.