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From YouTube: Montgomery Historic Preservation Commission (10/09/18)
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A
Our
procedure
for
conducting
business
is
the
petitioner
for
each
item
will
be
asked
to
come
forward
state
your
name
for
the
record
and
present
his
or
her
request.
The
board
will
ask
any
question
the
board
may
have
once
public
testimony
and
discussion
for
a
particular
item
has
concluded.
The
members
of
the
board
will
deliberate
and
will
render
its
decision
members
with
a
personal
or
financial
interests
in
any
request
are
required
to
recuse
themselves.
From
voting.
A
A
Long
and
I'm
Richard
Bayly,
the
chairman
of
a
Historic
Preservation,
Commission
and
I,
also
like
to
take
this
opportunity
to
ask
our
land
use
staff
members
to
just
wave
your
hand
when
I
call.
Your
name
was
with
miss
Christy
Anderson
to
my
right
and
then
this
Paula
Richardson
to
my
left.
Thank
you
very
much.
A
quorum
of
the
Historic
Preservation
Commission
is
five
members
of
the
nine-member
board.
It
takes
five
votes
of
the
hpc
members
in
attendance
to
take
action
on
each
item
either
for
approval
or
denial.
A
Exemple
five
members
quorum
present.
Five
members,
majority
votes
are
needed
to
pass
a
motion
for
approval
or
denial.
A
4-4
tie
is
a
failed
motion
with
that
being
said,
let
me
welcome
the
members
of
the
Commission
here
this
afternoon
and
our
guests
in
the
audience.
I
also
like
to
take
this
opportunity
to
ask
for
a
vote
of
approval
or
denial
of
the
action
of
the
September
11
2008
teen
meeting.
D
A
A
Thank
you,
so
very
much
upcoming
presentation,
October
we
have
with
us
this
afternoon,
miss
Lois
cartel
from
the
city
development
office,
and
we
just
like
to
ask
her
to
come
to
the
podium
and
microphone
and
if
that
microphone
is
to
Paget's
right,
let's
just
pull
it
down
just
a
little
bit
for
you
and
you
can
say
whatever
you
want
to
say
about
your
background
and
then
just
get
into
your
mission
for
this
afternoon.
Thank
you
for
coming
by
the
way.
Thank.
F
F
I
was
here
back
in
June
just
before
the
park
opened
and
sort
of
just
tried
to
welcome
you
to
our
opening,
but
but
I
didn't
really
have
a
good
opportunity
to
explain
what
it
is
why
we
did
it
so
I'm
happy
to
run
this
through
and
and
explain
a
little
more
about
what
we
did
so
so
I'm
gonna
cover
really
how
we,
how
we
got
here
downtown
revitalization
was
a
really
important
issue.
You
know
coming
from
the
development
department,
we
don't
just
do
parks,
we
we
there's
a
reason
behind
why
we're
involved.
F
We
try
to
act
strategically
in
real
estate,
in
urban
design
and
in
business
support
our
sort
of
are
our
three
our
three
goals.
So
we're
going
to
talk
about
downtown
revitalization
materials,
reuse,
one
of
the
most
exciting
things
about
this
project
is
the
reuse
of
the
materials.
So
I'm
going
to
talk
about
that
public-private
investment
and
strategies.
Creating
a
new
downtown,
Park
and
then
I
want
to
sort
of
look
forward,
and
this
is
where
I'd
welcome
your
input
and
ideas
of
next
steps.
F
You
know
putting
down
so
I'm
gonna
Marion
Neely
is
a
big
part
of
this
project,
and
so
it
was
something
that
we
wanted
to
sort
of
put
that
forward
without
her
guidance
a
lot
and
input
that
this
project
may
or
may
not
have
happened.
It
certainly
might
not
have
happened.
The
same
way
so
you're
gonna
see
a
lot
of
themes
of
her
throughout
this,
and
so
I
wanted
to
make
certain
I
called
that
out
pretty
early
on
and
thank
her
for
her
for
her
work
on
the
park
she
had
this.
F
Could
it
has
his
own
special
charm,
so
she
always
had
a
nice
way
of
putting
things
so
so
we
sort
of
start
way
back
and
this.
This
pictures
on
Christy's
back
wall
Dexter
Avenue
in
the
early
1900s.
It
was
just
very,
very
vibrant
and
so
I've
been
working
on
lower
Dexter
Avenue
for
five.
The
five
years
now
that
I've
been
with
the
city
of
Montgomery
and
sort
of
this,
is
a
fascinating
photo.
F
You
see
that
the
the
National
Historic
Register
application
for
lower
dexter,
as
some
of
you
may
be
familiar-
calls
that
court
square,
this
sort
of
psychological
heart
of
montgomery,
and
so
this
picture
evokes
that
you
can
see
the
klein
building
still
looks
pretty
familiar
there,
okay
and
then
by
mid-century
the
50s
you.
What
strikes
me
is
just
how
vibrant
and
alive
it
was.
F
F
F
So
we
really
do
we
think
about
this.
All
the
sort
of
death
doubt
department,
store
era,
is
connected
with
this
park
very
much.
So
this
is
a
quick
just.
A
quick
highlight
and
I'll
run
through
some
of
these
in
more
detail
1940's
this
one
that
the
annex
on
Dexter
was
map
modernized,
Bus,
Boycott,
voters,
rice,
March,
freeway,
construction
and
Montgomery.
Was
there
closing
downtown
so
that
sort
of
starts
playing
into
the
what
happened
at
this
property
and
what
how
this
property
really
kind
of
reflects.
F
F
So
twenty
nine
decks
are
so
I'm
going
to
talk
about
its
historic
significance,
its
post-fire
sort
of
structural
concerns
that
happened
and
then
it's
example
both
as
a
sort
of
an
egress
issue
for
the
adjacent
buildings
and
how
this
sort
of
access
withers
through
a
park
or
through
an
alley,
really
helped.
And
you
see
this
on
the
other
side
of
Dexter
to
really
help
the
adjacent
buildings
be
able
to
egress
into
that
public
space.
F
19:07
I
referenced.
That
earlier
was
when
Montgomery
Fair
opened
and
so
the
monk
and
again
all
these
pictures,
my
Mary
and
nearly
helped
helped
us
gather
them
huge
building
for
entrances,
and
this
is
an
image
of
the
courts.
Court
Street
entrance
1920s
again
another
fascinating
picture.
You
can
see
a
client
on
the
far
right
and
then
the
Victorian
era
of
the
Montgomery
Fair
is
sort
of
just
the
white
building
about
four
in,
and
it
really
was
a
regional,
a
regional
draw,
so
here
by
the
40s
they
did,
they
did
upgrades
to
all
three
entrances.
F
We
have
the
Monroe
Street
entrance,
Dexter
Avenue
entrance
and
Court
Street,
and
it's
a
really
odd
sort
of
triangular
lot.
We
have
an
image
of
how
the
the
parcels
are
laid
up
in
the
upper
right
there
I
want
you
to
at
Dexter
Avenue,
look
at
how
that
Art
Deco
writing,
because
that
that'll
be
a
theme
that
we
picked
up
on
and
then
tried
to
replicate
in
our
signage
and
hour
later
details.
It's
a
really
just
fascinating.
F
Ready
called
font,
we
had
to
look
for
that
font
so
by
the
50s
they
arcade,
and
so
so
it
would
different
things.
We've
read,
they
refer
to
it,
either
as
an
excel
CAD,
and
so
when
in
this
one
they
the
the
shoppers
that
we
had
cosmetics
and
gloves
and
leather
men's
alterations.
We
think
we're
I
was
on
the
upper
floor
and
then
constantly
I
had
people
telling
me
this
is
where
you
got
sprayed
with
perfumes.
So
you
know
how
like
memory
is
said,
you
know
you
have
all
your
different
senses.
F
Multiple
people
would
tell
me
their
memory
of
the
Montgomery
Fair
annex
or
arcade
Montgomery
arcade
was
the
perfumes
and
getting
sprayed
with
perfume.
So
it's
an
anecdote,
but
it's
a
charming
one.
So
I
include
that
so
by
the
60s.
This
is
another
picture
on
the
archives
good
night.
This
is
from
1967
Montgomery.
F
Rosa
Parks
worked
in
the
Montgomery
fare
building,
and
so
she
was
an
assistant
to
the
tailor
in
men's
alterations
in
1955.
So
we
have.
We
had
a
couple
of
different
I.
Think
dr.
Bell
and
dr.
Bailey
told
explained
that
she
was
let
go
or
left
by
1956,
so
it
wasn't
necessarily
a
very
long
period,
but
we
have
there's
a
2013
book.
F
Theo
Harris,
the
rebellious
life
of
mrs.
Rosa
Parks,
talked
about
her
work
here
and
that
she
was
the
secretary
during
the
time
when
she
was
working
at
the
Montgomery
fair
and
they
wrote
in
this
book
that
she
actually
would
take
her
lunch
breaks
and
go
up
and
talk
to
Fred
gray.
She
would
leave
the
Montgomery
Fair
walk
up
and-
and
that's
just
another
sort
of
fascinating
bit
piece
of
why
this
property
is
so
important
in
the
history
of
Montgomery.
F
The
Rosa
Parks
collection
has
fairly
recently
been
released
by
the
Library
of
Congress,
actually
Wow.
We
were
working
on
it,
I,
don't
even
know.
If
Mary
Anne
had
seen
this.
There
are
nine
pages
where
mrs.
Parks
she
starts
a
dear
friend
she's
sort
of
crossed
it
out,
but
nine
pages,
where
she
documents
life
working
there
and
I'm
happy
to
send
this
out
to
anyone
who's
interested.
F
We
about
the
segregated
bathrooms
and
life
about
on
the
bus,
and
it's
on
Montgomery
fare
stationery
and
you
can
see
the
three
entrances:
the
Court
Street,
the
29
Dexter
in
the
Monroe
Street
all
labeled
there
and
it's
just
a
fascinating
bit
of
sort
of
tying
this
era
to
the
Montgomery
fare.
She
also
had
a
date
book.
You
can,
you
can
see,
Montgomery
fare
and
this
isn't
Library
of
Congress,
beautiful
color,
but
she's
listing
names
of
of
women,
perhaps
from
the
lawsuit
and
then
drivers,
Oh,
God,
so
she's
you
seem
I
got
my
fare
stationery.
F
This
was
a.
We
were
just
when
we
when
we
found
this
on
the
Library
of
Congress
you're
ecstatic
and
we
immediately
sent
it
to
dr.
Bell.
I.
Think
she's
already
gone
to
gone
to
the
Smithsonian
to
get
it
and
we
started
thinking
about.
How
can
we
use
this
like
whether
an
art
or
you
know,
but
the
literal
stationary
and
her
handwriting?
F
How
can
we?
How
can
we
share
that
information
so
in
so
fast
forward?
You
know
we
had
the
the
Montgomery
Fair
closed.
The
free
we
came
in
you
know,
sort
of
its
tail
Marianne
would
talk
to
us
about
the
department
store
era
that
really
across
the
country
when
department
stores
left
the
center
of
downtown's
blight
happened
in
that
suburban
sprawl,
so
that
happened
here
in
Montgomery
as
well,
and
we
found
I
had
reached
out
to
broke
rift
at
the
advertiser.
F
You
know
we
could
find
anything
about
the
fire
in
1984
that
took
out
the
main
building
and
he
found
two
articles
for
this
one
and
there's
a
line
in
there.
I
don't
know
if
you
can
see
the
building
was
to
have
been
occupied
in
December
following
a
three
million
dollar
renovation,
the
Department
of
pensions
and
security
was
going
to
run
what
was
going
to
move
in,
and
so
this
one
then
followed
they
still.
F
They
couldn't
figure
it
out,
and
it's
just
a
sort
of
heartbreaking,
because
it
talks
about
the
local
preservation
has
had
counted
on
restoration
of
this
building.
It
was
going
to
be
a
catalyst
with
430
employees
moving
in
a
whole
renovation-
and
this
is
this-
is
another
it's
worth
taking
the
time.
There's
some
interesting
stuff
about
the
Wallace
administration,
were
they
forced
into
moving
there
and
the
fire
provides
an
easy
out
for
the
state
not
to
locate
much
rest
with
the
fate
of
this
old
building.
F
So
this
provides
a
preservationist
say
it's
important
for
the
survival
of
downtown
when
we
started
looking
at
this,
we're
like
wow,
like
think
about
the
impact
that
had
and
if,
if
we
had
had
that
investment,
what
might
have
been
different
and
of
course
we
have
the
things
like
that
happened.
Now
to
you,
we
have
these
catalyst
opportunities,
some
of
which
happened,
and
some
of-
and
so
this
is
another
piece
of
that
Montgomery
history.
F
So
but
after
84
there
is
sort
of
this
period
where
of
decline
and
a
lot
of
buildings
boarded
up.
So
we
took
this.
This
is
a
picture
from
2014
March
and
by
the
Bight,
with
the
50th
anniversary,
coming
I'd,
say:
5
like
2010
2011.
That's
when
the
I
started
hearing
more
and
more
talk
about
okay,
we
gotta
do
something
and
the
city
was
able
to
acquire
at
least
11
properties
on
Dexter,
including
this
one
using
state
bonds,
and
you
can
see.
F
That
spring
the
tile
started,
falling
multiple
tiles,
fell
to
the
ground
and
shatter
you
can
see
just
how
far
it
spread
and
we
started
actually
getting
very
concerned
about
safety,
not
only
the
tile.
You
can
kind
of
see
that
the
beam
across
the
middle
was
very
unstable.
We
got,
we
had
Terry
grant
come
in,
we
had
Gordon
Davis,
come
in
and
look
at
the
building
and
give
us
recommendations
about
what
we
what
we
could
do.
F
So
isn't
it
in
that
plant
that
Betts
was
jump,
started
the
planning
work
and
while
doing
some
research
for
the
crest
building,
we
found
this
1925
photo
crisis
under
construction
sort
of
on
the
right
and
there's
the
Phillip
fields.
Mellon
area
was
35
Dexter,
so
you
can
see
the
Montgomery
ferret,
that's
what
that's
it's
sort
of
victorian-era
to
facade
there
and
as
proof
I
mean
it's
beautiful.
So
that's
from
1925
and
we
started
saying
wow,
that's
actually
really
interesting.
Maybe
we
should
put
something
like
that
back
and
so
the
next
picture.
F
So
that
was
one
of
the
ideas
that
was
presented
and
there
were.
We
had
had
a
meeting,
we
had
gathered,
some
Christy
was
there,
maybe
10
people
50th,
not
there's,
not
a
huge
meeting,
but
we
gathered
a
group
and
we
looked
at
the
Hat
and
there
were
a
couple
wow,
that's
really
pretty
so
so
that's
that's.
When
Marianne
Neely
spoke
up
next,
one
and
Marianne
said
in
a
very
quiet
voice.
F
She
said
no,
no
she's
shaking
no.
No.
We
can't
put
that
up
that
Art
Deco
facade,
that
was
there
when
Rosa
Parks
worked
in
the
building,
those
shiny
tiles.
That
glass
was
that.
That
is
the
facade
when
it
was
most
historically
significant,
and
she
was
very
very
so.
This
is
what
we
got.
She
was
very,
she
was
very,
very
sure,
and-
and
it
was
surprising
because
we
had
heard
so
much
about
the
department
store
air
and
the
importance
of
Montgomery
Fair's
a
department
store
for
downtown
and
bringing
people
downtown.
You
know
she.
F
She
was
telling
us
this
department
store.
There
were
others
around
dollar
stores,
men's
women's
clothing.
She
said,
I
have
this
I
kept
her
emails,
I,
don't
know
if
any
of
you
got
emails
from
her,
they
always
came
out
in
like
20
point
font
to
me
when
I
put
it
easy
to
read,
but
this
department
store,
as
it
was
interpreted,
was
a
rarity
until
the
Montgomery
Fair.
F
So
she
had
told
us
all
about
this
department
store
era,
but
then
she
said
know
Rose
that
when
Rosa
Parks
worked,
that's
the
era
that
matters
most,
she
might
have
looked
out.
Those
windows
and
it
sort
of
so
that
was
some.
That
was
it.
We
were
gonna,
go
for
that
Poisson
so,
but
making
that
happen
was
actually
very
difficult.
So
we
had
to
very
carefully
I.
Don't
I,
don't
know
if
you
can
see
the
black.
F
Those
are
blobs
of
sort
of
this
asbestos
and
like
hot
goop,
that
held
the
tiles
on
so
we
had
to
take
them
off
and
we
did
loose.
They
had
to
be
very
careful
because
we
did
lose
some
of
those.
The
Vichy
lights.
Not
me.
I
haven't
actually
said
that
that
the
vigil
egg
cooker
air
glass,
it's
a
structural
pigmented
glass
that
is
not
made
in
the
US
anymore.
So
it
is
a
really
unique
material,
and
these
tiles
are
the
two
body
2x3,
there's
very
large,
very
heavy.
F
We
were
able
to
get
a
hundred
of
them
down
and
you
saw
some
of
them
were
broken.
They
weren't
all
perfect,
but
they
carefully
pried
them
off
and
then
the
glass
in
the
center,
those
are
12
by
12,
our
deco
glass
block
and
that
we
saved
70
percent.
So
we
began
planning
for
adaptive,
reuse
for
a
reconstruction
of
the
facade,
and
this
is
a
spreadsheet.
I
show
this
because
I
really
like
took
a
Tracie's.
This
is
my
Excel
spreadsheet.
F
We
really
late,
we
labeled
every
single
tile,
so
we
knew
which
ones
were
coming
down,
which
ones
could
go
back
where
which
ones
weren't
there?
That
was
my.
That
was
that
which
ones
are
broken.
How
much
we
expected
to
come
down
because
we
had
to
store
them.
I
mean
there
wasn't
any
sort
of
good
place
to
put
them.
We
ended
up
walking
them
down
one
by
one
and
they
were
in
the
basement
of
one
Court
square
or
until
they
went
back
up
so
about
three
years
so
carefully,
deconstructed
from
the
back.
F
This
is
just
a
picture
from
the
crest
roof
looking
down
as
they
took
the
roof
off
and
then
sort
of
worked
their
way
up
and
then
there's
an
image,
and
so
here's
the
workers,
and
so
because
it
was
such
detail,
work
trying
to
get
the
tiles
off
and
was
really
important
that
they
not
break
them
because
it
was
such
a
rare
material.
I
was
there
on
site
a
lot
and
talked
with
them,
brought
them
done'
I
brought
them.
You
know
and
I
actually
sat
and
explained.
F
You
know,
throws
up
parts
worked
in
this
building
and
it
was
really
just
interesting
because
to
explain-
and
maybe
they
were
I-
don't
know.
If
they
were
humoring
me,
maybe
they
were
maybe
they
were,
but
it
just
felt
like
they
they're
they're
saving
rage
got
better
and
better
and
they
were
the
one
applying
that
you
know
they
had
my
spreadsheet.
They
were
the
one
putting
the
little
piece
of
tape
with
the
row
in
the
column
on
each
piece.
F
Alright,
so
we
need
that
this
is
one
of
us
come
down.
We
started
this
issue
of
the
missing
teeth
on
a
downtown
street.
Scape
is
very
important
and
you
can
see
that
on
the
other
side,
where
we
lost
a
building
where
the
alley
is
it
just
it
it
it's
a
real
break
in
the
in
the
in
the
fabric
of
the
block,
we
had
a
lot
of
challenges.
Floor
Heights
were
very
different
across
from
one
side
to
the
other.
The
historic
walls
are
not
straight
they're,
not
straight
at
all.
F
There's
a
lot
of
irregularity
there
and
we
had
this
other
challenge,
not
only
drainage.
You
can
see
it's
full
if
they're
regularly
after
rain
events,
it
would
get
full
of
water,
but
but
this
is
something
that
Terry
grant
made
certain
that
we
were
really
aware
of:
it's
not
putting
lateral
pressure
on
adjacent
buildings
existing
buildings.
If
you've
been
in
twenty
five
Dexter,
they
have,
they
actually
have
a
stair-step
brick
in
their
basement.
So
we
had
they
really.
He
really
wanted
us
to
be
careful.
We
could
not
just
pour
it
in
so
we
had
to
be.
F
That
was
a
that
we
had
to
think
about
in
the
design
other
constraints
the
changes
in
fire
codes
we
had
so
you
can
see
our
our
property
is
there,
but
to
crest
and
25
to
cross
it.
There
enter
into
this
into
this
public
way
and
that's
another
reason
we
couldn't
just
put
a
whole
building
back.
We
need
it.
Those
buildings
needed
this
egress
in
order
to
develop
the
upper
floors
because
they
need
it
to
be
I.
Think
it's
75
feet
back
a
da.
We
had
a
number
of
issues.
F
If
you
go
to
the
park,
you
can
see
the
there's
some
sloping.
That
is
so
that
the
a
da
can
land
carefully
so
pocket
park.
These
are
our
goals,
recreating
it
it's
a
free-standing
gateway
and
a
floating
deck.
The
floating
deck
ended
up
being
the
solution
to
avoiding
the
lateral
pressure
pressures.
People
have
asked
why
deck?
Well,
it's
because
of
that
lateral
pressure
issue
and
it
ends
up
softening
it
really.
F
F
Couple
of
the
the
design
innovations
that
we're
really
proud
of
the
the
piers
go
20
feet.
Deep,
it's
really
so
free
standing
beside
it
does
not
touch
the
adjacent
buildings.
That
was
another
aspect
that
was
really
important
to
25
and
what
was
35
on
the
other
side
that
we
not
they
didn't
want
to
be
tied
in
no
remember
the
old
Montgomery
Fair
had
collapsed
during
this
time
period
and
they
were
very
sensitive
about
not
tying
into
each
other.
So
this
is
a
free-standing
facade,
and
in
order
to
do
that,
we
had
to
go
that
deep.
F
We
also
didn't
fill
in
the
glade,
the
fault,
those
four
glasses,
there's
no
glass
there,
so
that
it
can
withstand
wind
and
I
double
check.
Just
today
with
hurricane
Michael
coming
in
it
can
it
can
survive
a
category
two,
that's
115
mile
per
hour,
winds,
that's
what
it's
specified.
So
that
was
a
just
another
challenge
that
we
had
LED
lighting,
shiny
nuts
on
the
facade
and
the
bed
and
all
around
the
beds,
and
then
so
here's
a
little
just
to
how
it
works.
If
you
haven't
gone
all
the
way
back,
it's
really
important.
F
The
facade
is
wonderful,
they
it's.
This
is
a
deep
plot
and
how
it
feels
you
can
actually
view
where
the
old
Montgomery
Fair
was
from
the
back
of
the
lot
and
how
it
feels
it
gets
quieter
and
quieter
and
quieter,
as
you
leave
Dexter
and
go
all
the
way
back
and
that's
where
all
the
planting
is,
you
can
see,
it
doesn't
touch
the
deck
actually
in
many
places
doesn't
touch
the
other.
F
D
F
F
F
F
Was
there's
so
many
different
owners?
We
work
on
slimy
yeah
dealing
with
that
we,
so
the
gallery
space
is
one
of
those
sort
of
sort
of
next
steps.
We
would
love
to
be
able
to
bring
in
more
art
whether
it's
that
that
letter,
maybe
even
like,
actually
have
that
letter
as
art
or
murals.
We
have
some.
We
actually
have
quite
a
bit
of
the
old
vitriol
blue
and
white
bitter,
like
tile
broken
I,
have
saved
a
buckets
of
the
broken
blue
and
white.
F
F
And
this
this
is
so,
you
can
see
here
where
the
adjacent
part
of
why
we
couldn't
just
build
it
right
away,
both
Gerald
Leibovitz
and
the
folks
at
kress
used
that
area
for
their
construction
access,
and
that
was
another
really
important
contribution
of
us.
We
had
legal
access
agreements
with
both
of
them.
They
needed
especially
some
of
these
cranes
that
they
had
to
get
back
in
there.
They
needed
that
access
in
order
to
get
into
that
tight
space.
F
Keep
going
that's
just
an
example:
mid
Midway,
every
British
screen
up
so
wouldn't
be
empty.
So
here's
some
of
the
upper
storey
balconies
going
in
this
is
an
example.
Now
this
wasn't
us.
These
are
the
adjacent
folks
using
that
part
for
access
to
get
lifts
and
the
amount
of
Steel
that
they
both
had
to
bring
in
for
the
balconies
and
then
for
the
roof
structures.
They
really
needed
our
access
in
order
to
get
in
there,
and
this
is
our
crib.
So
this
is
Liberty
and
I
like
this
again.
I
was
out
there
a
lot.
F
You
know
getting
to
know
the
crew
and
explaining
whether
it
was.
But
this
you
can
see
the
piers
so
those
things
that
are
wrapped,
those
are
the
piers
that
went
down
so
that
it
could
float
and
you
can
see
how
much
distance
there
is
underneath
there
are
two
access
panels,
so
Parks
you
can
pull
it
up
and
you
can
actually
access
it,
but
that
that
drainage
is
another.
F
So
that's
gravel
there
in
one
of
the
early
shots,
I
didn't
pause
as
much
as
I
should
have,
but
drainage
was
another
real
big
where
this
would
get
wet,
so
we
and
fill
up
and
then
Gerald's
basement
would
get
full
was
it
was
a
toss,
I
don't
know,
but
so
what
one
of
the
things
that
was
very
important
was
that
way
they
dug
down
and
we
actually
put
in
a
roof
membrane.
It's
like
one
of
those
thick
things
that
they
put
on
roofs
or
what
you
know
they're
white,
so
they
dug
it.
F
It's
like
a
v-shape,
the
roof
membrane.
Then
there's
a
pipe
so
both
of
the
both
crests
and
25
drain
into
the
park,
and
then
we
put
a
pipe
and
then
we
put
the
rock.
So
it
is
a
full.
It
is
draining
away
from
both
buildings
and
as
far
as
I
know,
Gerald's
basement
has
been
bone-dry
since
so
it's
working
it's
getting
that
getting
it
away
from
the
adjacent
buildings.
F
So
there,
as
you,
can
see
the
planters
going
in
as
well
and
then
the
Art
Deco
glass,
Faulkner
Faulkner
tile,
did
the
tile
80
of
the
114
glass,
where
our
original
there
are
some
new
and
they
did
a
great
job.
They
blended
in
the
new
I
can
tell
you
can
tell
the
the
stripe
variations
just
a
little
bit
different,
but
they
really
did
a
good
job,
the
80
they
had
to
put
them
in
muriatic
acid,
three
different
times
to
get
them
clean.
F
They
were
very,
very
dirty
and
some
of
them
popped
open,
and
so
we
will
that
you
know
the
gas
is
gone,
so
we
probably
over
time,
will
see
the
old
ones
getting
moist
will
see.
This
will
be
its
first
winter,
we'll
see
how
they
survive,
but
but
again,
local
tile
and
folks,
and
then
this
is
a
another
brief
that
was
part
of
our
bid.
The
NPS
on
the
structural
pigment
of
glass
was
very
useful
for
all
the
contractors
again
and
if
you're
interested
this
would
be
a
preservation
brief.
F
That
I
would
recommend
how
to
how
to
take
care
of
this
glass
where
it
is,
it's
a
fascinating
material
and
so
the
guy
that
put
it
up.
There's
really.
This
was
Alabama
historic
Commission
helped
us
recommend
it.
The
Tim
Dunn
fascinating
guy
who
works
in
this.
He
did
it
did
a
theater
blanking
on
the
name,
so
in
Alabama,
so
he
came
down
from
st.
Louis
and
he
is
training
an
apprentice
and
in
how
to
reuse
this
historic
material
and
he
was
out
there.
F
A
F
Is
also
very
unique,
it's
a
so
this
is
karappa
hardwood
and
so
what
the
designers
we're
trying
to
do.
You
can
see
in
this
picture
they're
trying
to
make
it
like
the
bench
was
pulled
up
so
and
then
there's
a
planter,
but
they
were
inspired
by
the
High
Line
and
so
just
hats
off.
We
were
trying
to
make
something
really
unique
and
special.
The
High
Line
inspired
a
lot
of
the
native
plantings
and
that's
the
next
thing.
F
That's
next
slide
grasses
and
petunias
and
black-eyed
Susans,
and
it's
we've
already
as
people
have
sent
pictures
of
hummingbirds
and
butterflies
coming
back.
So
it's
it's
a
very
its
unique.
It's
not
a
lot
of
green
space
and
I
think
some
folks
concept
of
what
is
at
Park.
You
know
it's
not
a
classic
Park,
it
is
an
urban
park,
but
it
is
very
peaceful
as
you,
but
especially
as
you
go
towards
the
back.
F
F
Parkes
about
being
known
as
a
person
concerned
about
freedom,
equality,
justice
and
prosperity,
and
so
that
is
carved
into
a
limestone,
as
you
walk
into
the
concrete
apron
there
and
this
sort
of
signals
to
you
as
you
leave
Dexter
that
there's
this
place
as
something
special.
So
we
made
a
big
deal
of
uncovering
that
at
the
opening
ceremony
adjacent
redevelopment,
the
Ruth
building
is
now
completed,
as
is
the
crest
building
and,
as
I
said,
that
this
they
wouldn't
have
happened
without
this.
They
needed
the
egress
in
order
to
happen.
So
this
was.
F
This
is
a
park
that
special
on
many
levels
between
the
two
of
them.
There's
now
36
new
market
rate
units,
retail
space
about
five
or
six
thousand
and
the
roof
Ruth
Built
Ruth's
building
and
get
any
different
quotes
of
20,000
or
so
retail
space.
On
kress,
each
525
and
about
19
million
dollars
in
Britain
declared
building
permit
value
that
doesn't
count
acquisition
or
soft
costs,
so
assess
value
again:
cuz
I'm
in
the
Department
of
development
I
care
about
this
type
of
thing.
2015
25
Dexter
was
worth
101
2018.
F
It's
now
at
679
in
39,
Dexter
105,
and
you
can
see
there
bellow
the
current
value
two-point-seven
now
so
that
doesn't
quite
aligned
with
the
19
million
I.
Don't
know
if
that
county
really
knows
how
much
how
much
they've
invested
in
it.
Just
a
flyer.
It's
just
a
quarter.
You
can
see,
there's
a
really
interesting
chandalier.
That's
happened
to
Jason
and
they
they're
talking
up
how
they
open
up
into
the
city
park,
and
it's
a
so.
The
broker
sent
this
to
me
and
it's
a
real
selling
point
for
them.
B
F
So
we
weren't
able
to
do
the
whole
bottom
in
blue.
We
were
able
to
do
that
the
edge
around
the
top,
but
we
had
elements
like
so
that
29,
you
remember
the
Art
Deco
font,
so
we
have
an
urban
designer
she.
She
she
did
worked
with
a
Nara
local
artist,
so
both
that
the
address
panel
and
the
city's
logo
are
from
original
blue
tiles
and
we
actually
have
a
couple
more
tiles
that
they
sandblasted
and
hand
painted.
F
So
just
two
really
special
touches
to
bring
back
that
bright,
blue
and
then
the
information
panel
is
at
the
bottom
ad,
a
height
and
I.
Think
the
next
one.
So
that's
a
picture
of
the
panel
and
we
have
that
and
I
call
it
up
because
we
talked
about,
we
started
with
Mary
Ann.
She
dr.
Bailey,
helped
us
with
this
language
and
dr.
F
F
So
anyway,
we
have
the
framed
version
that
was
for
Mary.
Ann
is
now
up
in
her
office,
but
it
was
intended
as
a
gift,
and
so
so
that's
a
really
special
panel,
but
we
also
it
so
it's
it's
it's
fast
and
it's
short,
but
hopefully
it
explains
the
not
only
the
Rosa
Parks
error,
but
the
department
store
era
and
what
this,
what
this
means
for
Montgomery
coming
back
to
life.
F
So
it's
come
back
coming
back
to
life
and
here's.
Oh
just
a
picture.
The
crews
in,
if
you
haven't
made
the
cruson
packed
with
people
all
the
events
that
are
now
have
it's
very
exciting
all
ages,
a
very
diverse
group
of
folks
coming
out
seeing
cars
and
kids
and
it
was
just
exciting
to
maybe
we
can
be
getting
this
block
back
to
life.
F
F
C
I
mean
I
know
that
you've
done.
Let
me
speak
into
the
mic.
I'm
sorry
I
know
that
it's
it's
planted
already,
but
going
forward
it
might
be
interest
to
do
it,
maybe
partner
with
eat
South
in
terms
of
continuing
to
focus
on
what's
planted
there.
You
know
they
do
a
lot
downtown
already
be
an
interesting
way
to
do,
and
maybe
Haiti
I
work
in
government
to
quote
unquote
easy
partnership,
but
no
they're
already
downtown
as
it
is
for.
C
F
You
know
we
both
Joss
joseline
and
myself
have
personally
weeded
a
couple
of
times.
You
know
so
it's
a
unique
Park
and
so
working
on
maintenance.
We
had
reached
out
to
the
Botanical
Gardens
and
you
know
so
maybe
finding
a
gardeners
group
to
adopt
the
sort
of
special
plantings
is
another
aspect.
We
cannot
close
one
of
the
difficulties
with
sort
of
a
big,
a
big
event
like
with
eat.
South
is
that
we
cannot
close
the
park,
so
you
know
because
their
residents
they
require
to
egress.
We.
C
C
F
C
B
C
F
That
so,
as
we
talked
to
as
I
talked
to
people
that
they
keep
saying,
I,
never
thought
I'd
see
Lord
extra
come
back
in
my
lifetime.
You
know
so
it's
just.
This
is
sort
of
an
example,
Montgomery
fair
that
people
have
these
memories
and
growing
up,
and
it's
just
nice
that
we're
we
didn't
completely
lose
it,
but.
F
Absolutely
the
sort
of
that
psychological
heart
and
the
importance
of
sort
of
like
your
community
heart,
a
hub,
yeah,
the
role
of
downtown
yeah.
It's
a
it's
exactly!
It's
a
nice!
So
we're!
We
have
framed
that
sort
of
role
of
downtown
importance
of
Dexter
sort
of
like
not
a
Main
Street.
You
know
but
yeah
as
type
of
historic
Main
Street
not
officially
designated.
C
F
F
So
we're
pretty
excited
about
that
this
week
and
then
we've
submitted
the
park
itself
for
the
National
Urban
Design
Lord,
and
we
we
think,
there's
sort
of
the
internet
that
there's
a
downtown
Association,
International,
downtown,
Association
and
others
that
we
can
talk
about
sort
of
what
we've
done
here,
for
not
only
for
reconstructing
a
facade
and
saving
materials,
but
as
a
way
to
stimulate
the
adjacent
historic
buildings
because
of
the
egress
issue.
That
happens
in
a
lot
of
sort
of
these
dense
urban
areas
and
so
we're
hopeful.
B
C
Didn't
know
a
lot
of
this
I
remember
yeah,
of
course,
I'm
far
from
as
a
kid
shopping
there
and
the
work
that
was
done
just
outstanding,
unbelievable,
go
to
show
if
you're
really
interested
in
preservation.
You
walk
the
extra
mile
and
you
guys
do
that
and
I
just
want
to
say
how
much
we
all
appreciate
that
end
result
beautiful.
Thank.
F
F
Does
take
constant
sort
of
vigilance
and
pushing
year
after
year
and
getting
it
funded
and
all
that
it's
it's
very
rewarding
and
when
I,
when
we
reached
out
to
dr.
Bell
at
the
Rosa
Parks
Museum,
she
was
also
fascinated
with
this
aspect
of
mrs.
parks,
because
she
said
people
come
to
their
museum.
They
learn
all
about
the
bus
boycott,
but
then
they
want
they
leave
wanting
to
know
more
about
mrs.
parks
as
a
person
you
know,
and
they
don't
and
so
she's
very
she's
excited
to
have
all
our
brochures.
C
C
B
C
C
Ability
to
get
things
done
for
this
city,
they
just
had
their
hands
tied
a
bit
silly,
because
you
know
we
we
get
a
lot
of
politics,
but
I
do
appreciate
that
highly
capable
and
ever
highly
capable
staff
and
some
extremely
talented
people
and
I
just
wish.
They
would
just
push
to
put
the
politics
aside
and
that
these
people
go
and
do
some
of
the
things
that
the
city
requires
and
should
have
done.
It
should
have
been
done
actually,
but
at
least
get
started
and
I
think
that's
the
city
plan.
F
C
G
Thank
you.
Well.
Mr.
McCann's
made
a
good
segue
into
what
I
passed
out
to
you
since
we'll
be
talking
about
education.
I
have
given
you
an
overview
of
the
four
practices
from
the
Secretary
of
Interior
standards
for
the
treatment
of
historic
properties,
which
is
a
239
page
document.
If
you
want
to
look
at
it,
it's
online
Illustrated,
because
this
this
falls
into
one
of
those
categories.
G
We
talk
about
preservation,
which
is
essentially
the
maintenance
of
a
building,
no
restoration,
no
touching
up
paint
just
doing
basic
maintenance,
weather
proofing
of
a
building,
essentially
a
mothball
Drayton
Hall
outside
of
Charleston,
is
probably
the
best
example
I
can
think
of
in
the
u.s..
If
you've
gone
to
Europe
and
gone
to
any
old
Abbey
ruins
in
England,
those
are
all
preservation.
You
know
if
a
stone
falls
off,
they're
gonna
make
sure
there's
nothing
else
loose,
that's
going
to
keep
falling,
but
they're
not
doing
any
restoration
work.
G
G
Most
of
what
we
talk
about
is
rehabilitation
which
is
finding
adaptive
uses
for
for
older
structures
or
making
modern
modifications
to
older
structures,
but
doing
it
in
a
sympathetic
manner.
I
do
not
want
an
old-timey
kitchen
in
my
house.
My
house
was
built
in
1912,
I
have
a
very
modern
kitchen
in
my
house,
but
it
plays
nice
with
the
beadboard
ceiling
and
walls
full
windows,
so
rehabilitation
is
mostly
what
we
talked
about.
G
G
G
Of
Interior
standards
are
the
guiding
principles
of
work
and
preservation,
and
most
of
the
time
when
you
hear
people
talk
about
it,
it
references
its
rehabilitation
is
what
they're
talking
about.
But
there
are
those
three
other
category
and
reconstruction
is
one
of
those,
so
you
learned
all
sorts
of
stuff
tonight
you
didn't
know
you
were
going
to
learn.
Thank
you.
Let.
A
B
A
A
F
A
A
A
B
F
A
F
A
A
Right
so
she
did
that
quite
frequently
and
anything
about
it
when
you
put
all
of
it
in
focus
that
day
of
the
trial,
Rosa
Parks
had
only
walked
one
block
to
Frey
Gray's
office
and
they
walked
a
half
a
block
to
City
Court.
It's
amazing
we're
talking
about
everything,
basically
being
within
view
of
where
we
are
right
now.
Basically,
all
of
these
places
we're
talking
about
right.
Now
we
were
to
walk
outside
of
that
door.
Those
places
at
least
to
that
corner
no
place
will
be
within
view.
That's
amazing.
It's.
G
G
A
A
A
B
D
In
itself,
right
Carol,
that's
what
they're
saying
they've
been
using
it.
The
neighborhoods
have
been
using
it
for
50
years
at
this
point
and
are
not
necessarily
ready
to
let
it
go
altogether
the
material,
the
design,
everything
so
I
think
in
the
coast,
yes,
and
the
cost
right,
the
cost
so
Christine
how
many
properties
are
in
districts
just
off.
You
know.
D
So
we
were
looking
at
and
we've
given
this
to
the
board
members
to
to
look
over
the
to
be
considered.
Guidelines
to
the
purpose
of
the
historic
sign
program
is
to
promote
the
existing
designated
resources
properties
and
then
to
create
awareness
of
the
potential
properties
that
are
out
there
for
historic
designation
for
the
process
and
then
for
protection,
because
there's
lots
of
neighborhoods
in
montgome
that
are
now
over
50
years
old
and
are
still
very
much
intact,
that
our
potential
historic
designation,
historic
districts
as
well.
D
That's
in
a
National
Register
district,
or
this
is
something
that
was
not
on
the
other
criteria,
which
is
any
property
listed
in
the
nalle'
Bama
Register,
which
does
exist
that
Alabama,
Historical,
Commission
or
any
property
listed
in
a
district.
That's
in
the
Alabama,
which
I
don't
think
we
have
any.
D
Really,
moratorium
Lots,
but
that's
also
I,
don't
say
a
market,
but
that's
also
something
we
haven't
really
specifically.
You
know
detailed
in
the
criteria
to
so
that
that's
a
potential
market
as
well,
and
then
there
are
lots
of
other
criteria
that
go
there
about.
You
know
evaluating
the
structure
itself,
but
that
also
goes
with
the
designation
process.
D
When
the
survey
work
is
done
on
the
individual
properties
for
designation
or
whether
they're
you
know
done
in
the
district,
with
the
district
things
as
well,
and
that
would
hopefully
ramp
the
game
up
on
survey
work
too,
because
a
lot
of
the
the
application
process
that
goes
with
this,
the
existing
application
process
is
really.
It
is
really
asking
for
some
great
questions,
documenting
properties
in
the
individual
properties
when
people
do
ask
to
be
considered
to
be
able
to
have
these
songs,
so
I
think
that
actually
adds
even
more
information
to
the
documenting
process.
G
Surveys
are
old
and
to
date,
this
body
has
not
required
that
someone
do
any
research
on
their
property.
I
mean
we
ask
the
questions,
you
know
what
can
you
tell
us
about
the
history
of
the
house?
What
can
you
tell
us
about
alterations
that
have
been
made
to
the
property
and
a
lot
of
times?
We
have
people
who
come
in,
who
just
purchased
the
property
and
they
want
to
sign.
So
it's
I
think
one
of
the
questions
to
consider
is:
does
that
make
it
an
incomplete
application?
D
Forward
a
way
to
ramp
up
the
documentation
on
structures,
you
know
and
there's
so
many
things
out
there
now
available
to
John
Q
genealogist
or
someone
who's,
not
a
professional
historian,
abstract
city
directories,
Sanborn
maps,
historic
photographs.
You
know,
there's
just
so
much
out
there
that
people
can
document
their
houses,
whereas
you
know
4050
years
ago.
It
really
wasn't
that
accessible.
G
B
G
D
Resources
right
so
that's
kind
of
another
reason.
We
need
sort
of
need
to
get
this
in
place
by
the
spring
mm-hmm.
You
know
so
that
we
can
then
prepare
people
with
the
tools
they
need
to
come
back
to
us.
So
we've
been
looking
into
vendors,
who
can
actually
produce
something
in
the
neighborhood
of
the
same
design
for
us
with
a
little
bit
and
since
anyone
of
shoba
somewhat
of
a
design
that
we
need
to
work
on
the
wording
I
do
like
that.
B
E
E
G
From
the
supply,
but
when
I
went
to
Charlie's
trophies
a
couple
of
years
ago,
they
can
produce
a
similar
aluminum
sign
it.
It's
just
a
small.
A
slightly
smaller
size
was
what
their
maximum
capacity
was
so
but
yeah
when
we
no
longer
had
a
supply
of
that.
It
seemed
like
a
good
time
to
break
away
and
lent.
Landmarks
has
gone
golden
anniversary
with
with
triangle
on
the
fountain
and
and
put
some
gold
laurels
around
the
top
of
it
and
I
think
it's
time
for
us
to
do
our
own
thing.
G
E
E
D
I
think
we'll
need
to
develop
a
marketing
campaign
too,
because
this
is,
you
know
something
a
train.
That's
been
going
50
years
with
this
particular
thing,
but
in
our
my
discussions
as
some
of
the
neighborhood
leaders,
what
do
you
think
about
doing
this?
Their
thought?
Is
there
they're
good
with
changing
a
little
bit
but
going
to
a
totally
different
design
every
like
they
say
our
sign
is
historic.
You
know.
E
G
D
And
there
are
more
on,
there
are
better
ways
to
do
that.
This,
you
know
you
vuv
a
coding
and
stuff
like
that,
and
I
also
think
it's
really
important
that
we
look
at
the
cost
on
them
to
these.
We
walked
away
from
at
about.
They
were
right,
forty-five
fifty
dollars
last
go-round
and
I'm,
not
sure
that-
and
that
was
our.
E
D
E
E
D
B
G
I
think
getting
getting
the
image
and
the
identity
is
really
the
first
piece
of
figuring
out
what
the
heck
you
can
do
with
in
terms
of
producing
signs-
and
maybe
it's
you-
have
the
less
expensive
kind
of
plaque
that
we've
had.
But
there
may
be,
there's
also
a
cast
option
if
you
want
to
spring
for
it
and.
D
The
logistics
of
something
that's
more
expensive
in
talking
with
some
national
vendors
or
really
big
historic,
sign
people.
You
know
how
is
the
financial
of
this
gonna
work?
Is
the
city
Montgomery
going
to
buy
five
hundred
and
and
stick
you
know
and
then
we'll
storm
in
a
backroom
and
some?
So
the
logistics
of
this
is
a
little
tricky,
but
it
has
worked
on
a
on
a
form
like
that.
D
That's
for
better
used
where
it's
fairly
common
and
would
be
a
stock
size
that
would
assign
person
would
have,
and
then
it
would
just
be
initial
art
costs
for
the
screen.
That
would
then
be
produced
when
Christy
had
X
number
something
to
that
effect.
The
man
you,
the
production
of
them
when
you
get
to
something
with
the
cast
figuring
that
out
and
talking
to
people
I
mean
it
Armel
the
city's
not
ready
to
make
a
commitment.
A
you
know,
a
outside
vendor
is
not
ready
to.
D
You
know
make
up
a
hundred
of
these
with
our
design
on
it
and
then
so
on.
Occasionally
that
kind
of
thing,
so
the
logistics
of
how
we've
sort
of
gotten
into
this
easy
way
to
do.
This,
which
is
worked
for
a
while,
so
if
we
can
kind
of
get
at
least
somewhere
close
to
that,
I,
think
that
our
purpose
of
the
sign
thing,
which
is
to
draw
attention
to
you,
know
to
debt,
to
show
the
designated
properties
and
then
to
draw
awareness
to
the
fact
that
there's
a
lot
more
out
there
too.
D
D
You
know:
what's
up
yeah,
everybody
would
look
over
these
guidelines
and
then
you've
got
our
email.
So
if
you,
you
know
want
to
make
some
changes
or
something
to
that
effect,
give
us
a
send
it
back
to
us
and
then
Brian.
If
you
want
to
meet
just
give
us
come
up
with
a
date
and
time
and
we'll
I'll
be
there
sit
down
and
do
some
more
fine-tuning.
A
B
C
D
The
might
I
mean
there's
a
lot
to
work
out
is
to
you
know
what
else
will
be
put
on
here,
one
of
the
pieces
and
what
type
of
information
should
be
considered
for
the
historic
sign
display.
What
would
we
put
on
here?
We
like
them
becoming
Historic
Preservation
Commission.
Yes,
you
know
that
brands,
this
organization.
B
D
Brands,
the
city
of
Montgomery,
and
then
you
know
whether
its
data
construction,
if
you
want
to
do
the
some
of
these,
also
could
be
used
or
we
could
come
up
with
a
way
that
these
can
be
used
as
entry
signs
to
the
historic
neighborhoods
as
well,
which
a
lot
of
the
historic
neighborhoods
have
gotten
away
from
using
that
particular
look.
Yes,.
B
D
That
cuz
I
just
really
yeah
they
don't
just
somebody
stand
the
weather
as
much
and
then
whether
this
a
particular
structure
is
itself
individually
of
note,
with,
like
a
person,
relationship
with
the
person
or
a
notable
event
as
well.
So
but
I
also
like
the
idea,
like
Christie,
said
by
doing
this
and
requiring
a
little
more
information
on
their
application.
We'll
be
able
to.
You
know,
create
a
larger
database
or
create
more
information
about
Montgomery
on
historic
house
houses.
D
C
Carol
then,
for
obviously
have
a
working
committee
on
this,
but
for
the
rest
of
us
our
contribution
then
needs
to
be
commenting
and
on
and
getting
our
comments
back
to
you
on
the
historic
side.
Guideline
misterx,
yeah
historic
sighing
got
new
eyes.
No,
but
I'm
saying
I
I
don't
want
to.
You
know:
I
think
that
we
all
need
to.
You
know
contribute
to
this,
so
we
can
be
ready
for
the
spring
so
that
the
contribution
we
like
from
us
they're,
like
okay,.
D
B
E
G
A
G
B
G
D
G
Send
it
to
some
of
the
I
mean
I've
been
working
with
some
of
the
magnet
high
schools.
They
may
have
students
who
might
be
interested
that
we,
you
know,
we've
got
students,
maybe
we
waive
the
fee
if
they're
in
school
and
have
a
teacher
sponsor
them,
or
you
know,
letter
recommendation
that
we're
not
going
to
end
up
with
people.
Just
it's
not
so
we
that's
that's
kind
of
logistical
stuff.
That
I
think
will
be
easier
to
sort
out.
Then
then,
the
commitment
of
is
this.
G
G
C
So,
okay,
so
if
somebody
just
walks
in
who's
there
to
get
a
book
or
a
movie
or
something
and
they
want
to
come
into
the
class,
they
were
in
the
class
wait
for
free
I'm.
Sorry,
let
me
finish
and
then
the
other
thing
is
also
that
we
can
do
alcohol
or
hay
preservation
get
stuff
outside
food
hours.
They
get
a
little
restricted
on
Thursday.
You.
G
G
B
G
G
Cuz
this
would
be
an
evening
program
and
doing
it
in
the
spring
means
the
longer
we
go,
the
lighter
it's
going
to
get
outside,
which
is
why
'mobile
does
it
and
then
they
do
their
last
two
sessions,
doing
a
building
tour.
You
know,
and
then
the
last
ones
in
the
cemetery
and
they
have
a
final
wrap-up
picnic-
have.
E
G
In
that
that
might
be
a
good
place
in
the
sense
that
when
we
get
to
the
the
portion
of
doing
survey
work,
we
can
walk
out
campus
and
walk
down
College
Street
and
actually
look
at
architecture,
which
was
one
of
the
things.
One
of
the
reasons
we
liked
the
location
of
the
libraries,
because
there
is
a
variety
of
architecture
within
a
one-block
radius
of
it.
So
that
yeah,
if
you
know
someone
who
might
let
us
do
that,
for
we
wouldn't
be
there
eight
weeks.
But
you
know
at
least
six
weeks.
G
A
G
Mean
really
at
this
point,
we
if
we
can
find
a
venue
that
will
tell
us
how
many
people
we
can
admit
to
the
class
and
start
looking
at
costs
for
materials.
You
know,
I
have
done
this.
We
could
probably
I
did
when
I
did
the
realtor
course.
The
first
couple
of
years
we
did
binders
the
next
couple.
I
didn't
do,
binders
I
got
flash
drives
with
all
this
information
on
it
and
they
actually
say
Historic
Preservation
Commission
on
them
and
I
have
some
of
those
left.
G
What
I'm
saying
and
if
any
of
the
ARV
members
want
to
come
I
mean
I,
really
see
this
as
an
opportunity
to
be
board
training
as
well,
then
I
was
saying
that's
going
to
limit
the
number
of
the
public
and
maybe
maybe
limiting.
That
would
be
a
good
thing,
because,
oh,
if
it's
full,
then
it
must
be
good
right.
E
I
mentioned
the
State
Bar
headquarters,
but
they're
pretty
funny
about
doing
they
lock
that
building
up
at
the
end
of
business.
So
if
it
being
that's,
why
I
kept
asking
the
time
they're
good
to
go
all
day
long
while
they're
open
and
they
have
fantastic
facilities,
anything
and
everything
these
are.
Lawyers
they've
got
anything
and
everything
you
could
possibly
need,
but
it
would
be
during
the
day
they
will
lock
the
door
and
put
you
out
at
five
o'clock.
It.
B
E
Be
an
in
the
summer,
it's
like
4:30,
so
that
that's
a
no-go
if
it's
at
night,
but
I'm
dinners
around
the
clock
Darren
school
in
session
when
school
is
in
session.
They
have
night
security
that
walk
well.
They
have
round-the-clock
security
that
will
unlock
and
lock
up
buildings.
My
grandfather
was
the
former
chief
of
security
at
Huntingdon
I
used
to
run
around
with
him
on
campus
in
any
way.
I
know,
I,
know
the
right
people
to
call
out
there
and
they're
about
to
undergo
a
major
rehabilitation
project
or
their
own.
E
Don't
mind
I,
don't
know
if
I
have
the
time
to
dedicate
to
two
committees
in
mind.
My
interest
in
the
historic
sign
program
seemed
to
have
diverged
from
my
fellow
committee
members
and
I'd
like
to
step
down
from
that
committee,
and
only
beyond
this
one.
My
involvement
with
the
Sun
committee
I'd
like
to
just
be
as
a
neighborhood
resident
when
y'all
reach
out
okay.
D
A
A
G
This
is
on
here
because
Carol
headed
that
up
the
last
two
years
and
Carol
doesn't
want
to
do
it
again.
She
would
like
to
give
someone
else
the
opportunity
to
do
that,
and
maybe
maybe
y'all
are
happy
with
the
application,
and
we
just
run
with
it
and
I've
started
compiling
a
list
of
projects
that
I
think
will
probably
be
complete
by
the
end
of
this
year
that
we
can
actually
send
out
solicitations
and
hopefully
get
work
on
getting
a
better
response
to
it.
D
D
D
D
B
A
C
C
E
A
Both
we
work
together
this
one
thing
I
like
about
this
body.
We
laugh
together
and
we
were
together
and
you
can't
beat
that.
So
let
us
continue
to
do
that
and
you'd
be
surprised
what
kind
of
results
we
get
when
we
maintain
that
kind
of
spirit,
so
yeah
is
anyone
else
who
would
like
to
work
with
this
awards
committee.
You
can
just
chip
in
and
thank
you
very
much,
that's
what
we're
talking
about
just
be
a
sounding
boy:
we're
gonna
help
each
other
out,
nobody,
nobody!
Absolutely!
B
A
A
G
E
G
G
B
D
B
E
E
G
A
Anything
else,
let
me
just
remind
you
that
we
have
a
tribute
to
mary
and
Neely
on
October
23rd
at
First,
Baptist
Church,
beginning
at
6
p.m.
and
I
would
like
to
invite
at
least
two
or
three
of
you
to
service
pushes
on
that
afternoon.
As
you
just
talked
to
me
when
we
close
out
this
afternoon
and
what
you
do
is
pass
our
programs
and
ensure
that
the
guests
get
the
opportunity
to
sign
the
book
that
we
will
donate
to
the
Alabama
Department
of
Archives
and
history.