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From YouTube: Arts & Culture Committee 06202023
Description
Arts & Culture Committee 06202023
B
We
are
calling
our
Arts
and
Cultural
Advisory
board
meeting
officially
to
order
Cindy
is
out
with
she
was
dancing
too
hard
at
her
son's
wedding
and
her.
No
that's
not
true.
She
had
some
foot
stuff
done
so
she's
I
told
her
that
you,
my
my
favorite
saying,
which
I've
taken
from
my
wife,
is
that
you
only
heal
once
you
only
hear
correctly
one
time,
so
you
don't
need
to
be
here
if
you're
healing.
So
that's
what
she's
doing
we
have
a.
B
An
agenda
somewhere:
okay,
the
big
thing
that
we're
going
to
do
as
the
board
is
go
over
the
opportunity
fund.
The
committee
worked
on
that
and
we've
got
to
do
that.
So
that's
the
big
thing
we're
going
to
do
and
then
of
course,
then
we'll
go
into
the
whole
cultural
plan
and
spend
the
the
rest
of
the
time
on
that.
But
I
do
want
to
introduce
a
guest
and
her
name
is
Maurice
Kumar.
She
is
with
the
business
advisory
did
I,
say,
visit
business,
advisory,
Council
so
say
hello.
B
But
she's
here
just
to
observe
us
because
they're
very
interested
in
the
arts
and
culture
community
and
what
we're
talking
about
doing
did
I
say
that
okay,
the
business
side
of
it,
which
obviously
all
of
us
are
interested
in
so
welcome
and
you'll
just
have
so
much
fun
here.
You
won't
know
what
to
do
so.
With
that
said,.
B
C
C
C
So
today
is
a
milestone
that
we
have
been
talking
about
for
quite
some
time
since
February
when
we
launched
the
spring
cycle
of
the
opportunity
fund.
So
you
can
see
where
we
are
now.
We
are
at
the
point
where
we
have
provided
to
you.
The
recommended
slate
of
grants
for
the
spring
cycle,
and
we
are
asking
for
your
vote.
C
We
will
Kevin
will
lead
us
through
a
consent
vote
on
the
Slate
we
are
going
to
so
you
you
have
the
list
of
Grants
both
in
the
materials
you
received
the
other
day,
but
also
Janine
has
a
printout
in
case.
You
want
to
have
that
on
one
page
for
reference
and
if
you
didn't
get
one
on
your
way
in,
please
just
get
one
put
your
hand
up
and
and
Janine
can
bring
you
one,
and
so
we
do
have
some
analysis
on
the
rec
recommended
slate
to
share
with
you.
C
There
we
go
so
just
briefly
briefly
call
of
course,
this
time,
just
just
as
with
the
past
Cycles
we've
had
a
two-phase
process
where
we
had
Lois,
then
we
had
full
proposals
from
folks
who,
whose
Lois
were
eligible
as
screened
by
staff,
and
then
you
can
see
that
we
had
165
initial
Lois
and
then
we
received
113
full
proposals,
and
then
we
have
put
forth
a
slate
of
34
recommended
projects,
and
these
are
ones
that
came
through
a
step
that
you'll
recall.
We
added
this
time
that
we
was.
C
We
didn't
use
last
fall,
but
we
added
this
time,
which
is
working
with
Grant
panels
of
arts
and
culture,
practitioners
to
review
and
score
and
evaluate
the
grants,
and
our
working
group
of
the
board
did
sit
in
on
those
conversations.
So
they
could
understand
the
perspectives
of
the
review
panels
and
ask
questions,
and
then
they
had
a
conversation.
Looking
looking
at
all
of
the
recommendations
and
speaking
with
our
staff
team
and
then
have
put
forth
this
slate
to
you
all
for
your
consideration
and
approval.
C
We
we
borrowed
these
from
the
Nea
from
the
National
Endowment
for
the
Arts,
and
so
we
had
started
using
these
last
year
and
have
you
know,
went
ahead
and
used
them
for
this
cycle
as
well.
Now,
the
reason
these
don't
add
up
to
100
is
because
people
could,
you
know,
select
more
than
one
discipline
and
we
actually
did
see
a
lot
of
proposals
that
incorporated
multiple
artistic
disciplines.
So
that's
something
that
you
see
here.
C
One
of
the
things,
especially
that
we
noticed
you'll,
see
that
music
is,
you
know,
has
the
highest
kind
of
representation
here,
and
we
noticed
that
you
know
many
of
the
projects
that
were
multi-disciplinary
were
incorporating
music.
You
know
into
their.
You
know
multifaceted
experiences,
so
that
was
interesting
to
see,
but
they
were
also
including
other
things
as
well.
C
So
here
you
can
see
different
project
types
that
are
represented
again
folks
could
check
off.
You
know
more
than
one
a
type
of
project
that
was
involved
or
incorporated
into
their
proposal,
and
here
you
can
see
you
know
again
kind
of
meaningful
percentages
across
the
board,
but
certainly
we
noticed
that
performance
is
very,
you
know
well
represented
and
at
the
the
highest
percentage
among
the
recommended
slate
and
our
our
take
on.
C
C
So
Arts
education,
but
not
necessarily
CMS,
so
some
projects
have
one
do
want
to
partner,
but
you
know
they're,
not
necessarily
always
working
with
CMS,
because
you
know
some
organizations
or
folks
are
they.
They
do
educational
activities
themselves
as
well.
So
I
would
say
this.
The
Slate
includes
both
types.
C
If
it's
a
production
that
has
to
do
with
mental
health,
they
may
or
may
not
check
it
off
as
education,
but
if
it's
their
summer
camps,
then
they
might
check
that
off
as
education,
because
it's
like
educating
students
on
how
to
do
theater,
if
not,
but
that
is
my
that
is
I'm
interpreting
how
an
applicant
might
interpret
education.
Does
that
make
sense,
but.
E
C
So
another
thing
that
we've
looked
at
is
where
the
applicants-
you
know
what
types
of
applicants
do
we
have
so
in
the
recommended
slate,
we
see
that
almost
you
know
they're
split,
almost
50
50
between
non-profit
organizations
and
non-non-profit
organizations.
So
we
see
that
55
or
56.
Approximately
our
non-profit
organizations
about
a
quarter
are
individual
artists
and
creatives
and
about
a
fifth
are
groups
or
organizations,
and
those
ones
on
the
left.
C
The
other
thing
that
we
see
too
is,
if
you
look
at
the
non-profits,
you
know
one
of
the
things
the
board
has
been
interested
in
is
you
know
how?
How
is
infusion
funding
going
to
non-annually
funded
organizations
to
see
how
the
money
is
getting
infused
into
the
sector?
So
we
see
that
you
know
four-fifths
or
so
of
the
non-profits
who
are
funded
were
not
among
annually
funding
groups
and
about
a
fifth
of
the
non-profits
are
annually
funded
groups.
C
C
We
think
that
this
data
tells
us
so
one
is
one
of
the
objectives
has
been
to
expand
opportunity
funding
to
members
of
the
arts
and
culture
Community
who
are
not
among
the
annually
funded
groups,
and
so
we
see
that
from
this
breakout
that
over
90
percent
are
by
applicants
who
aren't
annually
funded.
We're
also
seeing
that
for
the
objective
that
it's
about
infusing
dollars
as
much
as
possible
throughout
the
sector,
to
those
who
may
not
already
be
receiving
financial
support
from
the
infusion
fund.
C
Because
of
that
data,
point
that
I
just
noted
and
because
prior
opportunity
fund
recipients
were
ineligible
to
apply
for
this
particular
cycle.
We
know
that
the
this
cycle
of
opportunity
funding
is
reaching
almost
entirely
applicants
who
have
not
received
prior
infusion
funding
and
so
third
another
goal,
of
course,
that
we
have
had
and
have
been
talking
a
lot
about,
especially
this
spring
with
our
discussions.
C
So
here
you
can
see
the
the
answers
to
the
question
of
who
people
are
serving
through
their
mission.
So
the
question
was:
is
your
my?
Is
your
mission
primarily
to
serve
historically
underrepresented
or
underserved
audience
or
Target
constituency
and
again
folks
could
check
off
multiple
answers.
So
here
you
can
see
how
they've
responded
and
again
the
the
key
here
is.
C
This
is
asking
them
a
question
about
their
organization
groups
or
groups,
focus
or
them
as
an
individual
artist
or
creative
their
mission,
and
it's
not
necessarily
asking
specifically
about
the
project
that
they're
applying
with,
but
we're
asking
about
your
mission
so
wanted
to
just
make
that
distinction
and
the
clarification
there.
But
you
do
see
that,
amongst
the
recommended
slate
that
applicants
are
heavily
yes
to
this
question,
82
percent
said
yes
and
of
those
you
can
see
a
very
high
percentage.
C
71
percent
almost
are
serving
a
lot
of
groups
and
you
see
again
other
high
percentages
in
the
other
areas
and
so
for
for
us,
because
we
have
been
talking
a
lot
about
this
and
about
inclusion
and
Equity,
not
only
in
our
efforts,
our
funding
efforts
through
the
infusion
fund
and,
in
particular,
with
the
opportunity
fund.
We've
also
been
talking
about
it,
a
lot,
as
you
know,
in
the
context
of
the
arts
and
culture
plan,
so
we
thought
for
us.
This
is
an
important.
You
know,
data
point
to
take
a
look
at.
F
Pretty
I
had
a
question
about
that.
So
I
know
that
in
the
in
the
application
at
the
beginning,
like
I
guess
maybe
in
the
LOI
it
says,
is
your
mission
primarily
to
serve
historically?
That
question
is
asking
the
applicant:
if
that's
what
they're
doing
I'm
wondering,
did
we
get
when
we
drill
down
into
what
the
project
was?
C
Thank
you
for
asking,
so
we
didn't
ask
that
question
about
the
project
up
front.
One
of
the
things
that
we
have
talked
about,
certainly
on
at
the
staff
and
I.
Think
a
little
bit
amongst
the
working
group
as
well
is
some
of
the
challenges
with
you
know.
Knowing
who's
going
to
participate
in
a
project,
so
there's
certainly
I
think
folks
have
expressed
in
their
I
think
what
you're
alluding
to
is.
C
B
You
bring
up
a
good
point
because
it
could
go
up
or
down
I.
Think
Pat
was
the
one
I
was
on
the
call
with
Pat,
and
you
know
one
of
the
things
he
mentioned
is
that
let's
not
brag
about
this
right
now,
because
this
is
just
self-selected
data
at
some
point
in
time,
and
it's
it's
I
want
to
say
it's
hard
to
do,
but
it
may
be
hard
to
do
is
to
get
the
real
data
and
that's
usually
after
the
fact.
Then
you
can
brag
about
stuff.
But
this
is
just
good
self-selecting
information
right.
C
C
I
think
what
this
does
tell
us,
though,
is
that
it's
a
good
start,
because
we're
seeing
represented
a
lot
of
the
populations
that
the
board
has
expressed
a
desire
to
make
sure
that
we're
we're
reaching,
and
it
tells
us
who
is
not
only
hearing
about
the
opportunity
fund
but
actually
applying
and
then
also
getting
hopefully
getting
funding.
Yes,
Charles.
G
So
I
think
this
is
is
going
in
a
good
direction.
I
appreciate
all
this
data
on
the
quarters
of
opportunity
to
the
point
of
post
evaluation
surveys.
I
would
just
really
be
as
a
funder
that
works
in
a
corridor
of
opportunity
like
the
historic
West.
End
folks
will
have
events
there,
but
the
people
that
come
are
not
necessarily
from
that
corridor,
so
just
be
mindful
of
that
Nuance
in
in
asking
the
evaluation
question
around
who
is
served
because
they
may
serve.
G
C
That
thank
you
that's
helpful
to
think
about
and
I
guess
what
I'm
wondering
then
is
like.
Maybe
we
maybe
it's
important
to
take
all
the
information
together
versus
you
know,
rather
than
kind
of
pulling
out
because
I
guess
I'm
saying
maybe
they
do
sort
of
an
Alana
group
and-
and
maybe
we're
happy
about
that.
But
maybe
it
wasn't
from
that
Corridor-
and
maybe
we're
not
happy
about
that.
But
are
we?
Are
we
mad?
You
know.
Are
we
mad
that
they
served
in
a
lot
of
group?
Maybe
maybe.
G
Is
this
I'm
very
like
again
again
as
a
funder
of
a
corridor
of
opportunity?
People
are
like
oh
you're
funding
in
that
Corridor,
so
they
want
to
have
events
there
right,
but
they're,
not
serving
people
in
that
Corridor
right,
yep,
so
I'm
just
making
but
I'm
agree
with
what
you're
saying
because
they
may
serve
one
of
the
other
groups,
but
again
I
might
ding
them
on
quarters
of
opportunity.
C
H
C
One
other
thing:
I
just
note-
also
it's
not
on
here,
because
we
don't
have
a
way
to
report
well
or
capture
and
Report
well
on
the
data,
but
we
just
asked
we
did
ask
this
question
so
I
want
to
note
it
too,
because
Charles,
especially
you,
have
raised
it
and
passed.
What
conversations
and
one
of
our
task
forces
Task
Force
Five
is
working
on
equity
in
the
cultural
planning.
Is
that
we
asked
a
question
and
and
these
questions
we
actually
worked
with
my
former.
C
You
know
City
staff
colleague,
Federico
Rios
who's,
now
at
the
foundation
for
the
Carolinas
on
the
wording
of
this,
which
was
about
how
to
you
know
whom
do
you
aim
to
serve
and
it's
an
open-ended
question
about
who
who
folks
are
aiming
to
serve
so
that
they
can
themselves
Define
who
it
is
because
they
may
they
may
just
describe
it
in
age
terms,
racial
race
and
ethnicity.
It
might
be
a
certain
professional,
you
know,
might
be
like
dancers
and
choreographers.
C
So
we
want
to
understand
whom
they're
trying
to
serve
through
the
project,
and
then
we
we
ask
how
representative
of
the
audience
is
you're
trying
to
serve
is
your
board
and
staff.
So
that's
that's
also
open-ended,
because,
obviously
we
we
want
to
see
how
the
answer
maps
to
what
they
said
in
the
previous
question.
So
that's
good
because
it
helps
us
understand
how
they're
thinking
about
their
audiences
and
then
how
they're,
how
their
board
and
staff
reflects
that
or
doesn't.
C
But
the
hard
part
about
that
is.
It
does
make
it
difficult
to
report
on
because
there's
not
like
columns
and
check
marks
boxes
and
things
like
that
that
we
can
then
pull
into
a
you
know
a
format
like
this,
so
we
have
that
information
in
the
applications
and
I
mean
the
staff,
certainly
read
it
and
the
reviewers.
C
These
questions
was
wanting
to
have
that
open-endedness
so
that
people
have
some
flexibility
to
Define
whom
they're
trying
to
serve,
and
then
map
map
the
measurement
to
that.
But
then
you
know
obviously
there's
so
many
different
ways
to
report
back
on
that.
So
I
just
put
that
out
there
to
share
like
that's
something
we
looked
at,
don't
know
how
to
make
a
chart
out
of
it.
But
if
anyone
has
ideas
on
how
to
do
that
moving
forward,
we
would
totally
welcome
them.
E
E
I
they're,
not
zooming
in
to
take
advantage
of
a
funding,
that's
simply
because
they're
in
a
quarter
of
opportunity,
but
because
these
tend
to
be
small
organizations
and
individuals
and
groups,
it's
much
easier
for
us
to
go
back
and
get
some
sense
around.
Are
they
just
tailoring
a
grant
request
to
the
grant
program,
or
are
they
really
trying
to
have
a
grant
that
will
fund
the
activities
that
they
typically
have,
and
we
didn't
do
very
much
of
that,
and
perhaps
we
could
in
the
future
yeah.
C
That's
a
good
point:
I
guess.
One
thing
I
would
just
add,
for
consideration
is
for
some
folks,
especially
because
of
the
purpose
of
the
opportunity
fund
is
to
Spur
new
activities
that
they
don't
typically
do.
This
might
be
them
moving
out
of
their
comfort
zone
to
try
to
serve
someone
that
they
haven't
heard
before
or
maybe
they've
had
some
demand
from
a
particular
audience
and
they'd
like
to
try
to
meet
that.
So
it
could
be
both
things
happening.
Melody.
I
C
From
the
very
beginning,
it's
been
one
of
the
things
we've
wanted
to
encourage
and
support,
and
even
incentivize,
and
that's
why
we've
called
it
out
is
something
we'd
like
to
support
with
the
opportunity
fund,
and
that's
also
why
we
have
made
it
the
eligibility
criteria
for
an
annually
flooded
organization.
If
they
want
to
receive
opportunity
funds,
it
has
to
be
a
collaboration.
So
we
wanted
to
show
show
you,
you
know
what
that
means
for
this
cycle
so
of
the
recommended
slate.
65
percent
of
those
projects
are
collaborations
and
we're
happy
to
see
that.
C
So
last
thing,
I'll
kind
of
summarize
before
I
kick
it
back
over
to
Kevin
is
just
to
remind
you
kind
of
where
we
are
on
the
opportunity,
fed
allocation
and
the
the
dollars.
So
you'll
recall
that
we-
and
we
went
over
this
some
of
this
last
month
as
well.
We
had
325
000
from
the
fy23
funding
that
had
been
previously
allocated
to
this
cycle.
C
Last
month,
the
board
approved
us
two
things
approved
a
an
fy24
opportunity
fund
allocation
of
1.325
million
dollars
and
approved
us
to
complement
this
current
cycle
with
some
of
those
funds.
If
we
had
enough
strong
proposals
to
bring
forth
to
you-
and
so
you
can
see
here-
that
the
total
we're
recommending
is
a
little
over
seven
hundred
thousand
dollars
for
the
34
projects,
and
that
leaves
about
nine
hundred
thirty
thousand
dollars
for
future
opportunity
fund
awards
for
fy24,
so
I'm
gonna
hand
it
to
Kevin.
C
Tomorrow
we
have
email
notifications
going
out
to
all
the
applicants
to
let
them
know
what
the
result
was
of
their
application
and
then
and
then
we
also
I
send
that
to
the
foundation.
So
they
have
the
slate
and
then
they
they
communicate
directly
with
the
of
the
granted
applicants
to
complete
an
award
letter
and
that
serves
as
there's
Grant
contract.
So
basically,
the
the
step
that
happens
to
happen
before
the
checks
are
distributed
is
that
we
notify
everybody.
C
The
foundation
follows
up
with
them
to
do
their
award
letter
and
when
they
get,
they
have
to
get
the
signed
award
letter
back
before
they
can
cut
the
check,
because
otherwise,
the
there's
no
Grand
contract,
essentially
but
I,
know
they
in
the
past.
They've
always
worked
really
quickly
to
get
that
done,
and
sometimes,
when
there's
been
a
little
bit
of
a
lag,
it
might
be
that
they
haven't
received
a
signed
letter
back
yet
sometimes
there's
a
little
bit
of
follow-up
with
someone
to
make
sure
they
got
the
the
contract
letter
yeah.
J
C
We
invite
everybody
to
contact
us
for
feedback
either
by
email
or
to
sign
up
with
a
phone
call
with
me
to
receive
the
feedback,
and
so
we
we
invite
everyone.
We
don't.
We
can't
can't
it's
a
lot
of
proposals
to
give
like
the
detailed
feedback
for
everybody
up
front
yeah,
but
we
do
we
put
so
they're
they're
notification.
Email
includes
the
invitation
to
to
reach
out
for
the
feedback,
either
by
email
or
by
a
phone
conversation.
Perfect
yeah.
Thank
you.
So.
K
C
F
Yeah
and
I'll
just
add
that
having
sat
in
on
these
panel
discussions,
you
know
I
think,
unfortunately
or
fortunately,
I,
don't
know
how
you
want
to
look
at
it.
Some
of
it
is
going
to
be
that
they
just
did.
It
was
a
good
application,
just
wasn't
as
highly
ranked
as
some
of
the
other
applications,
so
there
might
not
necessarily
be
specific
feedback
that
you
can
really
provide
for
why
one
scored
Higher
by
the
grant
panel
than
the
other.
But
you
know
I
think
that
we.
B
B
G
F
F
As
a
number
I
mean
we,
we
essentially
we
we
got
that
in
through
the
back
end,
because
what
we
did
is
each
Grant
panel.
There
are
three
Grant
panels,
a
b
and
c,
and
each
one
of
them
scored
all
of
the
applications
that
they
had
in
their
panel.
And
then
we
essentially
started
with
the
top
13
and
tried
to
figure
out.
Okay.
Can
we,
which
of
these
13?
Are
we
going
to
recommend
we
the
pan
each
panel,
and
that
was
a
very
tough
decision
and
then
we
also
allowed
for
an
opportunity
to
say:
okay?
F
Is
there
any
that
are
not
in
the
top
13
that
that
any
of
the
grant
panel
members
or
any
of
the
working
group
members
really
feel
like
need
to
be
pushed
up
to
13?
And
there
were
a
lot
that
that
you
know
they.
They
made
their
case
and
some
of
them
were
pushed
up
and
some
of
them
weren't,
but
that's
kind
of
just
generally
how
we
arrived
and
then
and
then
that
number
was
okay.
It
came
to
roughly
719
577,
that's
what
that's
how
we
got
there.
F
B
G
Great
I
appreciate
that
that
reminder
and
I
think
that's
always
good
before
we
make
the
vote
and
what
I'm
just
continuing
to
to
try
to
be
clear
on
is.
Are
we
achieving
the
objectives
of
what
we
want
to
do
and
it
sounds
like
from
the
working
group.
You
are
from
a
collaboration
perspective
programmatically.
These
are
I,
guess,
unique
or
outside
of
the
current
funding
cycle.
G
I.
Think
I'm
questioning
I
still
have
a
question
about
the
opportunity
fund,
as
I've
always
said,
I
just
not
quite
sure
that
that's
I
guess
the
one
question
I
have
is
I.
Don't
necessarily
see
this
testing
out
anything
from
the
cultural
plan,
so
I
guess.
My
question
is
on
the
remaining
fy24.
Are
we
holding
those
dollars
until
the
cultural
plan
is
published,
or
are
we
going
to
continue
to
run
an
opportunity
fund
cycle
so.
C
Yeah
true,
but
hard
thinking
back
to
last
month's
meeting,
I
think
that
what
we
were
recommending
is
that
we
would
because
we
we
will
have
a
plan
later
this
Summer
that
then
we
could
use
the
plan
to
inform
how
that
you
know
how
the
next
cycle
of
opportunity
fund
could
occur.
So
that's
the
suggestion
and.
G
C
F
I
mean
I
think
that
at
least
I
can
speak
for
myself
on
the
working
group
like
we
are
we're
trying
to
set
this
up
in
a
way
to
where
it
could
be
something
that
could
be
funded
out
after
the
implementation
of
the
arts
and
culture
plan.
I
mean
we,
we've
been
spending
a
lot
of
time
and
a
lot
of
energy
and
effort
trying
to
make
it
like
something
that
is
well
communicated,
something
that
is
well
graded
and
reviewed
and
and
scored,
and
something
that
focuses
on
the
priorities
of
the
artists
and
culture
plan.
F
So
I
mean
I,
I'm
I
would
like
to
see
it
continue
on
in
whatever
form
or
fashion
it
is
after
the
arts
and
culture
plan
is
because
I
think
there's
a
lot
of
really
great
projects
in
here
that
are
doing
a
lot
of
really
interesting
and
cool,
collaborative
and
new
things.
So
you
know
I
would
definitely
advocate.
B
So
so,
let's
do
this:
let's
I
want
to
get
this
vote.
I
want
to
get
us
on
time
because
we
were
supposed
to
be
done.
So
let
me
I'm
gonna,
ask
some
questions
but
I'll
take
questions,
but
you've
got
a
sheet
of
paper
in
front
of
you,
so
at
least
I
want
you
to
know
what
you're
going
to
vote
on
when
you
get
ready
to
vote,
so
you
can
get
a
chance
to
peruse
this.
B
These
are
the
organizations
that
the
working
group
has
agreed
would
get
funding
and
I
want
to
make
sure
you
understand
what
we
did
this
year
differently
than
the
last
opportunity
fund.
We
had
subject
matter
experts
in
three
three
different
groups
or
four
three,
three
different
groups
that
reviewed
it
all
gave
their
recommendations.
B
They
spend
a
lot
of
quality
time.
The
working
group
was
a
part
of
each
one
of
those
groups,
those
three
groups,
but
we
kind
of
sat
back
and
let
them
do
their
work
and
then,
at
the
end
we
would
either
ask
questions
or
whatever,
and
the
group
I
was
a
part
of
just
did
a
stellar
job
was
real
pleased
and
it
wasn't
so
much
whether
I
agreed
or
disagree.
B
L
You
answered
it.
I
was
before
you
mentioned.
The
the
the
the
working
group.
I
was
looking
at
the
list
and
you
know
or
or
any
list
and
if
and
I
may
be
late
and
answering
this.
If
I
was
an
artist
and
I
didn't
know
a
single
person
on
this
list,
just
for
whatever
reason,
I
just
didn't
fit
in
that
Loop
I
would
I
would
I
would
essentially
miss
another
cycle
of
funding
or
whatever
I
think
and-
and
you
guys
probably
talked
about
this-
you
know
in
the
meeting.
L
This
is
a
complicated
list
of
individuals
who
are
doing
great
work
in
our
community.
But
if
someone
is
and
again
I
know,
you
guys
probably
discussed
this
I
wasn't
in
those
meetings,
but
if
someone
was
requesting
thirty
thousand
dollars,
because
they're
going
to
do
this
amazing
event
right
or
and
I'm
just
throwing
out
a
number
how
how?
How
is
that
benefiting
right?
Not
just
the
individual
who's
requesting
the
30.?
How
is
that
benefiting?
L
You
know
the
other
artists
that
are
in
the
community,
because
I
know
of
a
few
situations
on
here
where
that
money
is
only
going
to
one
person
or
maybe
two
people,
so
the
collaboration
is
more
so
favors.
The
collaboration
is,
you
know,
do
this
work
and
when
we
get
some
more
money,
we're
gonna
we're
gonna,
make
sure
you
get
the
money
I've
seen
that
a
couple
of
times.
L
If
Elvin
Jacobs
is
applying
for
a
thirty
thousand
dollar
Grant,
because
I
can
put
a
grant
together
and
I,
say:
I'm
gonna
do
something:
where
are
the
checks
and
balances
to
make
sure
that
the
other
individuals
that
I've
convinced
you
know
through
no
fault
of
their
own?
That
this
is
going
to
be
a
great
project.
Well,
yes,
it
may
just
be
a
great
project.
For
me,
accountability
is
a
concern
of
mine.
At
this
point,
I
know
it's
it's
after
the
fact
I'm,
not
speaking
on
anybody
specifically
here
but
I.
L
Think
when
we
see
this
money.
This
is
life-changing
money
and
even
just
at
30,
even
at
23
24
25,
whatever
that
is
I,
think
we
need
to
make
sure
that
individuals
are
being
held
accountable
for
what
they
say,
they're
going
to
do
and
that
money
is
going
some
places
that
impacts
the
other
artists
that
they're
collaborating
with.
L
I'd
like
to
see
them
do
what
they
say,
they're
going
to
do
in
a
way
that
makes
sense
to
other
artists
and
other
creatives.
Because,
again,
if
you're
a
figurehead
in
our
community,
you
can
get
the
money
you
don't
have
to
you.
Don't
have
to
give
anyone
anything
you
can
just
I'm
serious.
You
can
take
all
the
money
and
no
one's
going
to
be
able
to
do
anything.
L
C
L
C
I
would
like
to
ask
for
that,
because
we
do
have
some
checks
and
balances,
so
I
mean
I.
Think
so,
for
one
thing
is
I
I
mean
I.
Think
I
hear
what
you're
saying
in
terms
of
how
other
other
artists
are
impacted
or
where
the
money
is
going
and
making
sure
that
as
many
people
are
being
impacted
as
possible.
C
Looking
at
where
I
mean
I
have
to
say,
I
think
some
of
them.
We
had
some
conversations
where
we
were
like
wow.
These
arts
and
culture
practitioners
are
are
really
really
tearing
these
budgets
apart.
You
know
in
a
way
that
is
very,
very
scrutinizing
of
where
the
money
is
going.
How
many
people
are
getting
fun
are
getting
supported.
How
many
people
who
are
local
are
getting
supported?
How
much
of
the
budget
budget
is
going
to
creatives?
How
much
of
it
is
going
to
other
things?
So
they
were
there
were.
C
There
were
very
detailed
discussions
about
what
the
budgets
say
on
the
other
end
of
things
you
know,
hopefully,
the
grantees,
who
are
signing
a
grant
agreement
with
the
foundation
for
the
Carolinas,
which
is
a
legal
document,
will
take
seriously
what
they're
agreeing
to
do
when
they
accept
the
funds,
and
then
there
will
be.
There
is
a
final
report
that
is
due
that
I
read
they're
reporting
their
beholden
to
the
foundation
for
the
Carolinas.
If
you're
an
individual
artist
or
a
group,
that's
not
a
non-profit.
C
A
J
J
That's
why
I'm
taking
notes
the
group
that
I
have
told
the
two
groups
that
I've
told
have
not
got
money
so
they're
going
to
be
calling
me
tomorrow
saying
why
didn't
we
get
this
money
I
was
like
these
are
the
things
that
we
didn't
check
off
and
again
they're
going
to
appreciate
the
conversation.
But
that's
exactly
why
I
think
a
lot
of
us
are
here
is
because
we
didn't
know
where
to
go
right.
J
We
didn't
know
how
to
get
the
money
and,
yes,
we
want
the
people
that
are
getting
the
money
to
be
accountable
and
that's
also
again
a
little
bit
yeah,
obviously
with
the
checks
and
balances.
But
it's
also
on
us
to
like.
Did
you
really
spend
that
money
and
all
that
money
you
know
like,
but
it's
you're
right,
but
that's
exactly
I.
Don't
know
how
else
we
can
we
do
it
we're
doing
this
whole
cultural
planning
and
our
whole
plan
is
to
like
put
together,
but
what's
the
magic?
J
How
do
we
say
that
you
know
as
a
Creator
as
an
artist
that
you're
going
to
be
doing
what
you're
saying
you're
going
to
be
doing
it's
kind
of
hard
to
quantify
and
we're
even
with
our
task
force
I
feel
like
how
much
more
can
I
define
collaboration.
I
was
like
poor
Carlos
I'm
like
Carlos.
What
else
can
we
say
you
know,
but
we
we
want
it
to
be
done,
but
how
do
we
put
a
box
and
say?
Did
you
meet
16
minutes
and
talk?
J
G
Real
quick
in
the
same
way,
I
think
we
got
to
hold
our
operating
support
grantees
in
the
same
standard,
absolutely
right,
so
the
challenges
is,
we
are
I,
I,
don't
know
if
we
are
necessarily
built
in
in
that
way,
but
I
think
it's
that's
kind
of
my
my
challenge
here.
The
last
thing
I'll
say
is
I
think
we
should
consider
as
we've
been
adding.
G
You
know
this
kind
of
equity
loans
and
demographic.
Just
what
are
what
are
they
I'm,
still
not
clear
on
the
impact
of
our
opportunity
fund
or
even
all
the
funding
that
we
have
like
I,
said
I
think
there's
an
opportunity
if
we
continue
to
do
this
work
like
how
is
it
Landing
in
our
community?
What
is
the
impact?
What
is
success
for
us
both
the
opportunity
fund,
as
well
as
you
know,
what
we've
provided
to
ASC
and
what
we
give
to
the
operating
support,
grantees.
M
B
B
B
B
C
Thanks
everyone,
so
welcome
welcome
folks.
We
are
going
to
switch
over
soon
so
in
I'm
going
to
fly
through
some
some
next
few
slides
in
the
interest
of
time,
because
we
are
a
little
behind
to
switch
over
to
our
Steering
group
meeting.
But
we
just
wanted
to
share
a
few
takeaways
and
I
will
share
this
deck
with
you
afterwards,
so
that
you
can
like
take
more
time
with
it,
but
it
was
more
of
our
takeaways
from
the
cycle
and
some
suggestion,
hello,
some
weird,
okay
and
some
suggestions.
C
Kind
of
you
know
a
mix
of
things
that
were
observations
from
the
reviewers.
We
asked
them
for
feedback
from
our
working
group
and
from
staff,
so
not
going
to
read
this
to.
You
can
read
it
later
when
I
send
the
thing,
but
just
calling
out
a
few
things
generally
I
think
the
staff
and
working
group
felt
like
you
working
with
review
panels
went
well.
It
was.
It
was
useful.
E
C
C
So
we'll
move
forward.
Okay,
so
I
think,
as
you
know,
and
you'll
recall
the
with
the
board
feedback
and
the
working
group
feedback.
We
we
had
even
more
Hands-On
staff
assistance
to
applicants
on
developing
their
proposals
and
especially
with
the
budgets
this
time,
and
we
think
that
helped.
We
actually
had
an
additional
thing
where
we
said:
if
you,
if
you're
able
to
get
us
through
things
by
this
time,
we
will
review
it.
C
Let
you
know
if
you
have
anything
incomplete
or
doesn't
make
sense
so
that
you
can
complete
it
or
address
it
and
resubmit
by
the
deadline
so
kudos
to
Emily,
because
she
really
worked
with
a
ton
of
applicants
on
that.
So,
while
we
think
that
that
helped
with
a
lot
of
folks
to
actually
have
a
better
budget-
and
you
know
complete
proposal
as
they
came
in,
we
still
did
see
a
lot
of
folks
who
were
having
trouble
with
how
to
complete
a
budget.
C
You
know
correctly,
and
so
some
of
these
other
bullets
are
actually
things
we
have
shared
when
we
did
our
December
reflection
on
our
fall
Cycles
is
that
still
exist
that
need
that
we're
seeing
in
the
sector
for
capacity
building
around
how
to
seek
grants?
How
to
complete
budgets?
So
it's
not
just
about
Grant
seeking
it's
like.
How
do
you
develop
a
budget?
That's
realistic.
C
Yeah,
so
we
we
have
a
template.
We
walked
through
their
budget
during
the
online
orientation
and
said
this
is
how
to
fill
it
out
and
make
sure
you
put
notes
in
and
put
things
here.
Not
there
Etc,
we
recorded
the
webinar
that
we
recorded
the
orientation
and
put
it
online
as
well
as
Emily,
sent
it
to
all
the
applicants
so
that
they
could
watch
it.
C
We
invited
them
to
reach
out
to
us.
Emily
sometimes
was
on
the
phone
with
them,
helping
them
fill
out
their
budget.
You
know
for
those
who
reached
out
I
think
for
folks
who
took
advantage
of
those
resources
it
worked,
but
then
not
everyone
has
so
it's
just
still
a
learning.
You
know
observation
for
us
that
there's
definitely
still
a
need
on
how
to
help
people
know
how
to
complete
a
budget,
and
that's
not
just
for
Grand
seeking
I.
C
Think
it's
like
just
if
you're
doing
a
project,
it's
going
to
help
you
if
you
can
do
a
budget
properly
and
again.
This
is
just
getting
to
something
we
mentioned
a
moment
ago.
Is
the
opportunity
to
align
the
you
know
future
opportunity
fund
with
themes
coming
out
of
the
arts
and
culture
plan?
Okay,
and
then
this
is
just
a
food
for
thought
to
put
out
there
for
a
future
discussion.
C
You
know
looking
at
these
different
takeaways
and
themes
that
are
arising
over
and
over,
could
we
this
is
potentially
I'm
thinking
about
what
could
be
a
game-changing
thing
potentially
to
benefit
the
process
and
benefit
applicants
in
our
in
our
community?
Could
we
engage
a
grant
writer
or
grant
writers
directly?
We
engage
them
to
help
applicants
to
write
strong
proposals
and
to
to
basically
help
them
have
a
complete
proposal
that
has
the
best
chance
of
success.
C
You
know
a
grant
writer
or
something,
and
so
by
taking
that
on.
It
helps
to
remove
that
barrier
and
the
grant
writers.
It's
not
just
that
they're
doing
it
for
the
applicant,
but
it's
you
know
we
would
want
them
to
work
with
the
applicant
to
get
better
at
writing
grants
themselves,
and
so
that
way,
their
strengths.
Their
skills
are
strengthened
through
that
process
as
well.
So
just
an
idea
that
we
thought
could
help
to
address
a
lot
of
the
things
we're
seeing
and
maybe
hasn't
been
tried
before.
But
could
really
be
a
win-win
situation.
C
B
B
But
so
so
once
you
once,
you
have
to
call
Triple
plan,
okay,
whatever
comes
of
that,
this
could
be
input
to
as
a
suggestion,
and
one
thing
I
want
to
we're
not
going
to
solve
this
here
now,
because
we're
supposed
to
start
our
next
meeting
but
I
understand
exactly
what
you're
saying
you
don't
you.
You
want
to
be
careful
with
separating
something
one
city,
Department
versus
another,
so
hear
that
loud
and
clear,
yeah.
K
B
D
E
And
so
it
strikes
me
that
we
need
to
consider
how
we
can
do
first
of
all
technical
assistance
to
teach
people
how
to
do
these
sorts
of
things.
But
secondly,
it
should
become
something
that
we
evaluate
in
the
process
and,
secondly,
folks
need
to
be
on
the
hook
a
little
bit
around
the
breadth
of
Their
audience,
meaning
how
they're
going
to
actually
Market
it
so
that
they
can
get
people
there.
We
don't
need
to
be
growing
a
forest
that
would
cut
down
the
wooden,
but
nobody's
there
to
listen
to
the
tree.
E
B
G
I
completely
agree
with
your
comments
in
the
sense
of
what
I've
been
kind
of
trying
to
get
at
with
my
questions
is:
are
we
being
strategic
with
our
dollars
to
have
the
impact
that
we're
seeking
to
have,
because
sometimes
when
we
do
the
opportunity
fund,
it
just
feels
like
we're,
pushing
money
out
and
I'm,
not
clear
how
it's
Landing?
What
impact
is
having
to
Alvin's
comments?
G
O
G
C
B
I
am
going
to
cut
the
discussion
off
and
welcome
our
steering
committee
to
the
table.
How's
everybody
doing
welcome,
welcome,
welcome.
We
Joy
is
on
her
way
back.
She
just
stepped
out
for
a
quick
second,
so
I
want
to
give
you
kind
of
a
little
background
here.
All
the
task
forces
the
eight
of
them
have
been
working
kind
of
in
their
own
silos.
We've
had
some
joint
conversation,
I
guess
at
the
last
meeting,
where
we
kind
of
reviewed
all
of
the
the
strategies.
Well.
B
Then
the
groups
went
back
and
they
worked
on
all
their
different
strategies
and
that's
what's
happened
next
now
today
we're
going
to
go
through
each
one
of
the
eight
tasks,
we're
going
to
go
through
the
strategies
and
we
want
to
get
input
from
everybody
at
the
table,
we'll
do
it
in
some
sort
of
logical
fashion,
so
it'll
make
sense,
but
we're
really
looking
for
input
and
one
of
the
things
that
I
task
you
with
not
to
use
that
word
too
often
is.
This
is
take
a
look
at
where
you
might
find
gaps.
B
What
are
we
missing
from
the
eight
task
forces
that
we
have
the
strategies
that
we've
put
together?
What
is
missing
so
think
of
big
picture?
What
gaps
do
we
have
out
there?
The
other
thing
that
I'm
struggling
with
and
enjoying
I
had
this
conversation,
this
whole
idea
of
what
I
call
breath
and
depth.
B
We
could
have
a
hundred
strategies
and
that
to
me,
I
Define
as
quantity
and
I'm
more
interested
in
quality,
and
that
doesn't
mean
you
got
to
have
just
one
strategy:
I,
don't
know
if
there's
a
magical
number
but
I
want
you
to
think
of
that
as
well.
I
put
this
work.
We're
doing
has
to
be
sold
in
what
I
call
four
different
areas.
It
has
to
be
sold
to
the
arts
and
culture
Community.
It
has
to
be
sold
to
the
government
entities
that
we
have.
B
It
has
to
be
sold
to
the
private
sector
that
we
have
and
quite
frankly,
has
to
be
sold
to
the
community
as
a
whole.
If
we
cannot
do
that,
as
a
group,
we
fail
I
mean
it's
that
simple
we've
got
to
get
buy-in
in
order
for
this
strategic
plan.
That's
called
this
arts
and
culture
plan
to
be
successful
in
our
community,
so
I
want
you
to
keep
that
in
mind
as
well
as
we
have
this
conversation,
so
one
think
of
gaps
that
we
have
with
what
we've
done.
B
P
Thank
you.
Yes,
thank
you.
So
much
Kevin
and
I'm
going
to
uncharacteristically
sit
down
during
this
one,
because
there's
an
actual
reason
for
this.
The
focus
is
not
on
me.
It's
actually
on
you
all
I'm
gonna
talk
you
and
walk
you
through
this
process,
as
we
are
we're
working,
but
this
is
a
working
session.
All
of
us
together,
so
just
I
just
saw
Meg,
take
a
deep
breath
and
I
want
to
do
the
same,
because
I
had
to
I,
ran
out
and
ran
back.
P
Let's
I
encourage
you
to
acknowledge
the
presence
of
the
people
who
came
before
you
wherever
you
are.
As
always,
I
come
from
my
office,
I'm,
the
historic
and
Heritage
lands
a
little
nap
of
the
Lenape
people
in
New,
York
City,
and
please
just
reflect
back
and
thank
the
people
who
stewarded
the
lands
on
which
we
sit
today.
So
thank
you.
P
Today
we
are
going
to,
we
have
two
areas
of
focus
in
addition
to
the
first
I'm
going
to
just
remind
you
of
where
we
are
y'all,
we
are
in
the
Sprint,
you
feel
it.
You
know
it
you're
doing
the
hard
work
and
I
have
to
say
congratulations
for
doing
all
of
this
hard
work.
Thank
you.
Thank
you.
We
are
going
to
in
our
working
session
talk
through.
P
We
heard
you
the
last
time
and
we're
going
to
slow
down
a
little
bit
and
walk
through
and
talk
through
the
strategies
for
each
of
the
priorities.
Some
people
will
take
a
long
time.
Some
people
won't,
and
that's
just
fine
okay,
but
this
is
we
have
pasted.
So,
even
though
you
won't
have
to
worry
about
timing,
I'll
still
know
where
we
are
okay
and
then
finally,
we
did
distribute
a
draft
philosophy
and
vision,
and
we
want
to
get
some
feedback
a
little
bit
of
discussion
around
that
again
we're
not
doing
wordsmithing.
C
C
It
is
a
lot
and
we're
excited
about
that
and,
as
Joyce
said,
we'd
still
have
a
bit
more
to
do
so
this
is
just
an
updated
version
of
a
slide
that
a
process
slide
that
you
saw
previously,
or
we
kind
of
tried
to
combine
our
timeline
and
process
slides
from
previous
meetings.
So
don't
worry
about
the
stuff
on
the
left.
It
just
kind
of
shows
you
what
we've
done
in
the
last
month.
You
can
see
the
arrow
is
here.
We
are
right.
C
Now
we
have
over
the
next
few
weeks
we're
going
to
be
working
in
task
forces
to
refine
implementation
plans
and
and
that'll
include
hearing
from
each
other
in
drop-in
sessions.
That
I
believe
you
should
have
received
some
calendar
holds
for
in
the
coming
couple
of
weeks
and
if
you
haven't
received
any
holds
for
that,
please
let
me
know
and
we'll
work
together
to
make
sure
that
you
have
those
on
your
calendar.
But
this
isn't
really.
C
Those
are
opportunities
for
everyone
to
hear
from
everyone
else
on
on
your
draft
implementation
plan,
so
that
then
you
can
refine
them
and
then
you
can
see
that
we'll
be
bringing
a
revised
completed
document
back
to
you
all
for
the
July
meeting
and
that's
where
we
definitely
will
be
seeking
to
get
a
thumbs
up
on
the
revised
strategy
language
so
that
then
we
can
do
some
public
feedback
sessions
on
the
strategy.
Language
specifically
and
then
we'll
incorporate
the
public
feedback
on
the
strategies.
C
You
will
already
have
sent
us
your
revised
implementation
planning
plans
and
we'll
put
that
all
together
in
a
third
version
of
the
plan
document,
which
should
be
the
final
plan
that
we
will
bring
back
to
this
Steering
group
at
the
August
22nd
meeting
and
seeking
your
approval
on
that
version
of
the
document
prior
to
eventually,
then,
hopefully,
taking
it
to
city
council
once
this
group
has
approved
the
document.
So
that's
that's
where
we
are
situated
in
the
work
and
I'm
going
to
hand
it
back
to
Joy,
perfect.
P
Perfect,
okay,
so
without
further
Ado,
let
us
go
to
the
meat
of
the
meeting,
which
is
the
strategy
development
and
the
way
that
this
is
going
to
work
is
that
I'm
going
to
put
up
a
slide
for
each
of
the
priority
groups
for
each
of
the
task
forces,
and
if
this
is
your
task
force?
If
you
are
the
chair
of
Vice
chair
and
you
would
out
I'll
Premiere
the
information,
but
it
would
be
super
helpful,
I.
Think
for
your
colleagues
on
the
steering
group.
P
P
I
do
want
to
say
a
note
on
the
memo
that
you
received
and
the
feedback
as
consultants.
It
is
not
our
place
to
pass
judgment
on
any
of
the
work
that
U.S
task
forces
have
done.
Instead,
our
role
is
to
eliminate
duplication
right.
That's
one
thing:
we,
you
don't
need
to
worry
about
whether
you're
duplicating
we
wanted
to
eliminate
that
duplication,
ensure
and
identify
if
there
is
overlap
that
the
overlap
makes
sense.
P
So
you
might
have
seen
in
your
comments
for
your
priority,
for
example,
where
you
had
a
whole
strategy
that
was
absolutely
the
same
as
another
priority,
and
so,
for
example,
this
happened
a
lot
with
space,
a
lot
of
you
all
in
your
priority.
You,
you
really
felt
strongly
about
space,
and
you
had
a
strategy
that
addressed
space.
Well,
it
it
most
likely
either
moved
Whole
Hog
into
strategy.
She
or
it
was
already
identified
in
sorry
into
space,
or
it
already
was
in
space
itself.
P
So
that's
an
example
of
one
that
we
saw
a
lot
of
duplication
if
there
was
overlap
and
the
overlap
was
strong
enough
that
it
would
or
was
real
enough
that
it
would
strengthen
another
strategy
that
existed
in
another
priority.
We
did
move
those
move,
those
details
for
those
strategies
into
the
appropriate
priority,
so
you
you'll
have
seen
some
of
those
comments.
So
that
was
our
example.
P
That
was
our
way
of
eliminating
that
duplication
and
ensuring
that
the
overlap
made
sense
and
then,
finally,
we
wanted
to
just
make
sure
in
the
comments
that
we
shared
with
you:
are
there
any
gaps
as
Kevin
noted
we're
looking
for
gaps,
and
here
today
tonight
we
we
observe
our
meeting
agreements.
Nothing,
that's
said
here
is
critical.
P
Just
this
is
an
example.
Okay,
it
may
not
be
true
if
you're
saying
Wells
Fargo
is
on
about
space
right
now
that
they're
one
of
the
priorities
for
their
strategic
plan
is
around
space.
So
if
they
were
to
look
at
the
priority
for
space
and
they
were
to
say
in
their
funding
programs,
they
would
put
out
a
statement.
We
are
going
to
support
we're
going
to
support
programs
or
collaborations
that
support
the
priority.
Priority
number
three
I
think
around
space
of
the
cultural
plan.
P
P
Okay,
so
looking
for
gaps
looking
for
ways,
they
can
be
addressed
and
we're
just
looking
for
how
can
we
help
to
strengthen
these
strategies
that
are
put
forward?
Okay,
so
the
first
priority,
if
you
don't
have
your
bionic
eyes
on
it's
also
in
your
handout
you'll
see,
we've
helpfully
printed
each
one
of
the
priorities
with
the
strategies,
so
the
first
priority,
unless
the
chair
and
vice
chair,
mind
about
this
one
I'm
going
to
make
a
state
abroad
statement.
P
These
strategies
across
the
board
for
from
our
perspective,
are,
are
pretty
good.
They're
now
mind
you,
we
recognize
that
a
strategy
should
not
a
strategy
should
not
be
to
develop
a
strategy.
So
we
do
understand
that
number
three
and
four,
but
this
particular
group
is
waiting,
was
waiting
to
receive
just
this
information
so
now
Priority
One
task
force.
You
have
received
the
information
and,
as
everyone
else,
we
have
until
July
10th
to
further
develop
these
strategies
so
that
you
may
include
the
timeline
leadership.
P
P
Q
David
David,
Butler,
I,
think
part
of
what
I'm
thinking
through
here
is
another
opportunity
not
just
to
I
want
to
make
sure
it's
not
covered,
we'll,
probably
say
it,
but
nevertheless
just
thinking
about
how
do
we
think
about
our
creative
ecosystem?
How
do
we
then
partner
or
use
our
kind
of
relationships
with
our
current
private
sector
Partners
to
look
into
other
private
sector
relationships
that
relate
back
to
the
creative
community
and
creative
economy?
I
think
there
are
a
number
of
brands,
people
that
provide
equipment,
people
that
provide
various
Services
Etc.
Q
That
would
be
a
great
benefit
to
us
being
able
to
build
the
creative
ecosystem
here
from
a
financial
perspective.
So,
just
looking
at
how
do
we
extend
those
Partnerships
into
other
organizations
or
companies
that
exist
in
a
national
or
International
level
that
have
goods
and
services
that
specifically
relate
to
the
creative
economy,
whether
that
it
ends
up
being
sponsorship
dollars
or
some
other
type
of
collaboration?
I
think
that's
something
that
should
be
explored
as
we
look
at
different
funding
opportunities.
N
P
G
I
think
I,
just
I
want
to
piggyback
off
what
David
was
saying
that,
because
I
was
looking
at
number,
nine
I
was
trying
to
understand
what
number
nine
means,
but
how
I
was
wanted
to
edit
that
was
kind
of
how?
Maybe
how
David
is
saying
it
in
addition
to
what
they
were
saying
is
like,
and
maybe
it
fits
at
number
five
increased
earned
revenue
for
artists.
G
It's
like
connecting
artists
to
the
private
sector,
not
just
from
a
sponsorship
Grant
perspective,
but
from
a
Revenue
partnership
like
so,
for
instance,
if
you're
a
developer
and
you
want
a
mural,
you
know
like
that's
a
not
you
know.
How
do
we
use
our
social
capital
to
build
Bridges
and
more
Revenue
generating
opportunities
for
artists.
R
Charles
I
think
I
can
explain
number
nine
that
it
we
knocked
around
had
a
word
that
a
number
of
times
but
I
think
it's
trying
to
address
that
part
of
funding
the
Arts
and
having
it
be
woven
into
our
fabric
is
top
to
bottom
consumerism.
To
point
being
that
you
know
the
public,
the
the
big
public
sector
has
to
be
involved,
but
then
individual
citizens,
as
they
can
need
to
be
involved
in
and
support
the
Arts.
You
know
how
do
you
drive
you
know
like?
R
R
Or
you
know
you
name
it
and
sometimes
that
when
you
don't
pay
for
things,
if
you've
gone
to
the
Hornets
games
five
times
and
never
paid,
you
stop
thinking
about
your
dollars
in
the
system
and
that
trickles
down
to
the
Arts.
Now
that
does
I'm
not
trying
to
say,
because
I
was
one
that
worked
on
this,
like
that,
we
need
to
commoditize
the
Arts
100,
but
I
do
think
for
all
of
this
to
work.
For
there
to
be
buy-in.
R
It
can't
just
be
that
that
the
average
Charlotte
citizen
thinks
the
Arts
are
cool,
but
they
understand
that
it's
important
to
the
economy
that
it's
important
to
jobs
and
that
their
contributions,
whether
they
be
Financial
or
services
or
or
even
hiring
artists,
is
what
you're
talking
about
that.
All
matters.
P
P
Is
this?
What
number
seven,
which
is
build?
Capacity
of
organizations
and
artists,
slash
creatives
to
develop
sustainable
Revenue
models
appropriate
to
their
respective
operating
model,
so
non-profit
for-profit
individual?
Does
that
speak
to
what
you
were
speaking
of
Charles
regarding
Revenue
generation.
G
They're
gonna
pay
an
artist
to
do
things
that
are
important
to
their
business
and
so
I
mean
we
could
say.
That's
implicit
in
developing
a
sustainable
Revenue
model
that
the
artists
make.
That
argument,
but
I'm
wondering,
if
there's
an
argument
to
be
made
by
the
sector,
to
example,
developers
that,
as
you
develop,
think
about
artists
and
think
about
how
you
can
use
them
as
one
example
as
a
sector
so
I'm.
Just
all
of
this
is
like
a
campaign
of
educating
the
community.
R
Oh
by
the
way,
I
know
I've
taken
up
my
fair
share
of
air
time,
but
I
think
you
just
said
a
when
you
said
you
know
talk
about
communicating
this
and
campaign.
A
a
missing,
Cog
or
Gap
in
all.
Eight
priorities
is:
how
are
we
going
to
sustainably
communicate
this
to
the
community?
How
does
the
importance
of
of
arts
and
artists
to
our
economy
and
our
quality
of
life?
How
is
that
part
of
a
regular
drum
beat
you
know
is
it
is?
S
That's
even
to
keep
Point,
it
is
actually
the
first
thing
in
priority.
Eight,
because
I
wholeheartedly
agree
with
that
and
I
just
hope
that
when
we
do
have
a
priority,
that's
dedicated
to
communication,
and
so
perhaps
everything
moves
into
that
and
the
and
number
nine
fostering
moves
into
that
priority
as
well.
But
I
just
want
to
also
put
a
pitch
out
there
for
when
you
know,
because
I
do
think
the.
S
You
know
roads
are
their
own
thing,
Transportation
on
roads,
it's
its
own
light
item
in
its
own
department
and
everybody
thinks
about
roads,
but
roads
are
intersecting
with
everything
else.
It
affects
the
businesses.
It
affects
how
people
get
to
see
their
families.
It
affects.
You
know
the
value
of
their
homes
and
all
those
other
things
and
I
see
the
Arts
as
the
same
way.
It
affects
all
these
other
things
of
the
education
of
our
children,
the
health
and
wellness
of
our
citizens,
the
economic
Vitality,
Etc
and
I
think
we
need
to
constantly
be
including
that.
F
Can
I
ask
one
more
thing
about
Priority
One
before
we
move
on
and
sorry
I
wasn't
at
the
last
one,
so
I
don't
know
on
number
one
appropriate,
ongoing
contributions,
both
city
and
county,
is
there
what
what
is
the
discussion
been
around
the
course
of
sales
tax
and
and
getting
a
dedicated
source
of
Revenue?
Was
that
discussed
the
last
one
or
is
that?
Are
we
not
getting
that
granular
here.
C
Number
two:
okay,
and
also
the
first
thing
you
said
no
there's
so
number
group
one
one
thing
that
they
are
really
focused
on
is
now
that
everyone
has
submitted
at
least
initial
drafts
step
two
worksheets.
It
gives
them
a
sense
of
scale
of
what
how
much
the
different
other
recommendations
would
cost
so
that
they
can
consider
that
as
they're
making
detailed
recommendations
for
what
happens
for
where
the
money
comes
from.
Essentially
in
terms
of
like
the
mechanics
of
it,
a
lot
of
different
things
have
been
talked
about
in
the
task
force.
C
Number
one
meetings,
I
think
there's
an
element
of
you
know,
usually
at
least
enjoy,
feel
free
to
to
speak
to
this
as
well.
Usually
it's
in
in
other
plans
that
certainly
I've,
seen
and
joy
feel
free
to
you
know,
share
from
other
plants
you've
seen
too
it
usually,
then
don't
necessarily
get
as
specific
as
to
that
kind
of
mechanic
of
how
it
would
work,
although
that
is
something
that
then
needs
to
be
worked
out,
but
it
is
for
the
strategies
and
even
actions,
underneath
it's
usually
a
little
bit
more
high
level.
C
F
Make
sense
well
I
mean
so
I
I
guess
I
understand
that
from
a
perspective
of
like
you
know,
but
like
are
we
not
going
to
say
a
dedicated
Revenue
stream,
because
I
mean
I
just
think
that
that's
I
mean
ongoing.
Contributions
is
different
than
a
dedicated
Revenue
stream
that
that's
in
local
government
I.
C
D
Sorry
I
thought
I
hit
it.
That's
what
we
were
saying
as
to
why
we
felt
like
we
needed
numbers,
because
once
you're
you
talk
about
the
specific
Revenue
stream.
That
implies
a
number
and
we
didn't
feel
like.
We
could
do
that
until
we
had
costs
that
were
coming
out
of
the
other
recommendations,
or
else
it
sent
it
can
send.
You
know.
P
D
F
P
Well,
this
group,
this
group
has
asked
Priority
One
and
we
we
appreciate
and
have
given
them
the
largest
that
they
see
all
of
the
rest
of
the
of
the
strategies.
So
they
understand
and
the
cost
Associated
those
dollar
signs
Associated
so
that
they
can
have
that
number
and
just
as
Julie
is
saying
so
short
answer
is
they
are
not
as
far
along
as
the
other
priorities,
so
the
language
will
change
to
the.
There
will
be
some
flexibility,
but
we're
thinking,
it
probably
will
say
something
around
a
dedicated,
but
not
what
that
would
be
well.
D
P
B
We'll
start
here,
okay,
start
here
and
we'll
go
today
and
David
where
yeah
you
gotta
you're,
a
part
of
this
too
so
I'll
be
backing
up
and
bombing.
So
let
me
put
in
a
big
big
picture.
We
talked
about
as
a
strategy
the
need
for
a
entity
or
entities
and
I'm.
You
know
with
the
parentheses
and
an
s
that
would
take
what
priority
One
brings
in
and
figures
out
how
to
distribute
that,
along
with
other
things
like
technical
support,
whatever
would
be
needed
to
support
the
Arts
and
Cultural
community.
B
B
What
I'll
describe
as
boxes
around
some
of
the
things
that
we
would
need
to
occur,
the
simple
is
one
or
they
may
be
very
difficult
to
figure
out
where
it
comes
from,
is
the
Box
on
the
right,
which
is
Staff,
support,
someone
that
eats
Breeze,
some
ones
that
eat
brief,
think
arts
and
culture
the
whole
time
so
they're.
You
know
full-time
employees
that
do
all
the
the
grunt
work,
but
also
a
part
of
that
would
be
two
other
folks.
B
Q
I
mean
I
think
the
biggest
thing
is
the
biggest
thing
for
us
is
to
start
off
that
we
were
thinking
about
this
from
an
ecosystem
approach.
I
think
the
Charlotte
Mecklenburg
Arts
Community
has
grown
Beyond,
one
organization,
kind
of
being
wearing
the
Hat
of
facilitating
all
things,
funding
and
resources
for
the
sector.
So
don't
think
of
this
as
one
Central
organization.
Q
If
you
look
at
the
history
of
arts
and
culture
planning
in
Charlotte,
it's
always
kind
of
like
you
know,
10
15
years
goes
by
something's
broken.
We
need
to
fix
it,
let's
do
arts
and
culture
plan,
but
how
do
we
consistently
have
a
body
in
place
that
is
consistently
doing
the
thinking
and
that
strategy
body
and
those
resources
strategy
Council,
and
that
Resource
Council
being
made
up
of
people
who
are
very
close
to
the
sector
in
their
day-to-day
lives
and
in
their
work
daily?
Q
So
they
can
speak
to
needs
on
a
consistent
basis
and
there
be
some
type
of
body
that
and
then
that
body
there'd
be
some
type
of
you
know
proper
term
balance,
rotation
of
people
et
cetera,
et
cetera,
so
I
would
kind
of
don't
get
shocked
and
think
about
it
from
a
traditional
top-down
perspective.
This
is
just
us
putting
a
visual
to
the
idea
of
how
do
you
set
strategy
thought
processes
consistently,
like
even
thinking
beyond
the
initial.
You
know,
execution
of
whatever
plan
comes
out
of
this.
What
happens
after
that?
Right?
Q
What's
three
years
after
the
three
years,
look
like
and
I
think
that
you
consistently
have
to
have
people
who
are
thinking
about
it
and
people
who
are
employed
to
execute
against
those
things
and
providing
the
vision
for
other
folks
across
the
sector
to
be
able
to
execute
on
the
priorities
that
we
currently
have
as
a
sector.
So
that's
what
this
model
is
kind
of
showing-
and
you
know
what
you
see
in
the
gray
boxes
is
really
just
a
breakdown
of
you
know
who's
who
up
those
two.
Q
That's
not
what
this
is
suggesting,
but
this
is
suggesting
that
there
is
thought
leadership
consistently
and
that
there
are
people
who
help
them
execute
against
that
thought,
leadership
on
a
consistent
basis,
and
that
is
then
trickled
across
the
priorities
where
other
organizations
and
companies
and
entities
can
buy
into
helping
as
a
part
of
the
broader
cultural
plan.
So
that's
kind
of
the
thought
that
came
out
of
our
our
group.
I
B
B
I
Thank
you,
so
I
love
this
idea
of
the
councils
and
it
being
a
select
group
of
people,
one
of
the
things
I
found
in
my
work
that
I'm
seeing
often
are
organizations
or
even
coalitions
also
having
an
equity
Council,
because
that
tends
to
overlap
with
or
should
overlap
in
this
instance
all
of
the
priorities.
And
so
when
we
think
of
resource
and
strategy,
I
think
if
we
also
have
that
foresight
or
oversight
for
lack
of
a
better
term
of
equity,
then
we're
being
more
intentional
for
all
of
the
other
ones.
G
Q
Know
so
part
of
what
we
also
discussed
in
our
group
was
the
thought
of
there
being
guiding
principles
to
the
org
that
may
be
baked
into
some
type
of
a
charter
or
some
other
thing
that
that
starts
to
to
designate
what
these
councils
should
look
like.
So
there's
definitely
some
thoughts
around
that.
What
that
looks
like
whether
it
is
written
into
a
charter
or
whether
it's
just
kind
of
a
framework-
that's
spoken,
is
kind
of
what
we
talked
about,
but
that
was
what
Kevin
was
talking
about
times
of
discussion,
and
what
does
that?
Q
Equity
breakdown
look
like
on
these
councils
and
how
do
we,
at
least
from
my
perspective?
How
do
we
Center
the
folks
who
are
most
affected
by
and
and
most
are
most
related
to
this
work,
to
be
able
to
make
decisions
about
the
future
of
their
sector
or
our
sector?
I
should
say
because
I'm,
one
of
them,
but
yeah,
that's
kind
of
that's-
definitely
has
been
top
of
Mind
conversation
wise
and
even
on
the
slide.
Before
this.
Q
E
P
E
They
were
asked
to
do
things
that
perhaps
we
today,
don't
think
were
the
right
things
to
do.
Great
example
is
County
gives
their
money
directly
to
the
Arts
Council
and
says
this
is
what
you
should
do
with
it,
and
the
county
feels
pretty
good
about
what
they're
doing,
because
they
determine
how
their
money
would
be
used.
E
And
so,
when
you
separate
funding
and
strategy,
you
run
the
risk
of
not
having
the
funds
be
there
because
of
the
passion
and
enthusiasm
they
have
for
the
activity.
I,
really
like
the
suggestion
here
that
we
have
so
many
more
people
that
are
involved
in
the
Arts
themselves,
but
to
exclude
the
funders
from
the
strategy.
I
think
is
a
challenge,
and
that
is
the
real
issue
that
Kevin
is
talking
about.
E
I
Quickly,
I,
you
said
something
that
I
wanted
to
kind
of
just
highlight
that
we
discussed
a
little
bit
in
my
group
about
solidarity,
philanthropy
and
trust-based
philanthropy
right.
So
you
talked
about
how
sometimes
funders
feel
out
of
place
because
they
don't
they're
not
involved
in
the
strategy
or
they're
not
involved
in,
like
the
decision
making
to
a
certain
extent.
I
But
then
there's
the
Other
Extreme
of
like
they're,
really
engaged
in
it
to
the
point
that
the
person
can't
the
organization
feels
like
they
have
no
control,
and
so,
when
we
think
of
like
trust-based,
philanthropy
right
or
another
term,
that's
being
used
is
solidarity.
Philanthropy,
it's
like
how
can
we
co-create
with
the
people,
we're
funding?
E
R
I
would
just
add,
were
you
going
to
say
something:
I
think
we
are
I
think
quickly.
Capacity
building
is
a
big,
is
a
critical
aspect
of
that
relationship,
because
trust
based
philanthropy
sometimes
can
be
exactly
what
Pat's
saying
give
the
money.
No
consequence,
you
know
it's
like
use
it
sometimes
folks,
don't
know
how
to
use
it
appropriately.
I
can
say,
as
our
organization
we've
learned
tremendously,
as
we've
gone,
so
I
think
that
kind
of
one
thing
that
being
in
the
Lending
Tree
group
has
done
is
they've,
provided
us
so
much
training
that
they
understand.
R
We
understand
where
they're
coming
from
as
a
business,
and
they
understand
because
of
that,
give
and
take
that
we
have
the
training
and
we
have
the
communication
back
and
forth
that
they
know
enough
to
trust
I.
Think
so.
Having
capacity
building
be
part
of
this
and
I
know,
it's
not
a
priority.
Two
thing
is
going
to
be
a
galvanizing
factor
in
that
relationship.
Just.
Q
Q
Q
But
again
as
we
look
at
like
folks
being
able
to
Advocate
and
speak
to
directly
what
it
is
that
is
going
to
affect
how
it
is
that
they
make
their
living
I.
Think
that
there's
a
need
in
our
community
for
there
to
be
greater
representation
for
folks
who
are
most
adjacent
because
they
can
speak
into
those
strategies
and
if
you're
I
think
that
speak
gets
you
to
the
dedicated
Revenue
stream
piece
that
we
were
that
we've
been
talking
about,
because
there
should
be
a
there
should
be.
Q
Regardless
of
what
happens,
or
whatever
happens
from
a
from
a
donor
perspective
or
from
an
organizational
perspective,
but
I
think
this
is
more
so
addressing
how
again,
how
do
we
get
the
initial
continued
thoughts
rolling
across
the
ecosystem
across
the
sector,
and
you
know
who
decides
to
invest
when
they
decide
to
invest
in?
How
is
something
that
will
happen
at
a
later
time?
Well,.
E
I
just
would
point
out
that
it
is
quite
unlikely
that
a
dedicated
Revenue
Source
from
the
public
sector
would
be
able
to
carry
the
load.
In
other
words
it
will.
It
will
require
every
one
of
those
things
listed
under
Resource
Council
to
be
pulling
their
load
and
so
doing
one
without
thinking
about
how
are
they
going
to
partner
with
the
others,
actually
is
part
of
the
Magic
in
Charlotte
about
I'll.
Do
this?
If
you'll
do
that,
and
then
you
get
two
instead
of
one
and
we
got
to
have
two.
C
E
C
C
C
Trust-Based
philanthropy,
but
I
also
wanted
to
mention
participatory
Grant,
making
as
a
practice
that
the
groups
two
and
five
might
look
at
introducing
or
including
in
the
recommendations
around
this,
and
especially
another
one
I
wanted
to
just
offer
up
is
this
concept
of
the
term
I've
heard
used,
is
solidarity,
economy
and
something
that
I
really
like
about.
That
is
that
it
includes
philanthropy,
but
it's
not
just
philanthropy,
because
there's
so
much
more
at
play
when
it
comes
to
our
arts
and
culture.
C
You
know
the
creative
economy
and
so
just
offering
again
for
the
groups
to
look
at
that.
The
grant
makers
and
the
Arts
has
some
great
literature
around
the
solidarity,
solidarity
economy
and
actually
online
webinar
trainings.
That
would
be
relevant
to
this
topic
and
also
to
what
David
and
Pat
what
you
were
saying.
So
I
think
these
are
great
reasons.
Why
there's
room
for
more
to
be
nested
under
priority
two
right.
P
That's
important
yes,
so
the
the
thing
that
you
I
won't
go
back,
but
the
thing
the
other
piece
under
priority
number
two
is
that
this
priority
could
be,
could
use
more
strategies.
Helpfully,
though
priority
number
five
has
provided
some
strategies
that
we'll
get
to
we're
not
going
to
skip
we're
going
to
just
go
to
Priority
number
three,
but
but
when
we
get
there
you'll
see
there
are
opportunities
to
add
additional
strategies
for
priority
number
two.
This
is
helpful
because
this
is
all
development
for
that
task
for
to
take
back
as
they're
moving
forward.
P
Okay,
priority
number
three
I'm
moving
because
I
need
to,
but
at
the
same
time,
if
there's
a
burning
desire,
I'm
looking
at
you,
April
you're,
good,
okay,
so
priority
number
three
provide
access
to
Affordable
space
for
the
creation
and
experience
of
arts
and
culture.
Everybody
had
something
to
say
about
space,
so
when
I
think
most
of
the
other
task
forces,
whatever
you
did
around
space,
you
probably
see
that
it
has
been
in
some
way
shape
or
form
Incorporated
here,
and
these
are
three
strong.
What
we
think
are
three
strong
strategies.
T
P
L
H
T
H
U
Maybe
I'm
sorry,
maybe
maybe
instead
of
just
saying
spaces
like
also
talk
about
vacant
like
buildings,
because
that
that
signals
like
indoor
venues
and
which
I
think
is
what
we're
alluding
to.
But
I,
don't
think
it's
as
explicit
as
one
comment
I
think
in
terms
of,
and
it's
more
difficult
for
sure.
You
know
that
that
is,
requires
all
the
different
resources
and
infrastructure
to
maintain
that
and
then
I
have
another
comment
too,
because
it
was
in
our
strategic
plan.
But
I
didn't
see
it
as
reflected
directly.
U
No
I'm
just
saying
like
it
was
it
was
removed
from
ours
and
he
said
that
it
was
included
in
three
three
and
eight,
but
I
don't
see
it
here
which
we
were
making
the
reference
of
it's
higher
yeah,
seven
yeah,
we
we
are
in
seven,
but
it
said
that
it
was
going
to
be
included,
something
that
was,
you
know,
stuff
that
was
removed
from
ours.
We're
gonna
be
alluded
to
in
priority
three
or
eight
and
but
I
don't
see.
U
I
I
didn't
see
it
in
a
certainly
kind
of
directly
addressed
here,
which
is
the
you
know.
The
partnership
with
higher
education,
like
you
know,
institutions,
universities
and
so
on,
and
and
how
to
be
explicit,
I
think
I.
Think
in
our
group
and
I
think
I've
heard
in
multiple
conversations
here
that
that
somewhere
there
has
to
be
explored
to
expand
that
and
I'm
missing
this,
at
least
in
the
examples
for
sure
and
and
I,
don't
know
if
it
can
be
flushed
out.
S
It's
not
really
the
non-art
space
in
that
sense,
although
it
could
be
but
I
think
I
think
what's
missing
from
here
that
that
could
partially
at
least
be
addressed
through.
That
is
the
access
to
Arts
spaces
that
exist,
but
are
perhaps
too
expensive
or
not
accessible
for
smaller
organizations
and
and
some
of
those
are
sitting
in
higher
education.
S
For
instance,
Central
Piedmont
has
some
beautiful,
wonderful
performance
spaces
that
can
be
prohibitively
expensive
for
some
organizations
to
rent
and
while
I
love,
the
idea
of
non-traditional
Arts
spaces
for
arts
and
vacancy
I
mean
like
Arts
everywhere.
But
there
are
things
about
Performing
Arts
that
actually
sometimes
require
performance,
spaces,
sprung
floors,
good
Acoustics
lighting
and
you
know
sound
for
set
for
design
and
I
mean
you
know.
Sometimes
it's
nice
to
see
a
play
on
a
stage.
V
There
I
am
that
other
cities
do
is
when
they
own
Performing
Arts
spaces.
They
provide
them
free
of
rent
to
local
organizations.
Arts
organizations-
we
don't
do
that
I
mean
actually
it's
pretty
prohibitive
to
to
rent
downtown
at
any
of
the
city-owned
spaces.
So
I
wonder
if
that
couldn't
be
a
possibility
that
we
suggest.
D
D
What
rent
was
being
charged
and
I
think
that
this
is
the
opportunity
to
put
that
in
there
and
say,
there's
got
to
be
accountability
on
how
those
spaces
are
used
and
then
the
other
piece
that
I
was
going
to
say
that
I,
just
don't
really
see
it
here,
is
space
for
not
just
performance
which
to
me
I
read
this
and
it's
sort
of
like
consumption.
Just
you
know
display
performance,
but
what
about
storage
practice
right?
You
know
Studio
space
and
I.
R
Yeah
Julie
I
want
to
tag
on
to
that,
because
I
think
I
I
love
this
list,
but
one
of
the
challenges
with
the
conversion
idea
is
what
we
have
to
have
with.
That
is
a
list
of
what
do
you
know
when
we
throw
multi-disciplinary
in
there
and
I've
done
it
myself,
but
like
each
discipline
has
different
needs,
so
we're
going
to
have
to
have
a
list
of
what?
R
What
what
are
the
gaps
out
there
to
go
with
number
one
I
mean
I've
been
really
excited
over
the
last
couple
of
weeks
to
be
in
some
conversations
with
people
that
have
space
and
they're
like
I
want
to
turn
this
into
an
art
space
and
every
single
one
of
them
has
said
this
could
be
for
a
theater
and
it's
a
room
like
this,
so
you
can
do
theater
in
here.
But
this
is
not
a
space
built
for
theater,
so
I
think
a
we
need
a
list.
R
We
did
it
as
this
art
form
that
art
form,
but
most
have
a
building
that
has
Studios
and
theaters
and
rehearsal
space,
and-
and
we
know
we
can't
do
it
today,
but
that's
got
to
be
in
the
plan
that
somewhere
in
Charlotte's
future
we've
got
to
build
a
brand
new
shared
Arts
facility
that
that
serves
many.
Many
many
Grassroots
organizations,
I.
M
Just
want
to
tag
on
to
that
as
a
Performing
Artist.
At
the
end
of
the
day
you
know,
vapa
Center
was
supposed
to
help
to
absorb
some
of
the
use
needs
which
it
just
can't
right.
It's
not
soundproof,
so
their
big
argument
is
who's
drumming
and
who's
doing
a
performance.
At
the
same
time,
that's
not
an
issue
that
you
had
at
Spirit
Square,
because
it's
built
for
performances,
so
you
didn't
have
to
worry
about
the
performances
or
the
rehearsal
spaces
which
were
upstairs
bleeding
into
the
sound
for
those
other
spaces.
H
I
just
want
to
add
one
more
thing
about
the
the
existing
spaces
and
having
a
local
Arts
organizations
being
able
to
use
it
for
the
last
20
something
years.
Yes,
lots
of
small
organizations
would
love
to
use
it,
but
the
problem
is
these
spaces
have
been
booked
out
to
touring
groups,
to
weddings,
to
conferences,
anything
that
is
going
to
bring
more
Revenue
than
your
local
Arts
organization.
H
M
And
I'm
sorry,
one
more
piece
for
the
actual
space
usage,
slash
grants
or
whatever
that
looks
like
at
the
end
of
the
day.
When
you
go
into
the
downtown
spaces,
they
are
union
labor
spaces,
so
you
have
to
pay
union
fees.
So,
if
we're
going
to
say
the
space
is
free,
that
doesn't
mean
anything
for
a
lot
of
small
organizations
when
they
still
have
to
pay
for
the
tech
Crews
which
deserve
to
be
paid.
But
if
we
don't
help
to
subsidize
that
piece
of
it,
it
also
becomes
useless.
P
Thank
you,
I
will
drop
one
more
piece,
even
though
I've
moved
to
the
next
slide,
I'm
going
to
drop
that
in
the
city
of
Dallas
in
their
libraries
they
built
Black,
Box
theaters
within
all
of
their
libraries,
so
that
creates
a
library
in
dispersed
communities
across
the
city.
So
that's
that's
one
way
that
you
can
address
these
space
needs
with
a
dedicated,
Art,
Space.
F
E
And
one
last
thing
that
strikes
me
that
all
of
the
things
listed
there
are
almost
written
as
if
they
are
a
one-time
thing,
I,
don't
think
they
are
I,
think
it
is
an
ongoing
activity.
I
think
it's
just
like
a
Film
Production
Office
in
a
city
where
people
come
and
wish
to
make
a
movie
in
the
city,
and
someone
has
to
to
manage
that
activity,
because
developers
are
going
to
be
showing
up
all
the
time.
Spaces
are
going
to
go
through
their
useful
life
and
be
destroyed,
and
others
created
after
that.
P
P
For
example,
you
know
support
creatives
in
community,
that's
an
I
mean
these
are
excellent,
and
they'll
they'll
have
great
actions
underneath
each
one
of
them
to
activate
them,
but
we
definitely
want
to
hear
from
you
all
broadly.
Are
there
places
where
you
see
gaps,
things
that
you're?
Not
that
are
not
addressed,
that
you
think
makes
sense.
M
B
You
go
ahead,
I
have
something
here
when
you
use
the
term
perceived
barriers.
That
implies
two
things:
one
that
they're
not
real
and
number
two
that
we
don't
necessarily
know
what
they
are
and
somewhere
in
there.
We
have
to
have
a
strategy
that
allows
us
to
unders
better
understand
what
the
barriers
are.
We're
we're
assuming
it's.
You
know
you
want
art
in
every
Community,
we're
assuming
that
Transportation
downtown
is
the
answer.
B
U
You
were
made
yeah
good,
good,
cue,
no
I
think
it's.
We
are
we're
ignoring
actually
the
the
systemic
issues
that
are
actually
the
things
that
increase
the
barriers
for
communities
to
access,
Arts,
I
think
you
know.
We
have
to
be
careful
like
to
think
about
this.
The
solving
this
in
in
that
old
model
of
Outreach
of
getting
Arts
to
communities
because
they
have
to
you
know
I,
don't
know
how
to
say,
eat
that
art
when
there
is
actually
art
within
so
I,
think
the
yes
so
like.
U
So
it
is
the
the
barriers
is
in
in
to
try
to
to
to
enable
Artistry
and
art
development
from
within
I.
Think
in
in
cities
that,
like
any
southern
city
and
many
cities
in
this
country,
were
you
know,
segregation
and
separations
and
Community,
separations
and
whatnot.
It's
it
just
go
it
just
you
go
deeper
than
just
this
upper
layers,
so
I
would
say
you
know,
I
would
say.
U
I
would
say
to
to
try
to
look
for
Solutions
or
like
that,
that
don't
tackle
just
very
lightly,
but
to
look
at
the
systemic
issues
that
we're
trying
to
change
here
and
and
I
was
going
to
say
something
else
about
the
oh,
oh,
we
are
also
ignoring
talking
about
art
and
I've,
been
thinking.
Where
do
we
put
this?
U
We
cannot
ignore
also
the
multiple
heritages
in
how
culture
is
connected
to
Heritage
and
people
and
communities
that
way,
and
when
we're
talking
about
these
barriers
and
connection,
it's
about
also
looking
in
in
more
Pathways,
in
which
these
two
things
talked
about
each
other
and
continue
to
create.
You
know
the
language
of
place,
making
that
we're
seeing
other
places
and
that
how
the
the
diverse
communities
of
a
city
actually
truly
make
the
makeup
of
our
city.
U
So
I'm
just
saying
that,
like
when
we're
talking
about
these
barriers,
it's
not
something
it's
something
from
within,
and
it's
very
systemic
and
I'm
excited
to
hear
this
conversation
here.
I
would
love
to
be
a
part
of
a
movement
that
tried
to
Challenge
from
the
bottom
of
instead
of
like
trying
to
top
them
so
anyways
I.
P
B
M
Barriers
piece
which
was
given
to
us
was
something
that
we
definitely
grappled
with,
because
I
do
believe
that
there
are
real
barriers
and
then
there
are
pers
there.
There
are
perceived
barriers
that
still
have
real
solutions.
If
that
makes
sense.
So
if
I
think
about
the
fact
that
someone
can
go
to
the
Arts
Factory
and
take
a
ballet
class
for
two
weeks
or
whatever
that
looks
like
because
of
culture
blocks,
do
they
know
that
they
can
do
that?
M
Is
there
enough
information
communicated
with
the
community
and
how
does
communication
take
place?
So
when
you
look
at
quote
unquote,
what
are
marketing
dollars
to
get
one
mailer
may
not
make
sense.
So
from
those
who
do
marketing
I
do
marketing
through
politics.
You
have
to
get
seven
rounds
or
touches
with
folks.
So
when
you're,
looking
with
people
who
are
at
a
certain
economic
level
who
are
potentially
working
a
couple
jobs
or
whatever
that
looks
like
first
of
all,
they
don't
get
one
mailer
we're
expecting
them
to
read
the
newspaper
or
go
to
someone's
website.
M
Oh
well,
my
child
is
not
going
to
be
good
enough
for
this.
Whatever
that
looks
like
so
that
requires
a
conversation.
That's
going
to
require
a
lot
of
touch,
base
and
I
know
through
the
through
the
culture
box
program
right,
they're,
already
doing
a
phenomenal
job
of
pulling
together
a
dinner
for
the
people
to
come
together
in
the
community.
Still
that
the
communication
to
saturate
to
everyone
who
it's
available
to
is
definitely
challenging.
So
I
think
that
that's
really
really
really
important
and
I
know
just
from
having
conversations
with
Krista
right,
Aisha
I'm.
M
P
Okay,
thank
you.
I
heard
you
okay,
so
then
thank
you
for
that.
I
was
making
space.
Okay
all
right
all
right.
So
then
we're
gonna
go
to
the
next
priority.
I
didn't
mean
to
cut
you
off
like
that,
but
I
just
want
to
make
sure
that
we
all
we
have
time
to
get
through
the
rest.
So
priority
number
five
actually
does
dovetail
very
well
with
priority
number.
P
So
I
think.
The
first
thing
is
that
I
think
we
were
we
just
Charlotte
Mecklenburg,
Arts
ecosystem
I,
think
that
was
the
first
piece
and
then
and
that's
a
just
a
minor
thing,
and
then
the
next
was
just
a
note
regarding
clarification
before
we
get
to
the
real.
Actually,
let's
go
straight
to
the
matter.
The
big
matter
is
you
proposed
in
this
priority.
If
somebody
would
be
willing
to
speak
to
it,
I'm
gonna,
look
at
Melody
I
believe
this
is
your
group
right?
P
I
P
P
C
I
think
one
thing
that
might
help,
especially
if
as
we're
talking
about
this
piece,
that
George
has
suggested,
which
is
the
how
it
might
live
under
priority
two,
if
that,
if
that's
a
good
place
for
it
is
for,
could
you
Briefly
summarize
what
is
each
body
like?
What's
the
difference
between
the
two
bodies,
so
that
everyone
just
understands
what
is
each
body
doing
and
then
and
then
maybe
that's
a
good
jumping
off
point?
Does
that
sound
right,
Joy
to
then
move
to
the.
I
I
C
G
One
well,
we
thought
about
it
as
one
but
I
see
how
you
would
have
gotten
too
based
upon
how
we
listed
out
our
strategies,
here's
here's,
what
we're
trying
to
achieve.
So
we
feel
that
it's
important
that
there's
a
there's,
a
group,
that's
holding
us
so
one
it's
as
the
equity
priority
it
was
about.
You
know
who
is
going
to
help
us
set
the
equity
standards
in
the
community
and
then
how
do
we
hold
organizations
accountable
for
that?
G
So
we
thought
it
needed
to
be
an
independent
body
that
was
looking
as
we
looked
back
at
slide
or
priority
number
two,
where
you
saw
that
all
of
all
the
what
the
ecosystem
could
look
like.
How
do
we
make
sure
there's
an
equity
frame
and
that
it's
being
held
to
an
account
to
a
standard?
The?
So
that's
where
the
the
part
around
accountability
comes
in
the
other
piece
that
we
thought
was
important.
G
P
The
reason
that
my
yeah,
my
I
sparked
to
this
was
because
in
the
state
of
culture
and
through
the
work
that
you
all
have
been
doing,
we
read
this
as
kind
of
spreading
the
responsibility
across
a
number
of
different
entities,
organizations
and
individuals
and
by
clearly
delineating
one
is
about
advocacy
and
one
is
about
Equity.
It
made
it
super
clear
in
we
misunderstood,
but
it
was
super
clear,
I
thought,
because
this
is
a
this
is
a
group.
That's
that's
for
accountability.
We
are.
P
G
Does
but
the
question
becomes,
who
holds
like
who's
going
to
evaluate
all
of
those
different
entities?
So
when
I
look
at
priority
number
two
and
we
have
an
equity
frame
and
you
have
different
groups
doing
it?
How
do
we
evaluate
that
we're
achieving
Equity
one
across
the
whole
sector
and
two
within
each
of
these
organizations,
as
well
as
the
arts
groups
that
we're
supporting
so
we're
looking
to
create
that
kind
of
body?
That
does
that
yeah?
So
maybe
we're
saying
the
same
thing:
I.
P
A
G
P
It's
great
we're
not
going
to
be
helpful
with
it.
We
love
it,
so
there
go
for
it.
Okay,
okay,
other
thoughts
around
this
priority
in
general,
or
we
had
a
question
just
around
clarifying
some
places.
You
say:
Institute
organization
seems
to
be
a
more
inclusive.
Word
institution
seems
to
be
more
of
a
like
a
kind
of.
I
So
it
was
the
worst
myth
in
me
right
like
we
kept
repeating
organizations,
and
that
was
annoying
me,
but
if
y'all
feel
really
comfortable
with
like
no
for
real,
it
was
really
the
communication
to
me.
I
was
like
we
keep
saying
it
organization
so,
but
if
that
makes
you
all
feel
more
comfortable,
then
we
can
say
organization
several
times.
That's
fine.
C
I
I
S
This
is
not
about
the
priority,
but
it
is
a
reflection
of
the
priority
back,
and
this
is
just
one
little
small
thing,
but
it
gets
said
and
written,
and
it's
ended
up
in
this
draft
report
and
I
hope
we
can
just
strike
it
once
and
for
all.
There
is
a
sentence
in
the
justification
for
why
we're
even
here,
and
why
we're
doing
this-
that
there
was
a
time
when
Arts
funding
in
Charlotte
was
robust
and
workplace.
S
Giving
was
robust
and
the
Arts
sector
was
supported
and
then
that
time
passed
and
workplace
giving
started
to
fail,
and
now
we
need
this
and
ask
Milan
if
in
2006
and
2007,
when
workplace,
giving
was
really
great.
If
that
was
enough
to
sustain
moving
poets,
for
instance.
No,
because
for
all
these
people
it
did
not
work,
it
never
worked.
S
It
never
worked,
and
so
I
think
it
does
a
disservice
and
an
injustice
to
all
of
these
organizations
that
we're
trying
and
artists
that
were
trying
to
uplift
with
priority
number
five
to
in
to
imply
that
there
was
a
time
when
the
Arts
in
Charlotte
were
well
supported.
Some
Arts
were
but
not
all
gotcha.
F
So
we
we
had
a
little
email
side.
Communication
I,
think
that
I
think
correct
me
if
I'm
wrong,
but
we
would
be
okay
with
number
two
create
Implement,
maintain
a
new
Charlotte
Mecklenburg
arts
and
culture
brand
and
Community
communication
plan.
I.
Think
that's
what
we
mean
by
messaging
plan.
It
is
yeah.
O
F
Yeah
what
we
were
trying
to
do
is
like
we
thought
we
could
really
consolidate
our
strategies
into
two
big
buckets.
One
is
The
Upfront,
qualitative
and
quantitative
market
research
that
is
necessary
to
figure
out
what's
going
on
first
and
then
the
the
creating
and
implementing
and
maintaining
that
communication
and
messaging
plan,
so
I
think
like
April,
was
saying,
I
think
it's
really
wrapped
up.
We
have
a
bunch
of
sub
twos,
and
so
that's
really
what
we're
trying
to
do,
but
I
mean
I,
think
I
mean.
O
O
O
Yes,
so
the
number
one
thing
in
this
is
is,
and
we
want
to
start
it
like
next
week.
You
know
use
some
of
the
money.
That's
in
the
plan
now,
but
get
the
marketing
get
the
to
be
able
to
to
do
a
lot
of
things
you
want
to
do
in
all
these
other
priorities,
as
we
pointed
out,
is
transportation
a
barrier
we
assume
it
is
because
we
hear
that
all
the
time
and
when
any
other
non-profit
that
I
work
with
you
here,
but
is.
T
H
S
R
I
would
say,
I
think
one
of
the
more
critical
aspects,
too,
is
once
you
get
past
things
like
my
culture
is
not
being
represented
or
I
have
to
have
price
sensitivity
or
Transportation,
there's
going
to
be
a
subset
of
people
that
don't
check
any
of
those
boxes,
but
aren't
consuming
arts
and
that's
a
more,
maybe
even
tougher
one
to
address.
We
need
to
get
at
that.
The
people
that
have
the
means
and
have
the
ability
if
they
are
not
investing
in
the
Arts
cult
in
arts
and
culture.
Why?
And
how
do
we
change
that?
R
Q
R
P
P
So
some
of
these
I
know
you
feel
like
they
were
a
little
denuded.
We
took
some
away
and
added
them
to
others.
You
have
Carlos
Alexis.
You
have
actually
identified
some
words
that
we
missed
and
needed
to
add
back
into
the
space,
for
example.
So
it
will
make
sure
we
do
that.
But
is
there?
Is
there
anything
missing
now.
U
Project
I
like
like
how
you
synthesize
you
know
about
I,
think
the
very
important
key
that
we
talked
a
lot
in
our
group
is
and
that
Grant
process
the
collaborate
you
know
for
initiatives
that
it
has
to
be
multi-year
based,
like
initiatives
don't
happen
project-based
one-off,
like
you,
don't
build
collaboration
that
way,
so
just
adding
that
element.
It
just
makes
it
that
much
more
much
more
clear
in
that
number.
One
just.
J
Basically,
create
or
I
mean
how
to
how
to
identify
a
collaboration
right
even
initially
when
we
were
giving
out
the
grants
earlier
with
the
opportunity,
it
was
like,
what's
considered
collaboration,
how
to
identify
collaboration
and
quantify
it.
I
was
kind
of
not
here
for
a
couple
weeks,
but
that
yeah
yes
to
me,
that's
what
collaboration
is
like.
What
does
that
really
mean?
How
do
you
just
because
you
did
you,
spend
10
minutes
16
hours,
yeah?
Was
it
five
hour
project?
Was
it
a
whole
three-week
three-day
Festival
to
quantify
the
collaborative
part.
O
We
need
to
look
at
collaboration
among
funders
and
the
artists,
because,
as
a
funder,
I
don't
I
mean
my
goal
is
to
be
able
to
walk
out
of
this
a
whole
thing
and
that
there's
some
other
public
money,
that's
kind
of
Baseline
and
that
as
a
funder,
I
can
choose
what
I
want
to
fund
based
on
my
interaction
with
artists
and
what
I
want
to
do
and
and
that
I
can
be
like.
Let
me
see
everything
that's
going
on
and
wow
that
fits
us.
O
What
we're
funding
and
let's
get
you
guys
together
here
and
so
I
think
collaboration
is,
is
not
just
the
the
the
artistic
Community,
it's
the
founders
of
undies
and
then
the
collaboration
piece
goes
to
how
we
get
the
real
estate
Community
involved,
how
you
get
the
you
know
how
how
we
get.
We
were
talking
about
the
higher
education
piece
like
all
of
this
is
collaboration
because
it
it
can't
just
be
this
mandated.
O
You
know
this
is
what
you
have
to
do
for
the
Arts.
It
has
to
be
a
win-win
for
everybody,
and
so
it
comes
down
to
getting
the
the
apartment
complexes
around
here
to
realize.
Stop
buying
the
art
that
you're,
putting
on
all
the
walls
from
home,
goods
and
Michael's
and
like
go
higher
I
mean
it's
collaborative
from
from
every
piece
of
it.
H
Can
I
can
I
just
speak
to
that,
though
I
understand
what
you're
saying,
but
the
we
were
just
speaking
about
this
Baseline
of
funding
this.
There
is
a
danger
of
Corporations
going
through
this
like
a
la
carte,
like
we
want
to
fund
this,
and
that
I
mean
I.
Understand,
like
you
know,
that's
what
those
are
your
priorities,
but
there
should
be
a
baseline
for
everybody,
because
some
you
know
like
it.
It's
often
that
corporations
want
to
fund
things
that
are
like
easy
to
digest
for
kids,
educational.
H
O
O
You
know
that
that
knowing
knowing
your
audience
and
the
whole,
you
know,
and
also
knowing
your
audience
and
who
can
fun
what
I
mean
I
know
great,
not
speaking
for
Grace
but
I
know
what
kind
of
risk
management
Bank
of
America
has
and
there's
just
certain
things
that
are
ever
going
to
fund,
but
there
are
and
the
other
piece
of
it
is
when
we
talk
about
that,
it
has
to
be
everybody,
it
has
to
be
everybody.
There
are
what
15,
maybe
less,
corporations
that
are
part
of
the
infusion
fund.
O
There
are
thousands
of
businesses
in
Charlotte
that
do
not
donate
at
all
and
no
one's
going
after
them.
No
development
director,
no
one
they're,
all
calling
me
or
Lowe's
or
Bank
of
America,
so
there's
a
whole
like
mind,
Chef
that
has
to
change
in
terms
of
where
the
money
is,
and
so
Baseline
isn't
thinking.
O
Q
Yeah
and
I
think
even
to
that
point,
part
of
the
you
know
kind
of
the
side
conversation
we're
having
is
again
I'm
going
back
to
this
dedicated
Revenue
stream
conversation
because
there,
if
the.
If
there
is
no
precedent
that
comes
out
of
this
room
for
whatever
needs
to
happen
for
the
public
sector,
to
contribute
in
some
way
consistently,
then
we
end
up
in
the
same
conundrum,
where
the
same
thing
that
Pat
was
speaking
towards,
which
is
like
people
have
to
go
in
and
recruit
those
people.
People
have
to
manage
those
relationships.
Q
That
speaks
to
their
needing
to
be
public
sector
involvement
on
an
annual
basis
based
on
the
size
of
our
population
as
a
region,
because
otherwise
we're
going
to
be
stuck
in
a
place
where
the
purse
strings
are
always
going
to
land
in
the
hands
of
an
individual
donor
or
going
to
be
leaning
on
the
private
sector
or
whatever.
It
is,
and
at
that
point,
you're
you're
left
to
the
intent
of
the
donor
to
to
decide
whether
they
want
to
give
funds
towards
that
are
not.
B
L
B
Q
P
P
We
literally
haunted
for
the
only
thing
that
we
could
say
was
that
including
lifelong
learning
for
the
public
throughout
as
you
because
you
stated
in
the
priority,
it's
not
kind
of
explicitly
stated
in
your
strategies,
but
other
than
that.
That
was
what
the
Consultants
saw.
That
was
the
only
thing
the
consultant
saw.
Do
others
have
thoughts.
G
S
S
S
We
actually
have
an
action
item
that
under
or
so
for
number
four
and
now
I
mean
we
don't
have
anything,
and
maybe
we
do
need
it
when
it
comes
to
like
Arts
education
in
the
schools
and
additional
funding
stream,
we
have
a
funding
stream
suggested
for
a
specific
Grant
Pool
for
teach
Arts
teachers
and
arts
Educators
that
they're
not
competing
with
other
kinds
of
artists
that
they.
It
is
a
granting
pool
for
them
for
projects
that
they're
doing,
and
we
have
a
suggestion
for
that.
But
but
we
don't
have
anything.
C
C
Total
I
was
just
going
to
ask
if
what
the
way
it
might
make
sense
for
it
to
be
addressed
because
I
think
we've
kind
of
touched
on
some
other
aspects.
Some
other
priority
areas
too,
is
that
if
it
relates
to
funding
like
Priority
One,
it
may
make
sense
to
Nest
it
under
Priority
One,
but
it'd
be
a
specific
one.
That's
dedicated
to
Arts
education
funding
and
then
the
partners
like
funding
partners
and
leaders
identified
in
that
strategy
or
or
that
action
are
like
CMS
or
and
whoever
else
might
might
support
art
set.
C
G
I
mean
to
be
clear:
I'm
talking
like
not
just
teaching
artists
visiting
I'm,
talking
infrastructure
like
if
we're,
if
in
in
part
of
what
I
might
say,
would
be
helpful
in
that
Arts
education
is
what
what
is
the
I,
don't
know
if
it's
a
map
like
how
how
is
Arch
education
doing
like
has
funding
gone
down
like
have
have
we
seen
a
drop
in
funding
in
arts
education,
my
suspicion,
it
would
be?
Are
we
seeing
less
Arts
opportunities
for
kids,
whether
like
I
was
in
marching
band?
That
was
great?
G
L
P
L
It
a
lot
of
this
feels
like
there's
an
issue
with
the
culture
in
our
city
like
we
can
pay
teachers
we
can
do
whatever,
but
if
art
isn't
a
viable
job
for
us
as
adults
today
you
can
teach
kids
whatever
you
want,
there's
no
representation.
Why
would
I
want
to
be
a
broke
ass
artist
responsibly,
respectfully,
right
like
it,
doesn't
make
any
sense,
so
we
can
give
it
to
them
and
show
them
hey.
This
is
great.
It's
not
great,
because
I
don't
know
any
great
artists
in
Charlotte
who
are
thriving.
L
M
I
think
the
short
answer
right
is
that
there
has
been
a
decline
within
the
school
system
as
well,
right
and
so
I
think
we
need
to
call
that
out
here
and
because
number
one
is
still
going
to
make
the
recommendations
for
funding
based
off
of
what's
coming
out
of
all
of
our
groups,
so
I
think
it
needs
to
live
in
both
places.
So
it's
explicitly
clear.
J
W
Is
to
just
drive
awareness
of
the
assets
that
we
have
within
arts
and
culture
in
our
community,
because
not
everything
will
cost
money.
I
know
that
one
of
their
challenges
is
bus
transportation
to
get
the
students,
but
if
they
just
drive
awareness
within
their
existing
communication,
that
may
just
be
another
way
for
us
to
again
encourage
families
students
to
visit.
You
know
the
institutions
that
we
have
here
available
to
them
and
there's
a
lot
of
programming.
W
F
That
can
we
go
back
to
the
slide.
I
just
want
to
make
a
quick
suggestion,
which
is,
as
my
in-laws
on
Early
Childhood,
educators
of
music
and
I
think
we're
leaving
something
out
by
saying
just
Pre-K
I
think
we
also
need
to
talk
about
Early
Childhood.
So
can
we
change
pre-k
through
12
and
just
say
from
Early
Childhood
on
I
mean
because
things
like
Kinder,
music,
music
together?
These
are
really
important.
Music
programs
that
reach
kids
at
a
very
early
age
and
I
don't
want
them
to
be
left
out
perfect.
P
Okay,
so
let
me
just
end
this
section
by
telling
you
what
your,
what
the
next
steps
are.
We
have
what
are
called
drop-ins
for
each
one
of
the
task
forces.
So
each
one
of
your
task
forces
you
are
going
to
be
have
an
opportunity.
Everyone
is
going
to
have
an
opportunity
to
drop
in
on
these
Zoom
conversations
on
the
different
task
forces
and
share
your
thoughts
and
thinking
in
the
the
task
forces
will
be
present.
So
the
idea
is
that
you're
going
to
be
able
to
further
develop
your
strategies.
P
This
was
the
first
kind
of
foray
added
I
think
it
was
pretty
good
I
think
you
guys
did
an
excellent
job.
Really
I
know
I'll
rushed
you
a
bit,
but
thus
that's
the
purpose
of
these
drop-in
conversations.
So
those
actually
start
as
early
as
tomorrow,
with
the
first
drop-in
for
priorities,
one
and
two
together:
okay,
I
just
want
to
actually
do
a
a
quick
drive
by
on
this
feedback
exercise.
P
C
Can
I
can
I
add
something
Joy?
Yes
to
that,
something
that
is
really
important
is
the
vision
statement
needs
to
be
concise.
Yes,
so
if
you
look
up
the
best
vision
statements
and
something
that
this
group
doesn't
tend
to
do,
is
we
don't
tend
to
be
concise?
So,
even
though
it
is
one
statement
it
it
whatever
it
ends
up
being,
it
needs
to
be
the
one
statement,
and
so
one
sentence
that
is
short
and
then
the
reason
there's
more
in
the
philosophy
is
just
to
try
to
capture
some
it's
firing
thoughts.