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From YouTube: Arts & Culture Committee Meeting 05252023
Description
Arts & Culture Committee Meeting 05252023
B
A
C
L
N
K
So
I
think
you
all
know
what
we're
doing
today,
because
you
all
have
the
agenda.
We're
gonna,
do
the
opportunities,
fun!
We're
gonna
talk
a
little
bit
about
fy24
funds.
We
heard
you
all
had
concerns,
but
I
think
we
have
an
option
and
then
we're
gonna
do
some
cultural
planning
work
Joy's
here
to
guide
us.
You
all
should
have
gotten
all
of
that
as
well.
These
lovely
things
that
were
sent
so
that's
sort
of
the
plan
for
the
day.
E
You
so
hi
everyone
good
to
see
you
again.
This
is
a
quick
update
on
where
we
are
with
the
opportunity
fund.
So,
as
you
will
recall,
the
deadline
for
full
proposals
was
May
5th.
We
worked
with
applicants
to
help
them
to
complete
their
full
proposals
and
address
questions
that
they
had.
Let
them
review
things
and
let
them
know
if
something
was
on
complete
or
something
was
unclear,
so
they
could
address
those
I'm
happy
to
say.
E
E
We
had
about
140
eligible
proposals,
and
so
just
like
we
saw
last
year,
not
everybody
ended
up
submitting
a
full
proposal,
but
the
vast
majority
of
them
did
and
just
as
a
reminder,
we
have
325
000
from
current
year
funding
FY
23
funding.
That
is
what
the
pool
that
the
board
has
allocated
for
this
cycle.
E
You
can
see
here
a
summary
of
the
breakdown
of
where
the
full
proposals
have
come
from.
So
here
we
have
about
two-thirds
coming
from
non-profit
organizations.
The
other
third
are
split
between
individual
artists
and
creatives
and
other
creative
groups
and
organizations.
Those
other
second
two
groups
would
be
using
a
physical
sponsor,
a
physical
agent,
the
next
line,
the
65
serving
these
different
kind
of
categories.
This
is
here
as
this
is
a
staff
estimate
based
on
the
descriptions
of
the
projects
and
the
Lois,
the
self-reported
information
learning.
E
What
applicants
reported
in
their
self-identified
in
their
full
proposal.
Applications-
that's
listed
next,
so
you
can
see
and
and
there
they
were
able
to
indicate
all
that
apply.
So
that's
why
they
don't
they
don't
amount
to
100.
It's
not
like
a
pie
chart
so,
but
you
see
there
what
applicants
have
self-identified
in
terms
of
whether
they're
serving
specific
populations
within
the
larger
population.
This
is
a
question
that
we
added
for
the
cycle
based
on
the
board's
interest
in
understanding.
You
know
who
organizations
or
artists
or
projects
are
serving
and
having
more
information
on
that.
E
So
you
can
see
that
the
average
request
is.
Twenty
four
thousand
dollars
a
reminder
that
this
for
this
cycle,
the
board
had
the
cap
at
thirty
thousand
dollars
for
the
max
request,
so
the
average
is
24
and
you
see
that
the
majority
you
know
well
over
three
quarters
or
over
you
know,
80
of
the
requests
are
asking
in
the
15
to
30
000
range
and
half
of
those
are
in
fact
we're
requesting
the
maximum
30
000
..
So.
E
The
Next
Step
is
that
we
do
have
to
recall.
We
are
working
with
a
with
Grant
panels
of
arts
and
culture,
practitioners
to
review
these
proposals
and
score
them
and
evaluate
them,
and
then
that
is
our
working
group
of
the
board.
The
funding
working
group
of
the
board,
who
acted
as
a
grant
panels
before
last
year,
they're
going
to
sit
in
on
those
conversations
so
that
they
understand
where
the
reviewers
are
coming
from
and
they're
scoring
and
their
discussions.
E
And
then
the
working
group
is
going
to
be
putting
forth
the
recommendations
to
the
full
Board
of
a
slate
of
Grant
Awards
based
on
all
of
that
evaluation
process.
And
then
we
will
provide
you
with
those
recommendations
in
advance
of
the
June
20th
meeting,
and
that
is
the
meeting
where
we
will
ask
for
you
all
to
vote
on
the
Slate
and
the
goal
is
to
have
a
slate
approved
at
that
meeting.
E
E
Our
working
group
also
has
access
to
all
the
proposals,
and
the
grant
panels
will
be
meeting
next
week
to
discuss
proposals
and
also
the
staff
features
myself
and
our
colleague,
Emily
Quincy
are
also
a
Divi
that
the
proposals,
each
of
us
is
reading
the
proposals
for
one
of
the
panels
so
that
we
have
a
staff
person
who's
familiar
with
the
proposals
as
well
for
continuity
and
we'll
be
participating
in
those
review
sessions
and
the
week
of
July.
Excuse
me,
June
12th
is
when
the
working
group
will
meet
so
that
we
have
those
recommendations.
E
K
So,
as
you
know,
the
last
couple
of
meetings
over
the
past
two
or
three
months,
we've
been
talking
about
funding
for
fy24,
so
we're
here
again
to
talk
about
that.
Some
things
have
happened
since
we
were
last
together.
One
is
in
late
April.
You
receive,
based
on
your
request
from
us
to
us
and
to
staff
some
information
about
where
the
ASC
money
has
gone
and
which,
who
were
the
grant
recipients.
K
So
hopefully
everybody
had
a
chance
to
review
that,
and
you
also
got
a
spreadsheet
on
the
infusion
fund
grants
that
we
did
last
year.
Okay,
so
then
the
other
thing
that
came
up
as
you'll
remember
is
a
discussion
of
the
percentage.
We
could
pay
groups
that
we
gave
grant
money
to
for
administrative
costs
and
there
isn't
a
lot
of
national
data
on
this
matter.
Of
fact,
there
seems
to
be
not
many,
but
what
we,
the
county,
has
been
doing.
15
the
city's
been
doing
10..
K
K
We've
just
talked
about
opportunity
funds
and,
as
you
know,
we
had
325
000
left
at
FY
23.
That
is
part
of
this
round
we're
doing
right
now,
but
we
also
are
recommending
for
that.
We
put
another
million
in
fy24
so,
depending
on
how
these
panels
come
out
with
the
new
opportunity
funds,
we
may
be
doing
the
325
or
we
could
potentially
be
doing
more,
but
just
funding
it,
as
all
of
you
have
have.
K
K
J
K
We
could
then
Fund
in
July
with
FY
twenty
four
dollars.
Does
that
make
sense,
because
we
have
a
million
dollars
in
fy24
that
we
we're
reserving
for
opportunity
grants?
We
have
such
a
a
large
number
of
really
good-looking
grants
right
now
in
this
fourth
quarter
of
FY
23.,
that
we
could
basically
move
some
of
those
grants
into
being
funded
in
early
July
when
FY
24
dollars
are
available.
Does
that
make
sense,
Charles
I
got
it.
P
E
K
J
E
Right
so
the
600
000
the
board
actually
because
we
had
so
many
strong
proposals
through
the
fall
Cycles.
That's
where,
when
the
board
has
previously
said
well,
let's,
let's
pilot
this
with
four
hundred
thousand.
When
we
came
to
that
third
cycle
in
November,
there
were
so
many
strong
proposals
that
the
funding
working
group
had
recommended
to
consider
exceeding
the
400
and
funding
more
of
the
proposals
that
had
been
evaluated.
K
K
P
P
Q
A
L
E
E
B
E
D
K
K
D
K
B
K
The
opportunity
fund
and
the
infusion
fund
that
that
we
used
in
FY
23.
88
of
those
dollars
all
went
to
non-annually
funded
groups.
Now
you
remember
that
we
gave
annually
funded
groups
the
opportunity
to
apply
if
they
were
doing
a
collaboration
with
a
non-annually
funded
groups.
Group.
Okay,
we
did
have
three
of
those
which
we
had
three
out
of
37..
We
know
we
had.
We
had
three
out
of
how
many
grams
from
three.
E
E
And
that
was
also
true
of
the
the
ASC
programs
based
on
the
interim
report
that
was
shared
that
shared
it
for
this
year
that
we
also
shared
as
part
of
the
all
of
the
reports
that
we
imported
to
you
some
weeks
ago.
So
of
those
seven
grants
went
to
Angela
organization
again
on
the
dollar.
Calculation
actually
went
to.
K
K
A
E
K
So
the
last
number
is
at
this
moment
we
have
793
000
that
is
not
allocated
anywhere
yet,
and
you
see
above
on
that
slide
a
list
of
possible
places.
It
could
go
one
of
the
things
that
we've
talked
about
with
this
money.
Is
that
fairly
soon
through
the
cultural
plan,
we
should
have
some
real
sense
of
how
to
use
these
dollars
to
begin
to
put
our
thumb
on
the
scale
of
what's
in
the
plan.
K
So
it's
not
that
we're
it's
not
that
we're
holding
these
back,
because
there's
lots
of
ways
we
could
use
it
and,
as
you
see,
we
already
have
a
lot
sliding
in
as
soon
as
FY
24
starts
with
two
point:
something
million
we
just
showed
you
2.3
ish
I'm.
Sorry,
you
can
tell
I've
not
been
around
for
a
while,
but
you
can
see
here
that
the
potential
uses
are
unrestricted
support
for
individual
organizations,
unrestricted
support
for
artists
and
creative
capacity
building
for
organizations,
potentially
through
committee
partners,
and
additional
support
for
annual
operating
grantees.
K
J
K
K
Questions
so
what
we've
attempted
to
do
between
all
the
memos?
We
sent
you
at
the
end
of
April
that
answered
the
questions
of
where
the
money
has
gone
in
the
past
two
years,
particularly
FY
23
for
individual
artists
and
and
smaller
organizations
that
are
not
annually
funded
and
what's
happened
with
the
Arts
Council
money,
which
is
actually
in
the
same
bucket.
D
E
D
E
K
Q
K
E
E
L
K
A
So
on
so
on
the
opportunity
fund,
what
we're
in
essence,
saying
because
I've
said
this
before
about
the
opportunity
fund-
is
that
we're
we're
gonna
decide
where
that
one
point?
Well,
we
know
three
325
000
is
going
to
go
towards
this.
This
current
cycle
of
Grant
applicants.
We
have
a
million
that
we'll
have
flexibility
to
determine.
If
we
do
it
the
way
we
did
this
year,
which
is
Grant
Cycles,
or
do
it
differently,
so
we're
going
to
have
another
conversation
around
the
opportunity
fund,
correct.
K
K
A
A
And
that's
great
and
I
guess
the
only
thing
I'll
just
say
with
comment
is
just
for
board,
particularly
board
members.
If
we
continue
with
the
opportunity
fund,
that
means
that
we
as
a
body
someone
has
to
do
that
Grant
making
process,
which
has
been
something
that
I'm
like
as
someone
that
was
on
that
committee.
A
K
A
For
me
on
the
the
opportunity
fund,
what
I
think
has
been
a
missing
component
of
the
work
that
we've
done
is
what
you
guys
highlighted,
which
is
the
possibility
of
continuing
to
support
organizations
that
were
on
the
bubble
of
getting
operating
support.
But
for
the
past
three
to
four
years
have
not
been
able
to
kind
of
break
into
the
operating
support
piece.
A
So
I
really
like
that
on
the
other
slide,
and
it
is
something
that
I
would
potentially
bring
back
up
for
the
use
of
the
full
million
of
the
opportunity
fund
towards
that
like
who
are
the
Strategic
organizations
that
are
at
that
level
that
we
might
want
to
move
them
into
additional
operating
support.
So
that's
just.
K
A
Oh
can
I
make
another
one
I
want
to
thank
the
staff
for
that
first
slide
where
it
broke
down
the
opportunity
fund
along
demographic
lines.
I
really
appreciate
the
direction
we're
going
with
that
I
might
even
want
to
go
a
little
deeper
in
some
of
the
categories.
The
know
the
first,
when
you
opened
up
the
conversation,
so
I
appreciate
that
I'd
like
to
make
a
request.
So
I
really
appreciate
all
the
data
information
that
you
sent,
but
it
was
really
hard
for
me
to
aggregate
it
like
this.
A
Is
there
any
way
that
we
could
have
staff
aggregate?
All
the
like
I
really
like
this
as
a
summary
of
the
demographics
I
did
my
best
to
try
to
go
through
all
of
asc's
document.
There
was
just
a
lot
of
documents
and
I
was
like
I'll
get
to
it
and
I
just
never
got
to
it
from
an
equity
task
force
perspective.
A
E
You
for
the
thank
you
and-
and
yes
so
because
we
are
now
collecting
this
information
we
will
be
able
to
and
we're
also
planning
to
request
this
information
in
our
reporting.
I
think
we
talked
about
that
last
month,
so
I
think
in
a
few
months
time
this
summer,
when
we
start
getting
those
final
reports
back
from
some
of
the
previous
grantees,
we
should
be
able
to
provide
the
data
you're
talking
about,
and
then
we
can
work
with
ASC
to
request
they're
aggregated.
You
know
similar
information
that
they
have
in
Aggregate.
A
And
the
only
thing
we'll
we'll
ask
for
is
just
even
more
clarity
on
what
percentage
of
recipients
of
dollars
are
individual
artists,
what
percentage
and
then
that
the
size
of
the
non-profits
that
are
receiving
it
like
budget
size.
Just
because
again,
our
task
force
really
spent
a
lot
of
time
in
trying
to
making
sure
that
we
were
being
tart
that
we're
hitting
the
targeted
groups
that
we
want
to
hit
so
it
gets,
it
can
get
lost
in
the
numbers.
A
So,
if
I
make
a
request
that
we
can
also
see
like
when
we
make
the
awards,
if
we
have
a
breakdown
of
percentage
that
we're,
it
might
fall
the
same
way
that
you
have
here,
67
20,
but
just
to
see,
maybe
at
the
end
of
the
year.
This
is
how
much
went
to
individual
artists.
This
is
how
many
went
to
nonprofits.
This
is
how
many
went
to
operating
support.
Yep
great
thank.
M
B
E
M
B
N
B
F
M
E
B
E
B
E
I
hear
some
other
good
news:
I
hope
you
can
share
soon,
but
I'm
not
at
Liberty
to
share,
but
I
am
excited
for
when
he's
back
and
I
couldn't
share
it.
So
that's
very,
very
exciting
that
he
was
on
the
show.
So,
first
of
all,
thank
you
so
much
for
all
your
hard
work.
All
of
you
have
been
meaning
so
much.
We
know
because
we've.
E
R
E
B
T
T
And
if
you
could
I'll
make
another
plug
after
for
the
survey,
please
do
go
on
take
the
survey,
if
you
can
do
it
by
9
59
a.m.
Tomorrow,
you
know
holiday
weekend.
We
want
to
get
all
of
those
results
in
and
parent
them
back
to
you,
because
you'll
see
that
we
are
supposed
to
be
sending
them
back
out
actually
tomorrow
as
well
right.
T
Yes,
so
that
said,
we
have
a
very
short
turnaround
period
for
you
all
to
be
able
to
see
your
feedback,
but
it's
not
of
value
if
you're
not
able
to
give
your
feedback
so
so
I
understand-
and
please
do
please
do
give
us
that
that
that
feedback
by
10
10
a.m.
Tomorrow,
that
said,
we
are
going
to
first
of
all
thank
you
to
The
Advisory
board
for
giving
us
this
time,
I'm
going
to
use
it
efficiently.
T
T
So
first
we're
going
to
share
each
group
is
going
to
share
in
order
unless
we
might,
if
we,
the
timing,
gets
tight,
we
might
move
group
seven
up
because
group
7
does
have
chair
and
cultures
have
performances,
but
other
than
that
we
will
probably
we'll
try
to
go
in
order.
So
we
can
keep
it
clear
in
our
minds.
T
Then
we'll
have
a
plenary
broad
plenary
discussion
and
then
we're
going
to
go
over
to
the
tables
and
I'll
give
you
instructions.
We
have
the
big
sheets,
that's
how
we're
going
to
gather
some
of
our
kind
of
visual
conversational
feedback.
Okay,
so
that
said,
I've
just
talked
through.
All
of
that
and
I'll
tell
you
about
the
dots
after,
but
you're
only
going
to
use
two
sets
of
dots.
I'll
talk
that
through,
but
just
to
remind
you
of
what
we're
trying
to
do
today.
T
Then
we're
going
to
share
the
strategies
for
working
one
from
priorities,
one
through
eight
and
then
the
task
forces
are
going
to
receive
feedback
from
the
Steering
group
to
confirm
the
strategies
and
finalize
workshops
number
two.
So
we'll
talk
about
worksheet
number
two
in
this
at
the
end
of
this
process,
just
to
remind
you
of
where
we
are
in
our
implementation,
Milestones,
we
you
all
have
done
so
much.
This
is
only
talking
about
the
task
force
process,
so
it's
starting
in
April.
T
This
is
not
even
a
calendar
of
the
entire
cultural
planning
process.
This
is
really
what
you
all
have
been
doing.
U.S
task
force
is
having
these
meetings
hashing
through
sliding
through
and
making
sure
that
the
information
that
you're
clear
about
what
the
priorities
are,
that
you
are
understanding
what's
needed
as
far
as
strategies
and
and
then
you
really
recognizing
the
voices
of
all
the
people
in
the
room.
So
we
really
appreciate
that
you
did
that
you
sent
us
that
information
you
sent
it
to
by
May
16th.
T
T
So
we're
going
to
come
back
on
tomorrow,
the
26th
have
it
back
to
you
all
of
this
information,
or
your
task
force
is
for
you
to
take
it
back
to
your
task
forces
starting
May
26th
through
June
5th,
to
solidify
your
strategies
with
the
action
plan.
So
this
meeting
is
an
opportunity
to
gather
information
that
you're,
taking
back
to
your
task
forces
thoughts
about
what
other,
what
other
priorities
our
task
forces
are
working
on,
how
there
might
be
overlap,
how
that
overlap
either
might
work
or
not
work.
T
T
So
once
you
receive
this,
the
information
back
tomorrow
and
you
work
through
with
your
task
forces
you're.
Turning
back
in
the
worksheets
to
us
about
June
6,
so
you're
going
to
send
those
back
to
us
by
June
6th
these,
the
second
worksheet
and
we
are
looking
at
having
a
draft
cultural
plan
with
the
implementation
strategies
and
actions
by
the
June
14th.
So
everything
is
working
on
this
accelerated
timeline
and
I
will
tell
you
you
can
do
it
because
you've
been
working
on
an
accelerated
timeline
since
well
day.
T
T
Okay,
let
me
just
remind
you
of
where
we
are
the
different
way
of
seeing
the
same
information,
but
here
is
the
Steering
group
meeting
where
we're
reviewing
this
information,
you're
going
to
revise
the
strategies
and
the
draft
plan
is
going
to
be
sent
to
you
here,
14th
to
June
20th.
So
that's
the
draft
plan
for
the
Steering
group
review
so
I'm
going
to
pop
some
pause
there.
Let
you
let
that
part!
Stick
in
on
June
20th
we're
going
to
discuss.
T
And
then
on,
June
20th
we're
going
to
come
back
together
again
to
the
to
discuss
and
share
feedback
on
this
review,
you're
going
to
review
worksheet
number
two
for
each
priority
and
yeah
for
each
priority
and
approved
draft
strategies
for
public
feedback.
Now
that
is
the
point
where
we
I
think
we've
had
conversation
around
this
where
we're
saying
okay.
This
is
good.
This
point,
where
it's
ready
to
go
to
the
public
for
the
public
to
say:
okay,
this.
This
is
good.
E
Can
I
clarify
one
thing
on
that,
so
just
to
make
clear
the
entire
draft
plan
is
not
going
to
go
to
the
public
at
that
point.
We're
just
wanting
to
get
feedback
on
the
strategy
statement.
So
again.
At
that
point,
you
all,
as
the
Steering
group
and
task
forces,
will
have
been
working
on
the
strategy
statements
for
two
months
right.
E
We
will
be
then
sharing
those
rewind
strategies
back
to
you
in
that
draft
that
you
receive
on
June
14th
in
the
June
20th
meeting.
We're
just
going
to
ask
for
the
steering
group's
thumbs
up.
Are
the
strategy
statements
themselves
ready
to
get
public
feedback
on
and
again
we'll
then
bring
the
public
feedback
back
to
the
Steering
group
right
for
the
next
incorporation
into
the
revised
correct
right?
Okay,
so
just
want
you
to
know
that
it's
not
a
whole
plan
going
to
the
public.
At
that
point,
I'm.
T
T
Okay
protocol
haven't
been
established
and
all
people
understanding,
okay.
So
now
what
we
are
going
to
do
is
I
am
going
to
ask
for
each.
This
is
kind
of
my
prepping
time.
This
is
a
time
now
where
each
of
the
chair
or
coach
here
or
both,
if
you
are
going
to
do
a
presentation
together
to
you're,
going
to
come
forward
in
order.
T
So
it's
just
going
to
go
one
two,
three,
four,
five,
six,
seven
eight
and
we
have
allocated
about
five
minutes
for
each
priority
group:
okay
and
we're
asking
you
to
kind
of
be
observant
of
each
other's
time.
We
do
have
people
who
have
to
leave
early,
so
we
want
to
make
sure
that
we're
able
to
get
through
each
of
the
groups.
The
first
group
that's
going
to
come
forward-
is
priority
number
one,
so
I'd
ask
while
I'm
on
top.
T
Q
B
Q
B
G
E
Point
of
process,
Joy
I,
think,
is
that
we're
going
to
ask
you
to.
Please
hold
your
questions
till
the
discussion
period
so
that
every
group
can
get
through
their
presentation
and
Julia
is
going
to
keep
us
on
track.
So
we
get
through
all
of
those
and
have
the
time
for
the
discussion
and
also,
as
we
said,
there
are
a
few
folks
who
have
to
get
to
another
event.
T
G
Q
Right
all
right
so
task
force,
one
keywords:
sustainable,
reliable
public,
private
collaboration,
they've
all
come
out.
I
won't
go
over
the
names
to
see
the
names
of
the
folks
who
were
part
of
the
discussion.
We've
met
at
least
twice
in
person
and
at
least
twice
a
person.
We
try
to
meet
a
third
time,
but
so
go
to
the
next
slide.
Q
Q
I
think
everybody
got
to
the
same
page,
pretty
quickly.
That,
and
the
key
here
is
that
we
need
sufficient
resources
to
take
care
of
organizations
of
all
sizes.
Individual
artists
Grassroots
deal
with
Equity.
It's
a
lot
easier.
We
have
sufficient
resources
to
make
planful
decisions
and
allow
groups
to
plant
and
to
grow
the
diversity
of
experiences
and
approaches.
Q
I'd
say
the
group
came
at
it
from
sort
of
different
different
historical
perspectives,
mostly
that
until
it
was
pretty
effective
group
of
folks
who
had
different
perspectives,
we
also
agree
that
we
need
a
diverse
funding
pool
relying
on
any
one.
Particular,
it's
not
a
workable
solution,
a
few
key
things
that
we
for
my
themes,
actually
that
we
came
out
with.
How
do
we
make
money
as
in
where
does
it
come
from?
How
do
we
save
money?
Can
we
be
efficient
and
can
we
have
shared
services?
Q
The
consensus
of
they're
sufficient
Financial
Resources
within
the
community
to
create
the
sustainability
for
the
Arts,
but
we
do
need
new
strategies
and
approaches
and
tactics
to
reach
donors
and
pools
of
funding.
Probably
the
obvious.
Why
we're
all
here
and
then
I
guess
the
ticklish
part
of
it
is
having
I
call
them.
Diplomatic
conversations
are
needed
for
key
leaders
in
government
corporations,
foundations
and
philanthropic
individuals.
Those
are
really
the
key
parts
of
it.
Q
Q
The
second
strategy
is
to
make
sure
we
have
something
census
from
private
contributors,
whether
they're
corporations,
foundations
or
patrons
of
the
Arts
and
the
reason
they're
separated
what
may
be
more
about
sustainability
and
operating
expenses,
the
other
may
be.
How
do
you
become
the
next
Picasso
exhibit?
Q
Q
How
do
we
help
groups
discover
more
self-sustaining
from
an
earned
Revenue
I
know
a
number
of
groups
are
seeking
endowments
today,
endowments
will
need
to
be
over
a
longer
fairly
long
period
of
time.
We
need
to
be
evaluated
as
well
as
as
I
say
individual
giving,
since
we
don't
have
the
common
fund
anymore.
That'll
take
a
little
more
time
and
effort
of
building
capacity.
This
was
really
about.
The
groups
are
going
to
have
to,
particularly
the
larger
groups
will
need
to
develop
better
development
steps
across
the
board.
Q
A
lot
of
conversation
we
need
to
hear
about
what
the
other
strategies
are
from
the
other
groups,
because
that's
going
to
determine
what
the
Top
Line
number
is.
We
were
just
we
just
throw
out
a
number
for
the
sake
of
it's
10,
90,
20
million
30
million,
but
depending
upon
what
the
other
task
forces
come
up
with
or
the
recommendations
helmets
is
needed
to
support
the
mid-size
groups
or
smaller
groups
or
individual
artists.
Q
E
J
E
Kevin
and
Pat
our
coaches
for
task
force
too,
and
then,
unfortunately,
our
our
student
group
members
who
are
on
or
on
also
on
it,
are
not
able
to
be
here.
Grace
and
David
Butler
are
not
able
to
hear
so.
Kevin
had
deputized
me
to
quickly
share
a
quick
overview
of
these,
but
I
have
been
in
both
of
the
meetings
that
the
task
force
has
engaged
in.
E
E
E
The
few
things
you
see
underneath
that
are
things
that
we
have
to
do
in
future
and
then
at
the
bottom
you
see
resource
distribution
strategies,
so
some
of
these
These
are
actually
things
that
need
to
be
determined
during
this
process
and
there's
an
acknowledgment
of
that
so
over
the
coming
weeks
and
with
the
input
of
this
group,
this
task
force
is
actually
going
to
be
taking
your
input
to
keep
working
on
this
because
there's
still
a
lot
of
work.
That
needs
to
be
done
on
this,
but
it's
more
like
they've
identified.
E
V
We
came
up
with
and
concerns
we
had
or
questions
was
what
should
the
function
of
privately
operated
organizations
be
in
this
master
plan?
What
what
is
their
role?
What
should
we
expect?
What
are
the
expectations
we
can
or
should
have
a
stuff?
Is
there
space
to
partner
with
them,
and
does
everything
have
to
be
run
by
the
city
of
County,
but
can
there
be
just
mutually
beneficial
relationships
between
these
privately
owned
operated
organizations
and
also
can
the
city
incentivize
private
growth
through
public
use?
V
How
do
we
convince
the
developers
to
create
a
space
for
the
Arts?
How
do
we
convince
developers
to
create
space
for
the
art
s
for
the
strategies?
We
thought
about
use
the
use
of
existing
spaces
and
to
work
towards
developing
a
frame
of
framework
for
a
mixed-use
Cultural
District
that
can
be
a
hub
for
creativity
and
culture
in
neighborhood.
Commercial
properties
built
around
this
District
would
help
fund
the
public
artists
of
this
District.
Once
successful,
the
district
can
fund
art
and
develop
a
satellite
in
smaller
neighborhoods,
distributed
throughout
the
county.
V
Our
cultural
Land
Trust,
similar
to
efforts
in
Austin
or
the
Bay
Area.
The
city
should
establish
a
trust,
focus
on
purchasing
property
or
land
in
neighborhoods
of
opportunity
to
develop
these
into
spaces
for
the
Arts
and
after
a
time
when
the
neighborhood
has
grown-
and
this
is
funny
because
this
this
actually
happens,
but
we
found
a
way
to
maybe
to
maybe
follow.
You
know
how,
when
we
grow
the
Arts
girl,
neighborhood
and
then
someone
comes
in
and
buys
it
from
under
them,
and
then
all
the
artists
are
priced
out.
V
So
we
were
thinking
that,
okay,
if
you
could,
when
the
property
is
not
valuable,
it
can
be
sold
to
developers
below
market
value
as
long
as
they
maintain
a
predetermined
amount
of
space
to
use
for
the
Arts.
As
long
as
you're
saying,
okay,
you
want
to
build
here.
You
have
to
keep
this
space
for
the
Arts.
A
certain
percentage
must
be
kept
for
the
Arts
so
that
the
Arts
aren't
pushed
out.
V
This
will
pay
back
the
initial
monetary
investment
by
the
city,
plus
additional
Equity
gained
through
neighborhood
growth
to
continue
to
grow
the
cultural
Land
Trust,
while
holding
accessible
spaces
for
the
Arts.
In
now,
private
development,
public,
private
co-ops
partner,
with
privately
owned
properties,
such
as
corporate
lobbies
for
artists,
exhibit
spaces.
We
also
discussed
use
of
unused
or
underused
buildings
underused
spaces
as
a
temporary
solution
for
these
artists
to
have
exhibits
in
these
spaces.
V
V
V
I?
Have
a
predetermined
amount
of
space
is
allocated
for
public
city,
Arts
and
Cultural
spaces
similar
to
The
Jersey
City
Powerhouse,
where
you
say:
okay,
change,
the
zoning
change
the
work
with
the
laws
a
little
bit
to
allow
for
buildings,
maybe
to
be
taller
so
that
as
long
as
they
create
space
in
them
for
the
Arts.
M
B
J
B
B
H
H
Okay,
good
good,
generous,
all
right,
I'll,
be
as
as
fast
as
possible.
We,
as
you,
can
see
from
our
previous
version.
We
just
worked
to
sort
of,
simplify
and
clarify
the
language
around
this
priority
statement,
which
we
landed
on,
eliminate
real
and
perceived
barriers
to
arts
and
culture
creation
and
participation.
Those
are
our
oops,
our
task
force
members
how
we
got
there
well,
we
started
by
creating
four
relevant
buckets
to
kind
of
drop.
Our
strategy.
H
Ideas
into
those
buckets
were
affordable:
affordability
for
artists
and
audiences
awareness
and
belonging
access
for
all
and
diversity.
Eventually
those
buckets
kind
of
went
away,
but
it
helped
us
organize
our
thoughts.
We
also
kind
of
really
started
to
Rally
around
this
idea
of
a
cradle
to
grave
approach
to
lifelong
engagement
with
arts
and
culture
in
Charlotte,
so
we're
not
just
going
broad
across
these
spectrum
of
our
community,
we're
also
looking
to
go
deep
across
age
diversity
throughout
one's
lifespan.
In
Charlotte.
H
We
recognize
that
the
overarching
nature
of
this
particular
priority,
like
some
of
the
other
priorities
right.
There
are
some
that
are
more
specific
and
some
that
are
just
more
ethereal
and
overarching,
and
so
that
was
ours
and
it
sort
of
made
it
prone
to
overlap
with
other
task
forces
and
I.
Think
you'll
probably
end
up
seeing
a
lot
of
our
strategy.
Ideas
showing
up
in
some
of
the
other
task
forces
as
well,
and
my
apologies
before
we
go
to
the
next
slide.
H
Ours
are
long,
so
don't
hate
me
I'm
going
to
go
really
fast,
but
a
lot
of
the
copy
that
you'll
see
is
really
it's.
At
the
end
of
the
day.
It's
it's
the
initiatives,
it's
the
actions
and
the
steps
that
that
are
going
to
migrate
over
onto
the
second
worksheet.
So
with
that
assume,
we
have
six
I
know
I,
know
sorry,
I
won't
read
everything,
but
one
of
the
big
strategies
is
around
creating
space
for
creativity.
H
Obviously,
this
overlaps
with
priority
three
I
won't
read
all
all
this,
but
it
definitely
involves,
like
you
know,
leveraging
existing
infrastructure
for
free
and
affordable
or
subsidized
creative
workspace,
Studios,
rehearsal,
space,
Etc
and,
of
course,
building
new
as
well.
We
could
be
pursuing
options
like
art,
space
or
the
idea
of
building
a
shared,
multi-disciplinary
space,
which
really
has
a
future
of
forward-thinking
mindset
around
it.
H
Another
priority.
Excuse
me:
another
strategy
is
around
providing
tickets
and
transportation,
so
you
know
free
events,
free
tickets
or
steeply
discounted
tickets
to
offerings
at
city
and
county-owned
Facilities,
including
seasonal
offerings,
leveraging
philanthropic
resources
to
reduce
those
costs
and
creating
a
free
Transportation
program
to
arts
and
culture
events
moving
on
to
the
next
one,
exposing
youth
to
creativity.
Obviously,
this
overlaps
with
priority
eight
exposing
students
and
their
families
to
arts
and
culture,
creative
Pathways
for
careers
at
early
ages
and
continuing
that
exposure
year
after
year.
H
This
would
obviously
involve
increased
partnership
with
CMS
and
with
local
artists.
Brian
Collier
has
been
telling
me
for
years
about
this
amazing
program
in
Helsinki
called
culture
kids,
where
every
kid
under
the
age
of
seven
in
helsilki
is
is
paired
with
a
sponsor
from
their
cultural
community
and
I.
Just
love
the
grandness
of
that
idea
and
that
gesture,
so
that's
kind
of
a
moonshot
idea,
but
we
it
made
the
cut
one
of
the
strategies
is
building
support
teams.
H
There's
ideas
here
of
you
know
creating
awareness
and
ensuring
that
messaging
is
tailored
to
make
sure
audience.
Members
feel
welcome.
This
could
also
include
include
free
translation
services
for
for
members
of
our
community
that
speak
other
languages,
Etc
and
then
our
final
two
strategies
enabling
shared
experiences
capitalize
on
Arts
programming,
to
create
shared
cross-cultural
experiences
to
help
establish
a
sense
of
belonging
and
connection
for
all
residents
that
could
come
to
life
in
a
number
of
different
ways.
H
But
a
few
ideas
is
to
create
a
mobile
arts
and
culture
program
to
transport,
creative
programming
to
neighborhoods,
County
Wide,
and
really
sort
of
ensuring
that
this
that
sort
of
an
initiative
values
the
creation
and
sharing
of
authentic
cultural
experiences
versus
importing
arts
and
culture,
and
we
can
go
deeper
into
that
later
and
and
finally
supporting
creatives
in
communities.
And
perhaps
this
one
should
have
been
mentioned
first,
because
we
feel
like
it's
sort
of
Cornerstone
idea
around
removing
barriers.
H
But
you
know
creating
a
community
artist
program
that
could
be
piloted
in
the
corridors
of
opportunity
and
then
replicated
in
other
areas
in
which
artists
from
those
neighborhoods
are
supported
to
create
Community
reflective
work,
engage
with
their
community
and
Mentor
younger
generations
of
emerging
creatives.
How
far
did
I
go
over
good
boom?
You're
good.
J
U
U
Artists
who
are
actually
creating
here
in
our
communities,
so
what
you
just
heard
was
a
composition
that
was
performed
in
Charlotte,
created
by
Charlotte,
artists,
musicians,
dancers,
actors,
visual
artists,
that
live
and
work
here,
and
it's
moving
poets.
And
so
we
just
wanted
to
kind
of
ground
that,
as
we
start
our
presentation.
O
N
Also
and
I'm
also
a
member
and
also
a
part
of
The
Advisory
Board,
and
so
do
we
still
want
to
do
the
list
of
people
I
think
we
can
okay
perfect,
so
our
priority
priority
statement,
it
has
evolved
But.
Ultimately,
we
want
it
to
be
clear
about
where
we
stand
and
Equitable
accessible
and
inclusive
approach
to
support
and
fund
is
critical
to
advance,
grow
and
sustain
by
Park,
lgbtqia,
Plus
and
other
artists
and
institutions,
particularly
small
and
mid-sized
organizations,
who
have
been
historically
marginalized
in
the
Charlotte
Arts
ecosystem.
O
Awesome
so
how
we
got
here
so
I
just
like
to
mention
that
we
met
for
a
total
of
around
about
eight
times
for
at
least
90
minutes
per
meeting
right,
so
our
team
was
really
really
passionate.
We
were
really
intentional
about
making
sure
that
you
know
we
put
a
lot
of
thought
and
effort
and
energy
into
coming
up
with
these
strategies.
O
So,
as
you
can
see
here,
we
have
a
couple
of
different
illustrations.
What
you'll
notice
is
that
we
wanted
to
allow
our
group
to
communicate
in
the
way
that
made
them
feel
most
represented
right,
and
so
we
jammed
meaning
that
we
utilized
the
jamboard
literally
to
kind
of
co-create
and
co-collaborate
what
our
strategies
would
be.
We
allowed
ourselves
to
dream
with
no
boundaries,
we
envisioned
we
researched.
O
We
challenged
one
another
and
we
worked
so
you
know
we
took
an
approach
where
we
said
you
know
what
the
strategic
brainstorming
documents
were
great,
but
we
wanted
to
dream
outside
of
those
documents,
and
so
we
allowed
ourselves
to
Envision
what
Charlotte
could
look
like
in
the
next
five
years.
So
we
allowed
ourselves
to
do
somewhat
of
exercise,
but
we
just
envisioned
and
we
allowed
everyone
to
write
down
what
they
felt
like
Charlotte
would
want
to
look
like
feel
like
smell
like
in
the
next
five
years
right.
O
We
also
wanted
to
make
sure
that
we
put
a
human
design
thinking
process
in
place
so
that
the
process
would
be
more
inclusive
and
Equitable.
We
wanted
to
create
a
vision
of
success
without
using
the
templates,
and
we
wanted
to
dream
into
our
vision
of
success.
I
think
it's
also
really
important
to
note
a
note
that
we
disrupted
the
process
and
we
weren't
afraid
to
go
outside
of
you
know
the
barriers
that
we
were
put
in
place
and
then
we
use
values
to
guide
the
development
of
our
strategy.
O
So
the
next
slide
we'll
talk
about
our
values.
We
thought
it
was
really
important
if
you
notice
in
any
organization,
profit
a
for-profit
entity,
non-profit
entity,
there's
values,
there's
a
mission,
there's
a
vision,
and
so
we
felt
like
it
was
really
important
to
create
values
that
help
govern
the
creation
of
the
strategies
that
we'll
be
reviewing
shortly.
Yeah.
U
N
And
so
two
of
the
the
key
ones
we
want
to
bring
out
is
equity
Equity
because
that's
really
what
we're
here
for
right
across
the
board.
So
Equity
is
a
measurable
outcome
representing
a
just
and
fair
process
and
system
to
advance,
historically
marginalized
communities
and
organizations,
but
also
we
have
to
be
held
accountable
and
so
holding
people
organizations
to
their
word.
While
measuring
and
evaluating
effectiveness.
W
O
So
this
is
more
for
our
linear
thinking.
Folks,
we
just
listed
out
the
five
strategies
here
in
the
next
slide.
We
created
more
of
a
depiction
of
what
the
strategies
would
look
like,
especially
through
you
know,
just
the
intersectionality
of
how
proximate
a
lot
of
these
strategies
are,
and
so
the
first
one
we
have
here
are
Arts
accountability
and
advocacy
organization
representative.
O
So,
ultimately
we
felt
like
it
would
be
really
important
to
develop
a
leading
group
to
represent
those
most
impacted
with
the
authority
to
lead
the
equity
audit
process
for
the
art
sector,
measuring
and
evaluating
the
distribution
of
funds
through
a
tiered
system
to
evaluate
various
size
organizations.
If
organizations
do
not
advance
in
their
Equity
goals,
funding
will
be
limited
until
compliance
is
in
place.
So
the
key
word
here
is
accountability.
U
R
That
okay,
so
we
kind
of
revised
this
statement
because
again
achieving
widespread
awareness
and
visibility
of
arts
and
culture
is
a
very
Broad
and
lofty
goal
and
there's
a
lot
of
different
pieces
in
that.
So
our
Focus
was
to
increase
the
consumption
of
arts
and
culture
among
the
residents
in
the
Charlotte
region
through
strengthening
the
communication
and
then
that's
their
list
of
people.
R
R
We
believe
there
is
an
overabundance
of
communication,
but
we
also
agreed
as
a
task
force
that
Charlotte
is
too
large
for
one
central
location,
that
it's
okay,
that
there
is
an
overabundance,
but
there
can
be
unification
around
hashtags,
taglines
or
messaging
with
the
artist
the
marketing
out.
There
now
is
targeting
the
Arts
consumer
and
we
need
to
shift
the
focus
on
targeting
the
non-consumer,
but
the
problem
with
that
is
we
don't
know
who
the
non-consumer
is.
R
We
need,
as
Charles
said,
there'd
be
people
looking
for
more
money
and
we
think
there
needs
to
be
a
lot
more
money
put
into
Inc
increasing
marketing
but
non-profits
in
general,
especially
artistic
ones.
I
know
firsthand
non-profits
do
not
get
marketing
dollars
from
funders,
but
we
need
to
look
at
actually
earmarking
marketing
dollars
in
our
grant
process
and
there
needs
to
be
more.
R
We
really
believe
there
needs
to
be
more
of
a
collaborative
effort
with
the
crva
and
the
Arts
organizations
to
make
put
art
on
the
level
of
sports
in
terms
of
the
regional
tourism
for
Charlotte
and
the
strategies
we
think
the
first
thing
needs
to
happen
is
a
qualitative
market
research
to
understand
the
current
attitudes
of
the
non-seekers
toward
the
Arts
and
what
would
motivate
them
to
actually
consuming
are
in
the
area
then,
based
on
that,
we
need
to
come
up
with
a
new
brand.
There
needs
to
be
a
new
brand
and
messaging.
R
R
We
need
to
incentivize
the
institutional
organizations
and
small
businesses
to
incorporate
local
artists
into
into
their
programming
and
so
beyond,
like
if
you
guys
were
talking
about
corporate
businesses
supporting
Arts,
but
we
need
the
we
need.
Every
I
mean
if
I
hire
another
apartment,
that's
getting
all
their
Lobby
art
from
somewhere
outside
of
Charlotte.
R
It
kills
me
so
it
needs
to
be
just
pushed
down
through
CLT
Alliance
through
all
development
that
it's
all
local
artists
that's
going
everywhere,
and
then
we
need
a
better
connect
with
peer
cities
to
kind
of
understand
their
art
seas
and
see
if
we
can
create
some
type
of
artist,
Ambassador
programs
with
cities
that
can
maybe
help
some
of
our
marketing
and
get
other
cities
talking
about.
What's
going
on
in
Charlotte
could
help
Drive.
Some
of
it.
M
M
W
M
M
We
can
we
want
to
develop
systems,
platforms
and
processes
that
encourage
Foster
and
create
communities
that
engage
and
support
each
other
from
various
artistic
mediums,
sectors
and
sizes.
And
again,
while
we
agree
that
these
systems,
platforms
and
process
are
needed
in
the
Charlotte
Art
landscape,
a
way
to
get
it
out
to
the
masses
is
needed,
and
one
more
thing
we
wanted
to
add
a
little
bit
was
the
maybe
to
quantify
it
or
qualify
it
that
part
of
collaboration.
We
see
collaboration
but
that
quantifying
part
and
then
a
communication.
M
W
I
was
just
like
listening
yeah
right,
okay,
shoot.
Let
me
see
I,
don't
know.
If
I
can
do
this,
we
so
we
want
to
develop
grants
and
funding
Resources
with
collaboration
requirement.
I
I,
it's
really
hard
I,
don't
you
know,
I
I
think
we
have
to
be
probably
a
little
bit
more
deliberate
in
the
ways
and
the
things
that
are
asked
to
actually
promote
that
these
things
happen.
W
I,
don't
think
you
know
we
don't
in
our
conversations.
We
think
we
do
that
enough.
We
we
also
want
to
develop
on
an
online
platform.
There
is
and
I
think
people
were
talking
about
communication
and
Charlotte
is
spread
out
and
what
is
a
central
Communication
way?
It's
it's
a
tricky
question
to
have,
but
is
something
that
is
in
our
mind
as
a
group,
so
one
we
have
these
resources.
W
W
W
We
understand
the
the
value
in
the
in
the
ways
in
which
we
are
not
as
connected
necessarily
to
the
larger
artistic
sector,
so
I
think
engaging
in
those
conversations
from
the
top
level
down
in
middle
level
and
low
level.
All
the
levels
should
happen,
then
look
at
a
planner
of
supporting
CD
own
art
venues
across
the
city
to
be
led
and
managed
by
Collective
of
arts
groups.
W
There
is,
there
is
a
deal
that
still
speaks
by
itself:
grants
with
a
collaborative
not
only
project
but
sustainable
initiatives,
we're
very
good
about
you
know.
Oh
this
dream
projects
and
project
ideas
and
people
can
propose
projects,
but
what
about
initiatives?
And
how
would
we
sustain
that?
And
how
do
we
do
multi-year
grants
that
can
support
these
initiatives
and
then
and
that
the
online
platform
for
Clear
communication
overall
to
disseminate
this
initiative
so
I
think
that's
it.
X
That's
me
hi,
so
we
have
the
Arts
education
priority.
We
basically
left
it
as
it
was,
except
to
make
it
Pre-K,
as
opposed
to
just
K
through
12.
So
it
is
a
very
expansive
priority
because
it
includes
all
age
groups,
all
people,
but
we
do
feel
like
Arts
education
across
the
lifespan
is
so
important
and
our
you
can
see
our
task
force.
Members,
the
the
non-steering
committee
members
Betsy
Rosen
who's
here,
a
visual
arts
teacher
at
lab
school.
X
So
how
we
got
there.
We
thought
these
were
some
important
needs:
a
recognition
of
the
value
of
Arts
education,
respect
for
the
for
Arts
education
and
arts,
teachers
and
Educators,
robust
and
accessible
Arts,
education
for
all
ages,
support
and
resources
for
teaching,
artists
and
art,
Arts
Educators,
as
in
school
staff,
and
greater
connection
and
collaboration
among
Arts
organizations
pre-k
through
12
Arts,
education
programs
and
higher
education
programs.
So
a
lot
of
overlap
with
other
task
force
initiatives
and
those
are
sort
of
the
three,
the
three
main
players
here:
Arts
organizations
and
artists.
X
You
know
schools
and
and
education
programs
pre-k
through
12
and
then
higher
ed
questions
and
challenges
that
we
kind
of
grappled
with
you
know
the
public
schools,
for
instance,
which
are
a
huge
piece
of
this
or
County
funded
and
state
funded,
whatever
they're,
not
city,
responsibility
really.
So
what
can
the
city
do
to
enhance
and
support
that?
What's
going
on
in
the
schools,
because
Charter
and
private
schools
lie
outside
the
system?
X
It's
we
don't
really
know
what
all
is
happening
outside
of
CMS
schools,
like
we
don't
know
across
the
whole
arts
landscape
in
Charlotte.
What
Arts
education
programs
there
are,
whether
they're
after
school
programs,
adult
education
programs,
things
happening
in
preschools
like
there's
no
database
where
you
can
just
look
and
say
Here's
the
whole
landscape.
X
How
can
these
three
entities
these
work
together
to
share
resources
that
I
mentioned
before
the
three
kind
of
main
players,
and
then,
if
institutions,
train
and
educate
students
to
become
artists,
because
this
is
part
of
that
thing
to
create
a
pool
of
artists?
You
know
Arts
education
to
create
a
pool
of
artists.
Is
there
a
place
for
them
in
Charlotte
when
they
are
then
artists?
Can
they
live
here
and
work
here
and
make
a
living
so
next
slide?
X
So
these
are
the
strategies
and
they
are
they're
also
in
the
PDF
which
you
receive
so
I'm
not
going
to
read
them
all,
because
I'm
going
to
assume
everybody
did
their
homework
and
instead
I
just
think
sort
of
big
ideas
and
questions
that
we
have
coming
out
of
this.
That
intersect
with
the
work
the
rest
of
you
are
doing.
How
can
we
best
advocate
for
the
value
of
Arts
education
and
arts
Educators
so
that
intersects
with
task
force?
Six
except
you
all,
have
gone
into
the
marketing
Direction?
So
maybe
not.
X
How
can
small
well
or
well
I
guess?
Could
there
be
grants
specifically
for
Arts
Educators,
that's
an
intersection
with
Task
Force
One.
Could
there
be
a
city
arts,
education
coordinator,
like
an
Arts
educator
in
Residence,
who
would
make
connections
across
different
groups,
schools
and
organizations
to
more
closely
connect
the
cultural
sector
and
the
educational
sector
and
to
serve
as
a
chief
advocate
for
Arts
education?
That's
a
task
force,
2
intersection.
How
do
we
create
stronger
connections
and
intersections
with
higher
ed
institutions?
X
Carlos
has
mentioned
this
already
things
like
professional
development
and
training
for
artists
and
arts.
Educators
internships
were,
of
course,
development
opportunities
for
pre-professional
artists,
adult
education,
programs
and
assessment
and
research
support
knowing
what's
out
there
and
what
works
and
doesn't
work.
Could
school
buildings
serve
as
spaces
for
rehearsals
and
somebody's
mentioned
that
intersection
with
three
and
four
task
forces?
Three
and
four,
and
then
can
Arts
education
be
integrated
into
other
efforts
and
priorities
such
as
Public,
Safety
or
Community
Health.
There's
an
intersection
there
with
task
forces,
two
four
and
seven.
X
So
you
know
how
can
Arts
education
be
linked
to
other
things
that
we
are
trying
to
do
as
a
community
as
a
as
a
city
and
help
with
violence
prevention,
for
instance,
and
then
again,
once
students
have
been
trained?
Is
there
a
place
for
them
to
work
in
Charlotte
and
that's
a
task
force?
One
question
so.
T
Excellent
excellent
everybody
gets
a
gold
star.
You
did
it
right
on
time.
Thank
you
so
much
okay.
So
let's
have
a
discussion.
I
won't
rush
you
through,
but
let's,
let's
actually
have
a
broad
conversation.
I
asked
you
the
whole
year
question:
what
are
some
of
the
questions
you
might
have?
I
have
a
few
notes
that
I'd
like
to
bring
up.
If
you
don't
want,
if
you
want
you're
shy,
Joanne
no
I
was
just
I
have
no.
M
Q
T
V
Yeah
comment
as
well
listening
to
everyone
and
all
this
great
information,
a
lot
of
it,
we've
we've
heard
before
right
and
a
lot
of
it
is
overlaps.
So
much
of
us
are
thinking
the
exact
same
thing
yep.
So
who
else
do
we
need
to
get
on
the
same
page?
You
know
it's
just
what
do
we
do
with
all
this
stuff?
That
that
is,
we
seem
to
all
know
is
needed.
Yes,.
T
So
overlap
is
okay,
except
it
cannot
be
the
same
thing
so
now
tonight
you
have
seen
other
strategies
so,
for
example,
Matt
Ola
you
actually
added
one
on
your
sheet,
so
it
is.
It
is
incumbent
upon
the
chair
of
the
vice
chair
to
contact
Direct
to
have
some
type
of
conversation
with
the
overlapping
group
so
that
it
can
start
to
distinguish
or
see
what
works
best,
because
you
really
are
trying
to
identify
what
will
serve
your
priority
the
best,
but
obviously
you
can't
have
a
whole
bunch
of
the
same
same
thing
and
it's
okay.
T
If
that's
what
happened
tonight,
because
you
all
have
been
working
in
groups
and
that
was
important,
you're
working
in
your
own
silos,
now
we're
walking
out
of
the
silos
and
we're
coordinating
together,
we're
actually
talking
to
one
another.
So
that's
the
way
Joanne.
Does
that
answer
your
question?
Yes,
that
was
absolutely
number
one
point.
U
X
E
T
The
ways
that
some
so,
for
example,
the
way
that
group
number
six
modified
its
its
priority
and
really
honed
in
that
actually
changed,
and
you
noted
this
that
changed
the
meanings
of
which
time
to
change
the
meaning,
somewhat
right,
so
that
that
makes
a
difference
as
you're
you're,
going
through
and
figuring
out.
What's
a
strategy,
what's
how
are
you
going
to
the
the
tactics
and
actions
to
play
those
through
who
needs
to
be
a
part?
How
much
is
it
going
to
have
the
cost?
L
D
B
F
D
So
sort
of
along
those
lines
but
I
have
a
question.
How
do
you
like
when
Betsy
said
that
it's
like
okay,
that
could
be
an
education
question,
or
is
that
a
marketing
question?
You
know
a
Communications
question,
so
my
question
is
how
we
take
some
of
the
information
from
the
different
task
forces
that
do
overlap
in
how
do
we?
How
do
we
come
to
have
a
discussion
on
that,
especially
when
it
when
it
might
be
saying
two
different
things
so
like
on
the
communication?
D
D
T
For
the
task
forces
that
are
either,
you
hear
overlap
in
existing
strategies
for
your
thinking
of
new
strategies
that
you
think
might
have
some
overlap
with
another
priority.
Then,
if
chairs
and
co-chair
you
should
contact,
be
in
contact
with
the
chair,
co-chair
of
the
other
part
of
that
priority,
where
you
think
there
might
be
overlap
so
that
you
can
make
sure
that
you
either,
if
you're,
adding
it
that
it
is
distinctive
that
it
is
serving
that
priority,
that
it
makes
sense,
and
it
is
not,
it
is
not
the
same
strategy
as
what
that
other.
T
So
there's
that
that
conversation
moment
opportunity
and
collaboration.
So
this
is
that
this
is
the
time
where
everybody's
getting
to
see
and
think
about.
And
yes,
there
will.
There
is
conversation
after
and
you
have
task
force
meetings
to
share
this
information
back
with
your
task
forces,
but
also
that
collaboration
with
the
other
other
priority
task
force
chairs
can.
E
I
add
a
question,
slash
suggestion
yeah.
So,
for
example,
one
thing
might
be
that
when
we've
moved
to
the
from
this
conversation
or
even
within
this
conversation-
and
we
move
to
this
exercise
that
we're
going
to
end
today
with
which
is
a
little
bit
free
form
so
that
once
you're
done,
you
can
go
right,
but
the
thing
is
your.
The
idea
is
for
that.
You
can
be
Milling
about
you
know
putting
putting
comments
and
feedback
onto
these
sheets.
E
We
have
over
there
with
the
strategies
for
every
priority
and
as
you're
standing
there
chatting
with
your
fellow
task
force
members,
you
might
start
up
coalesce
around.
You
know
what
I
think
this
one
really
does
fit
under
your
priority.
Better
or
maybe
this
is
you
know
how
we
can
kind
of
reorganize.
Certain
things
is
that
yes,
one
thing
that
they
have
right
and.
T
T
So
it's
really
more
like,
for
instance,
around
coordination,
so
when
we
think
about
the
opposing
views,
so,
for
instance,
if
you're
on
a
task
force-
and
you
heard
well-
let's
see-
do
I
have
an
example
here:
do
you
have
it
again?
Do
I
have
an
example?
What
are
you
giving
an
example
example
of
two
opposing
that
we
saw
two
opposing
strategies
that.
B
W
No
I
was
gonna
say
because
I
kept
like
thinking
about
what
you
suggested
and
I
think
I.
Think
it's
the
question
of
why
art
matters
is
actually
a
pretty
difficult
one,
because
they
are
getting
many
answers
depending
on
who
you're
talking
about.
But
I
would
say
you
know,
maybe
the
idea
of
being
deliberate
on
the.
Why
we
as
a
city,
we're
centering
the
artists
of
value
as
a
vehicle
as
a
means
of
expression
as
a
way
of
living
in
Charlotte
and
being
very
upfront
and
deliberate
about
that.
W
T
My
outside
perspective,
I
I-
this
is
a
question
of
this-
is
to
be
a
question
of
coordination,
because,
if
I
think
about
what
Charlotte
is
creative
has
done
what
CLT
for
a
lot
of
your
work?
Why
it's?
It
is
actually
speaking
to
why
art
matters
I
think.
Maybe,
when
we're
talking
about
it's,
not
increased
awareness
anymore,
it's,
but
the
way
that
you
have
rephrased
priorities.
T
Six,
it's
it's
kind
of
bringing
that
into
the
work
that
these
organizations
and
I
mean
I
know
there
are
more
organizations
doing
that,
but
that
question
has
been
asked
and
answered
many
times.
I
do
think.
Maybe,
and
maybe
the
communication
of
it
out
needs
to
be
different.
Maybe
it
needs
and
it
needs
to
be
like
I
said
it
needs
to
be
different,
but
that
coordination
of
all
of
those
factors
coming
together
because
the
information
actually
does
exist.
K
Our
task
force
has
talked
a
lot
about
I
call
it
data,
but
it
is
the
same
the
same
thing
because,
as
we've
thought
about,
how
are
we
going
to
be
able
to
lack
of
a
better
way
to
sell
the
funding
levels
that
we
need
to
underpin
this
plan?
What
we
know
is
we
have
to
be
able
to
show
how
many
people
employed.
What
is
the
spin
on
the
dollar?
You
know
all
those
things
that
are.
K
We
all
love
the
arts
for
their
intrinsic
reasons,
but
for
the
people
we're
going
to
have
to
sell
we're
going
to
have
to
sell
them
on
more
of
the
ex
external
reasons
for
why
this
matters
to
us
as
a
large
community.
So
so
it's
a
it's
a
it's
a
both,
but
those
hard
factual
numbers
are
really
I.
Think
going
to
matter
on
the
food
side.
V
I
think
the
other
thing
too
is
Art
is
is
in
just
about
every
space
everywhere.
Art
is
used
in
so
many
different
ways
that
it
tends
to
be
put
in
the
background
and
I
think
there
needs
to
be
more
of
a
push
on
on
showing
all
the
places
that
art
is
used
or
how
it's
used
or
or
how
it
serves.
I
think
art
needs
to
be
more
spotlighted
because
it's
used
it's
just
not
the
value
of
it
is
not
spotlighted
so
finding
a
way
to
say.
V
Okay,
art
is
used
in
therapy
artists,
its
own
language.
It
can
cross
sport
as
it
can
build,
but
all
all
the
different
ways
in
which
art
is
used
needs
to
be
more
of
a
spotlight
and
and
I,
don't
see
it.
I
I
see
art
everywhere,
but
you
know
people,
it
doesn't
stand
out,
it's
not
at
the
Forefront.
It's
just
a
part
of
everything.
N
Really
quickly,
I
just
wanted
to
say
this
sounds
like
these.
This
is
the
start
of
how
do
we
Market
the
cultural
plan
for
the
city
to
for
their
own
residents,
to
accept
that's
what
it
sounds
like
to
me
when
we
talk
about
communication
and
showing
why
art
matters
and
showing
the
data,
so
my
marketing
brain
is
like
that.
Just
sounds
like
a
how
we
push
for
the
acceptance
of
this
cultural
plan.
R
C
Was
in
parentheses,
that
was
great
right,
because
what
you
just
said,
we
know
where
to
look
for
art.
We
know
all
the
things
you
said
we
everyone
in
here
was
like
absolutely
art.
Is
there
Artisan
cooking
right
like
food
is
hard,
but
people
like
what
are
you
talking
about
I,
don't
know
how
to
finger
paint
like
that's
all
they
know.
So
if
we
could
maybe
Define
it,
but
not
tight
right
like
add
some
things
in
this
is
our.
This
is
our.
This
is
our.
This
is
our.
C
This
is
our
all
these
things
that
you've
already
consumed
that
you
already
love.
We
could
absolutely
celebrate.
I
can't
finger
paint
either
right,
but
so
what
you
know
what
I
mean?
And
it's
because
again
when
we
had
the
the
quarter
sales
tax
situation,
it
was
what
about
eight
million
other
issues
instead
of
what
is
sustaining
us.
So
if
we
could
kind
of
change
that
conversation
to
what's
already
working
and
what
we
already
love,
you
know
to
your
point:
I
think
it
would
be
perfect.
D
So
can
I
so
can
I
just
throw
this
out
there
to
that
point,
that
extra
money
can't
some
of
that
be
used
for
marketing
or
coming
up
with
a
mark.
In
other
words,
it's
not
it's
sort
of
an
underpinning
of
all
of
our
plans
of
the
plans
and
of
all
of
everything
we're
doing
yeah.
You
know
because
people
have
no
idea,
people
have
no
idea,
and
you
know
they're
gonna
I
mean
there's
been
a
ton
of
work.
D
E
So
I
was
just
going
to
mention
that
that
could
also
be
a
tactic
in
under
one
of
the
strategies
is
write,
a
task
build
it
into
yeah
the
plan
and
that's
true
of
any
yeah
I,
mean
frankly,
I
heard
things
in
priority
eight.
So
it's
like
yep.
Those
are
tasks
that
would
appear
in
this
next
step
over
it's
built
into
and
then
task
force
one
because
it
figures
out
there
yeah.
X
Yeah
I
would
just
like
to
make
sure
we
don't
confuse
marketing
and
communication
because
they
are
not
identical
things.
So
marketing
is
important,
and
communication
is
also
important
and
within
communication,
informing
advocating
for
all
of
that
and
that's
not
exactly
the
same
as
marketing,
and
we
definitely
need
the
whole
range.
So
we
don't
want
to
just
focus
on
marketing
and
not
consider
that
we
need
all
the
other
forms
of
communication
to.
O
I
would
just
say
on
the
note
of
communications
I
think
whatever
we
do,
a
shared
language
is
really
going
to
be
important.
I
know
we
talked
about
like
not
defining
and
boxing
us
in,
but
I
feel
like,
sometimes
because
artists
are
subjective
and
kind
of
in
the
eye
of
the
beholder.
We
need
to
adopt
a
share
language
around
like
what
it
is
that
we
really
mean
when
we
are
communicating
to
the
public
or
to
the
powers
that
be.
O
So
you
know
for
our
group,
we
thought
it
was
really
important
to
be
inclusive
in
the
language
right,
so
lgbtqia
historically
marginalized.
What
are
those
actually?
What
do
those
terms
actually
mean?
Who
are
we
speaking
to
and
so,
as
we
think,
about
communication
strategies,
as
we
think
about
marketing
mediums
just
making
sure
that
we
come
up
with
like
shared
language,
so
that
we're
all
on
the
same
page.
E
Joy
with
it
me
since
then
so,
for
example,
the
examples
that
you
just
shared,
if
the
if
your
task
force,
is
finding
those
terms
in
certain
ways
that,
like
you,
did
you
had
one
slide,
that
was
defining
the
values.
So
that
was
what
you
specifically
meant
by
those
values.
So
if
there
are
ways
that
certain
like
task
forces
are
defining
certain
things
that
are
in
their
strategies
or
priority
statements,
it
would
make
sense
to
ask
the
task
forces
to
offer
those
definitions
so
that
then
the
Steering
group
can
actually
look
at
them.
E
Understand
them
see
if
we're
all
on
the
same
page
about
them
and
then
because
I
think
what
you're
saying
when
I
hear
you
saying
anyways
having
a
common
understanding
of
what
is
meant
by
what's
in
this
plan
is
going
to
be
essential.
If
we're
going
to
actually
make
progress
on,
you
know,
have
the
plan
be
understood
and
implemented,
and
so
then
we
would
I
would
think
we
could
an
appendix
would
be
a
terminology.
Yeah,
that's
in
the
plan,
and
it's
not
just
technical
terms
like
what
is
a
cultural
plan
yeah
or
an
option
culture
plan.
T
I
think
another
observation
that
I
I'm
kind
of
remembering
now
is
that
there
was
there's
a
spectrum
here
of
like
standardization
to
kind
of
not
the
kind
of
ad
hoc.
If
you
will
so
the
standardization
being
exactly
what
you
just
talked
about
anything
from
language
to
Quality,
to
anything
from
language
to
Quality.
Take
those
two
to
the
level
of
the
definition
of
art.
Can
we're
not
trying
to
put
that
in
a
box
right
so
moving
along
and
things
can
be
closer
to
this
end
of
the
spectrum
or
closer
to
that
one.
J
H
R
R
You
know
when
we're
looking
at
task
force.
Six,
that's
an
overarching
answering
the
question
of
you
know:
how
do
we,
you
know
what
it?
How
do
we
get
to
these
non-consumers?
How
do
we
get
people
excited
about,
knowing
that
this
is
a
cultural
piece,
but
I
think
when
we
think
about
what
you
have
to
do
in
education
or
what
you're
having
to
do
from
an
equity
lens
I
mean
those
are
different.
R
J
R
A
communication
strategy
right
well
I,
mean
I,
mean
I,
don't
think
you're
looking
at
I,
wouldn't
I
wouldn't
expect
you
to
look
at,
especially
since
we're
saying
that
there
is
this
decentralization.
So
the
way
Justin
Pierce
is
going
to
communicate
through
CMS
about
arts
and
advocacy
programs
is
very
different
than
the
way
we
might
approach
a
communication
to
a
historically
black
neighborhood
or
to
the
LBT
I
mean
all
of
these
parties
are
going
to
have
different
Communications
communication
strategies,
which
is
inherently
different
than
marketing
from
a
standpoint.
R
E
I
I
think
I
understand
what
you're
saying
and
I
guess
if
I'm
going
back
to
I,
think
what
I
heard
you
saying
Meg
is
that
there,
if
we're
thinking
of
the
various
types
of
communication
that
need
to
be
covered,
I
guess
by
the
plan,
then
there
I
think
that
there
needs
to
be
some
place
where
what
you're
talking
about
within
and
maybe
it
is
priority
six.
But
it's
a
subset
like
it's
one
strategy.
I,
don't
know.
R
T
T
T
T
T
So
so,
yes,
here
you
see
the
description
of
what
it
is,
of
course,
but
then
moving
into
the
steps.
So
the
steps
are
your.
How
what
is
this-
and
this
is
Matt
when
you
were
saying
this-
is
going
further
into
the
steps,
because
you've
reviewed
your
worksheet
number
two
and
then
right
over
the
cost
estimate,
and
we
want
the
one
dollar
sign.
Two
dollar
sign:
three
dollar
sign:
four
dollar
sign.
T
You
know,
unless
you
know
like
broadly,
but
unless
you
know
specifically
but
broadly,
this
is
what
we're
looking
for
for
the
the
cost
estimates,
the
outcomes
and
the
outputs.
This
is
really
important.
What
is
the
desired
in?
So
what
are
you
going
to
produce?
What's
the
output
what's
going
to
be
different
from
where
we
are
before
outcome
and
what
you
hope
is
going
to
happen
in
the
long
term
as
a
result
of
the
strategy?
So
that's
your
impact.
Okay,
so
we're
we're
asking
now.
T
This
is
how
you
are
defining
your
success,
the
outcomes
and
the
outputs
who
needs
to
be
involved.
So
that's
what
we
have
always
been
talking
about:
the
leadership
and
the
partners
and
the
stakeholders,
the
resources-
and
this
is
where
I'm
thinking
we
can
add
in
this
question
about
the
communications.
T
B
E
Instead
any
person
whether
it's
like
April
or
you,
Joy
or
me
or
Meg.
You
know,
if
we're
plugging
into
a
certain
aspect
of
a
certain
step
within
any
of
the
priorities.
We
just
need
to
be
able
to
have
understood
it
well
enough,
then
we
can
communicate
to
our
Network.
So
my
Network's
going
to
be,
like
you,
said
different
than
your
network
different
than
khalil's
Network
right,
but
I
I
just
feel
like
getting
that
granular
in
terms
of
that
particular
communication
strategy
is
going
to
be
difficult.
We
need
to.
T
R
I
think,
from
my
perspective,
the
easy
fix
is
under
resources.
You
just
need
to
you've
got
examples
of
funding
people
equipment
space.
You
need
to
add
communication
like
what
that's
a
resource
right
like
what
is
the
communication
that
there's
something
that's
going
to
have
to
happen
from
all
I
mean
or
just
going
back,
I
mean
to
some
of
them.
Specifically
I
don't
mean
to
pick
on
the
education,
but
the
education,
one
very
specifically,
is
going
to
need
to
be
able
to
communicate
directly
to
schools
or
through
CMS
or
through
the
CMS
channels
or
stuff.
R
X
I
mean
in
our
particular
case,
the
the
communication
about
the
importance
of
Arts
education,
what
it
provides,
how
it
furthers
a
person's
development
or
community's
development.
That's
the
number
one
thing
on
our
list.
Like
that's
our
number
one.
That's
our
number
one
strategy.
You
know
because
we
feel
like
before
you
do
anything
you
have
to
lay
the
foundation
for
building
whatever
you're
going
to
build
and
that
Foundation
is
to
me
always
what
is
the
value
of
this
if
the
Arts
or
Arts
education?
What
is
the
value?
X
J
X
Gets
back
to
the
funding
too
the
corporation,
whatever
exactly
all
those
all
those
audiences
they're,
still
the
basic
question
like:
why
should
they
care?
Why
should
they
invest?
Why
should
they
participate?
Why
should
they
vote
whatever
it
is?
Why
is
the
is
the
Connecting
Point
there
right
right
so.
U
From
our
I
mean
our
our
group,
Equity
I
mean
art
is
an
equalizer
right,
I
mean
to
extend
upon.
You,
know
we're
trying
to
build
equity
within
funding
and
opportunities,
but
also
art
itself,
creators
of
art.
Once
you,
you
know
it
is
an
equalizer
when
you
experience
it
in
its
fullest.
You
know
way
so
I
mean
that's.
One
of
the
I
mean
as
far
as
communication
right.
T
Okay,
so
this
is
what's
called
a
robust
discussion
and
we
have
a
good
opportunity
here.
So
Julie
has
been
taking
copious
notes.
We
have
and
I'm
not
ending
the
conversation
at
all
I'm
just
I
actually
am
thinking
I
think
people
are
like
okay.
What
do
we
do?
We're
just
at
a
pause
point.
We're
still
work.
T
E
L
E
Want
to
go
back
real,
quick
to
that
yeah,
so
I
am
noticing
and
I'm
gonna
I'm
gonna
suggest
we
ask
Task
Force
One,
especially
putting
on
the
spot
a
little
bit,
but
this
this
is
the
questions
for
the
whole
group,
but
especially
Task
Force,
One
I'm,
realizing
that
the
ranges
we
have
in
here
are
I
think
not
high
enough
for
this
city.
I
think
these
were
in
here
from
the
example
correct
that
we
used
from
Kingston
that
people
have,
which
is
a
much
smaller
City
correct.
E
T
Q
Q
Based
on
what
you're
asking,
if
you're
asking
for
the
task,
our
task
is
to
go
and
talk
to
influencers
right
about
I
think
we
could
get
20
million
dollars
in
a
year
for
a
year
from
now.
All
that
costs
is
time.
That's
two
or
three
people
having
a
conversation,
if
you're
talking
about
executing
some
of
these
ideas
and
I'll
use
the
space
as
the
example
you're
going
to
create
a
Cultural
District,
literally
in
the
hundreds
of
millions
of
dollars
right
so
I,
you
know.
S
H
Q
K
Q
J
Q
E
E
Right
to
getting
there
exactly
and
so
you're
filling
out
one
of
these
per
strategies.
So
let's
say
you
have
five
strategies:
You're
Gonna,
Fill
out,
fiber
sheets,
okay
and
yes,
you're
putting
a
dollar
sign
next
year
and
some
so
again
there
may
be
a
step
that
costs
almost
no
money
right
and
then
there
may
be
a
step
that
costs
500
million
dollars
again.
O
E
E
K
Committee
is
that
one
you're
talking
how
do
we
have
funds
for
operations
for
individual
artists
and
the
annually
funding
groups,
blah
blah
blah?
So
that's
sort
of
like
the
12
million
we're
using
now
then
we'll
have
some
other
conversations
that
are
about
Capital
dollars,
correct
and
and
I
would
say,
put
a
c
next
to
those
because
they
are
not
the
same
as
annual
dollars
to
support
the
ecosystem
of
the
Arts
totally
agree.
Yeah
absolutely.
E
E
Q
Q
T
J
Q
Q
J
Q
That's
not
a
rhetorical
question
right:
it's
a
city!
It's
a
it's,
a
city
staff,
it's
a
city,
city
manager,
maybe
the
county
manager,
although
they're
not
represented
here,
it's
corporations
like
the
one
I
used
to
be
in
and
you're
in
it
and
I
can
tell
you
right
now.
If
you
walked
in
a
room,
there
isn't
they're
in
a
corporation,
that's
going
to
write
you
a
check,
because
you
don't
have
a
plan.
Q
I
know,
I,
know
we're
working
on
a
plan,
I
guess
when
I
I
guess
what
I'm
saying
is
I
think
you
have
to
take
this
in
steps
and
sections
and
right
now
we
have
to
produce
a
a
plan
that
people
will
buy
into
to
write
the
next
check.
Otherwise
there
aren't
going
to
be
the
groups
around
the
table
to
go
to
the
next
step.
Hi.
T
Q
T
T
Q
What
are
you
proposing?
The
first
I
think
the
first
step
is
decide
how
much
money
you
think
you
need
to
keep
the
group
stable
to
address.
Keep
the
37
groups
stable
that
we
have
today
take
care
of
the
mid-sized
groups,
solve
the
equity
problem
and
have
a
big
big
chunk
of
money.
That's
for
individualized!
That
would
be
my
first
step
say
this
is
what
we
think
it
takes
on.
An
annual
basis
sustain
what
we
have
I'd
get
that
first
and
then
I'd
say
now.
Q
K
I
think
I
think.
The
thing
that
we
have
to
be
careful
of
is
what
and
I
think
Charles
has
said
it
well
is
that
we
got
here
because
there
was
a
sense
by
the
city
manager
and
others
in
the
community
that
we
hadn't.
We
were
not
able
any
longer
to
sustain
the
arts
groups
and
the
artists
that
we
already
had
that
we
were
in
a
deficit
funding
situation.
K
So
that's
why
this
was
created
and
and
so
when
we
go
back,
we
have
to
ask
for
what
we
need
to
get
stability
and
some
growth
in
the
second
and
above
and
beyond
that.
That
part
we
have
to
be
able
to
sell
and
what
I
call
the
now
time
period,
and
then
we
have
to
have
the
longer
term
Vision
that
looks
at
how
funding
needs
to
occur
over
the
next
five
to
ten
years.
That
includes
facilities,
and
then
how
will
they
be
funded
for
maintenance
and
all
the
things
they
need.
E
I
think
I
hear
what
you're
saying
and
I
guess
what
I
think
is
what
both
of
you
are
talking
about.
All
of
you
are
talking
about
is
actually
addressed
in
the
phasing,
because
the
plan
needs
to
have
these
tiers
and
phases
exactly
the
plan.
The
full
vision
should
be
there.
So
let's
also
remember
that
the
reason
this
plan
is
happening
and
I
think
I
think
what
the
funding
Partners
also
signed
on
to
was.
E
When
city
council
called
for
this
public
primary
partnership,
they
also
called
for
a
long-range
vision
and
sustainable
plan
for
the
fullness
of
what
we
want
to
do.
So
we
cannot
the
call
the
the
mandate
that
we
as
staff
and
The
Advisory
Board
have
received
to
move
on
is
not
a
bite-sized
salt
one
little
thing.
K
R
Sustainability
is
the
most
critical
piece
right
now
and
that
we
can
have
all
these
wonderful
amazing,
great
ideas
and
have
plans
for
them.
But
the
the
most
important
thing
right
now
is
a
plan
for
stability
is
to
be
able
to
go
and
say
this
is
this
is
the
minimum
which
we
know
is
more
than
12
million
dollars.
But,
yes,
we
know
it's
more
than
12..
Let's
just
put
it
there
because
we
see
how
much
we've
got
12
we've
got
12
a
year
for
the
last
three
years
and
we
see
how
much
more
requests
we're
getting.
R
K
E
And
it
can
be
so
clearly
year,
one
has
got
to
be
those
things
that
are
about
stabilizing
and
sustaining
everybody
across
the
sector
and
also
I'll
just
note
clearly
amongst
not
even
just
The
Advisory
board,
but
also
the
Steering
group
and
the
broader
task
forces.
There
are
differences.
I
mean
you're
going
to
hear
we
sh.
We
know,
we've
already
heard
a
range
of
opinions
on
what
is
needed
for
sustainability.
There's
we've
got
narrower
views,
we've
got
broad
views,
but
I
think.
E
What's
something
we've
also
learned
from
listening
to
almost
3
300
people
across
this
community
is
we
need
to
trust
people
to
know
what
they
need
to
be
stable
and
to
sustain,
and
that's
individual
artist,
creatives
and
groups
of
all
sizes,
large
medium
small.
So
it
sounds
to
me
like
each
task
force
needs
to
think
when
you're
completing
the
cost
ranges
and
the
phasing
the
timelines
for
the
things
you're
recommending
the
things
that
Charles
and
Cindy
are
talking
about,
which
is
what
are
the
things
that
need
to
happen.
First,
within
our
priority
area.
E
K
Yeah
and
I
think
you
have
in
the
you
have
in
the
form
other
than
the
numbers.
You
have
the
right
things.
What
is
this
strategy?
What
is
this
priority?
The
strategy
cost?
Yes,
what
do
you
think
it
costs
and
what
time
frame
does
it
cost
and
and
I'm
just
going
to
tell
you
when
we
do
all
that
work,
we're
going
to
be
way
past
what
elected
officials
would
fund
so
we're
going
to
have
to
reality
frame
it
that.
T
U
U
R
And
I
I
agree
with
what
Cindy's,
who
said
I
mean
we're
not
saying
not
dream
big,
but
we're
also
saying
we
have
to
have
a
reality
lens
on
what
it's
going
to
cost
I
mean
I.
Think
all
of
these
things
are
important
to
have
in
the
Strategic
plan
and
I
know
you
specifically
Doug
can
tell
can
say
we
can
say
you
know
a
facility
or
whatever
is
going
to
cost
X
and
five
years
from
now,
it's
going
to
cost
100
times
x
because
of
the
way
inflation
everything's
going.
R
So
so
we
can
have
these
plans
I,
don't
I
mean
again
we're
not
Chicago
I,
think
we
don't
have
Chicago's
money
but
or
we
don't
have
the
cultural
facilities,
but
I
don't
see
how
we
can
put
money
on
the
big
picture.
I
know
we
can
put
money
on
what
we
need
for
the
next
three
years.
We
can
put
money
on
that
I,
don't
know
how
you
I
think
we
put
the
big
ideas
out
there
because
we
need
to
show
there
is
a
vision.
R
R
I
mean
I
I,
just
I
have
a
really
struggle
with
putting
a
number
2
billion,
whatever
it
is
on.
What
the
big
thing
is
because
I
know
these
elected
officials
and
where
their
heads
gonna
go
and
I
know
these
corporations
and
I
know
how
tight
every
corporate
budget
is
right
now
it's
just
reality.
I
mean
it's
just
reality.
There's
there's
nothing
wrong
with
dreaming
big,
but
this
is
not
a
market.
R
T
Hearing
what
you're
saying
one
thing
I
also
heard
about
for
your
from
the
communications
planning
perspective,
especially
number
six-
is
around
this
first
year:
Communications,
not
just
yeah,
you
know
not
not
marketing
for
sure,
but
what
is
that
Communications
and
I
guess?
My
question
to
you
is
from
your
perspective:
do
you
think
it
lives
in
number
six
that
the
communications
plan
for
this
first
year
is
almost
even
its
own
call
out.
R
Probably
I
mean
to
me
the
most
important
thing:
I
just
go
back
to
to
me.
The
most
important
thing
is
figuring
out
how
why
the
non-consumers
are
not
consuming.
That
is
the
number
one
thing
if
we're
going
to
increase,
earned
Revenue.
If
we're
going
to
sell
more
tickets,
if
we're
going
to
get
more
people
to
come,
we
have
to
figure
out
why
they're
not
coming
because
the
people
who
love
the
symphony
go
to
the
symphony.
The
people
who
love
the
ballet
go
to
the
ballet.
The
people
who
love
shows
go.
T
They
told
us
in
in
a
lot
of
different
ways
now
I
agree.
It
needs
to
be
continually
fed
that
information.
Does
we
in
this
process
ask
exactly
those
questions
and
pared
it
back
that
what
we
heard
very
much?
They
felt
barriers
they
had
all.
So
these
priorities
speak
to
exactly
those
things
of
why
people
are
not
participating
in
culture
in
different
ways,
but.
R
I
go
back
to
saying
this
is
a
really
big
city
of
a
lot
of
people
who
are
not
consuming
art
right
now,
and
so
they
wouldn't
have
gone
to
your
sessions
and
they
wouldn't
have
filled
out
forms,
and
if
we
want
to
get
the
money
that
we
need
to
get
to
make
the
big
Vision
happen
and
to
make
us
a
cultural
destination,
we
have
to
change
people's
minds
who
are
not
consuming
art
right
now,
or
we
have
to
figure
out
how
to
get
them
to
consume
art.
There's
no
other
way.
R
T
There's
a
lot
of
places
where,
when
you're
saying
we
didn't
3
300
people
is
not
the
popular,
not
the
population.
I
understand
it
was
a
representative
sampling,
100
understanding.
What
you're
saying
that
said
when
we
got
the
representative
sampling,
they
did
tell
us
some
things
and
through
that
we
got
the
priorities
and
we're
able
to
move
forward.
T
So
I
understand,
I,
appreciate
your
passion
for
making
sure
this
happens,
so
I
think
in
answering
the
question
the
road
to
the
city
council,
and
what
we
hear
is
that
that
first
year,
this
first,
this
initial
piece
you
got
between
tomorrow
or
May,
26th
and
June
6th
to
get
to
that
second
worksheet
and
what
is
necessary.
Now
we
have
to
figure
out
on
the
dollar
signs,
but
we
know
for
the
first
year.
That's
what
you're
asking
how
much
it's
going
to
cost
in
that
first
year.
E
Q
T
Q
Without
that
we
don't
have
a
system,
we
don't
have
and
I
know.
This
is
part
of
the
plan,
but
that's
what
we've
got
to
get
to
soon
big
Vision
can
I
think
come
later
with
a
lot
of
other
salesmanship
marketing
communication
education
to
build
this,
the
Grand
City,
but
I-
think
we
kind
of
got
to
face
reality
that
groups
having
to
live
in
them
out.
Q
Q
Q
T
What
you
said
before
I
see
people
hacking
up
so
I
want
to
ask
you
to
do
a
final
offer
to
the
final
thing
for
me
on
the
tables
over.
There
are
each
of
the
strategies
under
the
priorities,
so
there's
one
or
two
sheets
per
priority
or
task
force.
I
only
want
you
to
eat.
Don't
cheat
I
only
want
you
to
use
the
green
or
the
yellow,
because
we
want
to
understand
the
strategy.
If
you,
if
it's
green,
it's
green
light,
the
strategy
is
clear,
ready
to
be
further
developed
in
worksheet
number
two.
T
This
is
what
you
are
walking
around,
particularly
walk
around
to
other
task
force.
This
is
the
big
Point
walk
around
to
other
task
forces
or
priorities,
not
the
ones
you
were
sitting
on.
If
you
give
it
a
Green
Dot,
you
know
you
can
write
a
com,
there's
sticky
notes.
You
can
also
write
a
comment
if
you
would
like
that's
that's
wrong.
It's
a
dream.com
I
mean
this
is
clear,
no
questions.
It
looks
good,
go
on
to
worship
number
two,
the
yellow
dot
is
caution.
Yellow
dot
means
it
needs
further
clarification.
T
The
yellow
dot
could
also
mean
there's
overlap,
the
yellow
dot.
Please
make
sure
to
write
on
your
sticky
note
what
the
question
is
and
also,
if
you
can
put
your
name
so
that
we
can
identify
whose
comment
is
from
so
that
we
can
understand
and
the
we
but
and
more
importantly,
the
task
force
chairs
and
those
task
forces
can
see
what
the
comments
are.
Okay,
so
green
and
yellow
and
comment
put
the
comments
on
the
sticky
notes.
T
K
J
S
E
T
Could
just
kind
of
peruse
it
was
really
to
the
same
point
of
people
giving
feedback
in
different
ways
right.
You
want
to
have
an
opportunity
to
talk
to
people
who
were
part
of
these
conversations,
so
this
is
a
good
time
to
be
able
to
do
that.
To
provide
your
your
written
feedback,
you
can
always
write
it
on
the
survey,
so
I'll
be
able
to.
M
E
T
E
If
you
also,
if
you're
not
if
you
haven't
been
able
to
take
the
survey
yet
which
I
know
most
of
you
haven't,
because
as
of
this
morning
or
last
night,
six
people
had
taken
surveys.
So
if
you
haven't
been
able
to
take
it
yet,
and
you
think
you're
not
going
to
be
able
to
take
it
tonight
or
tomorrow
morning,
before
10
a.m,
which
we've
done
teeny
little
extension
I
think
with.