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From YouTube: Arts & Culture Committee Meeting : September 27, 2021
Description
Charlotte City Council Arts & Culture Committee Meeting from Monday, September 27th. To learn more about this committee please visit:
https://charlottenc.gov/CityCouncil/Committees/Pages/Arts-and-Culture-Committee.aspx
A
A
A
A
B
I'm
sorry
to
everybody
that
joined
us
on
friday
when
we
weren't
able
to
get
our
webex
issues
figured
out.
So
we
apologize
about
that,
but
we're
glad
that
we
could
get
it
together
for
this
morning.
So
thanks
everybody
who
has
been
patient
with
that
I'm
going
to
go
ahead
and
introduce
first,
the
committee
and
then
the
other
staff
members,
including
our
new
arts
and
cultural
commissioners.
So
we're
excited
about
that.
So
I'm
julie,
eisel,
serving
as
mayor
pro
tem
and
at
large
and
chair
of
the
committee.
B
Okay
with
that
we're
gonna
go
ahead
and
just
get
started
this
morning.
We
really
we
have
two
things
that
we
want
to
cover
this
morning.
The
first,
of
course,
is
our
presentation
by
our
new
commissioner.
We're
really
excited
that
you're
here
and
we're
going
to
give
you
that
opportunity
in
a
moment,
and
then
the
second
will
be
council
committee.
Members
will
just
have
a
brief
discussion
on
what
our
next
steps
are,
with.
B
G
Sure
good
morning
committee,
so,
as
you
can
see
the
agenda
today,
priya
will,
you
know
specifically
talk
through
some
of
the
history
about
the
arts
and
culture
advisory
board
and
then
some
of
her.
You
know
considerations
from
her
professional
point
of
view.
You
know
as
having
been
involved
in
this
work.
I've
been
taking
a
look
at
some
of
the
best
practices
from
a
couple
of
other
cities
and
priya
joins
us.
I
think
this
is
her
second
week,
and
so
she
joins
us
from
the
knight
foundation.
G
H
Thank
you,
julia
and,
and
thank
you
mayor,
pro-tem
and
city
council
members
and
everyone
for
your
warm
welcome.
I
am
so
excited
to
be
here
and
and
part
of
the
city
of
charlotte
team
julia.
This
is
at
the
beginning
of
my
third
week,
and
so
I
I
have
two
whole
weeks
under
my
belt,
but
I
I'm
excited
because
this
is
my
first
week
here
on
the
grounds
in
charlotte
in
person
and
and
I'm
thrilled
to
be
here.
H
H
Thank
you
and
if
you
could
just
go
to
the
next
slide,
thank
you.
So
here
we
just
wanted
to
include
a
brief
recap
of
kind
of
the
high
level
structure
that
was,
I
believe,
discussed
at
your
june
meeting,
so
just
kind
of
to
have
everyone
on
the
same
page
before
I
share
some
additional
information,
so
here
you
can
see
the
structure
of
the
board
and
the
appointments.
Everyone
will
serve
a
one
one
three
year
term.
H
You
can
see
here
a
bit
of
the
mix
of
folks
who
typically
would
be
represented
on
a
board
we'll
get
more
into
that
in
a
moment,
and
the
mayor
avoids
the
chair
next
slide.
Please
thank
you.
So
this
slide
I
wanted
to
share
some
overall
functions
and
typically
the
responsibilities
of
some
different
entities.
So
here
you'll
see
the
advisory
board
and
you
know
in
other
cities
and
communities
that
can
be
called
something
different.
H
Sometimes
it's
commission
oftentimes
it
is
a
board
or
a
council,
so
this
is
the
entity
that
will
guide
the
overall
direction.
This
is
more
of
a
directional
strategic
guidance,
of
course,
very,
very
important,
and
among
the
things
that,
of
course,
the
advisory
board
will
be
helping
to
oversee
the
direction
of
is
the
upcoming
cultural
planning
process
and
overall
support
of
arts
and
culture
in
charlotte,
and
they
do
approve
and
discuss
funding
allocations.
H
So
here
you'll
see
on
the
right.
These
grant
reviewers
typically
recruited.
You
know
by
the
community
or
in
our
case
by
the
city
staff,
with
input
from
that
advisory
board,
and
those
are
the
folks
who
will
review
score
and
discuss
proposals,
and
they
will,
you
know,
score
them
based
on
criteria
that
we
come
up
with
together.
You
know,
certainly
the
advisory
board
will
be
advising
on
well,
what
are
the
criteria
that
are
important?
You
know
for
the
city
of
charlotte.
H
What
are
the
goals
where
that
we
have?
What
are
the
objectives
that
we
have
and
then
we'll
work
in
terms
of
the
staff
with
that
board
to
to
recommend
and
come
up
with
a
scoring
criteria?
Recruit,
you
know,
grant
reviewers
from
the
community
sometimes
folks
will
be,
might
be
practitioners
from
elsewhere
as
well.
Sometimes
it's
helpful
to
get
kind
of
a
nice
mix
of
perspectives
within
particular
artistic
disciplines,
but
also
with
a
local
perspective.
So
there
are
different
ways
that
different
communities
structure
these.
H
But
the
main
thing
here
is
that
there,
the
actual
scoring
and
discussion
of
proposals
for
grants
is
separate
from
the
advisory
board
that
oversees
overall
direction,
and
then
you
have
potential
or
optional
advisory
groups,
and
these
can
be
called
all
kinds
of
different
things
depending
on
the
community.
But
this
is
basically
another
way
for
folks
who
are
knowledgeable
and
interested
in
and
passionate
about
arts
and
culture
to
be
involved.
So
just
as
an
example
you,
you
might
have
an
artist
advisory
committee
or
artist
advisory
group,
and
this
could
be
artists
and
creatives.
H
H
You
know
a
working
practicing,
artist
or
creative
in
charlotte
right
now
and
and
what
are
some
insights
that
they
could
share
to
help
the
advisory
board
and
the
city
staff
to
you
know
to
propose
or
develop
activities
to
to
support
there
to
support
the
practice,
and
so
here
you
know
just
kind
of
offering
up
the
different
types
of
entities
for
you
to
consider
as
ways
that
people
can
be
involved
in
helping
shape
the
future
of
arts
and
culture
next
slide.
Please.
H
So
here
these
are
just
some
sort
of
I
would.
I
would
call
these
key
principles
or
structural
considerations
to
keep
in
mind
in
terms
of
what
we
usually
see
as
best
practice
in
various
communities.
So
again,
I
think
one
of
the
keys
is
to
have
separate
grant
review
panels
doing
that
scoring
and
discussion
of
specific
proposals.
Another
thing
I
wanted
to
mention
is
with
the
grant
review
panels.
Those
do
tend
to
change
out.
So,
for
example,
you
could
have
panels
a
change
annually.
H
You
could
even
have
different
panels
depending
on
the
funding
mechanism,
so
just
making
this
up
for
as
an
example
for
consideration,
but,
let's
just
say,
there's
a
particular
funding
opportunity
and
it
has
to
do
with
performing
arts,
but
you
might
assemble
a
grant
panel
of
folks
who
are
very
well.
You
know
well-versed
in
the
performing
arts
and
then,
let's
just
say,
there's
another
funding
opportunity
it
might
have
to
do
with
the
visual
arts
or
literary
arts.
H
You
know,
then,
you
might
assemble
a
panel
that
is
very
well
versed
in
that
it
doesn't
have
to
be
structured
that
way,
but
the
nice
thing
about
it
is,
you
can
assemble
panels
that
are
particularly
well
suited
to
the
type
of
funding
you're
offering
and-
and
it
also
allows
for
these
panels,
perspectives
to
evolve
as
the
arts
change
in
charlotte.
You
know
as
as
time
goes
on
or
as
different
opportunities
come
up.
H
So
it
is
pretty
standard
across
communities,
for
you
know
both
the
board
members
or
would
you
know
board
members,
commission
members
that
overall
guiding
body
to
you
know
complete
conflict
of
interest
statements
and
the
panelists
would
do
so
as
well,
so
the
grant
panel
reviewers
would
complete
those
conflict,
adventure
statements
and
as
well
in
discussion.
You
know
we,
the
city
staff,
who
would
be
working
with
these
bodies.
We'd,
have
those
interest
statements
in
a
conflict,
dimension,
statements
in
front
of
us
and
also
in
discussion
we'd
ask:
does
anyone
have
any
other
potential?
H
You
know
conflicts
of
interest
that
they
you
know
should
should
make.
The
group
aware
of
folks
will
do
that
at
the
beginning
and
then
during
the
discussions,
certainly
during
grant
conversations
if
a
particular,
if,
if
a
panelist
has
an
affiliation
with
an
applicant
that
could
be
a
potential
conflict
of
interest,
they
would
recuse
themselves
from
the
scoring
of
discussion.
So
they
wouldn't
even
score
the
proposal.
H
They
wouldn't
be
in
the
room
for
the
discussion
they
would
step
out
and
and
come
back
in
when
the
time
was
right
when
when
that
discussion
was
over-
and
so
the
last
piece
here
is
that
the
funding
is
based,
usually
on
an
algorithm
that
you
know,
matches
the
priorities
of
that
particular
community.
So
in
this
case
again
with
the
board's
guidance
we
would
develop.
H
You
know
what
are
the
priorities
for
the
city
of
charlotte,
especially
for
whether
it's
overall
priorities
and
or
particular
priorities
for
a
funding
opportunity
and
then
the
scoring
would
be
devised.
You
know
the
scoring,
I
should
say
design
that
should
be
developed
based
on
those
priorities,
and
then
there
could
be
other
priorities
too.
You
know
it
might
be
that,
in
addition
to
the
scores
that
are
yielded
by
that
grant
review
process,
there
might
be
other
things
where
the
board
is
looking
at.
H
H
H
You
know
so,
as
you
think,
about
the
18
member
board,
you're
looking
for
a
mix
of
artists
and
creatives
arts
and
cultural
organizations
of
you
know
all
different
types
and
sizes,
and
also
of
other
folks
who
are
not
necessarily
within
arts
and
culture,
but
who
are
really
well
versed
in
arts
and
culture,
for
example,
and
also
with
the
community.
So
here
underneath
I've
just
listed
a
few
different
sort
of
sectors
or
realms,
or
you
know
areas
of
expertise
that
you
might
have
the
reason
being
a
lot
of
times.
H
As
you
all
probably
know,
there
are
other
sectors
and
other
types
of
work
that
intersect
with
arts
and
culture.
I
mean,
in
my
experience,
arts
and
culture
touches
pretty
much
everything.
So
here
you
could
have
folks
who
you
know
are
involved
in
education
and
they're,
really
they
maybe
they
have
had
a
long-standing
partnership
with
various
arts
and
cultural
organizations.
So
we
have.
H
So
you
know,
fortunately,
we
have
very
recent
census
results
that
give
us
you
know
a
more
up-to-date
reading
on
well
who's
living
in
charlotte.
You
know,
wait:
where
are
they?
You
know?
Where
are
folks
in
terms
of
geography?
It's
always
helpful
to
have
a
variety
of
ages.
You
know
represented.
You
know,
cultural
backgrounds.
H
Obviously-
and
you
know,
I've
included
tenure
in
charlotte
here
as
a
consideration,
because
charlotte
is
a
place
where
so
many
people
are
moving
all
the
time
and
so
having
kind
of
a
a
variety
of
folks
who
might
be
newcomers
to
charlotte,
as
well
as
long-time
charity
and
charlotteans
born
and
bred.
You
know
having
that
mix
also
is
helpful
in
terms
of
a
range
of
perspectives.
B
D
No
thank
you.
I
I
just
want
to
say
thank
you
and
welcome
to
the
team
for
for
me,
this
was
exactly
what
I
think
was
needed
in
terms
of
guidance
to
help
us
think
about
this.
The
way
you
broke
down
the
advisory
board
and
how
they
might
interact
with
a
separate
advisory
group
or
grant
review
panel
is
something
I
think
many
of
us
are
familiar
with.
It's
something
I'd
sit
on
with
the
united
way
the
unite
here
grant
process.
D
C
C
You
should
know
I
chair
the
budget
and
effectiveness
committee,
which
is
our
governance
group
and
I'm
interested
to
know
in
a
little
more
detail
how
the
governance
of
the
committee
will
work.
What
what
is
the
real
authority?
Does
it
take
a
majority
vote
by
the
advisory
board
to
finalize
the
decision,
or
are
they
really
just
advisory
and
you
have
executive
authority?
Is
it
like
a
strong
mayor
structure?
C
H
Councilmember
drake,
thank
you
for
the
welcome
and,
and
that
is
a
great
question
I
I
am-
I
don't
know
at
this
time.
What
will
be?
What
will
be
the
the
final
say.
I
anticipate
that
something
that
we
could
determine
and
agree
on
together,
potentially
with
the
board,
or
perhaps
that
is
a
question
for
for
this
group.
You
know
to
to
determine,
but
thank
you
for
raising
that.
That
is
not
something
that
that
I
know
the
answer
to
at
this
time.
C
C
So
I
think
one
of
our
key
priorities,
as
a
suggestion
needs
to
be
to
resolve
with
the
private
funders
our
partners
here
what
the
algorithm
looks
like
so
that
we
have
consensus.
I
think
it's
fair
to
say
that
we
have
arrived
at
this
new
structure,
because
there
was
a
bit
of
a
disconnect
frankly,
and
private
funding
was
sort
of
drying
up.
C
So
we're
very
excited
that
you're
here
and
you
can
you
can
kind
of
bring
more
focus
to
the
city
funding
and
also
bring
the
private
partners
in,
but
I'll
just
mention
to
you
that
I
I
think
that
they
have
their
kind
of
goals
with
their
funding
and
we
have
ours.
As
we
get
further
into
the
conversation
you
will,
you
will
see
that
there
are
many
different
ways
that
different
members
of
like
us
and
them
might
choose
to
prioritize.
C
C
H
The
well
the
grant
panelists
are
typically
folks
who
are
coming
from
the
community
who
so
they
would
serve
for
a
particular
for
a
particular
you
know,
say:
funding
mechanism.
If
there's
a
let's
just
say,
there's
an
open
call
for
submissions
and
the
grant
panelists
would
review
those
would
review
those
and
score
them.
I
think,
as
city
staff
I
would.
I
would
anticipate
that
I
would
also
review
these
same
applications.
H
I
would
read
them
so
that
I'm
familiar
with
what
is
being
you
know
applied
for,
but
I
I
don't
anticipate,
I
would
be
scoring
them
as
city
staff.
I
think
it
would
be
most
likely
that
the
reviewers
would
be
doing
the
scoring.
I
would
read
them
so
that
I'm
familiar
with
you
know
everything
that
has
come
in
this.
These
are
things
that
we
can.
H
Certainly
you
know,
do
more
study
on
and
see
how
some
different
places
do
it
and
see
exactly
how
we
want
to
do
it,
but
I
for
me
I
feel,
like
I
would
in
my
role
I
would
want
to
be
familiar
with
what
applications
have
come
in
and
be
familiar
with
the
content
of
those.
Even
if
I
am
not
scoring
those
proposals.
B
F
It's
been
a
long
time
coming
as
we
in
this
committee
and
then
the
broader
council
worked
to
to
set
the
stage
for
this,
so
it
is
exciting
time.
I
just
throw
you
a
couple
things
to
start
thinking
about
and
I
think
we'll
all
be
working
together
from
this
point,
we
were
very
thoughtful
about
one
designing
certain
aspects
of
this
for
certain
certain
reasons,
but
two
not
getting
too
far
ahead
of
you
arriving
here
to
have
that
stamp
there.
So
it
was
a
balance
and
I
think
we
did
a
pretty
good
job
striking
it.
F
So
now
I
think
this
is
where
you
hitting
the
ground
sprinting.
Can
we
can
kind
of
answer
some
of
these
questions
on
in
relation
to
the
board
of
advisors?
I
think
what
we
need
right
away
is
a
bit
of
a
charter
that
we
establish.
We
can
weigh
on
in
on
a
few
things
one
of
the
things
that
was
very
important
in
our
conversations
early
on
was
you
know
the
the
the
strength
of
the
role
that
you
sit
in.
I
F
Something
where
you
know
when
building
a
startup
almost
what
this
is
and
looking
at
it
to
disrupt
the
old
model.
We
needed
to
provide
you
with
all
the
inputs
and
all
the
kinds
of
expertise
you
could
have,
but
also
then
make
sure
we
didn't.
You
know,
tie
one
hand
behind
your
back
so
you'll
see
a
lot
of
the
spirit
in
this
design.
F
F
F
F
And
then
I
think
the
ed's
point
on
the
private
sector
is
another
thing
and
I
think
some
of
that's
on
us
right.
We
lay
out
macro
strategy,
kind
of
vision,
items
that
we
want
to
achieve
outcomes
on,
and
then
you
take
those
and
bake
it
into
your
strategic
plan.
So
so
I
hope
those
things
kind
of
make
sense
be
glad
to
talk
to
you.
I'm
sure
we're
all
going
to
have
time
to
talk
to
you
offline
and
things
like
that,
but
yeah
now's
the
time
so
welcome.
E
I
E
Thank
you
after
a
couple
days,
you'll
be
a
charlotte
team
for
real,
so
welcome.
Welcome
to
the
city,
I
guess
you
know
everything
you
laid
out
makes
really
really
good
sense
to
me.
I
do
a
lot
of
work
with
the
foundation
for
the
carolinas
and
a
different
act
that
I
wear
another
city
council
had
and
the
refusal
process
is
really
simple
easy.
E
It
makes
sense
right
when
something
comes
out
in
reference
to
an
organization
that
I'm
involved,
that
I'm
simply
not
in
the
room,
don't
participate
in
the
discussion
at
all
and
you
don't
know
the
outcome
until
it's
released
and
published.
So
I
I'm
very
comfortable
with
that.
I
I
did
want
to
kind
of
hear
your
your
thought,
though,
in
reference
to
the
performing
arts
right
concerts
and
facility
management
that
may
not
like
spectrum
arena
where
we
might
get
shuttles
and
broadway
plays,
etc.
E
H
E
We've
been
kind
of
married
to
this
structure
of
the
the
arts
and
science
council
and
the
three
or
four
major
organizations
that
we
find
and
represent
as
well
some
minor
ones,
but
I
I
sense
a
need
for
change
and
how
we
deliver
on
arts
and
science
in
our
community,
working
with
grassroot
artists,
doing
a
lot
more
dealing
with
performing
arts
production
outside
of
the
the
uptown
area.
In
terms
of
maybe
you
know
the
university
city.
How
do
you
talk
about
those
things
and
in
your
plan
and
your
execution.
H
H
What
do
they
think
could
be
working
differently
and
for
me,
you
know
all
of
that,
meaning
the
information
gathering
in
terms
of
both
how
it's,
how
it's
been
working
operationally,
as
well
as
listening
to
people's
perspectives
on
you
know
how
how
it's
been
going
and
if
there
are
things
that
they'd
like
to
they
think
could
be
improved.
All
of
that's
part
of
the
the
listening
and
engagement
process
that
will
inform
the
planning.
H
H
That's
working,
what
are
opportunities
to
do
some
things
differently
or
to
improve
in
certain
areas,
and-
and
so
that's
one
reason-
I
think,
I'm
I'm
eager
to
do
that,
both
as
I
both
now
even
before
the
formal
cultural
planning
process
starts,
but
also
when
the
once
we're
in
the
cultural
planning
process.
That
kind
of
information
gathering
is
going
to
be
really
critical.
E
Okay,
just
a
follow-up,
madam
chairman,
your
relationship
and
your
interaction
moving
forward
would
be
the
arts
and
science
council.
They
have
done,
in
my
opinion,
a
lot
of
good
work.
They
have
a
lot
of
good
body
of
information
that
they
have.
So
what's
your
interaction
initially
with
that
organization
and
what
type
of
value
do
you
think
they
can
add
to
the
process.
H
Well,
my
interaction
with
the
asc
has
been
in
my
previous
role
with
my
foundation.
You
know
really,
as
you
know,
meeting
with
folks
on
their
team
throughout
my
time
in
my
previous
role,
to
kind
of
learn
about
their
work
and
kind
of
hear
their
perspectives
from
their
experiences
with
supporting
arts
and
culture
in
in
charlotte.
H
You
know
kind
of
learning
whatever
I
could,
especially
as
I
was
a
newcomer
to
knight
foundation
that
could
you
know,
help
me
and
our
knight
foundation,
arts
team,
think
about
well.
What
is
you
know
how?
How
can
we
support
arts
and
culture?
What
are
other
funders
you
know
in
charlotte
doing
and
then,
where
is
maybe
the
the
strategic
sweet
spot
for
night?
And
so
in
my
previous
role,
I
had.
I
H
With
you
know
a
couple
of
different,
you
know,
leaders
of
asc,
as
well
as
other
team
members
involved
in
various
projects
at
afc,
and
then
you
know
more
recently.
I
earlier
this
year
was,
you
know,
had
the
opportunity
to
participate
in
asc's
one
of
their
planning
processes,
as
they
invited
folks
from
the
community
to
kind
of
give
feedback
on
on
some
of
their
strategic
planning.
So
and
through
that,
I
have
gotten
to
meet
ase's
current.
G
H
Chris
terrell
in
a
meeting
setting
so
the
other
piece
I
would
say
so
for
me.
You
know,
I
see
asc
as
an
organization
that
has
a
long
history
of
being
involved
in
arts
and
culture,
and
so
you
know
it
is
going
to
be
a
key
partner.
And
I
have
read
the
equity
report
that
asu
released
several
months
ago,
and
I
think
that
information
is
really.
You
know
important
and
important
input
into
the
work
that
the
advisory
board
and
I
will
be
doing.
D
It's
kind
of
what
we
deal
with
is
this
council
manager
form
of
government.
So,
ultimately,
the
city
manager
is
going
to
make
the
final
decisions,
but
created
this
executive
level
position
an
expert
that
will
be
advising
him
and
therefore
us
about
the
potential
decisions
and
paradigms
that
will
be
implemented
fiscal
year
to
fiscal
year.
D
Right
so
it'll
be
very
important
for
us
as
a
council
to
really
understand
the
type
of
guidance
and
priority
setting,
as
mr
bakari
said,
that
is
set
on
a
macro
level,
a
high
level
to
give
to
the
manager
and
the
commissioner
so
that
they
can
go
and
execute
on
those
priorities
year
year.
So
I
I
don't
see
it
that
this
kind
of
governance
structure
as
being
much
different
than
anything
that
we
we
do
before
we
just
have.
We
have
to
think
of
it.
D
D
C
C
C
H
How
long
that
will
take
so
I'll
speak
from
the
point
that
I
am
more
familiar
with,
so
once
a
planning
process
is
launched
in
my
experience
that
could
take
depending
on
the
community
and
how
quickly
it
goes,
I
would
say
nine
months
to
a
year.
The
reason
for
that
is-
and
it
varies
based
on
community,
but
I
would
say,
for
charlotte
city
charlotte's
size,
which
is
a
larger
city.
H
You
know,
and
and
with
of
course,
the
the
stated
objective
of
making
sure
it's
an
inclusive
planning
process,
so
that
means
really
doing
thorough
community
engagement
throughout
throughout
charlotte.
That's
you
know,
typically,
the
part
that
you
know
takes
time
to
do
well
to
do
properly,
and
so
again
some
of
that
depends
on
just
what's
going
on
in
charlotte.
You
know
at
the
time
that
we
launch
and
kind
of
what
is
what
is
the
methodology?
H
How
extensive
is
it?
How
long
does
that
take,
but
then
you
get
into
strategy
development
after
the
broadest
portion
of
the
engagement
and
the
research.
You
know
it
involves
qualitative
and
quantitative
research
typically
and
then
the
last
piece,
which
I
think
is
really
critical
in
terms
of
what
it
looks
like
is
you
know
a
a
useful
tool
will
require
a
detailed
kind
of
roadmap
or
implementation
plan
for
how
to
execute
on
the
strategy.
H
So
you
know,
I
think
there
are
different
examples
out
there
of
cultural
plans
and
some
are
kind
of
more
high
level
at
that
strategic
framework
level,
and
others
have
that
detailed
roadmap
where
it
will,
it
will
outline
you
know,
different
tasks
and
time.
You
know
anticipated
timelines
for
accomplishing
those.
H
You
know
who
owns
different
tasks,
who
are
potential
partners
for
those
and-
and
even
you
know,
estimates
of
cost
ranges
for
for
particular
activities
to
me.
Those
types
of
documents
are
the
most
useful
tools,
because
those
are
things
that
anyone
in
the
community
can
really
just
have
like
by
on
their
desk
and
hopefully
again,
it's
a
living
should
be
a
living
breathing
adaptable
document,
but
I
would
think
you
know
mine
will
be
dog-eared
marked
up
highlighted.
H
You
know,
and
it's
something
that
you
you
really
want
to
use,
but
you
can
only
do
that
when
you
have
some
detail
and
again
you
revisit
it
and
you
change
it.
But,
but
I
I
I
envision,
you
know
what
I
want
at
the
end
of
a
planning
process
is
something
as
detailed
as
that,
but
that
that
we
check
back
in
with
you
know
to
you
know
fairly
often
to
see
how
we're
doing
and
what
might
need
to
change
all
right.
Does
that
not
help?
Okay.
C
H
Sure
you
know
I'll
I'll
mention
a
couple
that
I'm
just
kind
of
a
little
more
close
to
one.
One
is
several
years
ago
the
city
of
chicago
did
a
cultural
plan,
and
I
forget
at
this
moment
which
year
it
was
launched,
but
what
I
recall
is
that
that
was
an
unusually
fast
cultural
planning
process,
just
because
it
was
the
then
mayor's
goal
to
have
it
done
by
a
certain
time.
H
You
know,
or
you
are,
with
an
organization
or
you're
with
a
partner,
a
funder.
You
know
you
can
self-report,
you
could
self-report
progress
on
something
that
was
in
the
plan,
meaning
you.
You
had
an
activity
that
related
to
this
piece
of
the
plan
and
you
could
go
on
there
and
you
could
self-report,
and
that
was
a
way
that
they
could
really
track
how
they
were
doing
on
various
tasks
by
the
end
of
year,
one
they
had
executed
on
60
of
the
plan
already
it
was
phenomenal.
H
No
that's
not
a
pace
that
you
necessarily
keep
going
with
year
after
year,
but
it
just
showed
how
they
really
kept
that
momentum
going
from
the
planning
process
and
then
used
a
tool
to
have
people
throughout
chicago
report
on
what
they
were
doing
and
and
were
able
to
see
that
they
were
actually
putting
into
practice.
You
know
60
of
the
things
in
the
plan
which
I
just
remember
was
a
really
exciting.
H
You
know
metric
a
city,
another
city
that
has
more
recently
been
implementing
their
plan
is
the
city
of
dallas
and
that
plan
was
launched
in
gosh
almost
exactly
three
years
ago,
so
it
was
launched
in
fall
of
2018
and
they
are,
you
know,
still
still,
you
know.
Moving
forward
on
those,
I
had
an
opportunity
to
catch
up
with
the
the
director
of
dallas's
office
of
cultural
affairs
just
last
week
and
or
maybe
the
week
before
she
shared
the
presentation.
H
You
know
that
she
was
going
to
be
making
the
city
council
on
how
they're
you
know
executing
on
on
the
plan.
So
it
was
great
to
see
that
you
know
there
in
that
case
here
it's
been.
You
know
three
years
and
they're
still
using
the
plan,
priorities
and
strategies
and
checking
back
in
with
them
and
reporting.
You
know
they're
evaluating
their
progress
and
they're
still
reporting
to
city
council
on
how
they're
doing
so,
it's
they're
finding
it
to
still
be
a
useful
tool.
So
I'll
just
I'll
stop
there.
C
C
If
we
take
this
amount
of
money
that
we
have
the
12
to
18
million
dollars
and
we'll
get
down
to
specifics
about
how
do
we
establish
secure
funding
for
the
major
venues
and
what
types
of
grassroots
arts
do
we
want
to
support?
You
know
not
necessarily
everybody
on
a
street
corner
with
a
chalk,
but
you
know
so
I
think
that's
the
work
that
lies
ahead,
but
I
appreciate
this
conversation
I
think
you're
very
qualified
to
lead
us
in
that
effort
and
again
welcome
to
charlotte.
I
H
B
B
That
to
me
is
our
nominations
for
what's
twofold:
one:
our
nominations
for
this
advisory
board,
and
you
pointed
out
some
categories
that
certainly
have
me
rethinking
the
six
positions
that
I
have
the
ability
to
make
nominations
for,
and
I-
and
so
I
think
one
of
the
charges
of
the
committee
of
my
colleagues
who
are
this
morning-
is
that
we
need
to
give
the
rest
of
our
colleagues
some
feedback
on
that.
With
regards
to
do,
we
have
have
we
selected
people
that
might
represent
libraries
or
parks.
B
B
I
do
think
that
in
this
next
week
we
all
need
to
be
talking
to
each
other
about
that,
because
it'll
take
six
votes
to
well,
not
necessarily,
I
think
you
know,
on
october
4th
we
have
an
opportunity
to
at
least
narrow
it
down.
Anybody
with
one
vote
or
two
votes
will
move
forward.
So
that
to
me
is
the
biggest
challenge,
but
I
I
want
to
make
sure
that
we're
we,
as
a
committee,
are
clear
this
morning
on
what
we're
recommending
you.
B
You
have
said
that
people
can
recuse
themselves
from
either
the
advisory
board
or
a
grant
panel,
and
now
the
grant
panel,
I'm
not
so
worried
about,
because
right
now,
it's
the
advisory
board
that
we
have
to
select.
So
I
guess
the
the
questions
really
for
my
committee.
Colleagues
as
to
what
we
are
should
be
the
criteria
for
selection.
That's
what
we
got
hung
up
with
two
weeks
ago
and
from
what
I'm
hearing
is.
It
is
it's
okay
to
recuse
yourself.
B
However,
the
big
question
that
we
had
is:
is
it
okay
to
select
somebody
who
individually
could
get
remuneration
in
the
form
of
salary,
some
kind
of
compensation?
I
personally
don't
feel
good
about
that.
I
don't
know
that
we
should
do
that.
It
does,
but,
as
you
pointed
out,
that
doesn't
mean
that
that
those
individuals
don't
have
an
opportunity
to
participate,
because
we
can
establish
separate
advisory
boards,
we'll
call
them
something
different
so
that
we're
not
confusing
it,
but
it's
sort
of
affinity
groups.
B
If
you
will
that
have
that
opportunity
to
provide
feedback,
some
of
those
folks
might
not
want
to
serve
for
three
years.
That's
this
is
a
big
commitment,
but
I'd
like
to
get
a
recommendation
from
the
committee
officially
to
the
rest
of
the
council.
If
you
believe
that
a
we
should
have,
we
should
exclude
people
who
would
have
direct
remuneration
from
this
process
and
b
can
board
members
volunteer
board
members
of
other
organizations
be
eligible
to
be
selected
I'll.
Just
start
it
off
that
my.
B
I
would
feel
strongly
that
somebody
who
we
appoint
does
not
get
direct
remuneration
and
we
do
allow
board
members
of
any
non-profit
if,
as
long
as
they're
a
volunteer
to
be
a
candidate
and
how
do
the
rest,
you
feel
about
that.
I'd
make
that
as
a
suggestion.
If
anybody
wants
to
second
that
or
whatever
that's
up
to
you.
C
Well,
you
know
music
is
important
too,
so
I
do
think
it's
it's
tricky
we're
not
going
to
come
up
with
a
completely
clean
answer,
but
I
think
the
idea
that
you
can't
have
a
financial
interest
and
be
on
the
board.
You
can't
be
a
potential
grant
recipient,
but
you
can't
be
a
per
an
individual
who
would
stand
to
gain
financially
from
the
awarding
of
a
grant
and
be
on.
F
F
Team
need
to
quickly
get
the
charter
done,
so
we
know
the
exact
scoping
of
the
board
of
advisors
and
how
that
will
work,
and
we
need
to
get
our
our
principles
and
our
vision
elements
together.
Alongside
the
private
sector,
so
we
know
what
players
we're
trying
to
field,
because
you
know
there
may
be
a
huge
element
of
of
you
know:
financial,
coaching
and
business
support
that
the
arts
and
culture
community.
We
very
well
know
they
need,
and
we
might
need
folks
that
are
experts
in
that
or
experts
in
facilities
that
we
own
or
whatever
right.
F
So
I
just
don't
know
how
we're
going
to
go
about
nominating
folks,
let
alone
deciding
what
the
conflicts,
the
best
conflict
of
interest
approaches
until
we
have
those
two
things
that
really
lay
the
path
out
for
it.
I
don't
think
I
have
a
problem
with
it.
I
just
I
just
feel
like
we're
just
basically
saying
well,
I
like
this
person,
they
should
be
there
not.
Is
it
the
right
x,
that's
being
added
to
the
team.
C
We
and
the
private
funders
are
the
shareholders,
and
so
we
don't
run
the
company
and
so
on,
but
we're
interested
in
the
company's
success
and
we
need
to
choose
how
we
want
to
invest
what
we're
investing
in,
and
so
I
think
there
is
some
work
that
needs
to
be
done
on
our
level
to
kind
of
justify
our
use
of
public
funds.
The
private
funders
will
have
similar
concerns.
C
They
have
to
justify
their
use
of
funds
and
it's
a
bit
circular
like
we
we're
now
saying
we're
going
to
choose
people
who
would
tell
us,
but
those
people
need
to
have
instruction
from
us
of
a
kind
they
need
to
be
acting.
We
were
talking
about
priya.
You
were
talking
about
an
algorithm.
I
think
there
needs
to
be
a
framework
in
which
all
of
this
occurs.
That
is
created
by
us
at
the
inception
and
and
mr
bukari.
B
Okay,
I
I
hear
what
you're
saying
so
that
would
indicate
really
that
we
would
not
be
ready
to
make
nominations
this
on
october
4th
and
that
instead,
this
committee
needs
to
establish
what
our
guiding
principles
are
before
we
can
do.
That.
Is
that
what
you're
saying
in
priya?
Do
you
believe
that
that's
the
right
order
of
things.
H
H
I
H
Of
structure
that
you
know
the
committee
is
seeking
before
then
making
nominations
to
the
board.
The
piece
that
that
doesn't
take
into
account,
I
realize,
is
the
private
sector
portion.
You
know,
as
as
you
mentioned,
council
member
craigs,
as
you
noted
that
it's
a
partnership
and
so
that
kind
of
governance
model
would
need
to
be
something
that
both
public
and
private.
You
know
entities
are
comfortable
with,
but
I
wonder
if
that
seems
like
a
feasible
way
to
move
forward.
C
C
We
need
to
achieve
some
sort
of
unity
about,
let's
call
it
our
goals,
whatever
whatever
you
want
to
do,
but
why
are
we
putting
this
money
in?
What
are
we
hoping
to
get
out
of
it?
You
know
what
is
our
purpose
with
this,
and
so,
but
we
don't
dive
too
deep
into
what
we're
asking
priya
to
do,
but
she
has
to
have
some
kind
of
direction
from
us
and-
and
we
need
to
be
in
agreement
with
the
other
funders-
there's
no
point
in
having
two
camps
here
with
competing
priorities.
C
So
if
we
could
pull
together
a
statement
of
again
the
goals,
why
are
we
doing
this?
How
do
we
define
success
and
and
put
that
down
as
the
first
level
of
charting
a
course
and
and
then
priya?
You
would
have
a
better
understanding,
so
you
don't
later
find
out.
Oh
well,
that's
not
what
they
wanted,
or
you
know
start
hearing
people
saying:
why
did
you
do
that?
C
C
Here
I
mean
we
can
state
in
very
general
terms
why
it
is
that
we're
investing
anyway
in
the
arts,
and
there
are
tangible
reasons,
and
there
are
qualitative
reasons-
ascetic
reasons
if
you
will,
but
I
I
think,
to
send
you
off
to
sort
of
appoint
these
people
and
then
send
you
off
and
say:
okay,
you
know
you
you
do.
This
invites
subsequent
conversations
about
well
wait
a
minute,
that's
not
actually
what
we
had
in
mind
so
yeah
to
answer
your
questions.
B
B
B
The
fact
that
we
do
own
a
number
of
these
buildings
that
house
our
cultural
organizations-
and
so
I
I
personally
would
like
a
dual
process
of
this
committee
establishing
our
mission
statement
for
the
city,
because
it
could
be
very
different
than
what
our
private
funders
want
and
that's.
Okay,
it
doesn't
mean
it
will
establish
the
rules
of
the
game.
It's
just
saying
we
as
a
council
as
the
public
sector
representing
the
community.
This
is
the
public.
This
is
what
our
mission
statement
is,
and
so
we'll
get
going
on
working
on
that
as
a
committee.
B
B
C
C
E
E
Notwithstanding
the
fact
that
we
don't
have
a
mission
statement,
I
think
we
all
know
where
we're
trying
to
go
to
right
and
the
people
in
our
community
that
have
signed
up
for
it.
Ultimately,
it's
a
council
decision,
so
I'm
not
sure
why
we
why
we
would
need
to
wait,
and
I
just
hope
that,
along
the
way
that
we,
we
really
try
to
keep
this
thing
simple
and
I
try
to
overthink
it.
F
F
This
may
very
well
be
the
exercise
that
tells
us
how
we
get
down
to
six,
and
I
mean
I,
while
we
generally
know
where
we
want
to
go
like,
as
mr
drake
said
earlier,
we're
not
gonna
micromanage
this
process,
any
more
than
we
tell
fired
the
fire
department
how
to
fight
a
fire.
So
our
major
strategic
input
is
on
the
front
end,
and-
and
I
mean
how
we
define
what
our
five
six
seven
high
level
vision
statements
that
we
have
to
measure.
F
So,
like
our
biggest
thing
was
in
the
manager,
selecting
priya
and
then
our
second
biggest
thing
is
defining
these
and
and
what
our
six
appointments
end
up
being.
So
I'm
not
opposed
to
supporting
you'd
like
to
get
some
movement
out
and
in
the
things
you
said
today,
but
if
we're
gonna
do
that,
I
think
that
at
a
bare
minimum
in
parallel,
like
it
shouldn't
take
that
long
and
we
should
be
able
to
put
this
stuff
together.
F
Do
we
need
to
have
a
huge
meeting
with
the
private
sector
and
things
it'd
be
nice,
but
that'll
probably
slow
it
down.
We
can
get
there
time,
but
I
think
the
critical
path
is.
Writing
these
things
down
and
analyzing
them.
Is
that
one
of
them
might
be
connecting
to
economic
development
in
that
department
in
the
city
right
from
a
recruiting
perspective
from
a
job
growth
perspective?
F
So
we
would
want
to
place
somebody
in
there.
Who's
got
that
level
of
expertise,
so
I
think
we
can
do
it
in
parallel
and
I'm
prepared
to
support
moving
forward.
But
that
means
that,
like
we're
going
to
need
to
get
like
pretty
serious,
pretty
quickly
about
how
we
get
that
done,
I
think
this
committee's
set
up
to
do
that.
Work.
B
E
H
E
B
B
I
would
want
it
published
when
this
culture
vision,
cultural
vision
plan
comes
out
in
writing.
I
would
want
it
published
in
the
front
that
all
of
that
this
council
makes
these
has
agreed
on
this
mission
statement,
and-
and
we
know
because
this
committee
really
didn't-
have
a
lot
of
disagreement
when
we
started
this
process
that
we
really
want
to
see
a
different
way
of
funding
our
arts,
community
and
and
providing
opportunities
to
our
arts
community.
We
were
very
on
board
with
that.
A
lot
of
our
colleagues.
B
Agreed
with
that,
but
maybe
didn't
know
why
we
all
felt
this
way
and
because
we're
the
we
are
the
group
that
has
done
the
most
work
on
this.
So
I
think
that,
may
you
know
filling
everybody
in
as
we
go
along
getting
their
ideas
is
going
to
help
us
structure
that
statement,
but
I
think
it's
really
critical
that
we
have
that
we
can
then
meet
with
the
other
funders
or
whatnot,
but
we
have
to
be
very
certain
about
why
we're
doing
this
and
put
that
into
words
and
then
you're
right
we
can.
B
H
I
H
We've
seen
and
looked
at
as
examples
the
the
vision
statements
or
that
those
include
their
they're
typically
developed
during
the
planning
process,
so
those
are
usually
developed
by
the
steering
committee
and
typically
with
input
from
that
extensive
community
engagement,
because
there's
they're
essentially
a
shared
vision
of
the
community
and
then
that
is
usually
published
as
kind
of
a
top-line
vision.
What
I
wonder-
and
so
I
guess
what
I
would
suggest
is
you
know
whatever
is
crafted
by
this
committee
at
this
stage.
H
I
agree
it
would
be
really
helpful
to
have
something:
that's
high
level
that
then
both
the
advisory
board
and
I
can
can
use
you
know
as
a
guiding.
You
know
kind
of
statement
to
to
go
forward
and
at
the
same
time,
you
know
just
kind
of
hopefully
having
that
flexibility
to
allow
for
that
community
engaged
cultural
planning
process
to
yield
the
shared
vision
and
priorities
that
that
then,
usually,
is
what
comes
out
in
the
plan.
And
then
the
plan
becomes
the
guiding
document
for
for
the
advisory
board
and
for
myself.
C
C
So
I
think
all
we're
talking
about
here
is
is
sort
of
a
statement
of
our
goals,
our
rationale
for
the
investment
and
and
we've
actually
looked
at
some
of
this
already.
You
know
it
says:
arts
are
important
for
the
community,
arts
are
important
for
economic
development,
you
know
and
and
so
well
the
outcome.
C
The
type
of
outcome
we
would
like
to
achieve
in
very
general
terms
is
such
and
such,
and
I
I
think
that
could
be
sufficient
to
have
an
influence
on
how
we
choose
among
all
of
the
qualified
people,
for
example.
We
think
ought
to
be
on
the
advisory
thing.
It
would
also
send
a
message
to
our
private
partners
that
they
can
react
to,
and
so
because
we
do
need
to
have
you
know
they
may
have
their
priorities.
C
We
may
have
ours,
they
may
not
be
mutually
exclusive,
but
we
have
to
harmonize
at
least
what
we
want
to
do
and
what
they
want
to
do.
So
I
think
just
jumping
into
this
without
having
something
written
down
a
little
contract
with
the
private
guys
and
and
a
little
kind
of
instruction
book
like
a
a
mandate
for
you.
C
So
so
we're
not
going
to
kind
of
preempt
or
get
too
far
down
the
road
in
terms
of
the
work
that
we're
asking
you
to
do.
But
I
I
just
think
there
is
a
critical
first
step
at
the
inception
I
mean
mr
bakari
was
talking
about
a
charter,
and-
and
I
want
to
talk
to
the
manager
a
little
bit
about
this
as
well
again
in
my
governance
committee
capacity.
But
I
think
we
can
work
it
out.
B
And
I
think
I
threw
a
wrench
in
it
by
saying
mission
statement,
so
I
hear
what
you're
saying
priya
and
ed.
I
hear
what
you're
saying
and
I
think
it's
it's
wording
right.
So,
let's
stick
with
saying:
council
is
going
to
develop
our
guiding
principles
and
you
know
there
could
be
an
overall
mission
statement
at
the
end
of
this
process,
but
let's
stick
to
guiding
principles,
and
that
is
really
our
next
step.
So
we
will
I'll
go
ahead
and
work
with
staff
to
get
another
committee
meeting
set
up
in
the
meantime.
B
B
G
Yeah
one
thing:
so,
if
you
remember
in
february
the
arts
and
culture
committee
wrote
a
letter
setting
out
some
of
their
guiding
principles
and
kind
of
laying
out
the
process
even
prior
to
what
happened
in
the
budget
with
the
money
and
all
that
kind
of
stuff.
And
so
I
think
that
might
be
a
good
kind
of
foundational
document
for
all
of
you
to
think
about
and
go
back
to.
As
you
know,
the
impetus
for
originally
starting
down
this
path.
G
B
F
I
think
that
the
best
way
to
create
a
visualize.
What
we're
talking
about
again
is
this
is
the
thing
where
each
budget
cycle
you
would
probably
come
back
to
us
and
give
a
presentation
on
how
you
felt
the
organization,
the
funding,
the
impacts,
the
board,
everyone.
He
met
those
things,
and
then
we
judge
and
say:
okay.
This
is
on
track.
Therefore,
let's
allocate
the
same
amount
next
year
and
going
forward,
so
it
isn't
to
edna's
point,
won't
belabor
that
it's
not
a
vision
like
you'll
still
craft,
all
the
things
that
do
all
of
that.