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From YouTube: January 14, 2015 Committee of the Whole Meeting
Description
Minneapolis Committee of the Whole Meeting
A
Good
morning,
everyone
I
am
calling
to
order
our
regularly
scheduled
meeting
of
the
committee
of
the
whole.
My
name
is
Elizabeth
Clinton
I'm,
the
chair
of
this
committee
and
I
am
joined
today
by
council
members,
Cano
bender,
yang,
Quincy,
Goodman,
fry
and
Palmisano,
and
we
are
a
quorum
of
the
committee.
I
will
note
that
council
member
Andrew
Johnson
could
not
be
with
us
today,
as
he
is
on
city
business
with
another
board
where
he
has
just
been
appointed
to
an
officer
position,
so
we
wish
him
well.
A
B
Council,
vice-president,
good
morning,
council
members,
I'm
googan
km
I'm,
the
director
of
arts,
culture
and
creative
economy
and
I
work
in
the
coordinators
office
and
I've
been
asked
to
make
a
presentation
on
the
creative
vitality
index
data
which
we
recently
completed
at
the
end
of
the
year
and
will
be
presenting
it
publicly
after
this
presentation
before
I
begin.
I
also
want
to
acknowledge
that
Rachel
egg
will
also
be
presenting
with
me.
Rachel
is
an
intern
working
in
my
office
she's.
B
B
So
in
about
twenty
twelve,
the
work
began
in
earnest
to
begin
to
understand
the
scope
and
scale
of
the
creative
sector
in
the
city
of
Minneapolis.
Out
of
that
work,
we
created
the
Minneapolis
creative
index
2013,
which
you
all
should
have
received.
You
should
have
had
a
PowerPoint
sent
to
you
and
you
should
have
also
received
a
hard
copy
of
this
report.
B
The
qualitative
information
is
information
that
we
really
gather
in
the
community
ourselves
and
we
do-
and
we
are
looking
at
with
specific
questions
in
mind.
So
the
report
was
produced
as
I
mentioned.
This
report
itself
in
2013
and
the
actual
production
of
that
report
included
a
steering
committee
that
had
representatives
from
the
Minneapolis
Art
Commission,
the
council
CPD
economic
development
division
and
research.
B
We
also
included
the
across
sector
of
local
system
partners
and
arts
organizations
in
our
in
our
groups
that
we,
we
also
talked
to
many
arts
organizations
and,
at
the
back
of
this
report,
a
full
listing
of
those
organizations
are
presented
in
2015
this
year.
We
will
be
also
creating
a
full
report
which
will
have
qualitative
information,
so
the
Minneapolis
creative
vitality
index
data
itself
is
a
sophisticated
arts
and
creative
economy
measure
it
is
compiled
and
it
is
pre
defined
by
the
western
states.
B
Arts
Federation,
which
is
an
experienced
research
organization
working
to
benefit
State
Arts
agencies
in
the
West
and
nationally.
So
we're
staff
is
the
acronym
that
we
use
to
talk
about
this
organization
in
terms
of
what
they're
the
data
itself
provides
for
us.
This
is
the
breakout
of
what
we
look
at
in
the
data
community.
Participation
is
defined
as
per
capita
revenues
of
arts
related
goods
and
services
and
occupational
employment.
So
6040
split
is
what
that
data
provides
us
and
within
that
60
40
split.
We
have
a
lot
of
detail.
B
Why
do
we
feel
this
is
important?
We
feel
it's
it's
a
foundation
or
we
need
foundational
information
about
the
creative
sector
in
order
to
inform
us
about
how
this
sector
is
behaving,
it
provides
us
with
a
framework
for
conceptualizing
and
understanding
key
elements
of
the
creative
economy.
The
data
sets
themselves
are
gathered,
but
that
are
gathered
by
the
creative
vitality
index
are
actually
closer.
We
believe
to
the
true
characteristics
of
the
creative
sector.
B
The
CBI
data
provides
us
with
information,
for
example,
about
for-profit
and
nonprofit
information,
and
we
believe
that
it's
important
for
us
to
see
the
full
scope
of
activity
in
the
creative
sector
and
not
just
focused
on
one
element
of
it.
In
fact,
many
reports
that
are
produced
locally
tend
to
present
nonprofit
data
exclusively
or
for-profit
data
exclusively
here
we're
looking
at
the
whole.
B
So
it's
important
here
that
we
follow
the
individuals
and
how
they
are
working
and
we
believe,
as
I
mentioned,
this
is
a
better
way
to
look
at
the
sector
in
general.
It
helps
us
to
educate
and
augment
the
efforts
of
arts
leadership
and
advocates
in
building
strategies
and
policies
that
create
that
strengthen
the
creative
sector.
So
this
information,
for
example,
can
be
looked
at
from
a
geographic
stamp.
We
can
look
at
this
information
as
the
metropolitan
area.
B
B
It
can
also
help
us
track
and
compare
our
creative
economy
regionally
nationally,
and
we
can
look
at
ourselves
in
comparison
to
other
cities
and
that
this
is,
we
think,
an
important
element,
especially
when
we're
looking
at
ourselves
compared
to
our
peer
cities.
We
think
that
the
creative
sector
is
a
key
factor
or
a
driver
of
economic.
Economic
growth
is
an
important
piece
of
information
to
help
drive
our
quality
of
life
and
our
competitive,
that's
in
general.
B
So,
for
example,
we
in
the
2014
update
hear
that
before
you
looking
at
the
hundred
most
populous
metropolitan
areas,
we're
showing
here
the
top
ten
of
that
hundred,
we
can
see
that
we
are
fifth
in
the
country
when
compared
to
our
peer
cities.
Last
year
we
were
six
so
we've
gone
up,
which
is
a
great
piece
of
information
and
as
a
communication
tool.
That
is
also
very
useful.
It
helps
us
actually
communicate
how
the
city
is
doing
compared
to
other
cities
and
I.
B
Think
that's
a
that's
a
that's
very
useful
when
we're
competing
with
these
other
cities.
As
I
mentioned,
the
data
is
annually
gathered
so
because
we're
really
like
we
have
data
that
is
highly
reliable.
In
other
words,
with
this
data
comes
from
the
federal
government,
it
comes
from
IRS
sources.
We're
able
to
know
that
we
can
look
at
the
same
information
over
time
and
that
helps
us
build
a
reliable
picture
over
time
about
how
the
creative
sector
is
actually
behaving,
and
when
we
have
a
reliable
understanding
and
a
picture.
B
It
also
helps
us
be
more
accurate
in
our
predictions
and
finally,
in
terms
of
leadership
as
the
city,
the
city
can
become
a
nonpartisan
leader
in
this
work,
because
the
city
cares
about
all
aspects
of
the
creative
sector,
both
for-profit
and
nonprofit
activity,
both
organizational
activity
and
the
activity
of
the
individual,
and
in
this
case
we
can
become
a
nonpartisan
leader
and
help
inform
the
community
about
what's
happening.
As
I
mentioned.
B
Often,
reports
are
developed
and
delivered
by
organizations
that
really
want
to
look
at
their
work,
so
foundations
will
report
on
their
work
and
at
what
they're
doing
nonprofits
will
report
on
their
work.
We
are
really
interested
in
reporting
and
talking
about
the
whole
as
I
already
mentioned.
Communication
is
a
key
aspect
and
a
key
reason
why
this
is
a
useful
document.
B
B
We
also
look
at
key
trends
in
retail
spending
and
again
that
can
help
us
make
informed
decisions,
and
it
can
also
help
us
get
an
overview
of
how
the
zip
codes
themselves
are
behaving
and
make
some
informed
decisions
about
that
I'm
going
to
go
in
now
and
transition
to
Rachel
who
will
be
spending
a
little
bit
more
time
on
the
retail
part
of
this
update.
Rachel.
A
D
Thank
you
and
thank
you,
go
goon
for
laying
the
framework,
so
I
can
dig
a
little
bit
deeper
into
the
data,
that's
included
in
the
2014
update.
So
as
mentioned,
we
approach
this
document
as
an
update
on
some
of
the
data
that
we
presented
in
the
2013
report.
That
said
after
analyzing
the
numbers
we
focused
on
the
data
that
could
help
us
tell
a
compelling
story
of
how
the
creative
sector
influences
the
Minneapolis
economy.
D
What
to
call
your
attention
to
the
second
page
of
the
2014
update.
This
page
shows
the
community
participation
numbers
that
factor
into
the
index
value.
As
you
can
see,
the
creative
sector
contributed
over
eight
hundred
million
dollars
to
the
Minneapolis
economy
in
2013,
which
is
a
thirteen
percent
increase
from
2011.
This
831
million
dollars
is
made
up
of
two
types
of
revenues:
nonprofit
revenues
and
retail
sales.
First
nonprofit
revenues
which
contributed
over
three
hundred
million
dollars
to
the
Minneapolis
economy
in
2013.
D
An
example
would
be
the
dollars
that
the
Minneapolis
Institute
of
Arts
brings
in
from
programming
grants
and
ticket
sales.
The
other
type
of
revenue
is
retail
sales,
which
reflects
the
revenues
from
for-profit
industries
that
include
art
dealers
and
individual
artists,
performing
arts
books,
records,
music
stores
and
photography
stores.
So
an
example
of
creative
retail
sales
would
be
buying
a
guitar
or
a
book
or
a
piece
of
original
art
from
a
local
artist
or
a
ticket
to
see
a
show.
D
At
first
avenue
we
saw
a
thirty-seven
percent
increase
in
retail
sales
from
2009
to
2013,
so
2013,
it's
520
million
dollars
from
retail
sales,
as
you
can
see
from
the
graph
on
the
top
right
portion
of
this
page,
much
of
the
increase
can
be
attributed
to
individual
artist
sales
to
put
retail
sales
of
the
creative
sector.
In
context,
we
decided
to
look
at
sales
for
sports
industries.
We
found
that
creative
industry
sales
and
sports
industry
sales
in
2013
were
nearly
equivalent
with
creative
industry
sales.
Ninety-Seven
percent,
that
of
sports
industry
sales.
D
Moving
on
to
creative
employment
data,
which
is
shown
on
page
three
of
the
2014
update
of
all
the
creative
occupations
in
the
metropolitan
area,
twenty-six
percent
are
located
in
Minneapolis
and
about
five
percent
of
all
occupations
in
Minneapolis
are
creative.
Both
of
these
figures
are
consistent
with
numbers.
In
the
2013
report,
we
also
looked
at
creative
occupations
with
the
most
jobs
in
Minneapolis,
and
that
list
is
shown
on
the
top
right.
Those
are
similar.
The
top
occupations
are
similar
to
those
in
the
2013
report,
with
photographers
musicians
and
singers
and
writers
and
authors
on
top.
D
We
also
focused
on
the
bottom
right
of
this
page
on
occupations
that
are
growing.
The
creative
occupations
that
are
growing
the
fastest
highest
rate
of
growth
in
Minneapolis
include
actors,
fashion,
designers
and
sound
engineering
technicians.
So,
with
those
highlights
from
the
2014
update
I
will
let
go
goon
wrap
up
this
presentation
with
an
explanation
of
how
the
2013
report
has
been
used,
both
within
the
enterprise
and
in
the
community.
E
D
D
B
I
think,
if
I
understand
correctly,
since
these
numbers
are
actually
they
exist
nationally,
so
the
data
aggregator
goes
away.
It
goes
to
national
sources
and
collect
this
data
for
us.
So
this
these
numbers
exist.
We
ask
them
to
go,
get
them
and
produce
and
aggregate
them
so
essentially
they're
there
we
have
to.
We
have
to
have
someone,
go,
get
them
and
because
they're
centralized
collected
centrally
it
makes
it
much
easier
to
do
that
administratively.
Measured.
B
B
We
are
interested
in
jobs,
we'd
like
you
to
look
back
at
jobs
for
the
last
ten
years
for
us,
so
we
can
see
how
jobs
are
tracking
and
in
this
particular
report
we
really
wanted
to
show
how
the
changes,
how
what
changes
have
happened
and
how
dense
our
particular
occupations
are,
and
they
did
that,
especially
for
us
the
first
year,
so
that
we
could
get
a
sense
of
what
the
last
ten
years
look
like
again,
since
these
are
administrative
measures.
These
aren't.
You
know
these
aren't
difficult
things
to
do.
B
It
takes
a
lot
of
time
and
energy
to
do
it
and
dig
into
all
that
detail,
but
they
did
that
for
us,
Thank,
you
Thank,
You
Rachel,
so
I
just
want
to
spend
a
little
bit
of
time.
Just
talking
about
how
the
report
is
being
used-
and
I
want
to
add
here
that
we
did
not
do
any
research
any,
we
did
not
create
an
evaluation
to
find
out
how
this
report
is
being
used.
If
this
is
important,
we
could
do
that
in
the
future,
but
this
is
anecdotal.
B
So
this
information
is
what
I
know
based
on
presentations.
I've
made
encounters
I've
had
in
the
community
in
court
and
people
just
volunteering.
This
information
to
me
I
can
talk
very
clearly,
obviously
about
what
I
have
how
I
have
used
this
report.
So
under
reporting
I've
categorized
the
report
under
into
different
sections
and
under
reporting,
the
data
itself
is
being
used
for
reporting
in
the
community
as
well
as
in
the
city.
I
use
the
data
for
the
2013
results,
Minneapolis
presentation
on
the
create
arts,
culture
and
creative
economy
sector.
B
B
We
are
also
working
with
Minnesota
citizens
for
the
arts,
Minnesota
state's
Arts,
Board
metropolitan
regional
arts
council,
in
a
collaboration
of
local
arts,
funders
and
nonprofits
organizations
to
use
the
data
in
Minnesota
compass
annual
reporting,
we're
currently
developing
a
methodology
whereby
we'll
be
able
to
provide
this
information
to
Minnesota
compass
and
have
this
as
a
regular,
regular
information
that
goes
into
eternal,
employ
minh,
tri
porting
under
programming.
We
use
the
CVI
data
to
make
some
decisions
about
the
creative
City
Challenge
program,
which
is
hosted
at
the
Minneapolis
Convention
Center
collaborating
with
my
program.
B
We
looked
at
shrinking
occupations,
numbers
in
arts
and
in
architecture
and
design
specifically,
and
we
focus
this
project
on
architecture
and
design
in
order
to
amplify
the
region's
wealth
in
architects
and
designers,
and
use
it
to
highlight
what
this
community
is
up
to
under
planning.
The
CVI
data
was
used
during
the
city's
goal,
setting
and
strategic
direction
process.
The
city
goal,
businesses,
big
and
small
smart
moves
day
and
grow
here
we
support
entrepreneurship
while
building
on
sector
strength
such
as
arts
was
used
to
influence
that
goal.
B
The
data
was
used
to
inform
the
nicollet
mall
redesign
I
saw
the
data
quoted
in
the
three
finalists
proposals
and
especially
around
the
idea,
because
downtown
Minneapolis
has
the
most
creative
workers
in
the
idea
that
the
design
of
the
environment
should
reflect
the
people
there.
Here
we
knew
that
there
are
many
creative
workers
so
that
that
design
became
more
creative.
The
whole
report
itself
has
been
shared
in
the
community
by
a
wide
variety
of
organizations
to
local
art.
Schools,
as
I
have
mentioned,
have
reprinted
the
report
as
a
recruiting
tool
for
prospective
students.
B
The
start
of
the
great
gray
fur
greater
MSP
have
shared
the
report
with
their
members,
Pillsbury,
house
and
theatre.
Has
they
use
the
report
in
formulating
its
own
evaluation
methodology?
The
midnight
foundation
issued
the
report
to
its
board
Asia
media
access
issued.
The
report
to
its
board
I
have
made
approximately
20
presentations
in
the
last
year
to
local
business
associations,
neighborhood
associations,
arts
organizations
and
at
national
conferences.
So
that's
a
brief
summary
of
what
I
know
on
the
report
I'm
more
than
happy
to
take
any
questions
you
may
have
thank.
A
You
I
just
want
to
acknowledge
first,
that
we
been
joined
by
several
other
council
members
at
Council,
President
Johnson,
of
course,
as
well
as
councilmember
Gordon
Reich
and
were
Sami,
and
we
do
have
some
questions
and
I
just
want
to
know.
Customer
Gordon
had
been
waiting
patiently,
so
I'm
going
to
call
on
him
first
and
then
council,
president
johnson,.
C
Thank
you
and
I,
but
I
have
a
couple
questions.
One
thing
I
want
to
understand.
Better
is
just
the
first
slide
that
you
showed
us
with
the
60
40
split
and,
and
is
that
I
am,
are
we
dividing
up
the
831
million
dollars
and
we're
seeing
where
it's
going
in
this
slider?
What
is
the
one
hundred
percent
so.
B
It's
look
at
sixty
percent
of
the
data
is
community
participation
and
the
way
the
the
CVI
aggregators
look
at
community
participation
is
from
the
point
of
view
of
revenues,
so
ticket
sales
they're
saying
that
community
participation
is
people
buying
goods
and
services
in
the
creative
sector,
and
then
forty
percent
of
the
data
looks
at
employment.
So
that's
how
the
weighting
of
the
of
the
full
when
we
get
when
we
get
a
full
number,
such
as
we
are
fist.
It
looks
at
all
of
that
and
aggregates
that,
down
into
a
particular
number,
a
single
number
just.
C
C
B
So
an
index
number
an
index
number
is
a
is
it's
it's.
An
is
a
boiling
down.
I
guess
is
the
best
word
to
use
is
a
boiling
down
of
a
number
of
a
lot
of
information,
and
this
west
staffs,
secretive
vitality
index
is
actually
an
evaluation
measure
that
has
been
predetermined.
So
it's
not
arbitrary.
This
is
this
is
the
index
for
any
city
that
would
walk.
B
Waiting
for
her
cities
is
no.
This
is
a
formulation
you
have
to
in
essence,
agree
with
the
formulation
in
order
to
then
participate
in
the
formulation,
and
then
they
look
at
that
spread
for
your
region.
Then
they
look
at
participation
and
revenues
for
your
region
and
they
they
say,
okay,
this
region
versus
this
region.
This
is
how
they
compare
I,
understand.
B
No,
no
arbitrary
yeah
I
just
wish
I
turn
for
differences,
or
anything
like
one
of
the
actual
one
of
the
things
that
actually
that
I'm
interested
in
in
the
creative
vitality
index
is
the
fact
that
other
cities
are
participating
and
that
other
cities
find
this
useful
to
that.
There
has
been
a
long
development
of
this
work
in
this
creative
sector
in
general.
There
have
been
many
questions
around
how
to
evaluate
the
creative
sector,
and
this
is
one
way
there
are
definitely
other
ways,
but
this
is
one
way
of
evaluating
and.
C
C
Also
curious
about
how
many
people
aren't
collected
in
here,
because
there's
some
certainly
sectors
of
artists
out
there
who
are
kind
of
operating
underneath
the
traditional
economy
and
on
people
who
are
I,
know
many
people
in
the
theatre
and
in
music
who
basically
have
another
job
that
actually
is
paying
for
them.
But
then
they're
doing
this
trying
to
so
there's
and
I.
Just
as
we're
celebrating
it
would
be
interesting.
C
We
could
also
celebrate
how
many
people
are
actually
making
a
living
wage
job
off
of
the
art
and
how
many
aren't
and
maybe
compare
some
of
the
different
occupations
and
how
we're
doing
I
noticed.
I
think
second
was
musician
and
singer
in
occupation
and
so
well.
How
do
you
actually
get
counted
as
a
musician
and
singer
in.
B
B
But
if
people
are
not
reporting
the
information,
then
we
aren't
able
to
get
that
information
for
us
to
find
information
about
people
who
are
not
reporting
that
information
will
require
for
us
to
do
tailored
research
for
our
region,
which
can
be
done
and
in
2015
we
will
be
talking
about
what
is
that
research
part
that
we
need
to
do
4
2015?
What's
the
story?
What's
the
qualitative
discussion
that
we
need
to
have,
and
that
could
be
one
element
of
it.
I
know.
B
Council
members
will
be
involved,
so
that
could
be
one
element
of
what
we
look
at.
It
is
a
difficult
question
because
we
rely
on
one
of
the
benefits
of
getting
this
information
is
we
can
get
it
reliably
and
annually?
But
if
you
have
to
annually
spend
a
lot
of
energy
gathering
that
data,
then
it's
more
difficult
to
get
it
reliably
and
Andy.
So
you
give
up
one
for
the
other
and
I
completely
understand
what
you're
saying
it
is.
C
I
guess
I
I'm,
not
sure
if
I
think
we
have
to
pour
our
resources
into
that,
it's
clear
that
our
national
organization
isn't
digging
in
and
trying
to
survey
and
collect
that
information
and
standing
there.
But
I
also
am
wondering
if
they
are
reporting
out
any
average
wages
for
the
people
that
are
reporting
the
for
the
people
who
so
do
we
have
any
information
about
that,
especially
for
those
sectors?
How
much
our
photographers
making
how
much
our
musicians
making?
How
do
we
compared
to
other
regions
in
that
capacity?
So.
C
No
I
want
to
know
what
what
what
you
can,
what
you
can
make
are
the
San
Francisco
musicians,
making
a
lot
more
than
the
Minneapolis
musicians.
What's
the
average
wage
of
what's
out
there,
so
that's
kind
of
what
I
was
wondering.
Is
they
collect
that
data?
They
have
that
and
that's
available
to
us
too
again.
B
B
So
that's
an
interesting
research
question
that
that
is
that
is
worthwhile,
but
the
part
of
that
you
mentioned
about
people
working
on
the
radar.
That
is
something
that,
unless
people
are
reporting
I'm
unable
to
find
out
unless
I
go
away
and
do
very
specific,
very
tailored
research
around
that
area.
So
it's
it's!
It's
an
interesting
research,
yeah.
C
C
E
B
B
B
B
That
is
yes,
then.
Yes,
we're
not
looking
at
all
the
people
that
the
Guthrie
is
hiring
we're
looking
at
the
creative
workers
that
the
Guthrie
is
hiring
and
we're
following
those
creative
cuz
who
are
working
both
at
the
Guthrie
and
at
brave
new
workshop
with
various
other
places,
we're
actually
following
the
individual
and
Counting
what
who
they
are
or
what
they're
doing.
Yes,.
E
Sort
of
hard
to
follow
all
of
the
projects
we
have
going
that
have
the
title
of
creative
in
them
and
it
I
found
it
confusing
during
the
budget
process.
I
just
want
to
say
that
I
something
came
across
my
desk
last
week
from
long
range
planning,
creative
city
making.
This
is
a
it's
a
grant
program,
apparently
with
artists
embedded
in
our
in
our
city,
and
it
has
a
number
of
project
titles
in
the
body
of
the
work,
including
project
title
created,
asset
mapping.
E
F
F
E
B
The
standings
we
are
actually
working
around
the
idea
of
some
sort
of
brand,
so
we've
had
this
debate
internally
about.
Should
we
keep
using
these
names?
The
creative
vitality
index
was
a
name
that
came
to
us,
so
we
didn't
choose
that
it
was
predetermined
and
in
naming
the
report
mayor
rybak
really
wanted
to
call
it
the
creative
index,
not
the
creative
vitality
index,
which
is
what
we
originally
had
had
thought.
B
We
were
going
to
call
the
report
so
just
to
say
that
there
are
names
from
the
outside
as
well
as
names
from
the
inside,
that
we've
been
working
with
them.
One
debate
we
have
had
is:
is
it
a
brand
we're
developing
or
is
it
more
confusing?
So
we
are
actually
trying
to
so
I'm
hearing
from
you
that
it
is
confusing.
It
isn't
helpful.
It's
good
to
know.
Thank
you
for
that
really
back
and.
E
I,
just
really
want
to
I
want
to
go
back
to
my
original
point
here.
That
artists
are
important
when
you're
talking
about
the
economy.
I
completely
understand
that,
and
we
have
a
great
group
of
artists-
and
you
know
many
different
occupations
in
the
city,
but
if
we,
if
we
would
measure
what
impact
the
arts
have
with
associated
employment,
I
mean
to
me
that's
an
even
more
spectacular
number,
so
I'm
just
always
surprised
at
how
many
people
I
have
you
know
in
in
my
ward
that
work.
B
B
The
index
in
the
original
index
we
have
identified
all
of
the
employment
okay
that
that
is
defined
as
creative
employment.
We
have
some
options
in
this
following
year
to
look
at
that
group
and
cluster
and
add
so
certainly,
I
will
bear
in
mind
what
you
have
again
we're
looking
at
employment.
That
requires
creativity,
and
one
would
argue
that
again.
Flores
florists
do
also
require
creativity
as
much
as
actors
require
creativity,
how
you
define.
B
A
You
very
much
for
the
report.
I'm
not
seen
other
council
members
and
cute
I
had
a
couple
of
questions
or
comments
myself
actually
wanted
to
follow
up
on
council
president
johnson's
comment
about
what's
the
impact
of
this
sector,
so
what
I
am
hearing
you
say
is
that
the
stagehand
or
Flores
may
be
counted
in
here,
but
not
necessarily
the
person
who
is
is
the
ticket
taker
or
the
accountant
for
the
organization,
so
we're
not
really
getting
that
breadth
of.
What's
the
impact
of
this
industry
segment
as
a
whole,
so
I
just
thought.
A
Actually
that
was
very
interesting.
The
other
question
maybe
comment
I'm
going
to
make,
and
maybe
this
is
as
much
too.
I
know
Spencer
chronic
or
city
coordinator
was
here
and
has
stepped
out,
but
as
may
be
as
much
to
our
council
members
who
are
on
the
executive
committee
for
meat,
Minneapolis,
I
didn't
hear
you
talk
about
meat
minneapolis
and
how
they
may
use
as
I'm,
assuming
that
they
do
use
it
in
in
some
aspect,
but
you
know,
I
think
this
is
a
very
significant
attractor
to
our
region.
A
B
I've
simply
reported
on
what
I
know
what
I've
heard
directly
about
you,
so
I
don't
know
if
meet
Minneapolis
has
used
it.
No
one's
mentioned
it
to
me,
so
I
haven't
put
it
down
and
I
didn't
want
to
assume
they
had
if
they,
if
they
hadn't,
but
I,
do
agree
with
you
that
one
of
the
competitive
advantage
of
our
city
is
that
we
have
an
enormously
productive,
creative
sector.
B
Looking
at
the
percentage
of
employment,
which
is
about
quarter
of
the
region,
employment
and
our
output,
which
is
about
half
of
the
you
know,
the
overall
revenues
is
actually
is
actually
quite
a
significant
piece
of
information.
We
have
a
highly
productive,
creative
sector
and
as
creative
sector
that
is
comparative
to
other
similar
types
of
sectors,
and
we
again
we
chose
sports
because
it
sells
tickets
and
it
has
it
sells
things
and
went
in
comparing
sports.
B
We
actually
just
separated
out
the
for-profit
activity,
so
we
put
for
profit
numbers
against
for-profit
sports,
so
we
had
apples-to-apples
comparisons.
We
didn't
even
add
the
nonprofits
to
that.
So
I
would
argue
that
this
is
there's
potential
here.
I
think
that
there's
a
you
know
this
is
information
that
can
help
us.
You
know
create
strategies
for
the
city
as
an
attractor
and
as
a
competitive
advantage.
I
would
I
would
agree
with
that
point
of
view.
A
G
H
You,
madam
vice
president
of
Echo,
one
of
the
comments
in
regards
of
that
residual
employment
effect.
I
mean
I,
know
it
can't
go
to
a
standard
formula.
However,
it
could
be
very
valuable
information
to
make
the
case
about
residual
economic
activity
if
someone's
a
janitor
at
the
Guthrie
Theater
by
golly.
That's
a
story
to
be
told
this
notion
of
you
know
things
getting:
fuzzy
and
gobbly
goo
key
I.
H
They
are
the
numbers
people
the
results.
Minneapolis
came
out
of
that,
so
we
would
expect
it
to
be
this
level
and
I
think
it
really
meets
that
that
standard
that
we
expect
it
is
highly
valuable
in
terms
of
making
the
case
and
so
I
know,
with
the
folks
in
the
arts
district
in
Northeast,
Minneapolis
and
I.
H
Think
a
council
member
five
we've
had
these
conversations,
where
they're
able
to
take
this
data
and
strategize
how
they
can
do
their
job
better
as
a
group
collectively,
which
is
no
small
feat
when
you're
talking
about
a
collection
of
voluntary
organization
of
artists,
that's
a
to
have
data
to
rally
around
and
strategize.
Drones
is
immensely
valuable
and
I.
Don't
think
they
could
advance
their
work
without
these
tools
and
they
certainly
wouldn't
be
able
to
create
these
tools
on
their
own,
so
I
highly
value
of
this
product.
Thank.
H
F
H
Mean
we've
all
agreed
that
philadel,
agreed
and
la's
agree
that
these
this
is
the
measure
and
when
we
go
to
625,
we
get
to
understand.
What's
behind
that
six
to
five
shift
besides
the
bragging
rights,
you
know,
what's
the
mechanics
of
that,
it's
very
a
very
real
tool
in
that
sense,
but
it
also
helps
with
the
breaking
yes.
B
In
fact,
I
forgot
to
mention
that
the
mayor
has
used
this
data
in
a
number
of
speeches,
including
bragging
day,
so
she
we
could.
We
could
use
that
information.
One
thing
to
add
behind
the
5th
vs
6
is
that
we
actually
we
didn't
just
do
better.
Other
cities
did
worse
than
us,
so
so
to
sort
of
demonstrate
that
Minneapolis
performance
is
that
it
so
musicians
are
strong
here.
Actors
are
strong,
but
there's
actually
strengthened
a
number
of
parts
of
the
creative
sector
that
create
more
resiliency
two
ish.
B
You
know,
if
some
so
just
to
sort
of
note
that
one
question
to
ask
ourselves
is:
why
are
we
pretty
much
staying
strong
while
other
cities
are
dropping
in
their
index?
That
could
be
another
research
question.
We
look
at
this
year
to
sort
of
maybe
describe
it's
because
there's
strength
in
actually
all
aspects
of
our
sector,
so.
I
J
I
A
big
deal
to
the
people
who
visit
Minneapolis
and
it's
a
big
deal
to
our
local
businesses.
We
talked
a
lot
about
some
of
the
ancillary
economic
impact
that
the
arts
community
has
on
the
city.
It's
not
only
part
of
our
sales
picture
of
what
we're
trying
to
present
as
an
outward
face
at
meet
Minneapolis,
but
it's
also
generating
business
at
the
convention
center,
it's
generating
business
at
the
target
center
and
it's
generating
tax
base,
especially
in
sales
tax,
along
with
the
museum's,
the
festival's,
the
music,
the
nightlife,
the
theaters.
I
B
A
All
right,
well
I,
want
to
thank
you
very
much
for
the
report
and
presentation
and
thank
you
to
my
colleagues
for
robust
discussion
and
I
think
some
good
idea
thank
you
for
areas
to
dig
into
further
as
you
move
this
work
forward.
So
thank
you
very
much.
Thank
you
very
much.
Thank
you.
We
will
now
turn
to
in
actually
I
apologize.
We
need
to
receive
and
file,
I
think
as
our
action
on
this,
so
I
will
just
move
to
receive
and
file
on
approval.
J
You,
madam
vice
president,
our
committee
anticipates
bringing
forward
seven
items
for
approval
tomorrow.
We
have
not
met
yet
and
we
will
be
meeting
following
this
meeting,
but
I
do
want
to
note
that
there
are
five
public
hearings
that
have
to
do
with
new
business
licenses
for
five
different
restaurants
in
town
item.
Six
is
our
regular
license.
Applications
item
seven
is
accepting
a
grant
from
Hennepin
County
for
local
housing,
incentive
programs,
item
aid
as
a
referral
to
committee
and
setting
a
public
a
referral
and
setting
a
public
hearing
for
the
regulated
regulation
of
sampling.
J
A
C
You
very
much
the
health
environment
and
community
engagement
committee
will
be
bringing
four
items
forward
for
approval.
The
first
is
authorizing
issuance
of
an
RFP
for
the
one
Minneapolis
fund.
The
second
is
approving
the
mayoral
appointees
to
the
youth
violence
prevention
executive
committee.
The
third
item
is
accepting
revenue
from
you
care
to
address
environmental
factors
affecting
children
with
asthma,
and
the
fourth
is
accepting
186,000
dollars.
Also
from
you
care
for
the
2015
operating
expenses
for
the
you
care,
Skyway,
Senior,
Center,.
A
All
right,
thank
you
very
much,
councilman
Gordon.
Next,
we
have
our
intergovernmental
relations
report
and
there
is
one
item
moving
forward
there,
but
it
is
significant.
It
is
our
policy
positions
list
and
then
something
new
that
we
are
doing
this
year,
which
is
moving
forward,
a
short
list
which
we
are
calling
our
legislative
agenda,
and
these
are
items
that
our
staff
and
the
committee
believe
will
probably
take
the
majority
of
lobbying
time
at
the
legislature
on
more
of
a
proactive
level.
A
So
I
just
want
to
encourage
you
to
take
a
look
at
that
for
those
who
are
not
on
the
committee.
This
does
not
mean
we
don't
have
the
ability
to
bring
up
additional
issues
or
respond
to
additional
issues,
and
that
is
a
purpose
of
having
a
much
longer
document
which
lists
are
full
lineup
of
policy
proposals.
So
that
is
the
item
that
will
be
coming
forward.
Next,
we
have
transportation
and
public
works
with
that
committees.
Chair
comes
from
a
break.
H
Thank
you,
madam
vice
president.
The
committee
will
be
forwarding
eight
items
for
full
council
consideration
item.
One
is
the
upenn
East
McKinley
areas,
Gerard
humble
Avenue
street
resurfacing
projects
in
a
series
of
resolutions
to
move
that
forward.
Similarly,
the
many
have
minnehaha
avenue
street
reconstruction
project
will
be
forwarded
to
the
full
council.
H
Following
items
will
refer
to
Ways
and
Means
Committee
sentenced
to
serve
contract
program
to
not
to
exceed
contract
amount
of
thirty-five
thousand
dollars
for
three
years
for
those
services
item:
four:
as
a
Penn
Avenue
Street
reconstruction
project
contract
amendment
safe
routes
to
school
is
item
number
five.
The
infrastructure
funds
of
through
the
MnDOT
program
for
that
item.
H
Six
is
a
South
West,
LRT
project
master
funding
agreement
and
it's
a
series
of
actions
to
consummate
our
arrangement
with
Metro
Metropolitan
Council
for
that
project
and
the
RFP
double
7c
RFP
for
the
public
works
on
the
nicollet
mall
and
it's
authorized
an
issue,
and
so
the
request
for
proposals
for
artist
design,
new
artwork
to
be
integrated
into
that
project
and
then
item
8
is
a
series
of
single
low
bids
for
activities
of
the
department
and
I'll
stand
for
questions.
Madam
vice
president,
all.
A
I
Anthony
Falls
and
grant
park
project
tax,
increment
refunding
projects,
we're
submitting
the
2014
pay
equity
report
to
the
Minnesota
Department
of
Management
and
Budget,
and
there
are
two
tentative
labor
agreements
with
stage
stationary
engineers.
Water
maintenance,
technician
units
and
the
final
item
is
the
acceptance
of
a
two-hundred-thousand-dollar
grant
from
the
minions
downtown
Improvement
District,
and
this
is
for
continuing
services
with
the
downtown
100
and
the
focus
18-24
initiatives.
Those
will
be.
The
nine
items
will
be
talking
about
on
Friday
all.
A
G
You,
madam
vice
president,
we
have
four
items
on
the
zoning
and
planning
committees
agenda
that
will
be
forwarding.
The
first
is
to
grant
an
appeal
of
a
decision
made
by
the
ZBA
regarding
an
FA
are
variants
at
2000,
fremont
avenue
south.
The
second
is
to
deny
an
appeal
for
a
McDonald's
at
11
hundred
and
eleven
18
university
avenue
northeast
related
to
some
signs
that
they
already
installed.