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From YouTube: Public Arts Commission | November 18th, 2020
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B
A
Tom
I'll
find
okay,
I
think
we
have
the
commissioners
anyway.
I
know
we
have
some
more
guests
coming,
but
okay,
I
would
like
to
call
to
order
the
regular
meeting
of
the
public
arts
commission
of
the
city
of
palm
springs
for
wednesday
november
18
2020,
and
I
would
like
to
call
ask
jay
to
call
the
role
please.
B
Yes,
vice
chairman.
C
D
A
Could
I
ask
our
guests
just
to
identify
themselves
because
we'll
want
them
for
the
minute,
so
I
see
michael
emery,
just
yes.
C
Yeah
hi
I'm
here,
I'm
representing
the
awa
caliente
band
of
queen
indians.
Oh.
A
C
A
Okay,
so
may
I
have
a
motion
please
to
accept
the
agenda.
A
Now
this
is
the
time
that
has
been
set
aside
for
members
of
the
public
to
address
the
public
arts
commission
on
items
of
general
interest
within
the
subject
matter:
jurisdiction
of
the
commission
and
agenda
items
if
the
member
of
the
public
cannot
be
present
with
later
in
the
meeting
at
the
time.
Each
item
is
heard
by
the
commission.
A
Additionally,
members
of
the
public
may
address
the
commission
on
each
item
listed
on
the
posted
agenda
at
the
time.
Each
item
is
heard.
Although
the
public
arts
commission
values
your
comments
pursuant
to
the
brown
act,
it
generally
cannot
take
any
action
on
items
not
listed
on
the
posted
agenda
and
five
minutes
are
assigned
for
each
speaker.
A
Do
we
have
any
members
of
the
public
who
would
like
to
speak
that
aren't
on
the
pro
on
the
agenda
later
on.
A
Very
good,
then,
I
would
like
to
ask
commissioner
favo
to
introduce
the
group
that
is
giving
a
presentation
about
paint
the
city,
peaceful.
G
Hi
good
evening,
everybody
thank
you
so
much
paint
the
city.
Peaceful
is
a
wonderful
organization
that
I
came
across
when
I
was
in
los
angeles,
and
I
was
watching
the
news
and
they
will
be
able
to
greater
explain
what
kind
of
project
we
would
love
to
partner
with
them
in
order
to
create
here
in
the
city
of
palm
springs.
Lee.
Take
it
away.
E
Sure,
okay,
thank
you
guys
so
much
for
having
us.
Thank
you
shonda
and
super
nice
to
be
virtually
connected
with
all
of
y'all.
It's
a
huge
honor,
so
yeah
so
drake
and
I
are
co-founders
of
paint
the
city
peaceful.
E
This
is
a
collective
in
los
angeles,
currently
that
formed
in
response
to
the
lootings
in
santa
monica
over
the
summer,
where
I'm
sitting
right
now
is
downtown
santa
monica.
I
can
see
from
my
front
porch,
you
know
the
beginning
of
where
kind
of
all
the
looting
happened.
So
it's
right
in
my
face
and
we
basically
started
to
not
only
not
only
transform
the
space
of
santa
monica,
which
was
at
the
time
of
super
dark
place.
E
E
I
don't
think
it
will
shock
or
surprise
anyone
that
there's
been
a
whole
lot
of
fighting
going
on
in
a
whole
lot
of
us
versus
them,
and
I
think
we're
all
smart
enough
to
know
that
when
one
side's
winning
something
that's
really
cool
for
the
winners
and
it's
super-
isn't
cool
for
the
losers
right
and
so
what
we're
trying
to
do
at
paint.
E
The
city
is
create
an
everyone
wins
platform
and
the
way
that
we've
done,
that
is
design
our
messaging
to
use
art
to
amplify
voice
and
the
voice
that
we're
amplifying
are
those
that
are
in
support
of
creating
a
world
that
works
and
now
I'll
say
that
again
creating
a
world
that
works
and
that's
the
unique
thing
about
paint
the
city
we're
not
reacting
to
or
dealing
with
that
which
does
not
work
in
the
world
today.
E
We're
outside
of
that
game
and
we're
just
looking
at
how
to
create
diversity
and
quality
equality
and
inclusivity
in
the
world,
so
we're
non-partisan,
we're
totally
peace
promoting
and
because
of
that,
we've
been
able
to
build
a
lot
of
bridges
between
specifically
community
corporations,
businesses,
artists,
kind
of
these
groups
that
you
know
their
odd
cousins.
They
don't
normally
work
together
to
get
real
change
done,
a
real
artistic
transformation
accomplished
in
los
angeles
this
year.
E
So
that's
a
little
bit
of
a
background
and
if
I
ramble
at
any
point,
please
stop
me
now
we
wanted
to
we're
so
excited
to
engage
with
palm
street.
That
truly
is
an
honor
to
be
with
you
tonight
again.
A
lot
has
happened
this
year.
E
Things
have
been
shut
down
and
during
that
time
there's
been
just
a
full-blown
revolution
in
the
streets
in
a
huge
moment
and
and
as
things
reopen
next
year
and
as
the
nation
and
the
world
transitions
to
2021.
E
What
we
at
paint
the
city
are
now
trying
to
do
is
partner
with
communities
partner
with
government
to
help
these
people
that
you
have
to
support.
You
know
everyone,
not
just
one
stakeholder
group
you're,
looking
at
all
the
voices
and
how
to
make
it
work,
we're
here
to
partner
with
those
groups
to
create
a
message
and
to
create
an
artistic
narrative
that
supports
that
and
can
welcome
people
back
to
palm
springs.
You
know
shining
a
light
on
on
that
which
the
community
stands
for
around
diversity
around
education,
things
of
that
nature.
E
So
to
do
that,
we
would
like
to
propose
the
painting
of
to
start
eight
boxes
in
the
in
the
community.
These
are
gonna,
be
boxes
that
run
along
palm
canyon,
drive
as
you
come
into
the
downtown
district,
and
basically,
what
it
will
do
is
create
kind
of
like
a
pillar
for
visitors
and
residents,
as
they
come
into
downtown,
to
say:
okay,
we're
about
to
go
downtown.
This
is
the
vibe
that
we
want
to
have
happen
down
there.
E
I
don't
know
if
anyone
went
to
summer
camp
as
juvenile
as
that
is
when
I
went
to
summer
camp,
they
would
have
little
mile
markers
set
up.
You
know,
and
one
of
them
is
like
welcome,
and
you
know
when
you
get
in
there.
This
is
what's
going
on
in
there
and
we're
friends
and
we
work
together.
So
we
kind
of
envisioned
that
sort
of
a
statement
inviting
people
back
into
palm
springs.
E
It
expands
the
downtown
area.
So
not
only
does
it
draw
more
foot
traffic
to
the
area
because
there's
more
to
see-
and
it's
intentional
art-
it's
powerful,
it
also
brings
people
out
into
the
community
and
kind
of
serves
as
a
bridge
to
maybe
some
less
and
less
franchise
zones
of
palm
springs.
We
have
put
out
a
call
for
artists
for
this.
We've
done
our
leg
work
y'all
and
we
got
about
80
artists
in
the
loop
for
it.
E
We've
had
our
team
go
through
each
artist
and
check
them
not
only
for
quality
of
work,
but
also
for
design
style
and
relevancy
to
palm
springs,
and
this
beautiful
art,
deco
and
impressionist
culture
that
is
inherent
to
the
art
of
palm
springs.
So
from
that
80
we
narrowed
it
down
to
a
group
of
about
20.
I
think
artists
that
we
highlighted,
like
scored
them
on
one
to
four.
E
We
have
like
a
beautiful
menu
to
select
from,
and
then
we
have
eight
community
pillars
that
we
envision
the
artists
kind
of
dedicating
each
of
the
boxes
to
so,
for
example,
when
you're
on
palm
canyon
drive-
and
you
see
a
box,
it'll
say
welcome
to
palm
springs.
Palm
springs
is
diversity,
and
then
the
artists
will
paint
you
know
whatever
it
means
to
them.
To
kind
of
you
know:
visualize
diversity.
As
the
theme
you
keep
driving
now
you're
at
the
next
box.
E
You
see
a
next
block,
you
see
a
box
that
says
palm
springs
is
love,
and
then
you
have
an
artist
visualize
that
love
statement,
and
so
it
feeds
in
through
themes
of
acceptance,
inclusivity,
education,
peacefulness
of
course,
and
then
you
get
downtown
where
shawna
is
cooking
up.
Amazing
things
with
the
finch
project
and
all
the
other
public
arts
works.
Y'all
are
working
on.
A
A
We
can't
approve
it
because
it
wasn't
on
the
agenda,
but
we
can,
I
think,
treat
it
as
one
of
our
mini
grants,
which
we've
been
doing
ever
since
really
covid
started,
and
for
that
we
have
generally
assigned
or
have
generated
two
commissioners
to
work
with
an
artist
or
a
group
of
artists
on
a
project.
A
As
long
as
it
falls
within
our
general
guidelines,
we
originally
didn't
have
electric
boxes
on
our
list
of
things,
but
partly
because
shonda
had
some
of
them.
We
we
checked
and
asked,
and
it
was
fine
for
her
to
to
arrange
to
have
some
of
them
painted
at
james
or
jesse
in
desert
highland.
So
I
think
that
we
can
say
that
we
have
gotten
permission
to
paint
selected
electric
boxes
and
that
we
can
use
our
system
of
having
two
commissioners
work
on
an
individual
project.
A
F
I
think
it's
a
great
idea.
It's
a
great
project.
However,
I
would
be
careful
with
the
language.
For
example,
you
use
the
word
looting,
in
los
angeles
sure
some
of
that
occurred,
but
a
lot
of
that
was
civil
protest
and
I
think
it's
important
to
incorporate
that
as
well
in
the
artwork.
F
My
only
concern
in
thinking
of
the
voice
of
the
community
and
being
a
voice
for
the
community
is
that
we
avoid
the
old
crossing
the
railroad
track
of
kind
of
thing.
You
know
well
when
you
cross
this
box
you're
in
the
north
end
when
you
cross
this
box
you're
in
the
rich
section
of
town,
but
you
know
some
people
might
have
a
problem
with
that.
I
don't
know
if
I'm
making
sense
or
not
but
our
dna,
you
know
we
didn't
experience
much
shooting
and
if
at
all
in
palm
springs
civil
unrest.
F
Our
dna
is
that
of
civil
and
peaceful
protest.
So
I
just
thought:
throw
that
out
there
how.
A
Could
could
we
ask
you
to
be
work
with
shonda
to
on
these
these
boxes
and,
if
there's
another
commissioner
who'd
like
to
because
these
are
going
to
be
fairly
prominent
as
you
drive
into
town
and
I
think
a
couple
of
eyes
on
it
to
just
for
that
very
reason
would
be
worthwhile.
I.
E
Thank
you
yeah,
one
of
the,
so
I
got
that
I
wrote
it
and
I
wrote
it
down
too.
So
I
hear
you
and
I
appreciate
those
comments
as
well
as
your
interest
in
partnering.
This
is
all
this
proposal
is,
is
does
it
work
for
you
guys?
This
is
a
message
that
we
thought
could
be
wonderful
to
welcome.
The
throngs
of
people
we
know
will
be
back
after
everything
that
happened
in
the
world
this
year
to
palm
springs,
but
but
paint
the
city
is
based
on
partnership
and
collaborate.
E
E
If
there's
something
that
doesn't
work,
if
we
need
to
change
language
like
that's,
what
we're
here
to
do,
I'm
proud
to
say
that
we
partnered
with
the
beverly
center,
in
los
angeles,
to
create
the
first
corporate
statement
of
solidarity
for
a
public
retail
space
in
the
united
states
in
september
of
this
year,
and
and
because
of
that
experience,
we
feel
very
confident
that
we're
able
to
work
with
communities
that,
like
you,
said
like
it's,
a
different
story,
there's
different
people
involved
and
we
want
to
represent
you
and
your
community
the
best
way,
so
we're
a
malleable
group.
D
I
just
had
a
question:
I
watched
the
video
from
abc7
and
it
says
in
the
video
that
your
project
is
up
through
the
end
of
the
year.
So
I
was
just
curious.
D
What
kind
of
arrangements
you
made
with
beverly
center
in
terms
of
the
length
and
duration
of
the
piece
and
one
of
the
things
that
we
always
deal
with
here
in
the
desert?
Is
that
things
the
weather
is
so
severe
that
often
people
put
things
up
and
they
don't
last
very
long.
So
I'm
just
curious
how
you
worked
on
that
with
beverly
center.
E
Sure
yeah,
so
the
beverly
sensor
is
a
temporary
art
installation.
It's
gone
on,
it's
been
installed
for
longer
than
we
had
planned
for
just
because
there's
been
a
vacancy
in
that
location
in
the
mall.
E
Now
what
we've
done
to
preserve
it
is,
we
put,
you
know,
preservative
painting
over
it
and
they
put
a
lighting
system
into
here
from
kind
of
any
sort
of
vandalization,
but
it's
definitely
something
we
would
want
to,
and
I
would
want
to
learn
more
about
the
type
of
elements
naturally
and
community
based
that
might
interfere
with
art
on
a
sustainable
basis.
So
we're
happy
to
you
know,
keep
that
conversation
alive.
E
D
E
D
Yeah,
that's
a
biggie,
no,
I
just
get,
and
so
when
you
first
did
it
did
you
sign
a
contract
like?
What
did
you
imagine
would
happen
if
that
space
were
rented,
so
it
just
is
painted
over
or
like
what
happens
to
the
work.
E
Yeah,
so
we
have
spencer,
our
other
co-founder
who's,
not
on
the
call
right
now
he's
dealing
with
other
business
matters.
He
has
a
large-scale
printing
and
production
firm.
So
that's
his
company,
it's
called
graphico,
and
so
what
we're
going
to
do
with
the
beverly
center
art
is
get
high
quality.
You
know
the
highest
quality,
basically
photos
of
it
that
we
can
and
then
we'll
create
large-scale
prints
on
art
that
will
then
sell
for
fundraising
across
the
country.
B
And
to
chime
in
on
that
as
well-
and
this
is
drake
again
from
paint
the
city,
but
what
we
did
at
the
beverly
center
is
actually
done
on
windows.
So
it's
a
little
bit
different
versus
what
we
do
with
you
guys
versus
what
our
first
activation
was,
which
was
on
all
wooden
boards.
So.
E
For
yeah,
so
the
santa
monica
activation
happened
truly
out
of
sleepless
nights
and
like
just
the
miraculous
energy
of
the
community,
going
into
that
project.
What
we
did
it
happened
in
three
days:
y'all
we
put
out
an
instagram
idea
on
tuesday
it
went
viral
by
tuesday
night.
We
had
about
a
thousand
people
who
were
ready
to
come
out
and
paint
three
days
from
then
so
that
organization
is
always
going
to
be
different
than
anything
else.
E
We
do
at
the
time
we
did
our
best
to
get
in
touch
with
the
city,
the
police.
You
know
the
necessary
municipal
kind
of
leaders
that
needed
to
know
that
this
was
happening
and
we
actually
couldn't
get
in
touch.
So
what
we
did
instead
was
talk
to
the
former
sheriff
of
los
angeles,
clyde,
terry
who's,
a
personal
friend
of
mine
and
say:
hey:
how
can
we
these
people
are
coming?
No
matter
what?
How
can
be?
E
E
A
Well,
we're
fortunate.
We
have
the
assistant
city
manager
sitting
here
and
I
think
that
what
we'll
need
to
do
with
this
project
is,
if
you
work
with
shonda
and
al
first
of
all,
to
to
identify
each
of
the
boxes
that
you
want
to
paint
and
we'll
run
them
by
marcus
just
to
see
if
there's
any
reason
or
if
they
don't
belong
to
us
or
whatever.
And
then,
as
far
as
the
designs
that
you
choose
with
the
two
of
them,
it
should
be
fine.
A
It
fits
within
our
guidelines
for
breaking
these
projects
into
into
smaller
parts.
Okay,
so
shaun
and
al
can
you
know
meeting
or
whenever
you
want
to
do
it
first,
a
map
of
where
these
are
and
then
work
with
them
on
what
would
go
on
them
and
as
far
as
how
long
they
last
that's
something
we
have
to
work
on
in
general,
because
we
have
murals
that
have
been
up
for
a
while
and
just
are
terrifically
faded
and
chipping,
and
that's
one
of
the
things
on
our
list
to
do
something
about
so.
E
Yeah
yeah
we'll
have
to
work
out
that
detail,
but
yeah
and
and
so
our
kind
of
standard
policy
or
protocol
if
you'll
have
it
that
way.
The
first
thing
we
want
to
make
sure
we're
super
clear
on
is:
did
we
hit
the
mark
with
the
community
values
that
we've
set
forth
to
kind
of
paint
themes
through
thematically,
so
those
are
listed
in
the
proposal?
E
If,
if
everyone
wants
to
just
marinate
them
marinade
on
them,
suggest
others
additional,
we
can
do
whatever.
With
that,
we
again
had
our
team
go
through
and
vet
each
of
the
artists
and
make
sure
stylistically
they
could
kind
of
fit
within
the
palm
springs,
visual
and
then
before
painting
begins.
E
We
always
get
like
an
artist's
bio,
a
why
they
want
to
do
something
kind
of
get
a
feel
for
like
who
they
are
and
make
sure
that
they're
on
the
the
tip
of
creating
peace
rather
than
you
know,
making
a
statement
that
might
be
polarizing
and
then
we'll
get
the
dimensions
and
we'll
get
the
actual
renderings
done
so
we'll
be
able
to
give
you
kind
of
like
a
visual
of
this
is
exactly
what
it
would
look
like
at
each
of
these
locations
and
we'll
just
touch
and
go
the
whole
time
we'll
make
sure
we
get
everyone's.
E
You
know
thoughts
and
approval
on
it.
We
want
to
do
this
right,
we
don't
want
to
do
it
rushed
so
we're
more
than
happy
and
willing
to
take
time
and
make
sure
everyone
feels
really
good
about
this.
The
whole
way
through.
G
Okay,
everybody
and
also
the
proposal
is
for
the
eight
city.
The
eight
traffic
lights
that
go
from
west
gateway
drive
all
the
way
to
alejo.
G
So
I
counted
that
there,
traffic
stops
and
two
of
those
traffic
stops
have
two
boxes
side
by
side
and
the
two
that
have
boxes
side
by
side
are
downtown
already,
so
they
would
to
the
boxes
that
are
side
by
side
is
in
front
of
cheeky's
and
then
trestle
and
there's
that
that
bar
and
the
corner
there
there's
there's
another
two
boxes
and
then
the
boxes
that
are
in
front
of
bongo
giannis.
I
believe
those
are
the
ones
that
have
two
boxes.
A
What
I
mean
we
can't
vote
on
it
today.
What
we
can
do
is
move
it
forward
and
I
think
everyone
on
the
commission
would
like
to
see
the
plan.
A
You
know
exactly
where
the
boxes
are
and
what's
going
to
go
on
them
and
I
think,
as
long
as
we're
all
in
the
loop-
and
you
know,
can
certainly
call
you
if
there's
one
or
you
know
or
a
location,
that's
a
problem
according
to
marcus,
but
I
don't
think
we
need
to
bring
it
back
to
the
full
commission
and
madame
that's
one
of
our
one
of
our
sort
of.
F
Projects,
if
I
could
just
last
comment,
I
apologize
if
I'm
out
of
order,
if
we
could
give
our
guests
a
copy
of
our
mission
statement
and
to
ensure
that
it's
in
line
with
our
mission
as
a
I
think
that
would
be
important
for
them
to
have.
H
Okay,
yeah.
I
think
this
is
a
good
opportunity.
I
I
just
want
to
make
a
note
on
language.
I
also
agree
like
language
is
important.
I
would
personally
like
to
see
more
active
language
like
words
like
gratitude
things
like
that,
but
in
that
regard
I
would
like
to
request
that
we
consider
connecting
with
our
colleagues
on
the
human
rights
commission,
because
I
know
that
they
are
also
thinking
about
this
here
and
a
lot
of
the
issues
that
that
were
brought
up,
and
so
I
would
just
like
to.
H
I
think
it's
a
good
opportunity
for
us
to
collaborate
across
commissions
to
make
sure
like
this
messaging,
that
they
are
requesting,
like
for
various
other
specific
events,
holidays.
Things
like
that
that
that
there's
some
that's
there's
a
shared
knowledge
about
what's
happening.
I
think
it
could
be
really
productive
and
wonderful
for
our
community.
D
I
agree:
that's
a
great
idea,
I
just
I'm,
I'm
a
little
confused
because
we're
not
like
it's
not
an
action
item,
so
I
don't
know
how
much
we're
allowed
to
talk
about
it,
but
I
thank
you
lee
and
drake
for
coming
to
the
meeting,
and
you
know
learning
more
about
the
arts
commission
and
looking
into
our
our
values
and
our
vision
that
we
have
for
the
city
of
palm
springs.
I
just
as
a
in
general
and
again
I
love
your
project.
This
is
nothing
about
your
particular
project.
D
I
think
it's
great.
I
like
what
you
did
at
the
beverly
center.
I
think
it
was
fantastic.
I
love
the
idea
of
artists,
you
know
using
their
voice
in
that
way.
I'm
just
in
terms
of
the
larger
arts.
Commission
there's
been
a
lot
of
concern
that
we're
focusing
too
much
on
downtown
palm
springs,
and
so
I
just
want
to
not
knowing
whether
we're
going
to
be
able
to
discuss
this
again
or
not.
D
I
just
wanted
to
go
on
record
as
saying
I'm
still
a
little
concerned
that
we're
spending
too
much
effort
on
palm
canyon,
drive
and
downtown,
and
not
enough
effort
on
the
some
of
the
other
neighborhoods
that
could
use
some
of
our
help
and
certainly
would
welcome
artists
like
you,
coming
into
their
neighborhoods
and
sharing
your
vision
with
them.
So
I
just
wanted
to
put
that
out
there.
So,
since
we
can't
really
talk
about
it,.
A
Because
we
are
going
to
talk
about
our
mission
and
our
objectives
for
this
year
and
what
we
would
like
to
send
to
the
city
council,
I
think,
since
we
we
sort
of
fell
into
this
mini
grant
and
cares
programs
and
benches
because
of
covid
and
wanting
to
help
downtown
we're
at
a
point
where
we
are.
A
So,
if
you
would,
what
I
sent
out
was
our
mission
statement,
which.
A
A
The
second
is,
I
would
like
to
see
us
create
a
downtown
art
zone
from
the
museum
to
town
and
country
and
from
vallejo
to
from
a
motto
to
arenas,
and
the
reason
I
bring
it
up
now
is
that
I
understand
and
maybe
marcus
you
can
help
here.
There's
a
meeting
on
the
general
plan.
A
But
I
I
hope
that
we
will
get
ourselves
together
to
to
give
some
input
to
that.
A
downtown
art
zone
would
help
first
of
all
help
the
museum
become
somewhat
of
a
focus
so
that
they
are
not
forgotten
off
the
end
of
museum
way
and
it
we
if
we
come
up
with
some
guidelines
for
art
in
the
downtown,
we'll
be
able
to
sort
of
codify
what
we've
been
doing.
We
we've
just
jumped
at
every
possibility
like
benches,
and
I
think
if
we
create
an
art
zone,
we
can
make
it
more
purposeful.
A
What
we
want
to
do-
and
this
again
this
is
the
objective-
is
to
create
one
not
to
you
know.
I
can't
tell
you
what
it
is
yet,
but
the
third
objective
would
be
to
complete
the
inventory,
maintenance
and
repair
of
the
whole
city,
arts,
art,
commission,
art
collection,
and
that
we'll
get
a
report
on
from
tom,
and
the
fourth
objective
is
to
continue
to
work
with
artists
contractors
to
manage
contracts,
work
with
other
city
departments
and
social
media.
A
In
order
to
achieve
these
objectives,
we
have
never
really
we've
done
it.
One
contract
at
a
time
with
sarah
with
madelaine,
and
I
think
that
we
found
that
that's
a
way
that
we
can
operate
and
get
a
lot
done,
because
we
don't
have
any
city
staff,
but
I
think
that
we
need
to
get
the
city
council
to
ratify
this,
to
approve
our
way
of
doing
this.
So
I
have
drafted
a
few
ideas
of
how
we
could
get
formal
approval
for
ways
to
handle
contracts
less
than
twenty
five
thousand
dollars.
A
That
hasn't
really
happened
since
isabelle
and
since
then,
we've
taken
the
initiative
for
a
lot
more
things.
So
I
think
it's
time
to
get
the
city
council
to
acknowledge
that
we've
been
operating
with
contractors
and
with
directly
with
artists
and
things,
and
then
we
can
keep.
We
can
keep
going.
If
you
all,
we
don't
have
to
agree
on
every
every
policy
or
every
procedure.
I
would
love
to
have
your
comments.
A
A
But
you
know,
we've
had
so
many
gray
areas,
because
no
arts
commission
has
ever
tried
to
do
all
this
before
so
and
the
last
one.
In
the
my
recommendations,
for
what
to
do
is
that
we
ask
the
city
council
to
please
suspend
the
mural
ordinance
until
the
end
of
june,
so
that
we
can
spend
some
time
recommending
revisions
of
it
because
it
has
gotten
awfully
cumbersome
and
it
doesn't
necessarily
get
you
any
better
murals.
A
So
I
think
we
need
to
update
some
of
this
or
possibly
maybe
we
don't
need
a
mural
ordinance
anymore,
but
I'd
like
to
have
us
have
six
months
to
try
to
work
this
out
and
then
during
those
six
months.
If
we
try
to
do
a
mural,
we
won't
have
to
go
through
the
entire
process,
so
I
guess
the
first
thing
on
our
approval.
Our
actual
agenda
is
to
discuss
this
and
approve
sending
this
request
to
the
city
council.
A
B
The
city
should
see
that
we
have
been
extremely
productive
in
promoting
art,
whether
a
lot
of
it
downtown,
but
with
the
bench
project.
The
art
activations,
we've
done
on
vacant,
storefronts
that
this
just
shows
to
them
and
presenting
it
to
the
city
council
to
just
adds
proof
that
we
are
very
responsible
with
the
arts
commission's
funds,
and
we
do
it
very
effectively
when
we've,
because
we've
been
charged
with
the
position
to
do
this
so
laying
out
a
system
for
us
and
for
the
city
that
makes
it
easier
for
both
of
us
to
do.
B
The
promotion
of
the
arts,
I
think,
is
a
splendid
idea
and
with
the
framework
that
it's
really
through
june
of
2021,
then
if
they
see
us
doing
something,
they
don't
want
us
to
do.
Then
we
can
readdress
it
next
year,
but
I
think
it
lays
out
a
very
perfect
plan
that
just
shows
proof
of
how
successful
we've
been
in
the
last
six
months.
A
Jay,
do
you
have
the
the
report
that
tracy
sent
out
just
late
today
and
is
it
something
we
could
put
up
on
the
screen
or
I
can
hold
it
up,
but
it's
very
I
mean
if
you
look
at
the
the
sum
total
of
these.
I
hope
all
of
you
got
this,
how
many
artists
were
paid
and
how
many
businesses
were
helped
and.
H
So
chair
sheffer,
if
I
can
just
follow
up-
and
I
just
I
think
this
I
agree
with
russell
and
and
I
love
seeing-
that
these
easy
to
read-
documents
that
really
summarize
what
we've
been
doing-
and
I
just
think
it's
it's
important
to
emphasize
these.
H
These
bureaucratic
rules
have
always
been,
or
has
always
always
kind
of
created,
a
kind
of
self-selection
process
among
the
kind
of
artists
that
we
can
work
with,
and
I
really
think
these
are
important
steps
towards
really
thinking
about
equity
in
our
community
and
how
artists
can
participate
in
this
and
and
share
their
art
with
us
when
we're
able
to
work
without
so
many
restrictions
that
in
the
past,
it
was
only
artists
who
had
like
studios
and
galleries
who
we
were
able
to
work
with.
H
Now
we're
really
able
to
work
with
different
kinds
of
equally
and
perhaps
even
more
interesting
artists.
So
thank
you
all
for
do,
for.
I
think
this
is
a
really
really
good
effort
in
thinking
about
how
the
public
art
commission
can
really
bring
more
equity
to
its
funding
of
the
arts
and
artists
in
this
community
and.
A
If,
on
this
sheet,
you'll
see
that
we
have
paid
an
average
of
about
a
thousand
dollars
to
55
artists
at
a
time
when
most
of
them
are
unemployed
and
that
that
was
one
of
our
goals
was
to
get
money
to
artists,
one
of
them
was
to
help
businesses
draw
people
downtown
and
to
help
with
the
you
know,
these
parklets
and
the
kinds
of
things
that
the
city's
been
doing.
I
would
also
like
to
take
just
a
moment
to
thank.
A
A
All
right
any
other
comments
on
this
or
you
know.
I
I
think,
if
there's
some
wording,
you
would
like
change.
Just
write
me
a
note,
but
my
intention
is
to
send
our
mission
statement
this.
The
the
format
we
came
up
with
for
the
cares
grants
this
list
of
projects
that
tracy's
done
and
then
our
requests
for
loosening
streamlining
the
process
for
the
rest
of
the
year.
While
we
figure
out
how
to
perhaps
change
the
ordinance
so
that
it
will,
it
will
work
better.
A
Right,
we
will
need
to
submit
it-
I
would
say
the
beginning
of
next
week,
so
that
it
could
jay
or
david
or
someone
could
write
just
write
in
an
introduction,
a
staff
report
that
this
is
what
we're
we're
proposing.
You
want
to
make
cindy
write
it.
Just
she
knows
she's
the
only
one
who
knows
what
we're
doing.
A
We
will,
but
that's
what
we
need
is
we
need
approval
or
a
sense
of
the
meeting,
because
it's
not
as
specific
to
to
send
this
report
and
a
request
for
these
policies
to
the
city
council
for
their
approval.
B
A
But
we're
at
at
this
point
we're
asking
just
for
temporary
changes.
It
doesn't.
A
D
Of
you
sure
I'll
make
a
motion
to
forward
to
the
city
requests
for
temporary
changes
to
the
public
arts
ordinance
to
continue
working
on
projects,
as
we
have
been
during
this
covert
emergency.
A
C
A
Be
done,
the
only
ones
really
that
wouldn't
fit
under
this
are
something
like.
What's
the
make
the
cosmetics
company
on
mac.
B
So,
madame
chair
in
in
regards
to
process,
please
keep
in
mind
that
this
is
amending
a
city
ordinance
and
would
require
a
public
hearing
a
first
reading,
a
second
reading
at
a
public
hearing
and
then
would
not
go
into
effect
until
30
days
after
approval
at
the
second
public
hearing.
So
it
could
be
a
few
months
before
this
takes
effect.
A
A
However,
by
the
time
we
got
to
the
second
one,
we
had
to
go
to
the
council
just
for
some
more
benches
and
then
we
had
to
go
to
the
council
for
some
more
benches,
but
each
unit
of
it
was
within
the
amount
that
the
city
manager
could
have
approved,
certainly
once
the
original
idea
was
approved.
So
why
don't
we
work
on
making
this?
C
Divorce-
the
mural
thing
away
from
this
because
I
think
that
well,
I
think
also
like
I'm
not
comfortable
with.
I
think,
if
it's
a
mural
that
we,
the
arts
commission
are
paying
for,
I
agree
with
that.
But
if
we're
sponsoring
an
event,
I
don't
agree
with
that.
I
think
it
should
go
through
the
mural
ordinance
if
it's
like,
if
it's
something
we
are
actually
paying
for
the
entire
thing.
I
think
that
that
was
the
idea,
the
thought
behind
it
more
than
oh,
if
we're
sponsoring.
C
A
A
And
so
what
we're
talking
about
is
is
really
I
mean,
there's
a
list
of
powers
of
the
commission
and
a
lot
of
them
have
been
interpreted
within
the
city's
way
of
paying
checks
or
writing
contracts
or-
and
we,
when
this
was
written,
there
was
staff
that
could
do
all
of
this.
A
We've
had
to
do
it
with
people
who
are
trained
to
do
this,
but,
but
I
would
be
happy
to
before
this
actually
goes
to
the
city
council
to
go
over
it
with
cindy,
perhaps
about
the
the
contracting
procedures.
A
A
C
Yeah
we
can,
if
we
can
just
zap
the
the
mural
and
then
the
mural
thing
probably
has
to
be
done
by
itself
anyway.
So
that's
great.
A
So
we
have
an
amendment
to
this
request
for
temporary
changes
that
we
delete
any
references
to
the
mural
ordinance.
Would
someone
like
to
move
that.
B
A
Your
post,
okay,
then
it's
five
to
one
five
to
two,
then
may
I
have
a
motion
to
request
these
temporary
changes.
A
We
are
asking
the
city
council
to
approve
some
temporary
policies
and
procedures
for
how
we
get
things
paid,
how
we,
what
amount
of
contract
can
be
done
without
going
to
the
city
council,
and
that
we
that
we
are
it,
it
ratifies
the
fact
that
we
have
been
paying.
We
have
been
writing
contracts
with
people
like
sarah
scheidman,
to
do
some
of
this
work.
A
That
has
never
been
acknowledged
that
that
we
could
do
that
and
so
each
contract,
it's
like
we
start
over
again.
You
know.
C
F
Madam
sure
I
didn't
object,
but
I
do
have
a
question.
This
is
this
because
of
covet
19.
Does
this
just
make
things
a
lot
easier
for
the
public
arts
commission?
That's.
A
Part
of
it
and
it
we
because
of
because
we've
been
doing
this
without
it
being
formally
approved,
that's
how
we
got
not
that
page
j,
the
one
before.
B
A
A
B
A
But
this
the
idea
of
this
is
to
tell
this
the
first,
the
city
manager
and
then
the
council,
how
we
would
like
to
be
able
to
operate
for
the
rest
of
the
year,
based
on
what
we've
been
able
to
do,
but
each
each
contract
we've
had
to
sort
of
negotiate
like
how
much
was
it
and
could
we
do
it
all
right?
So
now
I
would
like
a
motion
to
submit
this
report
and
request
to
the
city
council.
A
B
D
D
Okay,
I'd
like
to
make
a
motion
that
this
our
request
be
submitted
to
city
hall
concerning
the
file.
The
three
bullet
points
listed
on
the
document
attachment
b
city
council
approval
to
be
requested
at
december
10th
meeting.
A
And
we'll
come
with
the
reports
of
what
we've
done
so
that
it's
in
context,
okay,
any
other
comments.
Jay
did
you
get
russell
seconded
you.
A
B
A
A
G
All
right,
I
think,
our
presenters
so
just
in
case
that
so
they
know.
A
A
You
know
those
those
places
and
the
language
and
whatever
we
trust
them
to
speak
for
the
commission
and
but
I
think
what
I
heard
was
that
the
commission
would
like
to
see
the
final
choices
and,
but
again,
it's
we
agreed
months
ago
in
february
that
if
two
commissioners
were
working
on
with
an
artist
or
a
group
of
artists
that
they
could
submit
that
project
for
just
whatever
approvals
it
needed
for
from
the
city.
F
H
A
H
E
It
would
be
a
wonderful,
I
think
it
would
add
a
lot
of
depth
and
potency
to
the
messaging
we're
super
into
partnering.
So
that
would
be
wonderful
if
we
could
be
put
in
touch
with
them,
and
I
totally
hear
you
on
wording.
I
work
as
a
marketing
officer.
C
During
we
can't
have
you
speaking
because
you're
not
on
the
agenda,
you
were
just
in
the
first
part,
so
it's
not
well
we'll.
Take
it
off.
D
A
A
Item
see
two
now,
if
you
remember
at
the
last
meeting
the
public,
the
museum
had
proposed
since
this
year,
when
they're
able
to
open
they're
not
going
to
be
open
on
thursday
nights.
So
we
can't
sponsor
our
free
thursday
nights
to
which
55
000
people
came
last
year,
but
there's
no
village
fest
for
the
foreseeable
future
and
no
museum
open.
A
So
they
proposed
being
open
for
free
from
three
to
five
on
friday
and
the
arts.
Commissioners,
who
spoke,
felt
that
that
was
not
a
good
use
of
city
funds,
and
so
I
was
asked
to
go
back
to
them
with
something
that
would
make
the
museum
more
accessible
to
more
people
in
the
in
the
community,
one
of
which
an
idea
that
everyone
liked
was
for
them
to
begin
the
process
of
translating
their
website
and
their
materials
into
spanish.
A
A
A
So
this
is
because
they
don't
know
when
they're
going
to
open
they
they
can't
they
don't
want
to
over
promise
that
they
will
get
x
number
of
people,
and
you
know
we'll
do
x
number
of
programs,
because
that
in
this
year
could
go
by
with
them
not
being
able
to
open.
It
depends
on
what
happens
to
our
you
know
our
tier
and
everything,
so
these
are
two
things
that
they
can
do,
whether
they're
open
or
not,
and
they
would
like
to
do
and
they
would
like
to
have
the
fifty
thousand
dollars.
A
F
F
A
Was
actually
voted
by
the
the
city
council.
A
Well,
they
want
to
make
the
museum
more
accessible
in
terms
of
communities
that
they
market
to
and
that
they
involve
the
the
spanish
translation
was
just
one
way
to
reach
people
that
are
being
reached,
and
you
know
we
talked
about
how
what
we
thought
really
wonderful
programs,
we've
done
with
the
museum
and
they're
they're
very
willing
to
do
it,
but
they
just
can't
like
promise
it
because
they
really
don't
know
if
they're
going
to
be
able
to
open
or
when
meanwhile
they're
doing
a
lot
online
and
they're.
A
You
know
it's
like
it's
really
just
it's.
It's
don't
give
money
for
just
operating
expenses,
but
I
think
this
is
money
to
keep
them
going
and
and
making
some
progress
even
if
they
don't
open
mara.
Would
you
like
to
just
comment
on?
A
Yes,
this
is
good
yeah,
appropriate
use.
I.
H
I
actually
think
it's
it's
a
really.
It's
great.
H
I
mean
as
we
I
think,
investment
in
projects
that
are
in
in
the
public
in
public
in
outdoor
spaces
is
like
kind
of
so
covid
proof
that
that
I
think
it's
really
great,
you
know
look
what
the
museum
is
basically
proposing
is
to
work
with
an
artist
of
mexican
descent
and
to
outreach
his
spanish-speaking
community
and,
let's
be
very
honest,
this
commission
does
not
really
represent
the
demographic
of
the
city
or
the
coachella
valley,
and-
and
I
just
in
terms
of
thinking
about
latinx
or
latinx
community,
and
so
I
just
think.
H
I
actually
think
this
is
it's
actually
a
great
solution,
because
I
think
the
reality
is
that
we
really
the
museum,
really
may
not
open
for
for
quite
some
time
as
we're
looking
at
hearing
from
la
that,
they're
gonna
do
curfews,
and
I
mean
once
we,
the
new
president
is
inaugurated.
There
may
be
other
shutdowns,
so
I
just
think
focusing
on
digital
outreach,
whether
it's
in
translation
and
web-based
stuff
and
projects
in
the
outdoor
realm.
It
just
sounds
like
a
really
terrific
solution,
and
I
would
be
supportive
of
this
on
this
new
scope.
A
We
with
mara's
leadership,
were
able
to
do
this.
Wonderful
extension
of
the
gerald
clark
exhibit
into
our
parks
with
the
signage,
and
I
think
there's
no
reason
that
some
of
the
museum
programs
could
go
further
than
that.
This
one
site
that
we're
still
trying
to
get
a
sculpture
on
yeah.
D
I
just
have
a
concern
the
reading
through
the
draft,
the
talk
it
talks
again
about
the
art
zone
and
I'm
just
wondering
is
that
a
little,
maybe
too
ambitious
for
the
moment
I
mean
it
just
sounds
a
lot.
You
know
a
downtown
art
zone
with
the
plot
plan.
The
three
sites,
I'm
just
wondering
is
that
are
we
asking
a
little
too
much,
maybe
of
them
given
given
the
position
that
they're
in
right
now.
A
Well,
you
know
they,
they
are.
A
luminaire
house
is
going
to
go
into
their
parking
lot
and
I
think
that
they're
eager
to
to
show
that
that's
part
of
that's
very
accessible
to
the
public,
that
they're
moving
outside
of
the
doors
of
the
museum
and
so
and
and
the
language
of
the
contract
just
says
you
know
collaborate
on
trying
to
get
this
idea
going.
So
it's
it
doesn't
promise
any
particular
thing.
But
I
have
to
admit
that
I
stole
the
language.
A
They
wrote
a
grant
to
the
national
endowment
for
the
arts,
for
it
was
called
our
town
grants
and
they
proposed
to
just
to
really
lose
their
their
art
out
into
the
community
start.
You
know
sort
of
radiating
from
the
museum
and
then
I
think
didn't
follow
through
with
it
they
were.
They
were
asking
just
for
a
planning
grant.
A
So
if
they're
willing
to
you
know,
keep
moving
things
out
and
we
can
work
with
them,
I
think
it's
a
it's
a
good
use
of
the
city's
money,
and
it
is
this.
Car
sculpture,
is
going
on
city
property
and
basically,
if
they're
going
to
loan
it
to
us
the
way
we
have
a
loan
of
the
art
in
the
airport
in
the
regional
terminal.
A
C
So
what
this
run
say
this
runs
december
to
december.
C
A
With
their
they're,
not
in
the
same
fiscal
cycle
that
the
city
is
but
their
year
ends
at
the
end
of
october
or
the
beginning
of
october,
and
it
was
always
a
case
of
they
had
to
report
to
us
how
many
people
came
last
year,
so
that
was
like
in
october
or
november,
and
then
we
would
consider
the
contract
and
it
generally
got
paid
out
in
january.
So
I
think
they
would
be
quite
grateful
if
we
could
get
it
to
them
by
january,
with
the
understanding
that
they
probably
won't
be
open.
Yet.
C
Yeah,
so
I
I
think
the
outreach
to
spanish-speaking
communities-
I
think
they're
so
lacking
in
and
and
we've
talked
about
it,
and
I
think
it's
really
important
to
we
can
help
them
jump
start
that.
I
think
that
is
a
really
good
use
of
funds
during
this
time,
and
I
think
maybe
this
contract
sets
the
stage
to
kind
of
renegotiate
every
year
right.
So
then
you
know
next
year
we're
like
okay.
This
is
kind
of
what
we're
thinking
we'd
like
to
work
with
you
right
and.
B
C
B
C
They
kind
of
fell
off
the
you
know
it
just
kind
of
became
just
a
vote
and
give
versus
you
know
more
dialogue
on
that.
So
I
think
that's
great
and
then,
if
they
could,
they
didn't
give
us
a
report
this
year
of
how
many
people
came
on
thursdays.
So
I
wish
they
would
if
we
could
ask
them
to
give
us
that
report.
That
would
be
really
great
because
we,
you
know
the
free.
I
know
it's
kind
of
flipped
that
oh
the
money
doesn't
really.
C
A
A
So
that
is
seven
to
zero
and
cindy.
If
it's
all
right,
we'll
send
it
on
to
you
for
a
staff
report
or
whatever
you
have
to
remember
the
the
money's
there.
The
council's
already
approved
the
fifty
thousand
dollars,
but
since
this
is
a
very
different
contract
from
before
I,
I
think
that
we
should
send
it
to
just
let
some
the
council
see
it.
B
Yeah,
it
will
have
to
actually
go
to
council
to
approve,
because
this
is
so
different
than
the
contracts
that
we
have
had.
They
will
have
to
review
your
recommendations
and
and
make
you
know,
actually
approve
the
the
contract
before
we
can
process
it.
A
I
thank
you
all
for
your
suggestions
last
month,
because
you
know,
I
don't
think
they
understood
that
three
to
five
on
friday
afternoon
was
not
the
same
as
thursday
nights.
When
everyone
was
downtown
and
55
000
people
came
so
and
the
wonderful
programs
we
did
like
the
african-american
square
dancing,
which
is
still
my
favorite,
that
was
great
and
the
labyrinth
and
all
we'll
get
back
to
that.
But
first
we
have
to
help
them
get
open.
So.
D
A
Yes,
but
before
you
do
your
update
on
what
we're
going
to
do,
I
wanted
to
just.
I
went
back
and
look
at
the
minutes
about
this
first
maintenance
report
that
we
are
we
had
approved.
A
A
Since
then,
with
with
tom
and
his
subcommittee,
we
have
a
very
complete
list
of
the
pieces.
They
will
do
and
we've
added
to
it
that
they're
going
to
complete
the
inventory
of
all
the
pieces
that
we
own,
because
we
have
a
very
out
of
date,
spreadsheet
and
once
we
we
really
have
a
list
of
everything
that
we
own
with
their
recommendations.
For
what
else
needs
maintenance?
A
A
B
A
B
A
D
A
I
I
look
back.
The
council
approved
it
on
november
9
2019,
so
there's
just
been
a
lot
of
things.
I
don't
know
if
marcus
is
still
on,
but
finally,
I
think
we're
at
the
point
where
they
can
figure
out
where
to
install
it.
So
it
won't
fall
through
into
the
parking
garage
and
arlene
tells
me
that
they're
they're
ready
to
go
pretty
soon.
B
Yeah,
I
think
that's
the
meeting
marcus
said
he's
having
tomorrow,
is
to
analyze
this.
A
So
that
that
that's
old
news
I
just
wanted
to
make
sure
because
we
had
talked
about
this-
is
the
first
of
several
maintenance
contracts.
A
So
it's
all
wrapped
up
in
there.
So
if,
if
we're
good
as
far
as
consensus
that
this
is
set
now,
I'd,
like
commissioner
yani
to
tell
us
what
comes
next.
C
A
C
A
B
A
A
D
They
will
go
ahead
with
this
database,
which
has
already
been
started,
as
you
know,
with
the
pieces
that
they've
already
worked
on.
So
essentially,
what
we're
approving
in
this
contract
is
that
list
that
we
look
that
we
all
looked
at
in
the
previous
meeting
either
in.
I
think
it
was
actually
in
september.
D
Remember
there
was
like
the
list
of
about
20
pieces
that
we
looked
at
in
the
meeting,
so
those
are
the
first
pieces
there's
a
couple
of
other
pieces
that
we've
added
in
that
are
sort
of
priority
pieces
and
so
we're
trying
to
get
those
you
know.
So
those
are
the
ones
those
are
just
maintenance
of
ones.
They've
already
done
so
we're
setting.
D
So
now
that's
about
a
third
to
a
quarter
of
the
collection,
so
once
they
go
through
and
look
at
the
assess
the
rest
of
the
collection,
then
we'll
come
up
with
sort
of
list
b,
list
c
and
our
goal.
So
they
think
that
december
and
january
they
can
continue
the
work
on
the
maintenance
phase
and
all
that
they
expect
to
get
the
preliminary
list
done
by
our
next
meeting
in
december.
D
So
then,
at
that
point
we
can
talk
about,
you
know
the
pieces
and
which,
which
ones
will
be
in
the
next
phases
and
then,
essentially,
you
know
we're
trying
very
hard
to
one
get
all
the
pieces
in
this
database.
That
can
you
know
that
has
accurate
information
and
to
get
make
sure
that
all
the
pieces
have
some
attention
and
some
the
care
that
they
need
this
in
this
calendar
year.
D
So
essentially
their
calendar,
their
contract
would
go
through
the
end
of
the
fiscal
year
at
the
end
of
june,
but
understanding
I
just
want
to
make
sure
everyone
understands
so
the
contract
that
we've
already
approved
for
the
past.
That's
for
the
maintenance
of
the
pieces
that
have
already
been
done,
plus
the
database
plus
a
small
contingency
in
case
there's
bigger
issues.
We
will
need
to
come
back
and
ask
for
additional
funds
to
do
the
additional
work.
That
comes
that.
We
need
to
be
do
that.
We
need
to
do
once.
A
I
think
reports
can
go
out
directly
to
commissioners
just
to
keep
up.
I
would
like
to
just
go
to
item
e
and
commissioner
fabo
has
said
that
she
had
a
proposal
to
bring
to
the.
I
don't
know
if
it's
ready
to
be
voted
or
just
you
want
to
just
tell
us
what
you're,
who
is
this?
That's
so
cute.
G
Oh,
this
is
decoupage
the
two
weenie
and
every
time
I'm
on
the
phone
on
zoom.
He
always
runs
in
and
sits
on
my
lap.
But
I
wanted
hoping
to
get
the
city's
first
interactive
bench
acknowledged
about
section
14
and
get
an
approval
for
up
to
2
500,
but
not
to
exceed
5
000,
to
create
an
interactive
qr
code
platform
and
a
plaque
in
aiding
the
healing
process
of
section
14's
commemorative
branch
and
also
to
get
an
approval
of
it
being
a
permanent
or
a
semi-permanent
historical
piece
of
artwork.
G
So
it
doesn't
get
painted
over
in
the
neighborhood.
So
they
have
that
area
to
go
and
reflect
and
to
interact
with
the
bench
because.
A
That
would
be
an
abstract
piece,
but
again
would
have
a
qr
code
that
would
take
you
to
a
website
with
the
names
of
all
the
people
who
had
died
of
aids.
So
I
think
shonda
we
should.
We
should
try
to
roll
this
idea
into
a
sort
of
a
plan
to
do
this
for
other
places
as
well,
and
I
don't
know
that
I
mean.
A
We're
probably
not
the
the
final
approval,
but
you
know
it's
it's
more
a
policy
than
the
art
itself.
A
Unless
you
have
a
you
know,
if
you
have
a
design
for
the
plaque
already,
we
could
we
could
say
we
like
the
design,
but
I
don't
know.
I
think
we
need
to
sort
of
maybe
add
this
to
our
list
of
things.
We'd
like
to
know
if
this
is
something
that
the
council
would
let
us
do,
because
I
think
this
is
just
an
example
of
the
first
one
of
these
there's.
You
know
I
don't
know
mayor
bogart,
I
mean
there
are
pieces
that
that
are
that
promote
controversy
and
different
interpretations.
H
B
G
It
would
be
located
on
the
side
of
the
bench
and
hopefully
also
a
plaque
commemorating
the
section
if
the
city
hasn't
acknowledged
it,
and
I
was
hoping
that
through
art
we
can
start
the
healing
process
as
well
as
get
another
mural
get
a
mural
when
that
ordinance
is
approved
in
order
to
commemorate
what
has
happened.
G
These
are
just
beginning
steps
of
trying
to
link
the
healing
process
and
information,
and
not
a
lot
of
people
know
all
the
different
websites.
I
would
like
to
work
with
the
historian
historical
society
with
it
as
well.
They
have
a
of
oral
of
of
things
that
they've
collected,
which
I
think
would
be
important
to
get
a
qr
code.
So
if
you're
interacting
with
the
bench,
you
can
actually
hear
the
oral
history
of
what
happened
and.
C
G
Not
on
the
historical,
it's
also
to
link
all
these
places
together.
The
idea
behind
it
is
that,
if
you're
walking
down
palm
canyon
or
in
james
o
jesse
or
in
dummy
wherever
there's
a
piece
of
artwork,
there
would
be
an
interactive
code
that
would
link
you
to
all
the
websites
to
educate
you
about
that
piece
of
bench.
This
is
just
the
the
first
process
of
trying
to
get
approval
to
get
these
codes
on
the
bench.
G
So
a
series
of
different
websites
can
be
put
onto
those
codes,
so
the
bench
is
interactive,
so
you
are
learning
about
that
particular
article
as
well
as
the
oral
history.
That's
happened
as
well
as
all
the
information
you
could
possibly
get
to
educate
you
about
this
bench.
A
C
Yeah,
because
we
are
going
to
do
a
qr
code
with
the
map
and
then
then
you'll
use
the
qr
code
to
go
to
a
page
on
our
website.
That
will
have
the
list
of
all
of
the
you
know
all
of
our
pieces
of
art
with
the
location
in
town.
So
that's
what
I'm
I'm
confused
about!
What
the
money
is
for,
because
you
can
make
the
qr
code
for
free,
but
if
we're
creating
some
kind
of
other
website
or
what.
H
Creating
another,
can
I
ask
a
question,
and
can
I
guys
get
a
question
and
bring
up
a
concern?
So
is
this
basically
an
interactive
didactic
or
like
interpretive
text
that
we,
as
the
commission,
are
attaching
to
the
artwork
or
is
it
like
part
of
the
artwork?
Is
it
an
interactive
component
of
the
artwork,
because
I
think
those
are
two
very
important
distinctions
and
I
think,
in
terms
of
this
commission
putting
content
online,
and
this
is
sorry.
H
This
is
like
just
my
academic
research
background,
but
in
like
an
age
of
like
you
are
your
own
truth
like
it's
very
important
that
whatever
we're
linking
to
is
vetted
and
is
like
serious
and
is,
and
of
course
it
is.
But
I
just
I
feel
like
there
are
two
you
know,
there's
two
separate
things
happening
and
that
are
put
to
possible,
whereas
if
it
was
like
an
artist's
like
this
is
a
link
to
my
story
about
this,
which
I'm
you
know,
gathering
information
all
these
ways.
H
H
Like
that's,
why
anne's
suggestion
to
partner
with
the
historical
society
is
kind
of
an
interesting
idea,
and
you
know
they
might
even
have
some
research,
some
materials
already
available
to
us
that
can
including
photos
that
can
really
like
amplify
what
what
the
goal
of
this
you
know,
this
contemporary
public
project
is
so
anyway.
I
would
be
happy
to
sort
of
go
offline
in
a
subcommittee
to
like
talk
a
little
bit
more
about
this,
but
I
do
think
it
just
merits
some
more
conversation.
A
Love
the
idea
that
you
just
threw
out,
which
is
artist
statements
because
most
of
our
benches,
even
that
you
know
there
was
a
an
artist
statement
or
that
we
have
them
on
our
website
when
they,
when
they
register.
So
I
think
shonda,
absolutely
we
can.
We
can
have
a
code
that
takes
you
somewhere
to
learn
more
about
the
bench
like
the
artist
and
many
other
things
and
that
that
could
go
to
our
website.
But
then
we
need
to
decide
where
else
to
send
people
like.
A
If
you
want
more
information
about
this,
maybe
it's
more
than
one
site.
It's!
You
can
go
to
the
historical
society
or
you
can
go
to
this,
but
we
can't
you
know
we're
not
equipped
to
write
the
two
sides
of
it
or
the.
You
know.
The
pictures
and
the.
G
Well
before
I
was
simply
asking
for
the
bench
quotes
a
does
a
desert
sun
article.
The
bench
doesn't
say
that
it's
a
desert
sun,
but
it's
a
quote
from
the
desert
sun.
That
would
so
people
would
know
where
that
particular
statement
from
the
bench
came
from
and.
G
Yeah,
to
put
the
link
the
whole
article,
all
the
information
that
that
that
the
bench
evokes,
for
instance,
the
historical
society
has
oral
documents
and
oral
and
actual
documents
of
of
the
whole
process
of
what
happened,
and
there
should
be
code.
Those
codes
should
take
them
there.
So
it's
basically
linking
the
marriage
of
public
arts
and
historical
society
and
the
palm
springs
website
that
you
could
go
to
that
website.
A
G
G
I'm
just
trying
to
aid
the
healing
process
that
people
have
a
place
to
sit
contemplate,
read
the
art,
read
the
information
and
really
understand
what
happened
and
and
know
that
the
city
is
in
the
process
of
not
covering
this
up
anymore,
and
this
art
is
able
to
heal
and
join
those
two
matters
together
in
order
to
create
something
that
the
city
hasn't
done
yet
and
by
the
and
by
public
arts.
G
Being
that
conduit,
we
could
be
able
to
link
some
kind
of
healing
art
and
a
moment
that
we're
able
to
now
interact
with
other
benches
when
you're
walking
down
the
street.
If
you're
on
google
maps,
then
this
bench
pops
up
and
say
oh
wow,
this
artist
is
here
this
been
this
information
here.
This
is
an
ongoing
process
for
all
the
pieces
of
artwork.
But
I
think
this
is
a
very
important
place
for
us
to
start,
so
we
are.
A
But
I
think
what
we're
hearing
is
that,
as
the
arts
commission,
with
a
very
good
website,
it's
entirely
appropriate
to
link
to
have
a
qr
code
that
takes
you
to
a
page
in
our
website
and
has
a
statement
from
the
artist
and
in
this
particular
case,
because
she
has
a
section
of
an
article
from
the
desert
sun.
The
rest.
C
Right
I
mean
I
would,
I
would
also
reach
out
to
the
tribe
and
ask
them
for
information.
Also.
G
C
A
B
A
I
say
in
this
case
because
she
has
an
excerpt
from
this
article.
I
think
we
should
print
the
whole
article,
but
I
don't
think
we
can
go
any
further
with
any
bench,
because
we
in
the
you
know
we'd
be
the
historical
society.
We
need
to
get
people
to
them
because
they
have
done
all
the
research.
F
Also
also
the
national
exhibit
at
the
smithsonian,
with
section
14
that
is
owned
by
the
tribe.
So
so
there
is
information
out
there
and-
and
I
have
to
say
that
some
healing
has
taken
place.
Maybe-
and
this
is
a
first
through
the-
I
would
say-
arts
somewhat
they've
been
some
things,
but
it's
an
ongoing
process.
I.
A
Agree
so
madeleine
what
so,
if
we
have,
if
we
start
putting
qr
codes
on
things,
what
do
we
need
to
do?
Can
they
be
painted
on
or
do
they
need
to
be
more,
you
know
precise.
Do
they
need
to
be
printed
in
some
way?
Does
anyone
know
this.
A
A
A
H
H
Just
kind
of
be
screwed
into
a
sign
post,
that's
already
there
I
just
I
or
is
it
something
like
did
you
want
something
like
you
know
in
the
ground
or
or
I
actually
think
something
like
the
the
that
sort
of
laminated
sign
that
similar
to
what
we
we
used
for
gerald's,
probably
is
will
be
the
most
durable.
I
just
don't
know
how
you
would
adhere
it
or
anchor
it
to
the
bench,
but
I
imagine
there
are
probably
some
good
places
to
do.
H
That's
probably
the
best
thing
to
do,
but
having
something
that's
easily
replaceable
and
you
know
easy
to
wipe
clean
and
also
really
durable.
So
probably
looking
to
that
street
sign
is
what
because
qr
codes,
probably
don't
read
well
on
bronze
on
cast
bronze,
but
we
want
something
that
we
really
could
adhere.
So.
A
And
it
could
be
not
on
a
bench,
but
on
some
artwork
I
could
see
it
just
being
screwed
on
like
a
plaque
and
we've
done
some
plaques
russell.
I
think
on
the
ground.
B
H
H
C
H
C
Test
it
because
the
ones
that
the
museum
did
for
the
show
a
couple
years
ago,
they
were
qr
codes
that
were
within
the
woven
fabric.
They
didn't
work
right.
They
just
looked.
C
A
We
already
put
our
hashtag
on
benches,
we're
going
to
work
on
a
qr
code,
madeleine
that
will
take
us
to
a
page
on
the
website
and
then
we're
going
to
collectively
figure
out
what
it
should
be
made
of
so
that
it
can
go
and
then,
if
you
want
to
start
assembling
the
the
things
that
go
on
the
page
like
where
else
to
go
and
which
we've
done
like
with
the
gerald
clark,
there's
a
lot
of
information,
but
then
there's
some
sources
where
you
can
go
and
get
more
okay,
I
think
it's
great
and
you've
just
inspired
us
to
do
it
for
more
things,
so
it
doesn't
strike
me
as
something
that
req,
it's
just
an
extension
of
what
we're
doing
we.
A
You
know
that
we've
had
we've
had
on
our
website
stories
about
some
of
the
pieces
and
quotes
from
the
artist,
and
so
we
just
have
to
we
have
to
see
if
we
can
make
this
qr
code
thing
work
together.
Okay,.
A
Yeah
and
okay,
but
somebody
you
know
the
question
of
the
physical.
What
it's
made
of
you
know
we
might
have
to
maybe
russell
can
ask
his
the
guy
who
made
this
plaque
for
something
that
would
be
durable
but
readable
by
your
phone.
So
I
imagine
if
it
gets
messed
up,
it
won't
work
very
well.
A
F
A
F
G
That
was
for
to
it
was
a
guesstimate,
because
the
city
when
I
contacted
the
city,
I
wanted
to
get
a
historical
plaque
and
they
didn't
have
a
something
done
recently.
A
F
A
G
C
A
We
can't
do
just
a
plain
old
plaque:
we've
come
up
with
a
really
cool
idea
for
how
we
can
do
a
qr
code
that
gets
people
to
see
the
information
you
want
to
see
them.
I
think
you'd
have
to
go
to
another
city
department
to
just
do
a
straight
forward
plaque
that
has
writing
on
it.
That's
not!
You
know
it's
just
not!
A
A
H
But
I
I'd
like
to
make
another
recommendation
shonda.
I
I
actually
think
this
is
something
that's
the
human
rights
commission.
I
know
one
or
two
of
the
commissioners
have
actually
like
engaged
seriously
in
some
of
these
histories
and
have
been
actually
reading
texts,
and
so
I
actually
think
we
should.
Maybe
we
can
bring
this
to
our
next
meeting
with
some
language
that
we
want
to
recommend
and
maybe
in
partnership
with
the
with
the
human
rights
commissioners,
so
that
this
can
be
like
kind
of
a
shared.
H
I
just
know:
they've
already
been
thinking
a
lot
about
this
as
well,
and
so
I
think
I
you
know
I
would.
I
would
certainly
support
us
making
a
recommendation.
Perhaps
we
could
develop
the
language
together
and
and
bring
this
up
for
vote
at
the
next
meeting.
A
That
would
be
great,
especially
if
we're
using
the
art
as
a
jumping
off
point
for
things,
but
I
think
we
can
go
ahead
in
the
meantime
and
figure
out
how
to
do
the
qr
codes,
because
we
have
lots
of
art
that's
worth
discussing
and
getting,
and
we
were
just
talking
about
these-
these
electric
boxes,
which
we're
going
to
talk
to
the
human
rights
commission
about
also
so
I
think,
just
don't
don't
take
more
than
three
of
you,
because
we
once
did
that
we
had
a
meeting
with
the
parks
department
and
we
got
busted
for
having
too
many
arts.
G
And
that
also
brings
me
to
another
question
with
the
fact
that
we're,
hopefully
these
boxes
will
evolve
and
they
also
will
have
a
qr
code
on
it
too.
The
qr
code
is
something
that
I
would
like
to
implement
for
it
to
be
more
interactive
for
everything
and
not
just
this
one
thing,
but
it
is
a
jumping
off
point,
but
I'm
also
curious
for
the
for
the
boxes
project.
G
Why
can't
it
be
a
project
of
its
own?
Why
does
it
have
to
go
under
the
care
program?
Because
it
is
something
like
the
benches
that
I
would
like
to
continue
doing
like
on
other
streets,
different
neighborhoods
and
whatnot.
Are
you
just
saying
that
it
has
to
go
through
the
care,
because
the
neighborhoods
or.
A
A
So
what
we're
saying
is
that
if
you
do
it
as
a
case
grant
you
don't
have
to
bring
it
back
in
december,
which
you
would
have
to
do
otherwise,
and
then
we
would
have
to
send
it
to
the
city
council.
If
it's,
you
know,
if
it's
not
within
this
little
universe,
we've
created
of
projects
that
are
in
a
neighborhood
or
helping
a
business
or
whatever
so
and
and
helping
another
commission
like
the
human
rights
commission
is
also
one
of
the
things
we
said.
We
wanted
to
do
we're
doing
things
with
the
parks
department.
G
Well,
to
just
to
get
all
these
different
organizations
on
board-
and
you
know
working
together,
that's
my
only
mission
in
this
is
to
get
more
people
to
the
table
and
more
people
represented.
A
And
we've
just
gotten
mara,
really
who's
done
this.
You
know
with
the
gerald
clark
with
other
projects,
sort
of
knows
where
the
buttons
are
in
the
city
to
get
something
installed
as
simple
as
that.
So
I
think
you
know
why?
Don't
you
two
just
work
it
out
and
if
you
run
into
any
you
know
interference,
that's
that's
what
I
do
is
I
run
interference.
A
I
just
try
to
find
a
way
you
know,
through
the
maze
that
you
can
do
it,
so
don't
think
of
it
as
being
relegated
to
that
think
of
that
as
a
way
to
get
it
done
and
sooner
rather
than
later,
okay,
okay-
and
I
think
it's
a
great
idea,
and
I'm
so
glad
you
proposed
it
because
we've
all
got
thinking
of
other
ways
this
could
we
could
give
some
context
to
the
art
first,
what
the
artist
was
trying
to
do,
and
then
you
know,
if
it's
something
controversial,
then
you
get
both
sides
of
the
story.
A
Maybe
all
right!
Some
of
us
have,
I
have
two
granddaughters
and
they
brought
their
two
dogs
because
they're
going
to
school
remotely.
So
I
think
I
have
to
go
back
and
do
that
jay.
We
have
reports
from
directors
and
staff,
but
I
did
get
clarification
from
monique
that
they
don't
know
when
the
interviews
are
going
to
be
for
these
two
commissioners,
whose
terms
have
will
expire
on
december
31st,
but
we're
not
to
worry
because
they'll
just
be
extended
until
they
can
get
reappointed.
That's.
A
If
they
could,
we
would
have
gotten
it.
You
know,
we've
all
been
pestering
them
yeah,
I
don't
know,
that's
where
it
is.
However,
the
second
thing
that
I
will
put
off
to
the
next
meeting,
but
four
commissioners
will
have
finished
their
second
term
in
june,
and
so
I
think
that
we
have
to
actively
look
for
people
who
can
bring
something
to
this
commission
who
are
diverse,
who,
some
of
whom
are
artists.
H
Sorry,
so
what
are
are
all
of
us
expiring
during.
B
A
A
A
You
and
I
and
al
and
tom
in
june,
will
have
finished
two
terms
and
that's
all
we
can
serve.
So
four
commissioners
will
go
off
on
june
30th
and
I
think
we
should
start
thinking
about
either
replacing
ourselves
or
replacing
someone.
Now.
I
did
learn
today
that
there
are
12
applications,
counting
people
who
applied
when
shonda
was
selected.
A
F
Madam
chair,
excuse
me:
didn't
we
vote
a
couple
of
years
to
go
to
extend
the
chair
even
if
the
term
expires.
A
No,
I
think
we
just
voted
that
someone
could
be
chair
for
more
than
a
year
right.
We
don't
control
anything,
but
the
city
council
appoints
people.
So
we
all
we
can
do
is
elect
a
chair
which
we've
been
doing
lately
in
september
and
I
think
that's
probably
a
good
time,
because
there
tends
to
be
less
activity
in
the
summer
and
then
you
start
up,
and
you
know
the
rate
they're
going.
Those
of
us
whose
term
expires
on
june
30th
may
still
be
here
on
august
31st,
who
knows?
Can.
D
A
A
D
Mean
I
don't
think
you
know
we
don't
want
to
just
get
some.
You
know
all
of
a
sudden.
Somebody
appears
on
the
commission.
Who's
never
been
to
a
meeting,
or
you
know
anything
like
that.
I
think
you
know.
If,
if
we
should,
we
should
stick
to
what
the
directions
say
and
ask
people
to
you
know
to
come
and
learn
more
about
it
before
they
just
submit
an
application.
Yeah.
A
A
That's
right,
the
woman
from
the
tribe
margaret
had
she
let
you
know
she
was
coming.
Did
she
have
okay?
Because
michael
emery,
who
is
the
muralfest?
A
I
had
told
him
that
if
he
wanted
to
speak
at
this
meeting,
it
would
have
to
be
in
the
first
in
the
public
comments
and
he
wrote
me
notice.
He
left
was
I
supposed
to
say
something
so
I'll
I'll
circle
back
and
tell
him
all
right.
There's
the
last
thing
is
you
know
anybody
any
other
commissioners
have
a
request
or
a
comment.
I'm
sorry
we
go
so
long,
but.
D
I
just
have
a
quick
comment.
I
just
want
to
commend
everyone.
Who's
worked
on
these
benches,
I
love
seeing
more
of
them
and
going
up
palm
canyon
and,
seeing
you
know,
posting
photos
of
them
and
things
like
that,
and
so
everybody
who's
worked
on
those
and
on
the
the
storefronts
and
everything
else,
they're,
just
terrific.
So
thank.
A
You
so
much
for
doing
all
that
and
jeffrey
bernstein
from
ps
resorts
is
going
to
make
a
poster
like
the
doors
of
palm
springs.
We're
going
to
do
the
benches,
which.
A
But
at
least
you
know,
maybe
we'll
do
another
press
release
or
something
that
says.
Okay,
we're
done.
You
know
one
of
the
tricky
things
and
russell
will
tell
you
is
that
he
counts
all
the
benches
and
we
pick
all
the
artists
and
then
we
go
back
and
the
cities
moved
the
benches
or
a
bench
had
a
back
and
they
put
a
bench
that
doesn't
have
a
back.
So
it's
hard
to
keep
up
with
them.
F
I
think
the
poll
looks
good
russell.
F
B
Yeah,
sorry,
it's
getting
very
good
social
media
presence
through
friends
of
the
artist
connection.
So
once
you
get
the
plaque,
it
would
be
good
and
then
just
a
quick
note
on
the
benches
starting
next
week
as
we've
done,
the
selection,
all
the
benches,
both
palm
canyon,
south
indian
canyon
and
three
on
chocolates
will
be
done
in
the
next
couple
weeks
and
the
airport
so
moving
along.
H
I
share
the
commander
commissioners
for
all
the
good
work
they've
been
doing
during
this
time.
I
also
simply
like
would
like
to
express
my
disappointment
about
the
dis
that
the
decision
about
the
e
steward
johnson
sculpture
of
marilyn
monroe
was
presented
and
discussed
and
debated
by
city
council
without
any
request
for
input
from
the
public
arts
commission.
H
I
would
just
like
to
state
that
I
think
it's
a
surprise.
I
think
it's
something
that
we
should
have
at
least
been
given
simply
just
the
opportunity
to
provide
a
statement
before
and
I'm
kind
of
I'm
I'm
a
bit
offended
to
be
very
honest.
H
You
know
all
of
us
on
this
commission
give
a
lot
of
our
time
to
thinking
holistically
about
art
in
this
city,
and
I
just
I
mean
it's
like
all
of
a
sudden
they're
talking
about
it
and
there's
an
agreement
and
there's
a
decision
made,
and
you
know
I
think
so
anyway,
that's
that's!
I'm
just
going
to
express
my
disappointment.
H
You
know
we
spent
the
city
spent
a
lot
of
time
talking
about
equity
and
diversity
in
this
city,
and
I'm
just
really
disappointed
that
there
wasn't
more
conversation
about
how
maryland
can
benefit
really,
if
it's
installed
in
other
parts
of
the
city,
how
it
can
really
benefit
and
the
business
development
in
other
parts
of
the
city-
and
I
mean
that's
just
very
important
for
the
city
broadly,
and
I
think
it's
a
bit
short-sighted
to
be
placing
this
thing
in
a
site
that
that
already
has
quite
a
bit
of
public
art
in
it.
H
In
any
case,
I
just
I
I
just
I
don't
understand
why
the
commission
wasn't
simply
asked.
A
To
make
a
statement
very
good
point
right,
so
exactly
what
our
ordinance
says:
we're
basically
supposed
to
collect
money
from
developers
and
reimburse
them
if
they
put
art.
You
know,
there's
nothing
in
it.
That
says
that
major
artworks
in
the
city
should
at
least
be
reviewed,
and
I
think
that
we
should
really
put
our
minds
to
rewriting
these
ordinances.
I
mean
you
heard
marcus
say
that
we
can't
just
ask
them
to
change
it.
A
We
will
have
to
come
with
a
whole
set
of
revisions
and
there'll
be
a
public
hearing,
but
you
know
no
arts
commission
before
has
ever
tried
to
be
part
to
have
a
policy
about
art
or
to
discuss.
A
H
I
understand
that
this
commission
has
very
little
power
in
a
lot
of
in
many
important,
the
biggest
and
most
important
ways.
It's
just
simply
that
this
is
a
commission
that
has
citizens
on
it
who
are
asked
about
a
lot
of
about
like
every
other
artwork
in
the
city.
I
just
don't
understand
why
this
commission
wasn't
wasn't
asked
for
that
opinion
and.
C
Beyond
our
our
ordinance
is
that
you
know
when
I
did
that
application
the
other
week.
It
says
that
you
know
commissioners
serve
to
provide
guidance
and-
and
you
know
to
the
city
council
when
asked
so
that
is
part
of
what
you're
on
a
commission
for
beyond
just
the
arts.
Ordinance
is
that
commissioners
are
here
to
provide
guidance
and
an
opinion
to
the
city
council.
C
With
our
experience
and
everything
when
you
know
when,
when
asked-
and
I
I
you
know-
I
second,
what
morris
said
that
you
know
we
also
will
will
bear
the
brunt
of
everyone
will
feel
that
we're
the
ones
that
made
this
decision
as
well
and
in
you
know,
I
think
everyone
knows
how
I
feel
about
this
sculpture,
that
I
thought
that
it
should
not
come
back
and
that
it
you
know
I
I
would
like
to
move
palm
springs
much
more
forward
and
think
what
much
more
about
equity
and
artists
that
aren't
represented
here
and
the
type
of
art
that
we
embrace
as
a
city
and
and
not
just
have
it
be
commercialized
and
thinking
about
the
space
downtown
that
we
already
put
a
street
into,
and
now
we're
gonna
take
a
street
out
to
put
this
sculpture
up.
C
F
Madam
chair,
madam
chair,
can
I
can
I
say
something
they
they
were
on
our
agenda
at
one
of
our
public
arts
meetings.
If
you
remember
the
maryland
structure.
A
F
A
With
that
combination,
but
you
know
I'd.
A
I
think
that
we
should,
if
someone
wants
to
you,
know,
draft
a
statement,
a
request.
F
A
The
trouble
is,
I
think
that
this
one
is
a
done
deal
marilyn.
The
only
thing
they've
said
is
that
they
are
willing
to
really
try
to
evaluate
the
impact
it
has
on
attendance
at
the
museum,
or
you
know,
reactions
to
it
once
it's
there,
and
I
think
that
they
agreed
that
it
was
for
two
years.
Is
that
right,
jay
they
would
and
then
they
would
evaluate
it
instead
of
three
or
was
it
three?
I.
B
Think
they're
still
working
out
those
details
that
it's
like
again
like
a
lease.
It
may
be
a
one
year
with
another
year
option
or
two
year
options.
Something
like
that.
A
Of
all,
I
know
some
of
you
wrote
public
comment,
but
I
think
it
would
be
worthwhile
to
draft
you
know.
Maybe
look
at
our
mission
statement
and
add
a
part
about
how
you
know
we
we
would
like
the
arts
commission
to
be.
A
You
know,
to
be
able
to
discuss
and
maybe
we're
the
ones
that
should
have
held
a
public
hearing,
that
we
tried
that
I'm
not
sure
we
should
do
that
again
unless
jackie
actually
really
has
moved,
but
anyway,
this
is
worth
a
now.
If
you
like,
we
could
have
a
study
session
and
just
talk
about
this
kind
of
thing.
C
A
I
I
think
it's
perfectly
reasonable
to
do
that,
because
I
think
that's
why
I
want
to
amend
the
ordinances,
because
I
think
it's
really
evolved.
You
know
we
generate
so
many
more
programs.
We
don't
just
react
to
approving
something
that
someone
wants
to
do
and
so,
especially
before
the
four
of
us
go
off.
A
I
think
it's
worth
putting
this
into
writing,
maybe
into
the
mission
statement
just
make
it
clearer
and
then
you
know
that
can
be
our
parting
advice
to
the
city
council,
but
I
also
think
that
more
than
other
city
councils
there
they
would
be
inclined
to
listen
to
us
because
they
talk
about
some
of
the
same
issues,
and
I
mean,
I
think,
they're
very
conscious
of
diversity,
and
you
know
what
what
the
art
represents
as
far
as
our
community.
So
you
know
I'm
happy
to
have
a
and
you
guys
are.
You
know.
C
A
I'm
not
putting
video
up
that
much
anymore.
All
right,
may
I
have
a
motion
to
adjourn
the
meeting.
D
A
C
A
A
A
C
A
And
I'll
keep
after
her
to
make
sure
we
get
notice
and
I'd
also
like
to
know
who
from
the
council
is
interviewing
this
year,
because
I
think
they
were.
They
were
debating
that
themselves.