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From YouTube: Public Arts Commission | November 17, 2021
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A
Before
we
get
started,
if
I
could
ask
everybody
to
mute
themselves
as
we
start
moving
forward,
thank
you.
B
I'm
asking
everyone
else
to
turn
it
off
and
mine's,
not
mine's
on
good
af
good
evening.
Everybody
I'd
like
to
call
to
order
the
regular
meeting
of
the
palm
springs.
Public
arts,
commission,
wednesday
november
17th
2021
at
5
30
p.m,
and
can
we
have
a
roll
call.
A
Yes,
commissioner,
fevo.
C
B
B
Thank
you,
so
may
I
ask
for
commotion
to
accept
the
agenda.
E
D
B
No
okay,
so
now
is
the
time
that
has
been
set
aside
for
members
of
the
public
to
address
the
public
arts
commission
on
items
of
general
in
interest
within
the
subject
matter:
jurisdiction
of
the
commission
and
agenda
items
if
the
member
of
the
public
cannot
be
present
later
in
the
meeting
at
the
time.
The
item
is
heard
by
the
commission.
Additionally,
members
of
the
public
may
address
the
commission
on
each
item
listed
on
the
posted
agenda
at
the
time.
Each
item
is
heard.
B
Although
the
public
arts
commission
values
your
comments
pursue
into
the
brown
act,
it
can
generally
not
take
any
actions
on
items
not
listed
on
the
posted
agenda.
Three
minutes
are
assigned
for
each
speaker,
so
we
welcome
all
of
our
members
of
the
public
today
and
jay
is
going
to
be
keeping
our
clock.
B
So
do
we
want
to
just
go
down
the
list
and
start
with
o
h-o-u-g-h
and
if
you
could
give
your
your
name,
that
would
be
great.
A
Hi
there
good
evening,
madam
chairman
and
members
of
the
public
art
commission,
I'm
kathryn
huff,
and
I
would
like
to
comment
about
the
frank
bogart
sculpture.
I
understand
that
the
sculpture
is
a
session
into
the
city's
public
art
collection
and
that
the
public
art
commission
has
the
authority
to
remove
locate,
reinterpret
artworks
in
the
collection.
A
A
A
A
C
A
B
Thank
you
are
you,
you
were
just
here
as
the
public
correct,
not
as
a
member
of
okay.
Great
so
is
the
next
person
is
that
renee
brown
is
that
you
renee.
A
Yes,
my
name
is
renee
brown
and
I
am
the
director
of
education
and
the
associate
curator
for
the
palm
springs
historical
society.
A
A
Another
one
is
the
fact
that
he
created
for
cartier
these
beautiful
spanish
bowls.
So
my
point,
I
think,
is
that
I
want
you
to
recognize
that
you
received
those
images
and
also
there
is
an
oral
history
that
was
taken
with
chris
mills,
who
was
a
city
councilman
and
who
also
did
the
installation
and
very
carefully
did
they
they
even
brought
in
palm
trees
and
rocks
to
install
the
sculpture
on
because
it
was
supposed
to
represent
the
trails
that
desert
riders
created
through
the
mountains
that
actually
all
the
hikers
still
use
today.
A
So
please
take
a
look
at
those
things
that
I
sent
and
hopefully
that
will
give
you
a
better
idea
of
the
quality
of
the
sculptor
and
the
the
artist
who
created
the
scope,
the
sculpture.
Thank
you.
B
Cameron,
harry
goyan,
I'm
sorry!
If
I'm
not
pronouncing
people's
lives.
C
I'm
I
don't
have
comments.
I
just
wanted
to
see
what
the
council's
about
I'm
new
to
the
valley
and
I'm
very
interested
in
helping
the
arts
so.
B
Oh
great,
just
listening
in
well
welcome
bobby
gray.
G
Thank
you,
madam
chair
hi,
everybody
I'm
norm.
King,
I
was
city
manager
with
frank,
bogart,
wynne
frank
boga
was
mayor
in
the
1980s
aside
from
his
immediate
family
for
six
years,
I
spent
more
time
with
frank:
our
offices
were
adjacent
and
the
doors
always
were
open
than
anyone,
except
for
his
immediate
family.
I
came
to
know
that
frank
was
one
of
the
most
open
and
inclusive
individuals.
I've
ever
known.
He
was
definitely
not
a
bigot
or
a
racist.
G
I
am
sad
to
say
the
following,
but
it
needs
to
be
said.
The
city
staff
has
shown
an
inexplicable
and
inexcusable
bias
provided
providing
the
arts
commission
with
incomplete
and
filtered
information,
and
I
might
say
I
think
perhaps
this
is
coming
from
people
outside
such
as
the
city
council.
The
situation
is
that
your
agenda
materials
for
this
meeting
you
were
provided
with
a
copy
of
the
staff
report
to
the
historic
preservation
board,
recommending
the
alternation
alteration
of
the
class
1
site
to
allow
the
removal
of
the
borgit
statute.
G
G
G
Otherwise,
you
potentially
are
accomplice
and
accomplice
to
the
storage
or
destruction
of
a
piece
of
art,
which
is
of
significant
historical
and
artistic
value.
Approving
the
removal
of
the
statue,
without
also
ensuring
that
it
would
be
relocated
to
a
safe,
prominent
acceptable
location
would
be
contrary
to
the
mission
of
your
commission.
A
A
The
home
I
live
in
now
was
built
in
1953
and
again
there.
I
won't
repeat
myself,
but
I
can
show
you
on
maps
that
there
was
absolutely
ample
housing
all
over
the
city.
Many
of
the
people
who
lived
on
section
14
worked
in
the
city,
worked
at
hotels
and
most
all
left
the
city.
A
For
six
months
of
the
year,
many
went
to
the
beach
in
mountain
areas:
lake
tahoe,
lake,
arrowhead,
big,
bear
on
the
coast
and
a
lot
of
people
of
color
in
fact
went
to
texas
or
mississippi
to
spend
the
summers
with
family
and
typically
they
were
on
unemployment
as
service
workers.
I
too
was
on
unemployment.
A
I
worked
at
the
canyon
hotel
out
of
graduating
from
palm
springs,
high
school
and
the
hotel
closed
in
summer,
and
I
went
on
unemployment
or
I
went
to
the
beach
areas
to
to
find
work.
So
the
story
of
section
14
is
being
misrepresented.
A
The
people
who
live
there.
Many
people
of
color
had
already
started
the
process
after
world
war
ii
to
have
homes
built
or
to
buy
homes.
A
So
if
you
read
the
friends
of
frank
bogart
rebuttal,
it's
very
informative
and
it's
very
eye-opening-
and
the
fact
is
that
the
story
being
spun
by
the
hrc
is
wrong
and
we
need
to
keep
the
sculpture
it
frank,
bogart,
dedicated
75
years
of
his
life.
A
B
Oh,
thank
you,
zoom
user,
and
could
you
state
your
name.
B
Okay,
is
there
anybody
else
that
hasn't
spoken?
How
about
seven?
Six,
oh
four
bobby
gray.
Do
you
wanna
comment?
Okay,
go
ahead,
go
ahead.
A
G
A
B
Thank
you
does.
B
I
have
been
so
ill,
so
please
forgive
me
if
I
start
coughing,
so
thank
you
so
much
for
all
of
those
public
comments.
We
really
appreciate
the
public
attending
our
meetings
and.
B
A
couple
of
because
we
might
have
a
pretty
long
meeting,
I'm
just
going
to
say
a
couple
things
and
then
we
can
say
something
with
each
item,
but
we
met
you
know
just
to
update
you
guys
on
a
couple
of
things.
We
we
did
go
meet
with
parks
and
rex,
and
I
think
it
was
a
very
productive
and
a
very
lively
discussion
with
parks
and
recs,
and
thank
you
gary
for
volunteering
to
be
our
liaison.
B
I
don't
think
parks
and
rec
is
here
tonight
unless
they're
zoom
user,
but
I
don't
recognize
any
of
the
names
so
so
I
think
going
forward.
You
know
our
goal
is
to
always
be
as
open
and
inclusive
of
other
city
departments
and
and
the
community
is
large
since
we
do
represent
the
community,
so
I
think
we'll
have
a
a
lively
relationship
going
on.
B
We
definitely
had
a
a
talk
about
censorship
at
that
meeting
and
what
is
in
public
art,
so
that
was
it's
always
good
to
talk
about
disagreements
with
public
art
and
it's
you
know.
Any
discussion
on
public
art
is
always
a
positive
thing.
Whether
you
agree
or
disagree
on
what
public
art
is.
B
So
the
one
thing
I'll
say
is
that
we
are
all
volunteers
to
these
commissions
for
the
city
and
we
all
take
that
that
responsibility
with
a
lot
of
seriousness-
and
I
do
always-
I
always
want
to
thank
volunteers-
they're
the
backbone
of
especially
in
the
coachella
valley,
but
they
they
are
a
backbone
of
helping
get
things
done
with
the
city
and
and
they
should
always
be
treated
with
the
utmost
of
respect
and
think
thanks
for
their
service.
B
So
the
one
thing
I
will
say
is
that
you
know
kind
of
at
the
end
of
another
commission
meeting
people
weren't
around
to
be
able
to
respond,
but
we
we
on
this
commission.
I
I
hope-
and
I
I
do
believe
from
all
of
the
commissioners
here-
will
not
make
remarks
about
other
commissioners
without
those
commissioners
present
and
without
being
able
to
have
any
feedback
so
commissioners
or
members
of
the
public
or
anyone
that
comes
and
gives
us
feedback
for
a
meeting.
B
B
With
that
said,
I
think
we
can
ask
jeff
pick
everett,
who
is
here
to
give
us
an
update
on
a
piece
of
public
art
for
the
public
who's
here
who
might
not
know
a
few
years
ago
we
had
our
30th
anniversary
of
palm
springs,
public
arts,
and
we
had
a
year-long
celebration
of
that
talking
to
the
public
about
what
they
wanted
to
see
as
public
art
in
their
city
and
as
part
of
that
closing
of
the
year
we
had
a
exhibit
at
the
palm
springs.
B
Art
museum,
where
we
had
a
public
call
for
artists
to
create
public
art,
ideas
for
the
city
of
palm
springs
and
everett
was
one
of
the
artists
who
was
submitted
his
work
and
was
juried
into
the
show.
So
he
has
his
and
I'll.
Just
let
him
say
the
whole
thing,
but
his
fault
line
is
is
installed
in
downtown
palm
springs
and
everett.
Why
don't
you
take
it
from
here?
We're
very
I'm
very
excited
to
have
you
share
your
news
with
everybody
about
the
fault
line
and
welcome
to
the
meeting.
F
Thank
you
very
much
for
having
me
and
thank
you
for
believing
in
art.
We
all
share
the
same
idea
that
art
can
heal
people
and
that
art
can
speak
to
different
volumes,
so
people
can
hear
differently,
so
it's
nice
that
we
have
it
around
town.
So,
thank
you
guys
very
much
and
it's
the
same
for
the
fault
line.
F
Meditation
in
case
you
guys
haven't
seen
it
downtown
it's
in
the
shape
of
the
san
andreas
fault,
but
it
is
a
metaphor
for
the
faults
we
carry
in
our
lives,
things
that
we
get
stuck
on
things
that
we
get
paralyzed
on
faults
that
really
do
not
define
us.
They
really
just
allow
us
to
grow
by
learning
from
them.
I
always
say
that
the
faults
create
growth,
so
the
fault
line,
meditation
is
a
metaphor
for
also
growth
and
letting
go,
and
it's
a
little
meditation
path
that
you
can
walk
on
with
two
signs.
F
That
say
it's
not
yours
and
it's
not
mine.
So
therefore
it
just
allows
you
to
oh
there
we
go
look
there.
I
just
took
some
photos
of
it
because
it's
hey.
This
is
the
30
by
30
show,
and
these
were
the
two
pieces
that
I
had
in
there:
the
fault
line
meditation
and
the
hot
water
crossings,
which
is
a
glow
in
the
dark
glittery
light
up
at
night,
sidewalk
crossing
across
from
the
agua
caliente
cultural
center.
F
Again
I
want
to
make
art
that
works
as
a
meditation
and
also
could
heal
you.
So
the
idea
behind
that
was,
we
have
all
been
in
hot
water
and
instead
of
getting
drowned
in
the
water,
instead
of
just
trying
to
keep
your
head
afloat,
you
can
just
get
to
the
other
side.
You
know
and
collect
your
thoughts
and
move
on
from
there.
So
that's
the
faultline
and
hot
water
crossians,
so
I
got
commissioned
to
create
the
fault
line
meditation
in
2019
and
at
the
beginning
of
2020
in
march.
F
It
was
sort
of
the
idea
that
we
could
connect
instead
of
getting
paralyzed
or
stuck
by
not
blaming
each
other
and
not
shaming
ourselves
and
also
not
by
passing
the
buck
by
learning
and
accepting
and
growing
from
the
fault.
As
I
was
saying
deep
down
in
the
earth,
we
could
probably
see
the
next
image
too
deep
down
in
the
earth.
When
the
earth
starts
to
shake.
You
know,
everyone
gets
scared,
but
instead
of
being
scared,
you
could
just
be
curious.
It's
like
one
word
that
could
change
everything.
F
Instead
of
being
scared
of.
How
am
I
gonna
pay
my
bills
or
scared
of
where
are
they
gonna
move
the
bogart
statue
to
it's
more
of
a
curiosity.
Like
I'm
curious,
how
am
I
gonna
pay
my
bills?
Where
are
they
gonna
move
that
statue
to
and
all
of
a
sudden
what
happens?
Is
it
allows
more
opportunities
for
growth,
an
open
mind
and
maybe
critical
thinking?
F
So
I
was
just
hoping
that
the
faultline
meditation
could,
you
know
open
someone's
mind
and
allow
someone
to
forgive
themselves
or
forgive
someone
that's
harmed
them.
I
was
saying,
fear
is
paralyzing
and
curiosity
is
stimulating
and
instead
of
getting
stuck,
you
can
just
grow
and
move
on
because
faults
create
growth,
deep
down
in
the
earth.
The
continents
grow
and
deepen
our
souls
too.
F
That's
also
why
I
had
it
glow.
At
night
I
installed
the
lights
because
I
once
read
that
only
light
can
get
rid
of
darkness
and
people
usually
can
only
see
with
the
amount
of
light
they
carry.
So
instead
of
shaming
someone
for
not
carrying
that
much
light,
I
thought
it'd
be
fun
to
extend
the
metaphor
of
light
by
allowing
the
entire
path
to
glow.
F
So
no
one
gets
lost,
so
I
then
started
its
instagram
account
and
its
social
media
account,
because
a
lot
of
people
were
walking
on
it
wanting
to
walk
on
it
asking
a
lot
of
questions
they
want
to
meditate.
They
want
to
go
down
there
and
it
is.
It
was
native
american
land
down
there
too.
It
was
something
to
think
about
and
it's
hard
to
not
pass
the
buck
and
not
to
blame
someone
and
not
to
be
hurt,
because
people
have
been
hurt
and
again
it's
about
learning
and
growing
and
expanding
empathy.
F
You
know
so
I
started
doing
more
social
media
with
it
and
all
of
a
sudden,
the
north
brooklyn
parks
association
saw
me
and
they
were
having
a
festival
called
the
illumination
light
festival.
Here
is
some
people
they
could.
These
are
locals
that
wanted
to
meditate.
F
This
is
renard,
renard
is
a
casting
director
and
he
wanted
to
go
down
and
meditate
on
someone
that
has
hurt
him
in
the
past
and
he
wanted
to
let
go
and
grow
so
you're
allowed
to
dm
me
through
social
media
and
set
up
a
one-on-one
appointment
to
come
down
and
do
your
meditation
and
a
lot
of
people
will
cry
and
they'll
bring
their
mom
or
their
loved
ones,
and
some
people
meditate
alone,
and
some
people
write
something
and
tear
it
up
and
they
really
bury
it
in
the
ground
and
once
they
leave
the
fault
line,
they've
also
left
behind
that
fault
and
they're
no
longer
paralyzed.
F
Once
you
let
go,
it
allows
expansion
and
you
can
receive
more
again
not
about
passing
the
buck,
just
learning
and
moving
on.
So
we
got
a
couple
write-ups
now
rla.
F
They
are
a
big
fan
of
the
ps
public
arts
and
they're
known.
They
said
that
you
guys
are
known
for
supporting
experimental,
intriguing
artworks
of
local
artists.
So
that's
definitely
a
compliment
to
me
because
I
try
to
be
experimental.
In
fact,
I
once
read
that
artist
keep
experimenting
and
experimenting
into.
One
thing
is
finally
something
they
can
start
to
explain
so
exploit
in
a
good
way,
which
means
used
to
its
full
extent.
F
So
we
had
a
couple
write-ups
and
that's.
These
are
examples
of
the
two
signs
on
each
end
that
that
serve
as.
F
Our
reminders,
not
mine,
and
not
yours,
it's
just
a
fault.
The
fault
was
here
before
us
and
the
fault
will
be
here
after
us.
So
don't
get
stuck.
We
just
happened
to
stumble
upon
that
fault.
Dottie,
it
wasn't
ours,
we
didn't
grow
up
on
it.
We
just
stumbled
upon
it
in
our
little
bitty
lives
and
instead
of
getting
stuck
we're
gonna
keep
moving
it's
a
meditation.
F
B
F
Hang
his
cross
and
it
was
outside
and
they
would
tell
me
child
this
path,
will
save
your
life
and
back
then,
when
I
was
eight
years
old,
I
knew
that
I
too
wanted
to
build
a
path
that
could
help
save
people's
lives.
So
thank
you
guys,
because
now
people
can
come
down
and
walk
the
fault
and
let
go
of
things
so.
Along
with
that,
I
got
more
opportunities.
F
The
brooklyn
project
came
up
and
they
asked
me
to
build
the
faultline
meditation
underneath
their
new
k
street
bridge
and
a
lot
of
people
sort
of
forget
that
manhattan
is
an
island
and
it
has
13
bridges
and
each
bridge
is
sort
of
famous,
and
this
is
the
k
street
bridge,
which
is
their
first
re
renovated
bridge.
That's
contemporary,
it's
their
first,
it
lights
up
at
night.
F
It
has
a
young
fresh
designer,
it
sort
of
has
a
calatrava
feel
and
underneath
that
they've
created
a
pedestrian,
breezeway,
they've
reappropriated
some
area
and
they've
turned
it
into
a
park
area
where
they
can
also
have
little
concerts
and
vendors,
so
they
invited
me
to
come
down.
This
is
where
it's
at
it's
across
the
street,
from
across
the
I
guess
river
from
central
park
over
in
north
brooklyn
and
green
point.
F
It's
the
bridge
that
takes
you
to
queens,
and
I
made
this
one
in
the
shape
of
the
152nd
street
fault.
So
the
idea
was
to
create
a
blueprint
and
you
guys
helped
me
show
it
and
we
can
start
to
build
faultline,
meditations
all
around
the
world
and
so
the
east
coast,
I
guess
debut-
was
in
brooklyn
and
instead
of
making
it
in
the
shape
of
the
san
andreas
fault.
I
thought
it
would
be
really
interesting
to
pay
tribute
to
their
fierce
landmark,
the
152nd
street
fault.
So
this
one
was
the
same
idea.
F
It's
a
meditation
path
that
had
both
the
signs.
You
could
walk
on
it,
and
this
is
what
I
was
not
ready
for
the
4
000
to
5
000
people
that
walk
on
it
every
single
night.
It
was
like
even
in
this
photo
right
here,
there's
18
people
standing
on
the
fault
line
meditation,
and
so
I
was
worried
that
people
weren't
going
to
take
it
serious
or
they
weren't,
reading
the
sign
and
there
weren't.
F
Maybe
scanning
the
qr
code
and
they
weren't
going
to
understand
it's
a
serious
meditation,
but
then
all
of
a
sudden
I
realize
that
it
has
its
life
all
its
own
and
you
just
have
to
sort
of
like
sit
back
and
watch
it.
Just
like
interact
with
the
public
and
the
people
were
like
little
moths
to
a
little
candlelight.
They
were
just
coming
from
all
around
and
flocking,
and
sometimes
it
was
like
a
river
of
people.
It
was
like
some
type
of
pilgrimage
of
self-healing.
F
They
just
kept
standing
on
it
and
walking
on
it,
and
some
people
would
do
it
two
or
three
times
so
people
would
sit,
they
would
contemplate
it,
they
would
talk
about
it.
I
did
get
a
couple
silent
moments.
F
This
is
a
girl
from
the
new
york
ballet
and
she
came
to
do
interpretive
dance
on
it
late
at
night,
when
no
one
was
around
and
she
got
to
dance
amongst
the
trees
and
it's
fun
because
the
one
here
is
in
the
desert
and
it's
in
sand
and
the
one
there
is
in
grass
and
the
path
itself
is
just
lit
up
grass.
It's
two
sides
of
bender
board
that
I
had
painted
red
and
attached
the
light
to
it's
underneath
the
bridge
there.
This
was
late
at
night.
F
I
went
and
took
photos
of
it.
It
still
glows
and
the
one
here
is
built,
but
it
has
a
sort
of
like
a
paper
mache
bottom,
where
I
took
recycled,
cardboard
and
recycled
newspaper,
and
then
I
put
a
shell
on
top
of
it.
So
if
we
ever
wanted
to
find
a
permanent
home
for
one
here
in
palm
springs,
we
could
make
it
more
permanent
with
more
of
a
cement,
a
red
cement
with
encased
lighting.
F
So
I
believe,
as
the
nights
went
on,
I
just
documented
more
and
more
people
walking.
They
would
bring
their
kids,
they
would
bring
their
dogs,
they
would
bring
their
parents.
F
It
was
just
it
was
just
an
experience
all
its
own
and
it
showed
as
a
testament
how
hungry
people
are
for
public
art,
even
if
it
was
good
art
or
bad
art.
The
art
itself
still
stimulates
the
people.
So
it's
the
light
and
the
idea
and
the
design
that
gets
the
people
in
and
later
on.
Even
if
they
didn't
do
the
meditation,
then
I'm
making
nfts
and
other
virtual
tours
and
experiences
so
that
people
can
take
the
virtual
healing
tour
of
the
fault
line
meditation
at
home
in
other
parts
of
the
country.
F
So
not
only
did
the
brooklyn
thing
happen,
but
I'm
also
pitching
it
to
the
west
hollywood
arts
district
because
they're
looking
for
new
artists,
if
you
guys
wanted
to
shout
them
out
on
and
they
have
a
deadline
on
december
31st
to
extend
an
art
project,
and
so
I've
already
discussed
the
fault
line
meditation
with
them.
It
was
crazy.
People
would
just
come
and
sit
in
the
grass
and
picnic
and
just
sit
around
the
fault
line
and
enjoy
it
on
every
level.
F
Also,
art
and
public
places
have
asked
me
to
pitch
it
to
the
board,
which
I
already
have
and
they're
looking
for
a
new
place
for
a
temporary
fault
line,
meditation
in
japan
for
one
of
their
shows
next
year.
F
And
finally,
I
am
part
of
the
gay
aspen
ski
week
and
they
have
asked
me
to
create
a
fault
line
meditation
in
aspen,
so
I've
been
working
on
that
too
just
before
the
ski
week,
so
I
don't
know
if
it
would
be
inside
of
a
gallery
setting
or
if
there's
some
way,
that
I
can
master
it
being
in
the
snow.
F
So
you
know,
thank
you
guys
very
much
for
allowing
me
to
make
art
and
to
showcase
it
and
for
people
to
experience
it
and
for
this
piece
to
grow
on
its
own
organically
and
hopefully
it'll
just
keep
expanding
around
the
world
and
healing
different
people's
lives.
The
fault
line
meditation
and
hopefully
you
know,
I'm
looking
forward
to
working
on
more
projects
with
you
guys
and
we
can
keep
healing
everybody.
B
Thank
you
so
much
everett.
I
really
it's
it's
so
great
to
see
a
a
project
that
went
from
an
idea
for
our
30
by
30
show
to
then
have
it
start
going
around
the
world
and
it's
such
a
simple
idea
when
we
were
originally
talking
about
it,
simple
and
powerful.
So
I
thank
you
so
much
and
I
don't
know
if
any
other
commissioners
want
to
ask
you
any
question
or
anything.
D
I
just
have
one
question
and
I
think
I
already
know
the
answer
everett-
that
the
the
fault
line
that
currently
exists
in
palm
springs
is
somewhat
inaccessible
to
the
public.
Correct.
F
But
with
that
michael
braun,
who
owns
the
property,
has
given
me
permission
to
do
that.
But
with
that,
I
have
to
give
them
a
disclosure
that
you're
entering
at
your
own
risk
and
you
have
to
you,
know,
walk
gently
and
there
could
be
spiders
and
snakes
that
could
get
you.
I
don't
know,
but
you
know
just
like
try
to
keep
everyone
safe,
but
also
allow
them
to
take
the
meditation,
because
it
really
is
healing
honestly,
you
know,
church
is
sort
of
anywhere.
F
B
And
it
it
it
was
installed
during
covid
right.
So
no
one
could
see
it
at
that
time,
but
we
did
talk
about
and
I
was
going
to
bring
it
up
for
the
next
meeting
of
doing.
I
think
some
commissioners
were
interested
in
leading
some
downtown
public
art
tours.
F
I
think
that's
a
great
idea:
tracy,
that's
really
smart,
whatever
you
guys
come
up
with,
because
people
really
appreciate
it.
I
just
had
a
little
event
and
thank
you
because
russell
showed
up
for
it
too,
and
I
appreciate
the
support,
but
it
was
the
pride
art
walk
and
I
had
40
lgbtq
owned
businesses
showcasing
40
to
60
lgbtq
artists
and
it
included
several
of
the
artists
from
the
palm
springs
arts
commission
projects.
You
guys
really
support
the
lgbtq
community,
not
just
artists.
F
So
with
that
it
was
so
successful,
and
so
many
people
just
wanted
to
walk
around
and
look
at
art.
It
would
make
sense
and
they
wanted
to
see
it
more
often
because
you
guys
have
several
pieces
of
art
downtown,
so
that
would
be
fun
to
open
that
up
and
to
allow
people
to
come
down
and
experience
the
art
and
to
do
the
meditation.
F
People
can
always
look
at
art
on
a
wall
in
a
gallery,
but
really
there
was
something
about
camaraderie
and
being
together
with
a
group
of
people.
The
experience
of
seeing
art
and
flesh
with
the
light
reflecting
off
of
you,
you
know
that
really
is
magical,
so
I
think
that's
a
great
idea
and
people
would
love
that
I
would
love
to
help.
However,
I
could.
A
It's
not
the
the
public
comment.
Section
is
closed.
If
there's
an
item
on
the
agenda,
she
wishes
to
speak.
To
that
it
can
happen.
Then.
B
Okay,
all
right
so
with
that,
let's
move
on
to
madalina,
because
she
is
a
time
crunch
and.
B
So
I
saw
madelina
here
so
madeline
hello
has
been
helping
us
or
are
actually
doing
for
us.
I
think.
Since
2018
I
was
trying
to
think
back
when
when
we
first
contracted
with
you
so
madelina,
you
know
in
case
you
don't
know
all
of
the
new
commissioners
yet
has
been
wonderful
and
integral
to
our
outreach
to
the
community.
B
So
one
of
the
things
that
we
really
felt
we
needed
as
a
public
arts
commission,
because
we
really
wanted
to
embrace
the
community
and
make
sure
we
you
know
we
try
to
keep
the
community
informed
of
our
work
and
the
special
things
that
we
are
really
proud
of
and
excited
for.
B
B
H
Everyone
I'm,
like,
I
think
most
of
you
know
I
love
working
with
the
commission,
so
this
is
exciting.
Can
I
am
I
allowed
to
share
the
screen.
H
There
it
is,
this
is
a
short
recap
from
what
what
has
been
happening
on
social
media
and
the
website
since
june
of
this
year
and
oh
okay.
So
we
kicked
off
june
with
let's
say,
closing
all
the
the
bench
project.
So
all
the
benches
were
completed,
or
at
least
most
of
them
from
the
main
main
street
project
and
a
poster
was
created.
So
we
really
worked
on
on
promoting
that
poster.
That
was
signed
by
all
the
artists
that
participated
to
recognize
that
project.
So
that
was
a
big
thing.
We
had
the
live
stream.
H
H
We
promoted
that
as
well.
There's
there
was
a
new
mural
that
was
created
in
collaboration
with
desert
x,
finding
home
in
my
own
flesh-
and
it
was
everything-
is
usually
shared
on
stories,
instagram
and
facebook.
H
Something
else
we
did
was
interactive
art
workshop
with
sergey.
I
took
way
and
we
created
the
the
flyer,
the
promotion
it.
We
had
a
short
time
to
promote
this,
but
still
I
I
think
it
was
a
great
event.
We
had
video
and
photos
for
that
and
when
it's
an
event
coverage,
we
usually
have
photos
and
video
that
then
we
can
use
as
as
a
recap
or
only
for
the
stories.
H
H
They
are
very
successful
on
social
media,
something
we've
been
putting
attention
to
is
promoting
the
collaboration
we
had
with
the
palm
springs
art
museum
in
bringing
the
history
of
suspended
time
sculpture
by
gonzalo
librija,
and
this
is
these-
are
other
installations
that
are
being
promoted,
that
I'm
not
highlighting
right
now,
but
that
have
been
part
of
kind
of
the
the
schedule
for
for
this
last
six
months.
It's
the
the
wow
sculpture,
the
popsicles
have
been
a
great
hit,
and
so
we
get
a
lot
of
reposts
and
tagging
from
that.
H
H
We've
also
featured
the
unity,
mural
greetings
for
from
palm
springs,
that
is
on
loan.
The
fault
line
meditation
isabelle
the
graffiti
park.
These
are
all
pieces
that
we
can
see
that
people
like
on
social,
the
palm
springs
benches.
Obviously,
we've
continued
to
promote
that
the
pride
totem
and
the
road
signs
by
gerald
clark
and,
of
course,
the
airport
pieces
that
people
our
locals
really
don't
get
to
see
that
much.
H
But
but
now
we
have
it
and
we
recently
shared
an
article
on
facebook
that
talks
about
all
the
pieces
that
are
on
display
in
the
museum,
with
the
fossils
of
the
future
sculpture
by
tyler
burton
we
created
a
specific
page
on
the
website
and
a
qr
code,
so
that
people
could
scan
it
on
site
and
learn
a
little
bit
more
about
that
piece.
We
did
that
also
with
the
amanda
gorman
mural
and
ryan
campbell,
we're
working
on
the
ryan
campbell
one,
but
we
also
did
it
with
the
with
the
stop.
H
In
the
name
of
love
project
boxes,
we
did
the
coverage,
of
course,
of
the
unveiling
of
the
mural
for
officers,
jose
hill
vega
and
leslie
cerveny
mural,
and
we
had
video.
We
had
a
live
stream,
it
was.
There
was
a
lot
of
coverage
for
that
and
the
last
piece
that
we
featured
is
happiness
by
diane
morgan,
the
dome
mural
that
is
on
on
dammit
park.
H
I
know
I'd
love
to
to
have
a
team
to
work
with
listen
to
all
the
voices
on
the
commission.
I
know
tracy
is
already
working
on
that,
so
that
that
really
will
be
exciting
and
tracy,
and
I
have
also
been
working
on
the
revamp
of
the
website,
not
so
much
aesthetically,
but
where
things
are
and
thinking
of
the
of
the
user
experience
and
also
adding
the
latest,
the
latest
pieces
that
have
been
installed
and
and
everything
that
has
been
going
on
at
the
commission.
B
Oh,
that's
so
awesome,
so
two
things
to
think
for
the
commission.
So
anytime,
you
guys
have
some
project
you're
working
on
like
we're
trying
to
do
like
hot
stuff.
You
know
coming
soon
stuff.
So
if
you
have
things
that
are
you
know,
you
know
in
the
future,
or
you
know
things
that
you
want
to
start
publicizing,
definitely
reach
out
to
madelina,
and
you
know
if
we
can
create
buzz
about
something
ahead
of
time.
That
is
really
great
and
we're
also.
You
know.
I
really
want
the
website
to
be
a
total
repository
of
everything.
B
We've
done
so
we're
trying
to
get
all
of
the
temporary
art
on
the
website
that
has
been
done
over
the
past
couple
years.
So
if
you
have
anything
to
contribute
to
that
reach
out
to
madalina,
that
would
be
great
and
then
gary
and
barrett
have
want
want
to
work
with
you
as
like
a
committee.
So
I
don't
know
if
anyone
else
wants
to
do
that,
but
you're
always
welcome
to
just
reach
out
to
madalina
and
ask
her
to
you
know,
promote
your
projects
and
then
I
reach
out
to
her
as
well.
So.
H
There's
sorry,
something
that
will
be
very
useful
is
usually
I
know
about
the
installations.
G
H
Otherwise,
we
just
have
the
name
and
the
photo
and
and
people
can
know
really
what
all
the
work
that
was
behind
it.
H
Issues,
some
of
them
some
of
the
artists,
had
to
overcome
a
lot
of
or
a
few
problems
while
in
may
installing
the
pieces.
So
that's
also
something
that
people
are
interested
in
yeah.
B
Definitely
we
had
to
do
so
much
hunting
for
so
much
of
the
information,
that's
on
the
website
even
to
find
years
and
dates,
and
then
you
know
at
the
minimum
the
date
the
medium
when
it
was
installed
and
yeah
any
info
on
the
artist
or
an
artist
statement
or
artist
comments.
Stuff,
like
that,
it's
great,
because
we
want
to
make
sure
that
the
the
website,
too,
you
know
conveys
the
story
of
all
of
this
art,
so
wow.
H
E
I
I
will
you
know,
I
have
some
thoughts
on
from
adelina,
but
we
can
address
those
offline
and
when
we
sit
down
with
barrett,
I
I
think
we
need.
I
think
we
we
can
grow
by
targeting
consumers
differently.
Not
everybody
uses
facebook
the
same
way
they
use
instagram,
and
I
think
we
need
to
do
some
twitter
outreach
as
well.
We
can
deal
with
that
separately.
B
Okay,
so
item
number
three
is
an
item
that
we
continued
from
our
last
meeting.
So.
A
Oh,
should
we
discuss
that
now
if
we
want
to
put
something
together.
B
I
think
I
think
I
would
talk
to
her
and
kind
of
see
you
know.
Maybe
maybe
you
should
look
at.
We
can
get
you
her
other
contracts
or
she
could
give
it
to
you
the
last
contract,
and
maybe
you
can
just
kind
of
look
through
it
and
see.
B
B
B
Okay
cool,
so
thank
you
barrett,
so
item
three
is
continued
from
last
meeting
so.
B
When
we
during
covid,
when
we
came
back
from
covid,
we
had
had
a
grant
program,
the
neighborhood
grant
program
that
we
had
voted
to
fund
and
at
that
time
we
couldn't
have
any
meetings.
Nobody
could
I'm
giving
this
little
background
for
the
public.
That's
here,
so
we
we
created,
you
know
we
couldn't
meet.
The
idea
behind
the
neighborhood
grant
program
was
to
engage
the
neighborhood
right.
So
it
was
you
know
the
neighborhood
would
be
the
driver
of
the
grant
proposal.
B
You
know
we
wanted
neighborhood
involvement,
it
wasn't
just
one
person,
you
know
it
was
like
a
neighborhood
committee
and-
and
it
was
a
way
of
doing
community
outreach
and
bringing
public
art
to
other
parts
of
the
city,
that
we
don't
have
public
art
and
really
engaging
the
community
in
what
they
wanted
their
public
art
to
be
so
because
of
kova
that
we
had
just
done.
B
It
was
my
pro
my
project
and
we
had
just
done
all
of
the
stand-up
proposals
to
all
these
different
groups
and
had
the
application
and
everything
and
then
coven
hits
so
so
that
that
grant
program
was
kind
of
mothballed
and
turned
into
the
cares
grant,
which
was
community
artists
respond
to
the
economics
shut
community
arts
respond
to
the
economic
shutdown,
so
that
program.
B
We
funded,
and
we
gave
a
lot
of
grants
to
community
artists
during
that
time,
and
the
idea
behind
it
was
to
help
the
city
of
palm
springs
during
what
you
know
was
a
complete
shutdown
of
town
and
you
know
to
help
business
and
the
community
survive
and
come
back
from
the
covid
shutdown.
So
those
grants
were
shepherded
by
a
limited
number
of
commissioners.
So
what
we
promised
in
funding
the
program
was
that
we
would
review
every
single
piece
of
temporary
art
and
give
them
an
up
or
down
vote.
B
Let
everybody
have
their
say
and
as
a
way
of
putting
all
of
the
pieces
in
in
front
of
the
public,
so
my
idea
behind
this
is
to
create.
We
now
have
new
commissioners
covet
has
lasted
longer
than
we
had
originally
thought.
So
this
this
has
taken
time.
B
2020
right
is
when
we
shut
down
so
yeah
march
2020.
I
think
we
were
able
to
come
back
in
may
something
like
that
or
or
we'd
have
to
look
it
up.
B
When
we
we
were
able
to
start
having
meetings
again
so
to
review
all
of
that
public
art,
and
then
we
can
all
vote
on
whether
or
not
we
would
have
approved
it
or
not
approved
it,
and
then
that
this
committee
will
give
us
recommendations
on
if
they
find
a
piece
that
they
want
to
make
permanent
if
they
so
just
evaluate
all
of
the
public
art
that
we
funded
during
covid,
all
of
the
temporary
public
art
and
then
report
back
to
the
commission.
B
B
So
then
you
that's
a
that's
one
of
our
meeting
dates.
So
then
you
would
bring
back
your
recommendations
to
us
and
then
we
could
vote
on
them
as
a
whole
to
the
commission.
So
I
there
isn't
a
standing
spreadsheet
of
all
of
the
temporary
arts.
So
I'm
trying
to
I'm
in
the
process
of
making
one
for
everybody,
and
you
can
you,
I
will
give
you
mine
and
then
you
can
add
to
it,
make
any
changes,
corrections,
etc.
B
So
it's
something
that
you
can
use
to
start
with.
B
So
I
wanted
to
ask
if
we
had
four
commissioners
that
want
to
be
part
of
this
committee
and
then
like
with
our
maintenance
committee,
then
then
you'll
just
you
know,
give
public
notice
of
your
meeting
and
then
we
can
zoom
it
and
it
will
be
recorded
and
then
the
public
will
have
access
to
see
it.
So
so
do
we
have
four
four
commissioners:
you
know
you
actually
don't
have.
If
you
don't
want
to
volunteer
tonight,
you
can
just
reach
out,
but
if
you
want
to
volunteer
tonight.
B
So
you
know
like
the
windows
that
were
painted
on.
What's
that,
that
hotel,
downtown.
D
B
That's
a
separate
contract
so
that
that
is
not
part
of
the
cares
funding
so.
B
D
Well,
they
just
asked
because
so
many
of
them
are
already
gone
because
they
were
temporary
artists,
so
storefronts
have
changed,
business
of
businesses
have
come
and
gone
and
the
ones
that
still
exist
have
basically
become
the
property
of
the
owners
of
the
building
so
like,
for
example,
the
windows
on
the
skylark
hotel.
B
Well,
what
we
said
when
we
did
the
vote
was
that
we
would
vote
on
everything,
so
maybe
someone
doesn't
think
we
should
have
done
that
they
can
vote.
No,
you
know
if
something's
already
gone,
it's
not
going
to
change
that
it's
gone,
but
it's
a
way
of
recording
our
vote.
You
know
because
we
didn't
vote
on
any
of
this
stuff,
and
that
was
the
the
idea
behind
it
was
that
everybody
would
be
able
to
get
their
say
at
the
end
of
the
grant
period.
B
And
it's
also
a
way
of
inventorying
all
of
this
art
right.
You
know,
because
we
need
to
keep
a
record
of
it
and
then
some
pieces.
We
need
to
decide
if
we
want
to
keep
them
or
or
not,
keep
them
and
then
other
pieces
so
say
the
skylark
hotel
wants
to
get
rid
of
that
painting.
E
I
I
have
a
question
and
I
understand
and
appreciate
what
you're
doing
with
this.
I
think
it's
it's
crucial
that
we
have
an
accurate
catalog
of
not
only
what
we've
accomplished
and
what
previous
commissions
accomplished,
but
also
in
a
lot
of
ways-
and
this
is
where
I'm
curious
and
I'm
questioning,
isn't
there
going
to
be
a
lot
of
overlap
with
the
maintenance
subcommittee,
because
it's
it's
going
in
the
field
and
cataloging
everything
and
documenting
it
and
creating
this
thing.
B
B
You
know
part
of
the
contracts
that
that
the
artists
sign
is
they're
supposed
to
maintain
their
art
for
the
first
year
that
we
have
the
art.
So
it's
not
something
that
we
would
maintain,
but
this
information
will,
if
we
decide
to
keep
a
piece
right,
then
it
will
become
a
maintenance
thing,
but
they're
they're,
definitely
like
these
pieces
are
not
on
a
list.
B
B
You
know
the
expenses
that
we've
expended.
You
know
the
expenditures
and
everything
and
then
there
are
decisions
to
make
like.
So
do
we
say?
Oh,
this
is
all
temporary
art.
All
of
it
is
going
to
be
returned
to
the
artist
or
do
we
say.
Oh
well,
we'd
like
to
keep
this
piece
or
we'd
like
to
keep
that
piece.
B
B
So
if
we,
you
know,
take
something
into
our
collection
that
doesn't
look
like
it's
going
to
be
easily
maintained
in
a
normal
way.
You
know,
then
that
becomes
every
you
know
reviewing
and
looking
at
a
piece
constantly
to
see
how
we
maintain
it.
So.
A
Tracy,
I
was
just
wondering:
were
there
any
records
kept
during
the
process
of
making
these
temporary
works
there?
It
happened
so
recently.
It
seems
it
seems
strange
to
have
be
having
to
do
all
of
this
after
the
fact.
A
E
B
Well,
I'm
trying
I've
been
putting
together
a
list
so
granted
this
isn't
my
you
know
so.
I've
been
trying
to
put
together
a
list
of
public
art
for
you
guys
or
temporary
art,
and
then
I've
asked
other
commissioners
to
please.
Let
me
know
other
projects
that
they
did
so
I
can
fill
in
this
list
and
I've
also
asked
city
staff
for
information.
So
I
have.
B
B
A
lot
of
it
and
I
was
working
on
it
last
week.
I
don't
have
it
completely
done
for
you
guys,
but
it's
it's
I'd
rather
not
have
this
just
be,
like
my
whole
thing
that
I
made
without
you
know
what,
but
the
idea
behind
the
temporary
art
was
that
every
commissioner
was
going
to
be
able
to
have
a
say
in
the
temporary
art
after
the
fact.
B
B
You
know
as
a
document
that
the
public
can
access
and
then
we
can
access
it
as
all
the
stuff
that
we
did,
and
you
know,
because
that's
what
we
promised
when
we
voted
on
this
thing.
There
would
be
a
full
accounting
at
the
end
of
the
program
and
everybody
would
be
able
to
vote
on
it.
A
I
just
I
just
want
to
ask
a
little
more
about
the
grant
making
process,
because
I
I
wasn't
there
and
I'm
new
and-
and
I
think
we're
probably
going
to
have
to
do
this
again
in
the
future.
Can
you
just
tell
me
just
walk
me
through
how
that
works
like
do?
They
fill
out
an
application
and
we
review
it
and
then
the
the
check
comes
from
the
city
or.
B
I
can
only
tell
I
can
tell
you
how,
when
the
project
I
set
up,
was
you
applied
for
the
project
on
the
city
website
in
a
form,
but
people
did
not
do
that?
Okay,
so
I
was
not
involved
in
these
most
of
these
things.
So.
A
B
Don't
I
know
that
you
know
people
would
fill
out
a
form
with
sarah,
but
they're
they're
not
filled
out
for
every
single
thing,
and
you
know
there
aren't
really
contracts.
There
were
invoices,
so
I
really
think,
as
you
know,
sunlight
and
good
public
work
that
we
need
to
review
all
of
the
public
art
that
we
did
over
the
past
few
years
and
just
put
it
all
down
on
paper
and
yay
or
nay
it
or
keep
it
going
or
not.
Keep
it
going.
B
If
we
do
another
grant
program,
it
can
never
be
done
like
this
period,
so
the
whole
idea
behind
the
grant
was
it
was
supposed
to
be
directed
from
the
outside
in
and
and
so
I
don't
know-
I
don't
I
I
don't
know
I'm
trying
to
create.
C
Faith
in
me
I
say
something:
yes,
with
the
fact
that
you
just
said
that
there's
a
form
on
the
line
on
the
website.
That's
the
first
time.
I'm
hearing
that
there
was
a
form.
I
think
a
lot
of
the
confusion
came
about.
There
was
another
person
hired
to
work
for
public
arts
scene,
creative
and
from
what
I
understand
when
she
was
helping
me,
I
gave
her
all
the
information,
and
so
when
she
was
let
go
abruptly,
I
had
to
try
to
scramble
to
get
that
information
back
originally.
C
When
I
became
a
commissioner,
I
wanted
to
do
the
stuff
myself
hands-on,
so
I
could
have
a
ongoing
list
of
it
and
I
was
told
that
this
person
was
that
person.
That
did
that.
So
I
don't
know
if
we
could
reach
out
to
her
to
get
all
that
information,
because
there
are
google
drives
that
have
this
information
on
it
yeah.
I.
B
Have
I
have
that
access
now?
Okay,
so,
and-
and
we
can-
you
know,
all
of
the
commissioners
can
have
access
to
as
far
as
I'm
concerned,
but
I
did
look
through
all
of
it.
It's
just
not
everything
is
there
so
and
it's
not
sarah's
fault.
If
she
didn't
have
the
information,
so
you
know,
I
think
all
of
your
projects
are
in
there
shonda
and
but
that
you
know
it
depended
on
what
these
things
were.
B
C
That
a
little
bit,
because
when
I
was
working
with
sarah
when
we
talked
to
our
old
chair,
I
was
told
that
there
was
a
certain
a
lot
of
money
for
the
boxes
and
some
of
the
boxes
that
were
listed
didn't
actually
exist.
I
like
drove
around
to
try
to
find
some
of
them
and
they
didn't
exist.
So
there
were
some
that
there
would
be
an
over
extension.
C
There
would
be
some
a
money
poverage.
So
in
the
beginning
the
artists
were
given
stipends
for
paint
because
it
was
coveted
and
it
was
like
an
incentive.
It
was
kind
of
like
a
covet
thing
which
I
believe
she
wrote
up.
That
way.
I
mean
I
really
left
it
in
her
hands.
I
gave
her
the
information
and
we
talked
about
it.
So
there's
a
a
lot
of
stuff
that
I
don't
even
know.
If
you
have
or
not.
C
I
would
like
for
to
see
what
cindy
has,
because
both
her
and
cindy
talked-
and
I
would
just
turn
in
the
stuff
I
would
just
give
it
to
them,
and
then
I
would
let
go
of
it.
So
for
me
to
recall
all
this
information
is
gonna.
Take
a
lot
of
time
because
I
gave
her
the
info
and
then
now
that
information
is,
I
guess
some
of
it
is
lost.
C
B
I
don't
think
anything
is
lost.
I
I
don't
think
anything
is
lost.
It's
I
don't
think
not
everything
in
that
in
sarah's
google
drive
she
worked
on.
She
didn't
work
on
everything,
so
if
she
didn't
work
on
it,
it
wouldn't
be
there.
So.
B
G
C
I
have
another
question:
does
cindy
have
like
a
list
because
with
the
budget
stuff
it
was,
I
don't
know
it's
like
a
dots
matrix
kind
of
print
out.
I
couldn't
make
heads
or
tails
of
what
projects
were
paid
for
and
not
paid
for
so
does
cindy
have
a
list
of
artists
that
were
paid
that
we
can
cross-reference
to
make
sure
that
all
the
temporary
artists
were
paid
as
well
as
those
projects
were
executed
correctly.
E
So
tracy,
assuming
that
we
get
our
our
commissioners
who
volunteer
to
be
part
of
the
subcommittee,
which
we
I
think
we
all
agree,
is
extremely
important.
How
do
we
begin?
We
we
meet
and
do
we
have
a
document?
We
can
go
after
and
check
everything
to
make
sure
it's
up
to
stuff
or
how
are
we
finding
these
pieces
of
art.
B
I'll
give
you
my
list:
okay
and
then
what
I've
done
on
my
list
was,
I
used
sarah's
list
and
then
I've
been
adding
to
it
and
then
it
might
not
be
complete.
That's
why
you
know
maybe
russell
looks
at
it.
Michelle
looks
at
it
and
adds
anything
else,
and
then
I
also
have
put
on
this
list
things
that
are
on
loan.
B
So
if
this
commission
also
wanted
to
take
that
on,
we
do
have
items
that
are
on
loan,
that
we
need
to
either
renegotiate
or
return
them
or
find
out
the
loan
term.
So
that's
another!
You
know
if
you
wanted
to
take
that
on.
That
would
be
a
longer
thing,
that's
also
available,
but
but
I
can
ask
jay
to
send
you
this
list
tomorrow.
E
Yeah
you
know
I
I
will
volunteer
to
be
on
this
subcommittee.
I
I
ask
that
one
of
the
more
senior
commissioners
either
russell
or
sean
to
sit
in
just
so
that
we
have
some
institutional
knowledge,
otherwise
you're
going
to
have
four
new
commissioners
that
are
sort
of
unfamiliar
with
some
things
that
may
have
happened.
D
A
Adam
chair,
if
I
may
also
chime
in
here
three
three
members
would
be
the
maximum
number
of
sub
committee
members
without
forming
a
commission
a
quorum
constituting
a
quorum
of
the
commission.
So
it
may
be
best
to
keep
it
at
three.
A
Otherwise,
it
will
essentially
be
when
we
meet
posted
as
another
full
public
arts
commission
meeting.
B
Yeah
so
I'll
leave
that
to
you
guys,
whoever
you,
what
whatever
you
guys
feel.
So
if
you
feel
like
the
three
of
you
is
enough-
and
you
can
let
us
know
later,
but
I
really
thank
you
for
doing
this.
You
know
we
did
talk
about
it
a
number
of
times
over
the
past
few
years,
so
I
think
it's
a
great
thing
that
we
can
accomplish
in
not
so
long
of
a
time.
That
really
is
something
we
had
promised
pre-covered
and
during
covet.
So
it
would
be
great.
B
B
We
want
to
tackle
that
as
well
and
then
that
would
be
there's
a
sculpture
over
at,
like
as
an
example,
there's
a
sculpture
at
the
convention
center,
that's
owned
by
the
art
museum
and
it's
on
loan
to
the
city
which
I
didn't
know
until
a
few
days
ago,
when
I
was
doing
all
this
research,
so
that's
something
we
could
research
right,
the
labrija
car
that
was
a
loan
for
a
certain
amount
of
time,
so
that
maybe
is
extended
the
that
peter
tegler
piece.
That's
like
on
the
elevator
of
the
rowan
hotel.
B
I
have
no
idea
like
that
suddenly
appeared
one
day,
so
that
is
on
loan
from
california
desert
arts
council.
So
maybe
someone
goes
and
researches
that
and
finds
out
about
those
terms.
B
We
also
have
art
in
the
airport,
that's
on
loan
from
the
art
museum,
so
that
could
be
a
longer
longer
one,
but
there's
like
five
or
six
pieces
of
art
on
loan,
and
I
think
the
loan
was
up
in
2012
or
something
like
that.
So
my
idea
this
year
is
to
like
catch
us
up
on
all
of
these
things.
That
kind
of
you
know
have
gone
either.
People
are
too
busy,
or
whatever
I
mean
it's
easy
to
like
lose
track
of
this
stuff
to
catch
us
up
on
all
of
this
backlog
of
stuff.
B
So
we
take
care
of
the
temporary
art.
We
take
care
of
our
maintenance,
so
we're
working
on
that
we
take
care
of
our
maintenance,
and
then
we
get
all
of
these.
B
Things
taken
care
of,
and
we
move
on
to
like
the
amazing
things
that
we
want
to
do,
which
we
can
do
in
the
meantime
as
well.
You
know
simultaneously,
but
we
have
more
of
an
idea
of
budget
right
like
hey
I
want
to
you
know.
We
want
to
commission
a
really
amazing
piece
for
the
city
and
we
know
how
much
it's
going
to
cost
to
maintain
and
we,
you
know,
we
know
what
it's
going
to
cost,
to
install
et
cetera,
et
cetera,
and
we
move
on
with
like
really
exciting
projects.
B
So
I
know
a
bunch
of
the
commissioners
have
exciting
ideas
and
if
we
just
get
take
care
of
all
of
this,
you
know
midi
details
and
then
we're
you
know
we're
golden
so
great,
and
then
we
create
like
a
really
nice
public
record
for
the
city
of
all
of
this,
so
versus
hunting
and
pecking.
B
Okay,
so
so
we
can
move
on
to
frank
bogart
and
ken
lyon.
Thank
you
very
much
for
still
sticking
with
us.
I
know
you
you
have
somewhere
else
to
be
so.
B
I've
listened
to
all
of
the
meetings
about
frank
bogart,
and
I
know
council
has
already
voted
to
move
the
statue
we
weren't
part
of
that
discussion,
but
I
thought
that
it's
really
important
to
have
as
much
you
know
have
information
written
down
on
paper
versus
you
know
to
take
some
emotion
out
of
the
discussion,
so
I
just
wanted
to
read
one
quick
thing
of
you
know
when
I
teach
public
art.
This
is
one
quote
that
I
always
use.
B
From
the
association
for
public
art,
the
public
art
is
a
reflection
of
how
we
see
the
world.
The
artist's
response
to
our
time
and
place,
combined
with
our
own
sense
of
who
we
are
public
art,
can
express
community
values,
enhance
our
environment,
transform
a
landscape,
heighten
our
awareness
or
question
our
assumptions
placed
in
public
sites.
This
is
art
that
is
there
for
everyone.
A
form
of
collective
community
expression,
public
art,
is
a
reflection
of
how
we
see
the
world
the
artist's
response
to
our
time
and
place
combined.
B
So
in
a
diverse
society,
all
art
cannot
appeal
to
all
people,
nor
should
it
be
expected
to
do
so.
Art
attracts
attention.
That
is
what
it's
supposed
to
do.
Is
it
any
wonder,
then,
that
public
art
causes
controversy,
varied
public
opinion
is
inevitable
inevitable,
and
it
is
a
healthy
sign
that
the
public
environment
is
acknowledged
rather
than
ignored.
B
An
appraisal
of
the
bogert
statue-
you
know
everybody
has
just
been
talking
in
talking
about
things,
but
not
having
necessarily
something
you
know
written
in
hard
copy.
So
I
I
thought
it
would
be
something
that
we
could
add
to
the
conversation
about.
This
statue
is
to
put
something
down
in
hard
numbers
on
paper,
since
we
are
starting
to
review
art
for
the
public
collection
and
appraising
it
for
insurance
values
and
for
determining
you
know,
maintenance
associated
maintenance
costs.
B
So
so
the
you
know,
because
everything
we
do
has
to
be
approved
by
city
council,
enable
our
funds.
I
thought
we
could
ask
for
them
to
contract
with
nail
to
mail
to
do
a
a
art
appraisal
on
the
frank,
bogart
statue.
B
So
that
is
this
item.
And
then
I
asked
alicia
for
a
quote
originally.
B
To
provide
for
you
guys,
you
could
use
that
for
this
meeting
and
then
I
had
thought
that
and
it's
up
to
you
guys,
but
I
had
thought
that
we
could
schedule
another
meeting
to
discuss
this.
But
I
actually
don't
think
the
information
will
be
ready
by
december
8th.
B
B
This
sculpture,
somewhere
else
in
town
or
whatever,
the
whatever
the
thoughts
are,
but
I
thought
we
could
you
know.
Instead
of
having.
I
thought
we
could
open
a
more
positive
and
communitarian
idea
of
speaking
about
the
statue
and
putting
it.
You
know
it's
so
tied
to
city
hall
and
putting
it
in
in
more
of
its
own
perspective,
and
I
don't
know
if
renee
brown
is
still
here,
but
she
said
something
at
a
city
council
meeting
a
while
ago.
B
So
I
appreciated
her
comments
tonight,
she's,
not
here,
but
she
did
send
us.
Those
pictures
which
I
thought
were
great
so
when
the
historic
site
board
was
talking
about
the
statue
they
weren't,
no
one
was
sure
if
the
rocks
and
everything
were
part
of
the
statue.
So
if
you
guys
look
at
the
pictures,
the
statue
is
definitely
separate,
but
there
is
an
interview
that
she
did
with
one
of
the
former
city
council
members
about
the
installation.
So
I
thought
that
was
really
interesting
to
listen
to.
B
I
was
going
to
ask
her
when
that
was
taped,
so
you
know
so
that
is
my
idea.
So
if
we
ask
for
the
information
on
a
fine
art,
an
art
appraisal,
if
we
ask
the
city
about
any
issues
with
artists
rights
with
the
visual
arts,
rights
act
and
the
california
art
preservation
act
and
then.
B
If
that
I
guess
the
city
would
get
a
quote
on
removing
or
reinstalling,
so
that
was
the
idea
behind
this
process
was
to
create
a
more
positive
environment
for
discussing
the
statue,
since
it
is
part
of
the
public
arts,
collection
of
the
city
and
what
would
entail.
B
B
We
could
we
could
ask
the
city
if
you
didn't
want
to
pay
for
it
with
public
arts
funds.
We
could
ask
the
city
if
they
would
pay
for
it,
but
it
would
I
mean
it
is
in
our
in
our
collection.
So
my
idea
is
we.
It
would
come
out
of
our
budget
for
the
appraisal.
A
Adam
chair,
if
I
may,
would
it
be
possible
to
have
ken
lyon
give
a
quick
update
on
the
status
of
where
hspb
is
with.
G
Well,
thank
you
and
good
evening.
Everyone,
I'm
ken
lyon
and
I'm
the
city
staff
liaison
to
the
historic
site
preservation
board.
At
its
november
meeting,
the
hspb
considered
the
question
about
whether
the
removal
of
the
bogart
statue
would
be
considered
a
material
impairment
to
the
historic
defining
characteristics
of
city
hall.
G
Their
question
was
solely
focused
on
the
question
of:
does
removing
it
from
city
hall,
damage
the
historic
significance
of
city
hall
they
labored
with
that
question
and
at
their
conclusion,
they
voted
to
continue
the
matter
to
a
date,
certain
of
their
december
7th
2021
public
meeting
and
requested
that
staff
seek
more
information
about
city
hall.
That
would
help
more
clearly
inform
them
about
what
are
the
defining
character,
defining
features
of
city
hall
that
contribute
to
its
historic
significance
in
the
staff
report
that
I
wrote
for
their
december.
G
Yes,
this
sorry
november
meeting,
I
identified
what,
from
a
staff
level,
we
believe
the
character
defining
features
of
the
site
and
the
resource
are
so
what
the
hspb
is
seeking
is
for
that
to
be
substantiated
by
a
neutral
third
party,
professional
services
consultant,
and
that's
what
they've
asked
us
to
do.
So.
G
I
have
reached
out
to
at
least
two
of
our
on-call
professional
services
consultants
who
provide
architectural
and
historic
resource
studies
for
the
city
on
behalf
of
the
hspb
and
I'm
waiting
for
proposals
from
those
consultants
to
come
back
once
we
do
receive
a
successful
proposal.
We
will
commission
that
consultant
to
do
that.
Study
and
the
result
of
that
study
will
be
a
report
back
to
the
city
which
will
be
reviewed
by
the
hspb.
G
To
hopefully
assist
them
in
making
their
decision
about
the
question
that
was
before
them,
it's
now
mid-december
mid-november,
and
I
have
not
gotten
proposals
back
yet.
So
we
anticipate
at
the
hspb's
december
7th
meeting
that
it
will
be
continued
again
to
a
date
certain
of
their
january
2022
meeting,
which
we
hope.
By
that
time
we
will
have
a
contract
or
a
consultant
under
contract
and
hopefully
we'll
have
a
report,
the
product
of
their
work
available
to
prepare
and
present
to
the
hspb
at
their
january
meeting.
So
the
short
answer
is
they've.
G
Taken
no
action
yet
and
continued
the
matter
seeking
more
information,
as
requested
by
staff.
B
C
I
have
a
question
with.
I
was
reading
in
one
of
the
reports
that
the
landscaper
there
was
a
separate
landscaper,
then
the
architect,
and
has
that
landscape
that
has
the
landscape
architecture
been
taken
into
consideration
for
their
consideration.
Like?
Is
there
any
information
on
that
with
the
for
the
landscape
architect,
because
I
think
one
of
the
reports
was
saying
that
he
was
left
out
altogether.
G
G
If
you
look
at
the
vintage
photographs
that
were
in
my
staff
report
to
the
hspb,
which
were
photographs
credited
to
the
notable
photographer
julius
schulman,
you
can
see
some
of
the
original
landscape
that
was
in
front
of
city
hall
and
by
and
large
it
was
what
we
would
consider
today.
A
drought,
tolerant
or
desert
appropriate
landscape,
so
sometime
after
city
hall,
was
opened
and
put
into
use
that
landscape
was
significantly
and
for
the
most
part,
destroyed
and
turned
into
a
expansive
lawn
of
grass.
G
So
from
a
perspective
of
what
do
we
have
today
here
at
city
hall,
that
is
something
that
it
may
be
of
some
significance
from
a
landscape
perspective.
G
I
would
assert
that
we
don't
have
anything
left
from
that.
Garrick
ekbo,
designed
landscape,
but
that
is
part
of
the
question
that
will
be
pursued
by
our
consultant
is,
you
know,
is
what
I
just
said
in
fact
true,
and
is
mr
ekbo
in
fact?
Is
it
true
that
he
was
credited
with
the
design
of
that
landscape,
and
how
do
we
evaluate
that
in
contemporary
times,
given
its
current
condition
of
the
site
as
a
big
area
of
heavily
watered
grass.
C
And
we'll,
and
in
that
information,
will
we
be
able
to
maybe
restore
it
back
to
its
original
beauty?
Is
that
a
possibility
or
something
that's
on
the
table
as
well,
or
is
that
something
that
we
would
have
to
address
or
get
a
committee
in
order
to
get
this
a
landscape
preserved
back
to
the
original
intent
of
the
architect
and
the
landscaper.
G
At
this
time
there
is
no
interest
on
the
part
of
city
government
to
restore
the
landscaping
at
city
hall,
when
the
council
amended
the
historic
designation
of
city
hall
in
2012,
it
specifically
exempted
the
landscaping
at
that
time
from
any
historic
significance
for
consideration
by
the
board.
In
other
words,
the
board
was
specifically
cut
out
of
any
sense
of
reviewing
the
landscape
in
terms
of
it
being
historically
significant,
and
I
believe
the
city
council
did
that
at
that
time.
If
you
recall,
we
were
in
the
depths
of
a
pretty
severe
drought.
G
I
believe
at
that
time
and
the
council
was
probably
mulling
over.
I
don't
know
the
notion
that
maybe
all
this
grass
needs
to
be
gotten
rid
of,
and
so
I
think,
airing
on
the
side
of
of
caution
and
wanting
to
reserve
their
decisions
on
the
landscape.
The
council
excluded
the
landscape
from
the
historic
significance
of
the
city
hall
site,
and
at
this
time
there
is
no
one
that
I
know
of
who
is
talking
about
or
interested
in
any
kind
of
restoration
of
the
landscape.
C
So
is
there
a
possibility
that
that
can
be
pursued?
I
mean
because
we're
in
a
drought-tolerant
situation
right
now
and
I
mean
see
those
original
pictures-
they
were
breathtaking.
I
I
feel,
like
the
city
really
ignored
how
the
the
landscape
was
supposed
to
undulate
around
the
building
in
order
to
create
the
balance
of
the
architecture.
C
G
There's
nothing
that
we
know
of
in
terms
of
why
the
landscape
was
changed,
an
initiative
to
consider
any
kind
of
changes
or
restoration
or
investing
any
of
the
city's
capital
dollars
in
a
capital
improvement
project
to
restore
the
landscape
at
city
hall
would
be
a
city
council
decision.
Okay,.
G
G
This
notion
that,
and
I
think
we
kind
of
sold
and
marketed
ourselves
in
the
60s
and
70s
as
a
quote-unquote
oasis
in
the
desert
and
to
perpetuate
that
that
persona
or
myth,
if
you
will,
the
community
the
developers,
the
city
began
planting
grass
and
petunias
everywhere,
and
it
sort
of
perpetuates
this.
This
false
premise
that
we
are
somehow
a
an
expansive
quote-unquote
oasis
in
the
desert.
G
We
know
that
to
not
be
true,
of
course.
Today
we
know
that
everything
we
have
in
terms
of
all
this
turf
everywhere
is
a
is
a
created
aesthetic
and
it
was
something
that
came
about.
I
believe
in
the
60s
and
70s
as
the
city
marketed
itself.
That
way.
C
Very
much,
thank
you
so
much
for
sharing
those
pictures
with
us
ken
I
mean
I
have
the
schumann
book,
but
your
pictures,
I
don't
know
it
just
moved
me
in
a
way
that
I
felt
like
we
should.
You
know,
petition
to
get
it
back
to
its
original.
You
know.
B
B
So,
just
so
people
know,
if
you're
putting
things
in
chat,
it's
not
part
of
a
public
meeting,
so
we
can't
respond
to
things
in
the
chat
box.
B
So
I
just
want
you
to
know
in
case
you're
wondering
because
the
meeting's
recorded
we
need
to
have
everything
recorded
for
the
public,
so
we
can't
respond
to
things
in
the
chat.
Any
other
questions
for
ken.
B
Thank
you,
ken.
It's
really
great
how
you
explained.
I
I
listened
to
the
meeting.
It's
really
great,
how
you
explained
the
end
product
that
you
guys
are
going
to
do
for
the
meeting,
because
it
wasn't
clear
to
me
in
the
notes.
So
I
really
appreciate
you
telling
everybody.
G
Thank
you
all
the
boards
and
commissions
that
are
struggling
with
this
question
around
the
statue
are
are
struggling,
and
I
guess
that's
why
you
know
the
public
process
is
rich
and
rewarding
for
us
it's
sometimes
frustrating,
but
ultimately
I
think
all
the
discussion
will
yield
a
good
outcome.
So
thank
you
again
for
inviting
me
to
today's
meeting.
Have
a
good
rest
of
your
meeting.
B
Oh,
thank
you
so
much.
I
so
agree
with
that.
So
yeah
I
mean
these
meetings
have
brought
out
more
information
about
this
statue
than
we
knew
about,
especially
on
the
you
know.
The
rocks
placement,
et
cetera,
et
cetera
so
alicia
thomas,
is
here
she's
a
licensed
art
appraiser,
who
has
done
work
for
us
in
the
past,
so
she's
already
a
vendor
for
the
city
of
palm
springs.
B
D
To
approve
this,
we
can
move
along
because
I
think
it's
important
for
us,
as
the
arts
commission,
to
do
our
due
diligence
for
the
appraisal
and
technical
aspects
of
the
statute.
So
it's
it's
part
of
the
whole
process
of
the
decision
and
the
discussion.
So
I
think
it's.
I
would
like
to
make
a
motion
to
approve
the
expenditure
of
fifteen
hundred
dollars
for
contracted
nail
to
nail
llc,
to
appraise
and
give
recommendations
on
removal,
storage,
reinstallation,
siting
and
site
preparation
for
the
frankfurt's
statue.
A
C
A
Go
ahead
barrett
I
just
had
a
clarifying
question.
The
item
says
that
it
may
include
recommendations
on
physical
removal,
storage,
reinstallation,
citing
and
site
preparation.
Can
I
get
clarification
on
what
we
might
expect
in
terms
of
the
site,
recommendations.
B
So
we
we
have
alicia
here,
so
we
if
we
want
to
add
to
her
quote,
we
can
ask
her
here
if
we
want
to
do
that,
we
can
put
that
into
the
motion.
B
So
I
I
put
on
on
the
agenda
kind
of
what
I
thought
would
cover
it.
So
then,
whatever
motion
we
make-
and
we
can
ask
her
if
she
can
do
that-
we'll
cover
that.
F
Yeah
alicia,
thanks
for
being
here,
if
you
could
just
talk
to
maybe
a
little
bit.
A
Hi
thanks
for
inviting
me
tonight,
I
actually
like
what
has
come
up
during
this
meeting
this
evening
and
to
solicit
ideas
from
learned
community
member
preservation
board
among
others.
B
Yeah,
I
agree
with
that
alicia.
Do
you
think
that.
A
So
so,
traditionally,
those
are
outside
the
scope
of
an
appraisal.
However,
I
can
include
those
recommendations
in
a
cover
letter
to
you
and
they
would
be
subject
to
a
slightly
lower
rate,
but
that's
just
technical.
A
D
I
also
have
a
comment
and
it's
based
on
all
the
comments
this
evening
and
all
that
I've
been
reading
for
the
past
several
months.
Regarding
the
bogart
statue,
I
have
difficulty
with
the
word
storage.
D
I
don't
think
that's
something
we
should
be
considering
the
removal,
the
reinstallation,
the
sighting
and
the
site
preparation
I
agree
with,
but
I
have
concerns
about
using
the
word
storage
or
even
considering
that.
B
A
Yes,
if
I
may,
if
I
might
just
add
from
a
cost
perspective,
that
the
ideal
scenario
would
be
to
hire
a
company,
fine
arts,
ship
and
company,
to
actually
remove
the
piece
and
cite
it
at
the
same
time.
In
the
same
visit.
C
Tracy,
can
you
give
me
some
more
clarity
on
the
cost
that
would
surround
this,
because
I'm
a
little
bit
apprehensive
on
public
arts
paying
to
remove
it
and
paying,
since
it
was
a
gift
that
was
given
to
a
city
to
the
city.
I
feel
like
the
city
should
remove
it.
So
I
I'm
I'm.
I
need
clarity
on
the
and
what
and
what
those
entail
and
because
I
believe
that
that
also
has
controversy
in
it
as
well.
B
D
B
We're
not
asking
alicia
for
a
cost
estimate
on
removing
and
reinstalling
the
piece
we're
just
asking
for
an
appraisal
of
the
piece
like
we're.
Gonna
do
with
the
other
pieces,
and
it's
also
for
insurance
value
and
her
her.
E
It's
still
ultimately
tax
and
development
dollars
that
are
paying
for
it's
just
you
know
it's
it's
fungible
funds,
so
you
know,
and
the
city
council
has
voted
to
move
the
statue,
so
I
I
think
we're
splitting
hairs
for
specific
things,
but
if,
if
the
thing
needs
to
be
appraised
that
it's
going
to
be
appraised
and
it's
public
art,
it
will
come
out
of
our
budget,
you
know
it's
it's
what
it
is.
I
guess
my
question
tracy
is:
is
there
insurance
on
this
piece.
B
E
A
I
I
believe
so
replacement
value.
E
Yeah,
so
if
there's
a
value,
that's
really
what
we're
asking
for
to
be
done
now
is
to
give
a.
B
E
A
Tracy,
I
was
just
wondering
you
know
we
just
had
the
maintenance
subcommittee
meeting
and
I'm
realizing
that
this
statue
is
nowhere
in
our
materials
or
discussions
around
maintenance.
It's
not
in
any
of
the
lists
or
so.
B
It's
kind
of
you
know
in
limbo
now,
right
like
we
can't
really
decide
to.
We
maintain
this
statue
a
couple
of
years
ago,
so
it
and
we
have
to
look
it
wasn't
by
the
same
company,
so
it
was
by
a
sculptor
sculptor.
So
the
the
statue
was
having
huge
issues
with
irrigation,
which
is
what
you
know.
A
lot
of
our
maintenance
issues
in
town
are
over
irrigation.
B
so
that
statue
has
has
been
maintained
recently,
but
you
know,
is
it
gonna?
You
know
in
all
this
controversy.
B
C
I'm
sorry
tracy,
I'm
still
failing
to
understand
why
we
can't
use
the
evaluation,
the
insurance
evaluation
of
what
it's
insured
for
I'm,
not
I'm,
not
understanding.
We
have
to
invest
more
money
in
getting
an
appraisal.
If
there's
a
value
already
put
on
it.
B
Well,
the
the
appraisals
were
done
a
long
time
ago.
You
need
to
keep
things
up
to
date,
so
it's
just
it's
just
keeping
us
up
to
date
with
with
our
arts,
maintenance
work
really.
Yes,
so
I
think
it's
a
good
thing
to
get
an
appraisal
of
a
piece
of
art.
I
don't
think
it's
anything,
that's
not
controversial
it.
It
may
be
in
this
this.
You
know
because
of
the
way
people
are
thinking
about
it,
but
I
think
it's
a
response.
It's
the
responsible
thing
to
do.
B
A
Yeah,
my
my
question
is
just:
why
is
this
piece
getting
the
this
special
treatment
when
we
we
we're
trying
to
like
come
up
with
a
strategy
for
appraising
and
maintaining
all
of
the
public
art
in
the
city
and
we're
trying
to
decide
like
as
a
whole
picture,
what
to
spend
the
money
on
first,
like
we
had
a
very
long
meeting
about
this
the
other
day
and
now,
all
of
a
sudden,
this
piece
is
coming
in
out
of
the
blue,
was
never
discussed
in
that
meeting.
B
I
think
I
think
it's
just
getting
it's
not
getting
special
treatment.
I
think
it's
because
of
what's
happening
in
the
city,
that
you
know.
I
asked
for
a
quote
on
doing
10
pieces
of
art
for
for
appraising
to
bring
back
to
the
subcommittee
to
vote
on
like
which
pieces
and
if
they
want
to
do
so-
but
this
is
just
kind
of
this-
is
a
sep.
This
is
in
a
way
its
own
animal.
B
Because
of
what
you
know,
the
city
council
is
the
one
that
decided
to
remove
this
piece.
We
didn't
so
it's
not
a
decision.
We've
made
and
I
just
think
it's
it's
a
responsible
thing
to
do
is
to
do.
A
B
A
Madam
chair,
did
you
want
to
take
public
comments?
I
think
we
have.
One
dottie
seems
to
have
been
waiting.
I
I.
A
Hi
yeah,
it
is
on
that
item
and
I
don't
know
what
was
said
earlier.
A
I'm
sorry
I
didn't
get
on
the
meeting
until
about
half
hour
after
you
started,
but
you
know
they
talked
about
the
historic
preservation
of
the
city
hall
and
I
don't
know
what
could
be
more
historic
than
a
statue
of
a
person
that
gave
80
years
of
his
life
to
developing
not
only
the
city
of
palm
springs,
but
quite
a
bit
of
the
valley
and
and
was
very
present
in
a
lot
of
our
lives
for
many
years,
and
if
you
look
across
the
street
at
the
police
department,
the
courthouse
that
used
to
be
the
police
department
back
in
the
50s
and
60s.
A
So
you
know
that's
been
certainly
changed
every
which
way.
But
you
know
for
people
who
grew
up
there,
pumps
or
grew
up
in
palm
springs.
I
appreciate
people
wanting
to
move
forward
and
change
it
to
their
likes.
But
when
the
city
was
you
know
in
the
50s
and
60s
it
was
a
very
western
town
and
it
looks
nothing
like
the
town.
I
grew
up
in
at
this
point,
so
you
know
it's
one
of
the
few
remaining
memories
that
a
lot
of
us
that
did
grow
up
in
palm
springs.
A
That
did
know
frank,
bogart
and
and
did
not
think
of
him
in
all
the
ways
that
people
who
read
a
a
book
or
two
or
came
to
the
town
five
or
six
years
ago
are
talking
about
him.
A
You
know
if
they
wanted
to
remove
the
statue
just
as
a
piece
of
art,
it
would
have
not
probably
raised
as
much
controversy
as
as
demeaning
his
character
as
a
reason
to
want
to
want
to
move
it,
but
I
do
think
he
was
a
big
presence
in
this
town
and
if,
if
they
can
disparage
him
this
this
soon
after
his
death,
I
don't
know
anybody.
A
That's
gonna
give
80
years
of
their
life
to
the
same
town,
and
I
think
it's
it's
very
sad
and-
and
you
know
really
that's
the
last
little
bit
of
the
town.
I
grew
up
in
that's
left
and-
and
you
know
I
I
wouldn't
I
wouldn't
mind
if
they
change
the
landscape
around
it-
to
be
what
it
used
to
be
or
make
it
desert
lands.
But
the
statue
itself,
I
think,
is
a
reminder
of
how
much
frank
did
for
the
city,
and
I
saw
him
many
times
over
at
the
airport.
A
That
was
really
tiny
at
that
time.
Greeting
every
visitor,
high
profile
visitor
that
came
to
town
so
anyway,
that's
my
feeling,
I
believe
I
did
see
a
number.
I
think
I
got
some
literature
from
the
city
that
gave
a
a
number,
but
it
may
have
been
from
years
ago
some
some.
I
know
it's
a
newspaper
article
or
something
from
the
city
from
back
then,
because
there
was
no
arts
commission
back
when
they
put
it
in
and
it's
something
around
140
or
125
000.
A
But
then
I
saw
other
numbers
as
well.
So
anyway,
that's
my
comment.
I
I
think
it
will
be
a
very
sad
day
for
those
of
us
who
grew
up
in
palm
springs,
knew
frank
watch
the
city
grow.
Watch
it
change
to
see
that
statue
taken
down
and
I
think
if
you
want
a
replacement
site,
if
it's
going
to
be
dumb,
whether
we
like
it
or
not.
A
I
know
there
are
people
like
the
desert
riders
who
would
find
a
place
to
put
it
because
frank
started
them
and
they
would
find
a
a
good
place
for
them,
but
yeah
it
was.
It
was
donated
with
it
was
purchased
with
private
donations,
and
I
think
too
just
because
somebody
takes
an
offense
to
it.
It's
a
very
sad
day
to
have
it
removed.
Thank
you,
dottie
you're,
a
three-minute
all.
D
A
I
would
also
add
the
city
attorney
earlier
today.
Let
me
know
that
he
has
two
bids
or
quotes
for
removing
the
statue,
but
I
I
don't
think
that
includes.
B
And
then,
if
more
comes
down
the
road
we
can
do
that.
So
yes,
we
could
just
ask
to
approve
on
track
to
do
an
appraisal,
art
appraisal.
A
D
E
C
D
A
And
chair
merrigan.
B
A
B
So
I
would
ask
if,
if
we
to
table
that
for
a
later
meeting,
so
what
do
you
guys
think.
D
B
Yeah,
it
seems
like
that,
so
do
we
have
to
do
anything
to
table
it.
Jay.
B
I
guess
we
could
do
a
motion
to
I'll
do
a
motion
to
table
scheduling
a
special
meeting.
B
A
B
B
Okay,
so
up
updates
gary.
Do
you
want
to
give
any
update.
E
Yeah
just
very
quickly
tracy
and
I
were
at
the
parks
meeting.
I
think
it
was
two
weeks
ago,
tracy
three
weeks
ago,
there
was
a
lot
of
spirited
discussion
about
taught
they
as
a
commission.
They
have
a
lot
of
grievances
of
how
certain
parks
and
arts
projects
have
come
together,
not
a
lot
of
it
to
do
with
us
necessarily,
but
they
you
know,
I
gave
my
position.
My
goal
is
to
find
out
what
their
needs
are
for
park,
specific
issues,
and
I
told
them.
E
We
did
find
out
that
there
are
two
public
arts
liaisons
on
the
parks
commission,
which
we
were
not
aware
of,
and
I
don't
think
they're
at
the
meeting
unless
one
of
them
is
the
zoom
user,
but
they
might
be,
but
the
two
liaisons
are
jody
diaz
and
john
maraglia
and
I've
met
with
both
of
them,
and
I
met
with
one
of
the
other
commissioners
who
had
some
concerns
about
the
role
of
public
art
in
the
park,
and
my
goal
is
to
interface
and
meet
with
every
one
of
the
parks
commissioners
over
time,
just
so
that
there's
a
person
connection
rather
than
just
being
an
email
connection.
E
So
what,
as
I
find
out
more
of
what
their
needs
are
within
the
parks,
then
I
will
relate
them
to
you
and
hopefully,
if
you
have
ideas
that
you
think
would
work
in
one
of
the
public
parks.
You
know
loop
me
in
I'm
not
going
to
take
over
your
project,
I'm
not
going
to
do
all
the
work.
I
just
hope
to
be
sort
of
an
advisor
on
best
how
to
navigate
it
so
that
we
don't
catch
any
surprises
and
that's
it
from
my
end
and
we
can
move
to
the
next
agenda
item.
B
E
E
B
So
we
had
a
meeting
with
city
maintenance
today
and
they
are
going
to
schedule
the
work,
the
work
for
taught
so
to
remove
the
bike
rack,
and
then
I
sent
them
the
information
from
the
artist,
so
they're
gonna
get
back
to
us
on
when
that
work
is
scheduled,
and
then
I
thought
maybe
we
could
ask
the
commissioners
to
think
about
what
maybe
in
hopefully
we
could
do
this
in
in
early
december.
B
Have
we
haven't
had
an
unveiling
of
any
art
since
pre-covid,
so
we
never
were
able
to
do
our
gerald
clark
unveiling
and
we
haven't
been
able
to
do
any
unveiling.
So
I
thought
it
would
be
really
great
to
invite
all
of
our
commissioners
and
invite
city
council
invite
the
parks
and
rex
commission
and
staff
and
the
maintenance
staff
who
are
really
super
helpful
to
us
to
an
unveiling
of
this
statue.
So
I
just
wanted
to
kind
of
pull
the
commission.
B
You
don't
have
to
say
tonight,
but
kind
of
what
days
of
the
week
are
good
for
you,
the
artist
will
the
artist
is
in
san,
diego
they'll
come
install
one
day,
and
then
they
will.
Then
we
could
have
the
unveiling
the
next
day,
so
I
thought
it
would
be
really
exciting
and
thank
you
so
much
to
russell
for
spearheading
tot
it's.
It
will
be
our
first
permanent
piece
of
art
in
a
long
time
and
and
it's
from
our
30
by
30
show
which
is
so
exciting.
B
D
E
Let
me
jump
in
matthew
and
the
parks
commission,
their
their
recommended
placement
for
the
spider
is
where
one
of
the
existing
bike
racks.
Is
it's
a
damaged
bike
rack.
So
it's
they're
going
to
move
the
spider
to
a
place
on
by
the
opening
of
the
the
courtyard
area.
E
So
that
was
their
recommendation
and
I
think
it's
in
the
spirit
of
holding
hands
on
this
we're
following
their
lead.
Okay,
so
the
process
will
be
removing
the
spider
if
it
needs
any
repair,
work
done
and
then
putting
it
into
the
where
the
pre-existing
bike
rack
was
and
while
the
spider
is
being
moved
and
or
repaired,
then
the
top
placement
will
be
readied
for
installation.
B
Yeah
and
the
one
thing
is,
we
probably
can't
repair
it
in
time,
so
I
was
going
to
ask
the
maintenance
subcommittee
to
to
consider
an
item
like
that.
We
would
review
and
maintain
all
of
the
city
bike
racks
because
it
seems
like
maybe
you
said
this
one
was
rusted,
so
maybe
more
of
them
need
work
and
then
do
them
all
at
once.
B
But
they're
gonna,
let
us
know
about
they're
they're
gonna
move
it
so
people
can
use
it.
B
And
they
didn't
take
us
up
on
the
offer
of
a
few
art
bike
racks
so
that
that
isn't
part
of
the
plan.
B
Mainland
subcommittee,
so
we
had
our
first
meeting,
which
was
really
awesome
last
week,
and
we
are
going
to
bring
a
proposal
to
you
guys
for
a
new
maintenance
contract
that
will
be
three
years,
probably
with
a
two-year
ability
to
extend
and
and
then
ask
for
funding
to
work
on
some
pieces.
That
really
need
a
lot
of
maintenance,
so
so
add
add
to
our
yearly
maintenance
of
pieces,
so
add
more
items
to
the
yearly
maintenance
and
then
put
in
some
items
that
really
need
repair
for
the
bucket
for
this
year.
B
So
the
an
update
we
got
from
stacy
today
is
that
the
sculpture
at
ruth
hardy
park,
that's
in
the
rose
garden.
They
think
they'll
be
able
to
adjust
the
irrigation
for
that
which
is
a
gigantic
issue.
So
we
could.
B
Probably
we
can
probably
put
that
in
our
bucket
for
a
restoration
of
that
sculpture
and
then
they
will
work
with
us
on
items
that
are
installed
in
grassy
areas
like
we'll
try
to
come
up
with
a
plan
of
of
maybe
removing
grass
and
putting
gravel
or
decomposed
granite
for
places
where
there
there
is
no
way
to
adjust
irrigation.
B
So
those
are
a
couple
items
and
then
matthew,
if
you
guys,
want
to
add
anything
and
then
talk
about
your
idea
from
measure
j.
That
would
be
great.
A
Yeah
sure
so
the
million
dollars
available
from
measure
j
matthew
and
I
thought
presented
an
interesting
opportunity
to
apply
for
some
funding
for
the
rainmaker
statue,
which
is
in
francis
stevens
park.
A
A
It
keeps
breaking
so
we
met
with
stacy
today
to
get
a
low
down
on
all
the
problems
with
it
and
we're
going
to
have
a
meeting
with
the
artist
to
talk
to
him
about
his
ideas
for
redesigning
and
then
we're
going
to
draw
up
a
proposal
to
try
to
get
some
of
that
money
to
see.
If
we
can
do
something
with
the
fountain.
B
B
D
I
would
like
to
add
something
to
that.
Just
so.
People
know
that
it's
not
recycled
water
and
also
the
pumps
are
underground
and
really
go.
The
entire
length
of
the
stevens
park
and
to
put
the
pumps
above
ground
which
are
now
damaged,
would
be
impossible
to
do.
A
Sure
there
were
I'm
sorry
I
was
just
going
to
mention.
There
were
other
recommendations
for
measure
j
projects
from
commissioners,
armstrong
and
commissioner
fabo.
A
I
can
start
oh.
C
Oh
okay,
I
I
mean
the
measure
j.
It
seems
like
the
money
would
be
helpful
to
restore
the
mural.
That's
on
front
facade
of
the
joj.
That
was
one
of
my
suggestions.
I
think
the
the
fountain
in
the
park.
C
B
Yeah,
I
think
it
would
be
like
an
additional
I
thought
of
of
the
mural
as
well,
but
we
don't
know
if
it's
possible
yet
right
to
to
repair
it
with
the
tiles.
So
it
might
be
a
little
early
to
to
to
do
that.
But
you
know
I
don't
see
why
we
couldn't
do
more.
B
I
think
it's
a
little
early
to
do
that.
I
I
don't
know
if
people
are
opposed.
Maybe
we
could
do
two
proposals,
but
I
think
because
we
kind
of
know
some
of
the
cost
associated
with
rainmaker,
it
might
be
easier
to
to
write
it
up
as
a
as
a
proposal.
B
So
those
are
just
the
thoughts
on
that
and
then
just
to
let
you
know,
council
did
approve
the
engineering
group
to
to
do
the
site
evaluation
for
the
mural,
so
they
they
should
be
working
on
that
contract.
E
My
only
idea
was
that
if
we
did
some
sort
of
international
competition
where
we
created
major
piece
on
the
effects
of
global
warming
in
palm
springs,
oh.
E
You
know
there,
there
are
several
pieces
like
that
in
manhattan
and
they
show
the
effects
of
the
ozone
layer
and
you
know
how
it's
affecting
individual
lives
and
it's
this
big
interactive
piece
and
look.
We
we
are
impacted
by
global
warming.
We
see
the
heat
and
what
and
the
the
dryness
and
what
it's
doing
to
the
existing
pieces
of
art
we
have
here
and
in
the
national
news.
Whenever
there's
a
heat
wave,
they
always
cite
two
places:
death,
valley
and
palm
springs
and
what
the
temperatures
are.
E
So
I
just
thought
we
could
do
some
major
call
to
action
and
you
know
do
a
piece
like
that.
I
think
that
the
maker
fountain
is
a
very
important
piece
and
maybe
that
can
be
reconfigured
or
rethought
as
some
sort
of
climate
change
piece.
I'm
not
sure
it
sounds
like
from
the
the
the
structural
issues
with
the
piece
are
going
to
be
wide
wide,
changing
and
massive,
and
I
know
we
do
need.
We
have
a
deadline
of
when
we
need
to
get
the
measure
g
application
in.
A
B
If
we
were
able
to
get
the
grant,
it
would
really
help
them
with
their
budget.
So
the
idea
was
kind
of
you
know
to
ask
for
the
funds
to
repair
it
and
then
to
or
repair
slash,
reimagine
and
then
fund
the
maintenance
of
it
for
five
years.
E
E
So
I
you
know
I
I
can
very
easily
withdraw
my
idea.
I
think
the
rainmaker
is
a
it's
the
beginning
of
downtown
and
it's
an
eyesore
and
people.
Think
of
that
as
public
art-
and
you
know
I
don't
want
them
to
think
of
public
art
in
palm
springs-
is
just
being
this
forgotten
piece
of
art
from
20
years
ago.
E
C
C
To
do
like
a
art
like
landscape
art,
is
it
a
thing.
D
B
Yeah,
that's
why
you
have
to
take
really
good
pictures
of
landscapes,
he's
a
really
famous
landscape
architect.
So
do
we
want
to
have
a
consensus
of
just
doing
one
item
or
does
someone
want
to
pursue
doing
another
whole.
A
I
think
rainmaker
is
a
is
a
good
suggestion
and
it's
such
a
big
undertaking.
I
was
wondering
about
the
cost,
but
it
sounds
like
we'll
be
getting
those
numbers
later
and
I
think
it
would
help
our
case
if
we
just
made
one
big
proposal
as
opposed
to
two,
and
I
think
we
should
prioritize
funding
for
the
mural
at
the
community
center
in
our
spending
for
this
coming
year
or
this
current
year.
B
Yeah,
I
mean
that's
more
than
our
budget,
so
that's
funding
would
have
to
come
from
other
places,
but
but
we're
we're
going
to
do
the
evaluation
of
it
to
see
where
we're
at
and
then
you
know,
I
think
if
we
do
the
mural,
we
should
ask
the
council
to
pay
for
it,
because
it's
a
you
know
like
a
really
big
project
for
the
city,
like
citywide
impact
and
it's
more
than
we
can
afford
in
our
budget.
B
D
E
Well
that
the
each
individual
commission
is
supposed
to
submit
one
idea,
I
think,
if
you
submitted
one
individually,
it
would
not
be
as
a
public
arts.
Commissioner.
B
Yeah,
like
there
is
strength
in
just
submitting
one
thing
right,
like
really
rap,
really
like
supporting
one
item,
and
then
we
can
always
apply
next
year
right.
Don't
they
do
this
every
year.
B
B
It
just
seems
like
rainmaker
is
like
the
perfect
kind
of
measure,
j
thing
right,
because
it's
you
know
it's
downtown,
but
it's
not
totally
downtown
it's
in
a
park.
It's
you
know,
people
it's
visible
like
24
hours
a
day
and
it's
interact.
You
know
if
we
could
make
it
more
interactive
again
and
utilize
better
save
money,
make
it
greener.
B
B
So
jay
sent
everybody.
I
I'd
ask
for
those
financials,
so
you
should
all
have
received
the
financials.
So
thank
you
very
much
and
thank
you
cindy
for
helping
get
those
together
and
then
I
was
just
going
to
ask
jay
if
there's
any
update
on
our
ordinance
changes
that
we
asked
for
like.
Have
they
made
it
to
the
city
attorney?
Did
they
make
it
out
of
the
city
attorney?
A
Yes,
they
were
transmitted
to
the
city
attorney,
I
think
soon
after
our
last
meeting,
so
they've
had
it
for
a
few
weeks,
but
it
has
not
made
it
out
of
the
city
attorney's
office.
So
there
is
still
some
work
to
be
done
on
their
part.
B
So,
let's
move
on
to
number
six,
so
we
have
a
few
pieces
of
public
art
that
are
expiring.
Their
contracts
are
expiring,
but
because
we
haven't
done
our
overview
of
all
of
the
temporary
art.
I
put
this
proposal
and
russell
might
might
have
comments
on
it,
but
just
to
extend
the
pieces
of
public
art
that
are
expiring.
B
So
the
two
that
russell
pointed
out
that
I
know
are
expiring
because
I
found
their
contracts
or
I
found
wow's
contract.
You
guys
have
it
and
whatever
popsicle
information
you
guys
have,
which
is,
I
think
it
was
december
31st
and
then
ask
staff
to
find
any
other
pieces.
B
So
so
that
that
could
be
looked
at
in
the
sub
in
the
committee
temporary
art
committee,
so
those
were
the
only
ones
that
I
could
find.
Those
are
the
the
two
that
russell
pointed
out.
One
is
the
wow
and
one
is
the
popsicles.
So
I
was
just
hoping.
We
just
extend
everything,
that's
expiring
and
staff
can.
Let
us
know
if
there
are
any
other
items
that
need
to
be
extended.
D
Because
I
had
submitted
to
you
three
very
specific
action
items
for
these
three
temporary
installations,
which
are
ending
so
you've
chosen
not
to
put
those
on
the
agenda
for
approval.
So
if
you
want
to
talk
specifically
about
wow,
it
actually
ended
at
the
end
of
october.
D
B
Yeah,
so
we're
we're
dealing
with
this
now
I
I
just
didn't.
I
I
think
it's
and-
and
everybody
can
disagree,
but
you
know
I.
I
asked
to
like
write
up
the
whole
thing
like
with
with
the
letter
from
the
business
owner,
saying
that
we
could
keep
the
piece
there
and
it
went
from
being
permanent
to
now.
It's
only
temporary.
So
if
we
purchase
this
piece,
we
will
have
to
move
it
again.
B
So
I
just
think
it's
a
bigger
discussion
of
how
much
temporary
art
we
want
to
make
permanent
and
how
much
we
want
to
move
things
and
how
much
we
want
to
pay
to
maintain
things
and
and
almost
in
a
way
like
how
much
art
we
want
to
have.
So
that's
why
I
thought
if
we
just
continue
things
until
this
committee
comes
back
with
all
of
its
recommendations
or
if
you
want
you
know,
you
can
make
a
motion
to
to
purchase
it.
I
just
you
know,
I
don't
know.
B
You
know,
if
you
know,
maybe
there's
interest
in
the
in
the
commission
to
purchase
the
item
a
lot
of
this
like
when
we
thought
about
it.
We
thought
of
these
pieces
as
just
temporary
and
that
they
should
have
a
shelf
life
and
then
they
should
just
you
know,
go
back
to
the
artist
and
we
didn't
really.
B
You
know.
I
don't
think
it
was
envision
that
we
would
purchase
a
bunch
of
art
at
the
end
right.
So
so
that's
why
I
wrote
it
up
the
way
I
did,
because
there
is
no
agreement
or
anything
in
writing
from
the
owner
of
the
property
and
and
then
it's
only
a
temporary
thing.
So
it's
a
lot
of
work
for
us
to
do
these.
You
know
a
temporary
plus
a
move.
You
know
we
went
through
at
this
meeting.
D
D
I
mean
I'm
not
that
invested.
I've
got
a
the
approval
from
the
landlord
for
the
full
year,
but
I've
got
another
location
that
would
be
permanent
with
city
property
in
mind,
for
it
to
be
moved
to
at
some
point
next
year,
but
or
maybe
we
can
just
get
some
opinions
from
the
fellow
commissioners
and
what
they
think
about
it.
E
I
personally
like
the
piece
I
don't
like
the
location
of
it.
I
think
the
location
you
you
just
stumble
across
the
piece
and
I
don't
think
it
showcases
it
well.
I
would
vote
to
purchase
it
for
that
price,
but
I
would
on
the
condition
it
was
in
a
new
location.
D
The
primary
location
would
be
directly
in
front
of
the
convention
center
at
the
entrance
to
the
jackie
lee
houston
plaza
because
that's
not
a
city
property,
but
it's
maintained
by
the
convention
center
in
discussion
with
rob
hampton
who's.
The
director,
that's
a
possible
location
that
we
could
pursue.
D
C
D
A
I
mean
I,
I
guess
I'm
a
little
torn
because
well
I
I
think
the
piece
is
is
fine.
I
question
you
know
continue
to
pay
500
a
month
to
sort
of
like
have
it
on
loan.
F
A
Then
purchasing
it
for
what
2500,
but
not
knowing
exactly
for
sure
what
the
long
term
plan
for
it
is.
I
think
that
should
be
discussed
and
decided
along
with
the
purchase.
D
D
Well,
technically,
nothing
because
it's
the
contract
was
over
at
the
end
of
october.
Okay,
we
can
cut
him
some
slack
in
actually
removing
it.
So,
okay.
E
B
It's
easier:
if
well,
what
does
anyone
else
have
any
feedback
or
comment.
A
D
A
I'll
just
be
totally
honest
that
my
brain's
feeling
really
fuzzy
right
now
after
it's
been
kind
of
a
long
meeting,
and
I
get
up
at
4am
for
work,
so
I'm
starting
to
really
feel
it
and
I
don't.
I
don't
think
I'm
processing
all
this
information
clearly
at
the
moment
so
like
I
I
would.
A
I
would
rather
table
it
if,
if
we
can
and
I'm
gonna
have
to
leave
in
a
couple
minutes
to
go
to
bed,
so
I'm
not
sure
if
that's
a
possibility.
A
And
is
there
a
reason
that
we
didn't
bring
this
up
before
the
contract
expired
like
we
knew
it
was
going
to
be
over
right.
B
No,
it's
just
you
know
we're
trying
to
this
is
part
of
the
whole
covid
grant
things
and
we're
trying
to
tackle
all
of
it.
So
I
just
found
out
about
this.
So
that's
why
I'm
asking
all
commissioners
to
let
me
know
if
they
have
anything
that
is
expiring,
so
we
can
do
our
due
diligence
on
it.
So
so
we
can't,
you
know
also
things
happen
right,
so
we're
just
dealing
with
with
it
when
it
happens,
so
I.
D
Would
like
to
make
a
motion
that
we
terminate
the
contract
with
the
artist
that
he
removed
the
art
piece.
D
D
D
Sorry,
I
didn't
print
out
the
invoice
from
the
artist
yeah.
The
installation
cost
was
a
little
bit
hard
because
it's
high
because
the
city
required
us
to
do
a
building,
permit
and
then
hire
a
contractor
and
do
some
re-engineering.
F
D
D
D
F
Hundred
dollars
to
extend
popsicles
through
the.
E
Russell,
I
have
a
question:
are
we
theoretically
leasing
the
land?
It's
on?
I
know
that
lands
for
sale
well.
E
I
I
I
I
agree
with
emotion.
I
think
it's
a
you
know
it's
a
very
popular
piece.
I
see
people
stopping
there
and
getting
the
picture
by
it
all
the
time.
I
would
even
consider
at
some
point
moving
it
to
a
different
location
around
the
city.
I
think
it's
a
fun
piece
and
it
represents
palm
springs.
Well,
so
just
you
know
put
it
on
land
and
you
know
something
that
we
own,
but
for
now
I'm
okay
with
the
fifteen
hundred
dollars.
B
Yeah,
I
think
it's
a
great
p
piece,
it's
just
awesome,
and
so
so
can
we
have
a
show
of
hands
for
you
for
the
emotion,
any
abstentions
or
no's.
Oh.
B
D
I
realized
that
when
I
did
some
research
with
the
paperwork
so
yeah,
we
can
address
that
after
the
new
year.
B
Yeah-
and
it
also
says
it's
a
one
to
two
year
loan
right,
so
we
should
have
that
addressed
too
yeah
so
and
the
city
has
not
made
a
decision
on
whether
or
not
they're
selling
that
land,
so
it's
kind
of
premature
to
to
to
keep
something
there
if
they
end
up
selling
the
land.
I.
D
B
So
the
we
don't
have
the
minutes
from
june
16th,
so
eight
is
out.
We
can
continue
seven
if
you
guys
want
and
yeah
sorry.
This
meeting
was
so
long,
I
you
know,
but
we
did
have.
Obviously
the
boger
statue
created
a
lot
of
public
comment
now.
B
D
D
A
B
And
I
will
abstain.