►
Description
The Committee on Global Opportunities & Creative/Innovative Economy of the Council of the City of Philadelphia held a Public Hearing on Tuesday, November 23, 2021, at 2:00 PM to hear testimony on the following items:
210881 Resolution authorizing the Committee of Global Opportunities and Creative/Innovative Economy to hold hearings to receive the report of the Arts and Culture task force formed by the committee, to learn about its findings and the actions thus far taken, and to review the impact of this work on the vital arts and culture sector in the City of Philadelphia.
A
A
I
understand
that
state
law
requires
that
the
following
announcement
be
made
at
the
beginning
of
every
remote
public
hearing
as
follows.
Due
to
the
current
public
health
emergency
city,
council
committees
are
currently
meeting
remotely.
We
are
using
microsoft
teams
to
make
these
remote
hearings
possible
instructions
for
how
the
public
may
view
and
offer
public
testimony
at
public
hearings
of
council
committees
are
included
in
the
public
hearing,
notices
that
are
published
in
the
daily
news,
inquirer
and
legal
intelligencer
prior
to
the
hearings
and
can
also
be
found
on
phl
counsel
dot
com.
A
A
B
A
And
I
am
present,
thank
you,
quorum
of
the
committee
is
present
and
the
hearing
is
now
called
to
order.
This
is
a
public
meeting
of
the
committee
on
global
opportunities
and
the
creative
innovative
economy
pertaining
to
resolution
number
two
one:
zero,
eight,
eight
one
at
this
time.
I
will
ask
the
clerk
to
please
read
the
title
of
the
resolution.
B
Resolution
210881
authorizing
the
committee
on
global
opportunities
and
the
creative
innovative
economy
to
hold
hearings
to
receive
the
report
of
the
arts
and
culture
task
force
formed
by
the
committee
to
learn
about
its
findings
and
the
actions
thus
far
taken
and
to
review.
The
impact
of
this
work
on
the
vital
arts
and
culture
sector
in
the
city
of
philadelphia.
A
A
By
continuing
to
be
in
the
meeting,
you
are
consenting
to
being
recorded
additionally
prior
to
recognizing
members
for
the
questions
or
comments
they
have
for
witnesses.
I
will
note
for
the
record
at
this
time
that
we
will
use
the
chat
feature
available
in
microsoft
teams
to
allow
members
to
signify
that
they
wish
to
be
recognized
in
order
to
comply
with
the
sunshine
act.
The
chat
feature
must
only
be
used
for
this
purpose.
D
First
of
all,
mr
chairman,
thank
you
and
your
team
for
putting
us
in
a
position
to
be
able
to
hold
such
an
important
conversation.
This
is
something
that's
really
significant,
as
it
relates
to
not
just
the
work
of
the
arts
and
culture
task
force,
but
the
work
of
the
illuminate
the
arts
grains.
For
the
first
time,
we
were
able
to
put
money
directly
in
the
pockets
of
artists
when
looking
at
the
conditions
that
this
coronavirus
crisis
created
outside
of
the
death,
the
pain,
the
suffering,
the
inconveniences,
the
fear
the
trauma.
D
We
also
have
the
economic
issues
as
well,
and
one
can
argue
that
no
one's
been
hit
as
hard
in
in
the
same
capacity
as
the
arts
and
culture
community
have.
So.
I
was
excited
to
vote
with
my
colleagues
to
be
able
to
put
us
in
a
position
to
to
create
the
illuminate
the
arts
grants,
and
I
was
also
excited
not
just
of
the
advocacy
of
the
arts
and
cultural
task
force,
but
the
level
of
participation
as
it
relates
to
the
selection
process.
D
I
think
it's
really
important
that
we
recognize
the
role
of
constituents
here
in
the
city
of
philadelphia,
that
we
recognize
the
importance
of
transparency,
but
also
we
recognize
the
importance
of
public-private
partnerships
and
collaborating
with
constituents
and
organizations
across
the
city
of
philadelphia.
So
things
can
be
done
in
a
way.
That's
fair
in
a
way,
that's
dressed
just
and
in
a
way
that
offers
some
level
of
transparency,
and
we
think
that
we
accomplish
that
not
just
with
the
distribution
of
the
grants,
but
also
assessing
how
the
grants
have
been
used.
D
A
C
C
A
A
E
This
is
just
a
portion
of
the
impact
of
the
pandemic
on
the
arts,
with
many
individual
artists
losing
their
source
of
revenue
for
more
than
a
year
due
to
shuttered
venues
formed
in
october.
2020,
the
arts
and
culture
task
force
identified
a
need
for
immediate
funding
for
philadelphia's,
individual
artists,
small,
diverse
non-profits
and
arts
and
culture
focused
businesses.
E
As
a
result
of
these
findings
and
the
advocacy
of
council
members
isaiah
thomas
and
catherine
gilmore
richardson
city
council
approved
a
transfer
ordinance
of
1.3
million
dollars
for
the
office
of
arts,
culture
and
the
creative
economy.
This
funding
went
towards
the
creation
of
the
illuminate
the
arts
grant
and
and
funding
neighborhood
arts
programs
planned
in
2021.
E
E
Great
thank
you.
You
can
go
to
the
to
the
second
slide
so,
like
I
said,
the
report
of
the
arts
and
culture
task
force
basically
found
this
that
there
is
an
immediate
need
for
additional
funding
for
philadelphia's,
individual
artists,
small,
diverse
non-profits
and
arts
and
culture
focused
businesses,
many
of
which
lost
all
of
their
revenue.
E
So
as
a
result,
this
1.3
million
dollars
was
transferred
to
the
office
of
arts
and
culture.
One
million
dollars
went
towards
the
illuminating.
The
arts
grant
two
hundred
thousand
dollars
was
targeted
for
new
free
neighborhood
arts
programs
and
to
support
oacce's
neighborhood
arts
programs
that
were
cancelled
in
2020
due
to
the
pandemic,
and
a
hundred
thousand
dollars
of
this
funding
went
to
support
the
admin
costs
for
the
grants
and
for
the
additional
neighborhood
programming
next
slide.
E
So
these
funds
were
intended
to
financially
uplift
philadelphia's
creative
sector
and
support
disadvantaged
communities,
particularly
philadelphia's
black
and
brown
communities
that
have
been
disproportionately
impacted
by
covet
so
oacce.
We
aligned
our
funding
with
these
goals
of
the
new
normal
budget
act
by
prioritizing
individual
artists
of
color,
individual
artists,
small,
diverse
non-profits
and
arts
and
culture
focused
businesses
located
in
disadvantaged
communities
and
artists
and
arts
organizations,
I'm
sorry,
cultural
programming
in
disadvantaged
communities
and
artists
and
arts
organizations
serving
vulnerable
constituencies,
such
as
low-income
at-risk
youth,
persons
with
disabilities
and
health
conditions,
incarcerated
individuals
and
returning
citizens.
E
Next,
I
can
go
straight
to
slide
six,
so
this
is
the
timeline
of
the
illuminating
the
arts
grant.
So
in
february
of
20,
I'm
sorry
february,
23rd
of
this
year,
council
members,
isaiah
thomas
and
kathy
gilmore
richardson,
announced
the
illuminating
the
arts
grants.
You
know
the
whole
top
line
that
those
are
all
like
administrative
milestones.
E
99
of
all
of
the
grants
have
been
distributed
to
artists
and
arts
organizations
and
these
creative
enterprises
that's
within
four
months,
because
we
really
wanted
to
respond
to
this
sense
of
urgency
and
the
only
reason
why
it
was
99
instead
of
100,
because
we
had
to
chase
down
people
who
submitted
w9s
but
didn't
sign
them.
You
know,
and
I'm
tracking
sort
of
bad
email
addresses,
but
we're
very
proud
of
working
with
the
committee
to
get
the
money
out
the
door
that
quickly
57.
E
So
oecce
worked
with
members
of
the
arts
and
culture
task
force
to
form
the
illuminating,
the
arts
committee.
Our
intention
was
to
develop
a
program
that
would
be
easy
and
accessible
to
individual
artists,
small,
diverse
non-profits
and
arts
and
culture
focused
businesses
who
were
not
sort
of
traditionally
eligible
for
grants.
E
E
The
additional
2400
was
just
supported
through
oac's
fy21
budget,
and
I
cannot
thank
enough.
The
members
of
the
task
force
that
served
on
the
illuminating,
the
arts
grants
committee
that
included
sierra
lambert
and
raheem
manning.
They
are
both
co-chairs
of
the
arts
and
culture
task
force,
terry
fox
from
the
philadelphia
dance
project
and
issue
from
the
asian
arts
initiative
and
christina
vasayo
from
the
fabric
workshop.
E
The
committee
prioritized
applicants
in
disadvantaged
communities
by
focusing
on
those
located
in
24,
high
poverty,
zip
codes
that
were
identified
through
the
2018
census
data
and,
most
importantly,
we
really
focus
on
responding
to
the
sense
of
urgency
and
getting
the
money
out
the
door
as
quickly
as
possible
and
again
announcing
on
may
4th
and
getting
the
majority
of
the
money
out
the
door
by
september.
10Th
next
slide.
E
In
total,
we
receive
949
applications
that
were
submitted
that
were
requesting
4.8
million
in
relief
funding.
906
of
those
applicants
were
eligible.
Those
folks
who
were
ineligible
was
because
they
were
not
in
philadelphia
or
they
the
practice
that
the
work
that
they
did
in
their
non-profit
or
for-profit
work
was
not
considered
in
the
creative
sector
like
a
tarot
card.
Reader
is
one
that
comes
to
mind.
71
or
645.
E
Applicants
receive
grant
funding
62
of
the
awardees
reside
in
these
priority.
High
poverty,
zip
codes
and
the
grantees
represent
a
diverse
set
of
creative
practices,
as
you
can
read
here,
from
music
to
theater,
to
film,
to
you,
know
public
art
and
many
more,
and
you
can
go
to
creativephl.org
to
see
the
full
list
of
grant
orders
next
slide.
E
So
this
is
the
breakdown
by
category
of
the
645
total
grantees
590,
individual
artists,
all
with
incomes
of
sixty
thousand
dollars
or
less
received
a
one
thousand
dollar
grant.
We
funded
a
hundred
percent
of
all
of
the
individual
artists
that
were
eligible,
because
this
was
our
target,
because
these
were
the
folks
that
were
falling
through
the
cracks
of
more
traditional
forms
of
funding.
E
E
We
supported
10
midsize,
nonprofit
arts
organizations
with
budgets
between
a
hundred
thousand
dollars
and
five
hundred
thousand
dollars.
They
each
received
a
hundred
thousand
dollar.
I'm
sorry
a
ten
thousand
dollar
grant
for
a
total
of
a
hundred
thousand
dollars
and
we
supported
15
small
creative
enterprises
that
were
awarded
grants,
totaling
112
000
and
they
received
grants
between
2500
and
8
000
and
their
operating
budgets
were
500,
000
or
less.
E
So
some
facts
about
the
individual
artists
and
please
read-
we
have
some
great
quotes
of
some
of
our
grantees.
So
for
individual
artists.
Again
there
was
a
six
hundred
thousand
dollar
cap
on
income
and
even
though
that
was
our
cap
of
the
100
of
the
eligible
individual
artists
that
applied
and
received
an
award,
75
of
them
reported
an
income
of
less
than
33
000
in
2020..
E
E
55.1
went
to
artists
of
color
78
did
not
receive
any
other
covet.
19
relief
funds
from
the
city,
33
of
the
individual
artists,
reported
that
this
was
their
first
grants,
and
this
had
a
lot
to
do
with
the
outreach
that
was
done
by
the
arts
and
culture
task
force.
We
really
tried
to
reach
those
individuals
that
did
not
think
that
they
were
eligible
for
a
grant.
These
first-time
grantees
and
55
percent
use
their
funds
primarily
to
support
their
creative
practice
next
slide.
E
40
percent
had
one
month
of
cash
on
hand,
so
this
shows
that
some
of
these
organizations
that
received
a
grant
were
on
the
verge
of
closing.
Without
this
grant,
with
one
month
of
cash
on
hand,
fifty
percent
serve
low
income,
individuals
or
families
or
at-risk
youth.
71
percent
did
not
receive
any
other
covet,
19
relief
funds,
33
percent
were
first-time
arts
grant
recipients
and
48
use
the
funds
for
program
expenses
next
slide
for
the
mid-size
arts
organizations
and
again
these
are
organizations
with
budgets
between
a
hundred
thousand
and
five
hundred
thousand
dollars
a
year.
E
90
of
these
were
based
in
priority
high
poverty,
disadvantaged
communities,
77.7
percent,
had
a
drop
in
employment.
In
2020.
this,
this
mid-sized
nonprofit
organizations
had
this
largest
drop
in
employment.
Eighty
percent
of
the
grantees
served
low
income,
individuals
or
families
or
at
risk
youth.
Eighty
percent
did
not
receive
any
other
covet.
19
relief
funds
from
the
city,
20
were
first-time
arts
grants,
recipients
and
60
use
defense
for
program
expenses.
E
56
reported
that
this
was
their
first
arts
grant.
44
percent
use
the
funds
on
program
expenses,
a
35
loss
in
employment
from
2019
to
2020,
and
these
folks
had
the
greatest
loss
of
revenue
with
a
loss
of
64.6
in
revenue
between
2019
and
2020.,
and
you
know
this
quote
from
this.
Small
creative
business
was
very
impactful,
it's
one
of
the
first
ones
we
received
and
again
the
fact
that
they
could
not
get
any
sort
of
of
the
ppp
money.
E
Flight
17,
so
200
000,
like
I
said,
was
budgeted
for
this.
Since
june
of
2020,
144
467
has
been
budgeted
in
funding
to
support
146
new
neighborhood
arts
programs
in
2021.
So
these
are
programs
that
would
not
have
happened
without
this
funding.
A
total
of
sixty
seven
thousand
nine
hundred
and
thirty
two
dollars
was
distributed
to
61
arts
and
cultural
artists
and
cultural
organizations
that
oacce
had
to
cancel
in
2020
due
to
the
pandemic,
so
again
understanding
the
sense
of
urgency.
E
E
We
had
about
21
000
estimated
in
attendance
at
our
neighborhood
arts
programs,
and
we
know
that
our
median
attendance
was
about
60
people,
but
we
had
a
few
sort
of
large-scale
events
that
we
supported
that
attracted
hundreds
of
people,
including
the
northeast
international
festival.
We
we
support
it
with
this
program.
The
sister
soul
series
at
spruce
street
harbor,
a
weirdo
festival
in
east
kensington,
the
lifeline
jazz
festival,
the
mill
creek
community
partnership
festival.
E
E
So
through
the
neighborhood
neighborhood
arts
programs,
895
artists
were
paid,
you
can
see
the
breakdown
of
women,
men,
non-binary
and
agender
artists,
61.7
percent
were
artists
of
color.
60
of
these
events
were
in
priority.
High
poverty,
disadvantaged
communities
and
for
the
breakdown
of
the
events
that
we
supported
that
were
canceled
in
2020.
That's
the
67
932
that
supported
64,
artists
and
49
of
the
artists
are
located
in
these
priority.
High
poverty.
Disadvantaged
communities
next
slide.
So
thank
you
for
the
opportunity
to
give
this
presentation.
You
know.
E
You
know
this
was
really
just
in
time
funding
for
a
lot
of
these
artists
and
arts
organizations,
and
I
just
very
much
appreciate
city
council
support
and
the
advocacy
specifically
of
isaiah,
thomas
and
catherine
gilmore
richardson
for
this
1.3
million
dollars,
and
you
know
we
stand
ready
and
able
to
do
it
again.
Thank
you.
A
D
Thank
you,
mr
chair.
I
appreciate
it
and
I
first
want
to
say
thank
you
to
kelly
and
her
entire
team.
As
somebody
who
works
in
city
government,
I
always,
I
know
often
that
it's
the
folks
that's
behind
the
scene
who
never
testifies
in
hearings
like
this.
That
has
to
assume
a
huge
bulk
of
the
work
so
kelly.
I
know
you
and
your
team
did
a
phenomenal
effort,
as
it
relates
to
not
just
the
level
of
accuracy
as
it
relates
to
the
intention
of
what
we
wanted
to
do,
but
also
that
detailed
report.
D
I
think
that
it's
important
for
us
to
be
able
to
have
data
and
information
about
how
money
was
spent,
how
tax
dollars
were
dispersed
and,
most
importantly,
the
impact
that
those
dollars
have
not
just
on
the
people
that
they
were
spent,
but
on
us
as
an
entire
city.
So
thank
you
for
that
phenomenal
report
and
that
information
and
all
your
hard
work
just
a
couple
questions
real
quick.
D
I
think
that
when
we
think
about
our
recovery
effort
and
what
we
need
to
do
to
get
our
economy
in
a
way
where
we
see
fit,
my
colleague
councilmember
dom
held
a
hearing
earlier
around
the
fiscal
stability
of
the
city,
and
there
is
a
possibility
that
we
can
face
a
couple
hundred
million
dollar
deficit.
If
you
don't
do
everything
right,
so
I'm
wondering
when
we
do
invest
in
initiatives
like
this.
E
E
You
know
we
know
that
the
people
who
attended
some
of
these
events
were
not
from
that
particular
community,
where
that
neighborhood
arts
organ
that
neighborhood
arts
program
took
place,
but
we
don't
know
if
those
people
were
from
outside
of
the
city
of
philadelphia,
but
that's
a
type
of
question
that
we
can
add
to
our
surveys
because
it
is
critically
important.
First
of
all,
you
know
these
attracting
visitors
to
our
neighborhoods
is
just
you
know,
going
to
give
them
a
reason
to
come
back.
E
I
mean
we
have
a
very
exciting
downtown,
but
our
neighborhoods
have
some
amazing
sort
of
assets
to
offer
as
well,
and
so
I
think
that
we
would
be
I'm
doing
a
a
service
and
doing
a
great
thing
if
we
started
to
gather
that
information
then
also
try
to
do
something
to
attract
more
visitors
from
outside
of
the
city
of
philadelphia
to
summer.
Some
of
our
neighborhood
arts
programs.
D
So
if
we
were
to
provide
another
round
of
illuminate
the
arts,
grants
number
one,
I
guess
I'm
asking,
would
this
be
able
to
be
a
priority
as
f
as
far
as
reviewing
the
data
to
be
able
to
assess
that
component,
but
then
I
would
also
ask
what
if
we
were
to
provide
another
round?
What
do
you
feel
like
the
priority
should
be
as
far
as
based
on
your
expertise
and
your
experience
through
this
process?
D
E
Right,
I
would
say
it's
like,
like
more
of
the
same,
you
know,
I
think
that
you
know
if
we
had
additional
funding
to
be
able
to
support
this
crawl
section
I
mean,
I
think
our
data
support
show
that
we
did
support
a
lot
of
small
and
minority
artists
and
organizations
that
focus
on
disadvantaged
communities,
but
the
quality
of
the
programming
was
for
everyone
right.
We
were
just
sort
of
targeting
because
those
are
the
folks
that
fell
through
the
cracks.
E
I
think
better
promotion
of
the
events
will
help
to
lead
to
outside
visitors,
from
people
outside
of
philadelphia
to
coming
to
philadelphia
or
if
they
come
to
philadelphia
for
something
that
is
more
mainstream.
If
we
are
heavily
promoting
our
neighborhood
programming,
then
we
can
sort
of
get
those
folks,
while
they're
here,
to
see
sort
of
these
other
amazing
cultural
programs
that
the
city
has
to
offer.
D
D
A
F
A
A
F
All
right,
sorry,
kelly,
that's
a
challenging
with
these
virtual
calls,
but
if
we
now
that
these
these
these
organizations
have
received
this,
I
see
that
they
would
probably
need
additional
resources
moving
forward.
You
know
in
the
upcoming
years.
Is
it
something
that
we
think
that
we
can
make
sustainable
in
the
future?
I
know
we
have
the
cultural
fund
and
other
organizations
that
provide
it.
F
E
Yeah,
you
know,
I
think
that
there
has
to
be
some
focus
on
individual
artists
and
small
arts
organizations.
You
know-
and
I
and
I've
said
what
I'm
going
to
say
now.
I
said
it
directly
to
councilman,
thomas
and
and
catherine
and
councilwoman
catherine
gilmore
richardson.
You
know
oacce,
we
we
we,
we
do
not
care.
Who
gets
the
money
to
distribute
it
as
long
as
it
is
targeted
for
those
groups.
E
You
know
our
office
work
with
the
philadelphia
cultural
fund
and
with
the
greater
philippi
cultural
alliance
to
do
the
covid
arts
aid
fund
and
then
a
lot
of
our
foundations
also
pivoted,
to
give
money
to
sort
of
arts
organizations,
and
everyone
was
trying
to
be
helpful.
But
if
you
look
at
the
arts
organizations
that
receive
that
funding,
many
of
them
were
already
being
funded
by
those
foundations,
and
so
you
know
for
them.
They
wanted
to
prop
up
their
investment
right.
E
If
they've
been
supporting
these
larger
arts
organizations
for
a
long
period
of
time,
they
wanted
to
make
sure
that
they
could
survive
covet
and
that's
good,
and
we
are
very
grateful
that
they
did
that.
But
if
you
were
never
eligible
for
that
funding-
and
you
were
a
small
gig
worker
and
you
were
not
quite
eligible
for
the
pandemic-
unemployment
relief,
because
the
city,
the
state
never
really
figured
out
how
to
get
them
their
relief.
It
was
just
like
a
technical
glitch,
so
it
took
them
a
long
time.
E
These
folks
went
for
long
periods
of
time
with
no
revenue
and
no
source
of
revenue.
So
again
I
think
it's
important.
It's
not
important
who
does
it,
but
it's
important
that
it's
done,
that
there
is
some
entity
that
really
sort
of
focuses
on
individual
artists,
supporting
and
sustaining
them
and
helping
them
to
grow
and
small
arts
organizations
supporting
and
helping
them.
You
know
and
sustaining
them
and
helping
them
to
grow,
because
that
will
make
them
eligible
for
more
traditional
types
of
funding.
F
Yeah-
and
I
see
this
as
an
opportunity-
obviously
because
those
folks
also
is
drives
the
economic
impact
for
the
city
of
philadelphia.
So
you
know
it's
different
requirements
by
different
organizations
and
I
don't
think
the
city
minds,
there's
different
organizations
running
these
things
as
long
as
we're
reaching
the
folks
who
need
it
the
most,
and
I
think
that
is
the
key.
F
So
I
really
appreciate
you
spearheading
this
and
I
think
it
was
really
important
to
be
able
to
make
folks
know
that
you
know
all
art
and
artists
and
individuals
and
small
groups
all
are
being
considered
and
it
it's
not
just
larger
groups
or
people
who
have
additional
resources.
So
I
don't
know
what
the
answer
is,
but
I
do
know
that
we
need
to
continue
looking
at
ways
to
try
to
help
all
these
folks,
and
so
we
appreciate
it
and
rely
on
your
guidance.
F
You
know
as
this
moves
forward,
and
I
want
to
thank
council,
member,
thomas
and
and
gilmore
richardson.
You
know
for
their
leadership
on
this,
because
it's
really
important
to
keep
this
moving
and
also
thank
our
chair
for
having
these
hearings
to
make
sure
we
all
know
and
are
part
of
the
process.
So
thank
you.
C
Thank
you.
This
is
councilmember
gilmore
richardson.
I
just
wanted
to
provide
a
quick
point
of
information,
but
before
I
do
that,
I
wanted
to
thank
council
member
thomas
for
all
of
his
work
that
we've
done
together
to
ensure
that
we
have
an
illuminate
the
arts
grant.
But
I
really
wanted
to
thank
kelly
lee
and
her
team.
Without
the
work
of
her
office
and
their
team,
we
would
not
have
had
a
mechanism
in
the
city
of
philadelphia
to
support
individual
artists
and
small
artists
during
the
the
clothing
19
pandemics.
C
C
We
heard
from
a
number
of
small
and
individual
artists
that
they
were
not
eligible
for
some
of
the
other
funding
sources
that
were
available
at
the
onset
of
covet
19,
and
that
was
the
impetus
for
ensuring
that
we
could
provide
a
level
of
funding
for
those
individual
artists
in
the
small
grant
organization.
So
I
just
wanted
to
add
that
in
for
the
record,
thank
you,
mr
chair,
and
thank
you,
colleagues
and
thank
you
very
much
kelly.
Thank
you.
A
A
H
Okay,
so
I
am
raheem
manning
and
along
with
sierra,
we
co-chair
the
art
and
culture
task
force.
I
first
want
to
say
thank
you
to
council
as
a
whole,
but
more
specifically,
councilman
isaiah,
thomas
and
councilmember
gilbert
richardson,
for
giving
us
the
opportunity
to
be
heard
me
and
sierra
are
gonna
piggyback
this.
H
So
since
its
founding
the
art
and
culture
task
force,
of
course,
came
out
of
you
know,
disadvantaged
communities
task
force
their
talks
and
some
of
those
conversations
that
councilman
gilbert
richardson
just
referred
to
outside
of
that
we
had
a
vision
when
we
got,
we
got
the
task
force
together.
We
put
together
a
vision
on
what
our
goal
was
and
our
vision
was
to
find
new
and
innovative
ways
to
better
support
artists,
performers
and
curators
throughout
the
city
of
philadelphia.
H
We
met
countless
amount
of
times
with
countless,
remember
countless
stakeholders
in
the
art
and
culture
community
in
the
city
of
philadelphia,
those
including
some
of
the
bigger
institutions
like
the
philadelphia
museum
of
art,
the
kimmel
center,
the
philadelphia
culture
fund,
the
philadelphia
alliance,
cultural
alliance
visit
philly
and
some
of
the
other
smaller
organizations
around
the
city.
We
also
held
two
town
hall
meetings
with
individual
artists
and
kind
of
local
community
representatives.
H
We
even
had
past
mayor
wilson
good
on
one
of
our
public
meetings,
and
so
what
we
basically
did
was
gained
a
lot
of
insight
on
what
artists
needed
specifically
at
the
time
and
how
we,
as
the
task
force,
could
advocate
to
the
city
to
provide
the
things
that
was
needed.
Some
of
the
things
that
came
out
that
we
heard
even
with
the
eliminate
the
arts
grants
sierra
used
to
be
going
as
well.
H
That's
a
continuing
continuing
factor
when
it
comes
to
supporting
the
community
is
one
that
so
many
individual
artists
and
for-profit
arts
organizations
do
not
qualify
for
traditional
city
funding.
Even
when
the
city
of
philadelphia
and
the
state
of
pennsylvania
due
to
the
covid,
you
know,
pandemic,
released
lots
of
money
into
the
communities
and
into
businesses.
Many
of
those
funds
had
simulations
that
excluded
small
arts
organizations
or
excluded
individual
artists
or
into
individual
for-profit
artists
as
well,
and
some
of
those
stipulations
just
to
put
them
out
there.
H
We
literally
were
an
arm
to
just
listen
to
the
community,
which
had
never
been
done
before
the
community
here
in
philadelphia.
The
art
and
culture
sector
is
very
skeptical
of
a
lot
of
the
things
that
the
city
of
philadelphia
tries
to
do
because,
although
the
intentions
are
well,
no
one
from
the
city
technically
listens
to
the
individual
artists,
and
no
one
from
the
city
asks
the
questions
that
what
do
individual
artists
need?
H
It's,
usually
a
larger
and
grander
footprint
of
like
how
can
we
help
the
sector
and
that's
why
a
lot
of
the
funding
that
comes
from
the
city
of
philadelphia,
especially
through
the
cultural
front
or
other
branches?
There
goes
to
the
same
organizations
that
continually
get
the
grants,
as
kelly
lee
spoke
about
previously,
so
I'll
pass
it
over
to
sierra.
So
she
can
speak
a
little
bit
more
about
the
the
makeup
and
how
we
were
effective
in
getting
the
report
done
that
we
submitted
so
sierra.
G
Okay,
hi
everybody.
Thank
you,
everybody
on
council
for
having
me
here
again,
special
thanks
to
council
member
thomas
and
councilwoman
gilmore
richardson,
just
for
you
know,
hearing
us
out
and
and
providing
us
this
opportunity
to
be
able
to
advocate
for
ourselves
right,
because
that's
also
a
very
important
part
of
the
conversation.
I
see
you
ready
to
say
something
I'm
going
to
please.
G
G
So,
just
to
piggyback
off
of
a
lot
of
the
things
that
raheem
said,
we
we
feel
that
we
were
able
to
effectively
reach
the
community,
because
we
really
tried
to
put
in
a
lot
of
groundwork
from
the
beginning
to
make
that
happen,
starting
with
how
we
selected
our
members
or
just
the
diversity
of
the
members
who
are
on
the
actual
task
force,
we
were
diverse
in
age
range.
You
know
our
our
youngest
member
at
the
time
was
16,
which
was
really
important.
G
G
So,
like
rahima
mentioned,
we
had
two
zoo
meetings,
the
first
one
trying
to
reach
individual
artists,
the
second
one
just
trying
to
create
partnerships
with
already
established
arts
organizations
who
may
have
done
this
effectively
and
those
who
have
not
just
trying
to
get
a
scope
of
where
we
stood
and
through
that
we
prioritized
four
different
things.
There
was
permanence,
and
that
is
a
lot
of
the
funding
is
based
upon
who's
in
office.
G
What
the
climate
is
all
sorts
of
different
things,
so,
whereas
other
communities
have
a
more
permanent
stream
of
funding,
we're
always
at
the
whim
of
whatever
the
situation
is,
and
I'm
sure
what
people
should
know
if
they
don't
know,
is
that
when
these
things
hurt
us,
it
becomes
like
expo
and
an
exponential
problem.
Yes,
this
was
something
that
was
put
together
to
address
kovid
19,
but
you
know
artists
were
struggling
way
before
then,
so
this
has
just
been
something
that
has
been
compounded.
G
G
You
know,
like
you,
said
whether
it's
because
it's
cumbersome
or
whether
you
know
other
traditional
reasons,
there's
also
a
focus
on
youth
in
arts.
We
always
talk
about.
You,
know,
education
and
and
what
education
looks
like
and
what
people
decide
to
prioritize
for
kids.
But
a
lot
of
our
youth
is
very
creative
and
unfortunately,
they
don't
always
felt
they
don't
always
feel
like
they
have
the
avenues
to
be
able
to
express
their
art
or
even
sometimes
make
money
off
of
their
art.
You
know
you
turn
16.
G
So
those
were
the
four
things
we
decided
to
focus
on.
I
think
that,
as
a
team
we've
been
able
to
accomplish
a
lot
of
things
thus
far.
The
number
one
thing
obviously,
is
the
illuminate
the
arts
grants,
which
we've
heard
so
many
people
talk
about
earlier.
We
were
very,
very
proud
of
that,
especially
when
it
comes
to
criteria.
G
Criteria
is
so
important
and
I
don't-
and
I
can't
stress
that
enough-
a
lot
of
the
things
that
our
team
want
to
try
to
focus
on
is
the
criteria
of
other
grants
and
try
to
just
match
like
where
certain
things
were
missing.
You
know
a
lot
of
the
city
like
if
you
were
to
evaluate
a
lot
of
or
who
consider
themselves
an
artist
right
to
think
outside
of
the
box.
G
We've
also
forged
relationships
which
is
really
important
to
us,
especially
when
it
comes
to
youth
programming,
and
we
are
thankful
to
everyone
on
council
for
that.
Obviously,
but
also
you
know
some
of
the
organizations
we
partnered
with
like
mural
arts,
one
of
the
things
that
the
kids
said
that
they
wanted
to
do
was
find
a
way.
So
they
could
showcase
their
art
sydney
who
is
on
our
team.
G
G
It
just
really
allowed
us
to
be
able
to
have
access
to
some
of
the
bigger
organizations
that
some
of
the
smaller
groups
weren't
able
to
do
before
again,
allowing
us
to
advocate
for
ourselves
and
then,
obviously
you
know
we're
looking
forward
to
the
creation
of
the
night
time
economies
like
so
getting
that
off
the
ground
is
is
a
a
huge
success
for
us
even
having
people
converse
about.
It
is
a
big
deal
for
us,
because
this
is
a
conversation
that
I'm
sure
mike
might
talk
about
a
little
bit
later.
G
This
is
something
that
us
in
the
nightlife
sector
have
been
advocating
and
fighting
for
for
over
15
years.
So
we
are
super
excited
about
that,
and
now
I'm
going
to
pass
it
back
to
raheem
we're
going
to
again
split
it
up
best
about
next
steps
or
where
we
hope
to
go
next,
so
pass
it
back
to
you.
Rain.
H
All
right,
thank
you,
sierra.
So
again,
we've
already
put
in
a
lot
of
work
right
and
I'm
really
proud
that
we
did
present
to
city
council
and
to
the
mayor's
office
and
as
well
as
to
the
community
as
a
whole,
a
62-page
report
that
really
summarized
summarized
all
of
our
findings
right
and
in
the
three
months
that
we
had
to
create
that
report
report.
Of
course,
we
could
not
address
all
the
issues
with
the
sector.
H
H
I'm
a
link
to
that
report
in
the
chat
for
anyone
who
has
not
viewed
that,
and
we
hope
that
you
guys
do
look
at
that
to
guide
some
of
your
policy
decisions
when
it
comes
to
the
sector,
because
the
community
put
a
lot
of
just
a
lot
of
work
into
that
report.
Not
only
the
task
force,
but
the
task
force
had
sub-committees
of
people
from
the
community
who
committed
and
supported
us
when
coming
together
was
report.
H
So
the
next
steps
for
the
sector
and
there's
a
couple
of
calls
that
you
guys
have
probably
heard.
But
what
we
want
to
do
is
to
make
sure
that,
as
this
covet,
19
pandemic
phases
out-
and
you
guys
have
shown
some
support
for
the
art
and
culture
community-
and
you
have
some
trust
in
the
art
and
culture
community,
largely
in
part
to
the
members
of
the
art
and
cultural
task
force
again.
We
know
that
the
community
has
a
lot
of
just
distrust
for
the
city
and
how
it
shows
up
for
it.
H
And
so
at
this
time,
when
you
have
this
advocacy,
you
have
art
and
culture
task
force
kind
of
representing
what
can
be
done
for
the
community.
We
want
to
make
sure
that
we
keep
a
permanent
in
thinking
about
it,
not
only
permanent
in
funding
but
also
permanent
having
someone
or
some
group
advocating
for
individual
artists,
minority
arts
organizations
and
for-profit
arts
organizations.
Of
course,
we
have
the
not
the
office
of
nighttime
economy.
H
That
position
is
dope,
but
we
want
to
make
sure
that
we
are
expanding
and
supporting
that
position
and
I'll
hold
on
that,
because
we
do
have
someone.
Speaking
of
that
simplifying
the
rfp
process
for
individual
artists.
I
know
a
lot
of
times
when
the
rfp
goes
out
for
whatever
city
project,
it's
a
standard
form
that's
for
organizations
and
for
individual
artists,
but
if
I'm
a
smart
artist
that
wants
to
come
and
utilize
my
talents
for
something
the
city
is
asking
for.
H
G
Yes,
so
the
other
couple
things
to
that,
I
want
our
team
to
focus
on
this
year
is
one
how,
in
what
other
ways,
artists
can
be
useful
to
other
sectors
right,
whether
that's
education,
whether
a
street
department,
whether
that's
you
know
just
looking
at
artists
as
a
solution
based
right
not
to
to
other
things
that
are
going
on
to
the
city,
because
I
feel
like
we
can
accommodate
a
lot
of
different
things
that
aren't
directly
related
to
what
people
would
consider
traditional
arts
initiatives.
Also.
G
I
want
us
to
continue
to
build
a
relationship
with
different
organizations
for
our
youth,
specifically
so
continuing
to
build
those
relationships
so
that
we
can
get
more
kids
different,
after-school
programming
to
keep
them.
You
know
busy,
obviously,
and
off
the
streets,
but
also
to
make
sure
that
they're
able
to
find
different
types
of
post-secondary
education.
That
might
not
be
traditional
right
that
might
be
in
the
art
sector
and
oh
yeah,
and
then
also
again
back
back
to
piggyback
off
of
what
raheem
said.
G
Finding
a
way
to
make
this
situation
permanent,
especially
when
we
think
about
the
illuminate
the
arts
grants,
because,
yes,
it's
not
just
about
individual
artists,
but
again
it's
about
criteria
and
the
people
who
get
to
decide
the
criteria.
The
climate
of
the
individual
or
the
climate
of
the
artists
in
philadelphia
is
so
different
and
so
vast.
If
you
have
the
same
people
right
always
trying
to
decide
what
the
criteria
of
something
is.
Okay
and
those
people
aren't
a
direct
reflection
of
the
artists
who
live
here.
G
The
amount
of
new
artists
that
are
able
to
apply
for
things
or
feel
like
they're
eligible
for
things
are
always
affected
by
that.
So
yes,
I
I
do
agree
that
we
should
continue
to
do
this,
but
we
should
continue
to
make
sure
that
the
people
who
are
part
of
the
decision
process
are
people
who
are
artists
in
the
community
who
don't
necessarily
have
any
other
ties
to
other
things.
That's
my
personal
opinion.
A
D
D
A
A
A
So,
let's
proceed,
we
have
our
next
two
witnesses
on
panel
three
again
just
a
reminder
for
anyone
who
may
have
forgotten
to
beat
your
microphone
if
you
are
not
speaking
so
that
we
don't
pick
up
any
extra
static
or
noise,
while
our
witnesses
are
speaking
so
I'll
start
with
the
mr
man
frisbee.
If
you
would
I'd
state
your
name,
identify
yourself
and
proceed
with
your
testimony.
Thank
you.
I
Good
afternoon,
everyone
thanks
so
much
for
having
me
first
off.
I
know
some
of
you,
some
of
you,
I
don't.
My
name
is
mr
mayor
frisbee,
I'm
an
author
filmmaker
and
event
producer
born
and
raised
in
south
philly.
For
the
last
eight
and
a
half
years,
I've
been
the
host
and
director
of
mr
man's
jam
session.
It's
a
live
music
experience
that
features
the
best
singers
and
musicians
in
philly
that
they
have
to
offer
hands
down.
I
I
We
packaged
it
down
to
an
hour
and
provided
the
footage
to
oacce
for
airing
on
the
comcast
city
hall
channel.
So
this
was
purposeful
for
us
because
it
not
only
allowed
the
talents
of
my
dj
singers
musicians
to
be
on
display,
but
we
will
be
able
to
use
the
footage
moving
forward
to
promote
the
band
and
bring
in
more
opportunities
for
more
than
a
dozen
artists
involved
in
this
endeavor.
I
I
The
philadelphia
glow
is
a
19-minute
sci-fi,
short
film
that
was
shot
one
location
in
philly
and
is
now
available
on
amazon,
prime,
so
starting
next
week,
I'll
kick
off
the
philadelphia
glow
school
tour,
where
I
will
screen
the
film
for
high
school
students
and
discuss
filmmaking
and
overall
careers.
In
writing.
I'm
also
a
former
philadelphia
daily
news
reporter
and
I've
written
four
books.
I
Two
short
stories
that
made
the
amazon
bestsellers
list
so
most
recently
getting
this
2500
grant
has
allowed
me
to
go
to
five
high
schools
immediately
in
december,
at
no
cost
to
the
high
schools
and
that's
a
passion
to
myself
writing
you
know
I
went
to
overwork
high
school
graduated
went
to
penn.
State
wanted
to
be
a
journalist,
wanted
to
be
an
author,
so
these
are
the
things
that
I
feel
are
important
to
share
with
the
young
scholars
coming
up
through
the
philadelphia
school
district.
I
So
what
I
love
most
about
this
experience
was
that
the
application
process
was
so
simple.
I
can't
stress
that
enough.
The
staff
was
very
professional
and
encouraging
from
the
very
beginning,
especially
carrie,
lebron
and
teddy
panama
hannah
mann.
I
pronounced
it
right
right.
Hanuman
have
been
especially
helpful
during
this
process
and
that
really
matters
when
the
arts
have
been
like,
you
know,
put
on
hope
because
of
colbert.
It
really
really
meant
the
world
that
everybody
was
so
professional
and
that
the
process
was
easy
to
follow.
I
So,
in
closing,
I
just
want
to
thank
everybody
at
oacce
for
providing
real
financial
resources
that
have
positive
positively
impacted.
So
many
people
just
coming
through
me,
it's
gonna
impact,
so
many
people.
I
can't
wait
to
spread
the
word
to
other
artists
if
this
continues
into
2022,
because
this
is
a
big
deal
and
it
was
very
helpful-
and
I
appreciate
the
time.
A
J
C
J
J
So
that's
what
we
call
our
home
and
I
have
been
with
the
group
for
about
11
years
and
our
our
main
sort
of
mission
as
a
musical
ensemble.
Is
we
provide
music?
That
is
not
your
everyday
sort
of
you
know
things
that
you
hear
out
there.
So
you
know
from
rock
and
pop
and
things
like
that.
We
everything
we
do.
We
do
it
on
our
violins
and
cellos,
which
is
something
that
is,
is
not
accessible
to
every
community
in
philadelphia.
J
All
that
sometimes
is
put
in,
you
know,
concert
halls
and
venues
that
are
not
so
open
to
to
everybody
to
attend.
So
we
take
we
take
that
experience
and
we
bring
it
out
to
the
general
public
in
the
in
the
forms
of
concerts
whether
in
the
park,
we
do
a
lot
of
neighborhood
concerts
and
you
know
that's
sort
of
been
our
thing
over
the
last
few
years
and
during
the
pandemic
I'll
just
say
that
when
everything's
shut
down,
this
is
it's
kind
of
like
very
personal
to
us.
J
Of
course,
all
the
musicians
have
been
affected,
but
when
everything
was
shut
down
and
you're
stuck
there
with
nothing
to
do
pretty
much
with
a
lot
of
people
doing
zoom
concerts
like
we
just
decided
to
go
out
there
and
start
performing,
obviously
in
wherever
we
were
allowed
and
in
a
safe
and
safe
way.
But
we
just
started
performing
at
different
neighborhoods
and
just
to
bring
people
out
in
their
porches
different
parks.
J
J
So
I
I
can't
say
thank
you
enough
to
that
grant
I
mean
it
made
everything
like
everything
that
we
started.
Just
like
a
dream
sort
of
you
know
just
like
a
project
side
project,
because
we
wanted
to
play
and
share
our
music
and
there
was
nothing
else
to
do
and
to
get
validated
and
recognized
like
that.
J
It
really
means
a
lot,
and
I
speak
on
behalf
of
everybody
that
I
work
with,
and
I
have
about
10
employees
or
musicians
out
of
college
they're,
really
close
they're
like
family
to
me
that
I
play
with
all
the
time,
and
I
speak
on
their
behalf-
that
that
really
meant
a
lot
and
to
be
able
to
to
share
our
music
while
at
the
same
time
you
know
being
able
to
make
a
living
like
that.
That's
the
greatest
gift
that
we
can
like
receive.
J
A
E
Great
thank
you.
I
just
wanted
to
point
out
sort
of
one
of
the
impacts
of
the
illuminating.
The
arts
grants
that
was
exhibited
from
our
two
witnesses.
One
is
that,
because
we
were,
we
were
able
to
reach
new
artists
in
arts
organizations
through
the
illuminating,
the
arts
grant.
We
then
had
them
on
our
list.
So
when
we
did
our
call
for
artists
for
our
neighborhood
arts
programs,
we
were
able
they
were
able
to
apply
and
get
funding.
E
So
mr
mann
frisbie
he
received
an
I
tag
grant
and
then
he
was
able
to
to
participate
in
a
neighborhood
arts
program
and
then
sort
of
something
that
was
illustrated
with
ray
from
the
elegant
string.
Quartet
is
that
you
know
he
received
an
I
tag
grant,
but
then
he
was
able
to
do
community
programming.
E
A
K
Hi
everybody-
this
is
anne
ishi.
Thank
you
for
having
me
and
I'm
really
excited,
to
share
some
of
the
findings
from
my
subcommittee
in
the
arts
and
culture
task
force,
which
is
the
capacity
in
which
I'm
here
giving
testimony
so
in
our
cohort,
including
graheem
and
sierra,
whom
we
just
heard
from
and
terry
gross.
Sorry,
not
terry
gross,
terry
fox,
sorry
and
christina
vasalo
formed
the
permanence
committee.
Well,
I
apologize
I'm
forgetting
michelle
karika
and
ebenezermani.
K
So
as
a
as
a
subcommittee,
we
were
responsible
with
creating
a
report
on
this
aspect
of
permanence
and,
quite
frankly,
this
was
in
response
to
a
a
crisis
of
faith
in
the
arts
and
culture
sector
sector
vis-a-vis,
the
city
having
initially
eliminated
the
arts
funding,
and
so
what
that
kind
of
caused
was
this
huge
question?
Why
should
we
give
back
when
we're
not
being
supported,
and
so
at
this
structure
I
want
to
really.
I
cannot
overstate
the
gratitude
we
feel.
K
K
This
actually
clued
us
in
as
institutional
community
leaders
as
to
how
to
make
an
impact
inside
the
city
and
vice
versa.
So
how
are
we
going
to
be
heard
as
an
art
sector
and
the
sierra
pointed
out
just
so
that
it's
acknowledged?
We
have
a
worthy
voice
in
other
conversations
around
civic
civic
resource
building
and
community
building,
so
we
continue
actually
to
meet
candidly
and
offline
just
so.
This
has
sparked
a
conversation.
I
think
a
really
important
dialogue
between
city
leaders
and
community
advocates
and
artists.
K
We
entertain
you
with
really
difficult
questions,
so
that's
been
a
really
really
invaluable
part
of
this
process.
I
hope
we
get
to
maintain
that
dialogue
and
I
really
appreciate
the
openness
of
city
council
and
the
various
advocacy
groups
in
the
city,
including
the
cultural
fund
and
the
cultural
alliance.
K
I
think
that
I
that's
most
of
my
comments.
Just
yes
to
the
grant,
let's
keep
doing
it,
we'll
keep
working
on
making
it
a
better
grant.
Everything
always
has
room
for
improvement
right
and
that
I
hope
we
keep
this
channel
open
between
the
arts
and
culture
leaders
of
our
city,
including
small
business
owners
and
independent
artists,
as
well
as
the
non-profits
and
you
all
in
city
council
and
in
the
mayor's
office.
A
L
Thank
you
councilmember.
Yes,
my
name
is
michael
fitchman
and
you
didn't
pronounce
that
correctly.
I
appreciate
that
so
good
afternoon
to
council,
member,
oh
and
members
of
city
council
and
thanks
for
allowing
me
to
speak
with
you
today.
Thank
you,
council,
member
thomas,
for
inviting
me
to
participate
in
the
arts
and
culture
task
force.
So
I
am
the
chair
of
the
nightlife
subcommittee
of
the
task
force,
raheem
manning
and
evan
burton
we're.
Also
on
the
subcommittee
with
me.
L
L
I've
toured
the
world
playing
music
and
I've
seen
the
way
things
work
in
other
other
cities,
I'm
also
a
city
planner
and
a
lecturer
at
the
university
of
pennsylvania's
weitzman
school
of
design,
and
a
lot
of
my
work
that
I
do
professionally
is
with
nighttime
cities
and
arts
and
culture
communities
all
over
the
world.
Asia,
europe,
the
middle
east
and.
C
L
So
this
is
a
hearing
about
arts
and
culture.
Why
are
we
discussing
nightlife?
I
think
ciara
touched
on
this
nightlife
is
when
a
lot
of
creative
art
and
commerce
happens.
Music
theater
dance
happen
in
creative
spaces
that
are
parts
of
neighborhoods
they're
parts
of
districts,
and
it
happens
at
a
time
when
some
people
need
to
sleep,
and
so
this
has
been
an
environment
where
there's
always
been
some
mistrust
dysfunction.
A
civic
culture
of
no
art
spaces
go
out
of
business.
L
Really
often
the
workers
are
really
precarious,
as
we've
been
talking
about
today,
equity
is
very
elusive
and
we've
seen
that
fully
during
the
pandemic.
It's
really
put
a
magnifying
glass
on
a
lot
of
these
these
problems,
but
it's
night
life
and
arts
and
culture
a
place
where
pretty
much
anybody
can
can
get
put
on.
You
can
hustle,
you
can
make
it,
and
so
there
are
huge
opportunities
here
for
lots
of
people
if
we
give
them
the
framework.
L
So
we
learned
that
based
on
examples
worldwide,
good
governance
and
planning
stakeholder
engagement
and
good
policies
can
make
for
a
safer,
more
vibrant,
more
inclusive,
nighttime
city
philadelphia
needs
this
to
retain
talent.
Some
survey,
research
by
24-hour
philadelphia,
showed
that
half
of
our
city's
artists
have
considered
moving
elsewhere,
and
that
was
before
the
pandemic.
We
need
creative
activities
and
communities
to
offer
opportunities
and
good
quality
of
life
for
residents.
L
You
know,
council,
member
thomas
was
mentioning
people
coming
from
outside
the
city
to
spend
money
here
and
it's
the
reason
that
we
put
nightlife
on
the
task
force
agenda.
It's
the
reason
that
we
proposed
and
we're
very
grateful
that
council
funded
the
creation
of
nighttime
economy
office
and
the
commerce
department.
L
Some
people
call
this
job.
The
quote:
unquote
nightmare
nighttime
mayor.
I
mean
it's
not
really
a
mayor's
job,
but
that
term
gives
you
an
idea
that
charisma
and
accountability
people
expect
from
this
position
in
other
cities
and
that
I've
been
in
communication
with
councilmember,
thomas
and
executive
officers
at
commerce
to
ensure
the
position
is
scoped
correctly.
L
The
officer
is
paid
sufficiently
and
that
will
let
and
attract
the
right
talent
and
give
this
person
the
stature
and
the
support
that
they
need
to
make
change
and
be
you
know,
sort
of
the
the
the
vessel
for
the
good
governance
that
we
were
talking
about.
I'm
really
grateful
to
folks
at
commerce,
director,
rashid
deputy
director
somerville
and
also
to
sophie
heng
who's,
the
creative
economy,
development
manager
for
their
great
work
on
this
thanks
also
to
council
member
thomas
staff.
L
So
we
met
alongside
folks
at
commerce
with
officers
peer
officers
from
san
francisco,
pittsburgh
and
seattle.
Try
to
lay
the
groundwork
for
the
office
to
succeed,
and
I
think
if
it's
correctly
fostered
and
funded
and
empowered
it's
it's
a
one
of
the
best
designed
offices
of
its
kind,
but
it
needs
support.
L
So
this
is
both
financial
and
political
to
build
for
the
future.
So
the
office
should
be
able
to
conduct
an
engagement
blitz
to
establish
stakeholder
relationships.
A
lot
of
this
is
really
at
its
core
is
about
negotiations
between
communities
and
businesses
connecting
businesses
to
services
with,
say,
l,
I
ca.
You
know
within
commerce,
revenue
easing
like
pain,
points
of
small
business
services
and
the
office
should
build
towards
creating
a
like
a
well-resourced
plan
for
nighttime
industries
and
communicates.
There
needs
to
be
a
vision.
L
We
should
be
looking
at
atlanta,
nashville
austin,
other
music
cities
in
the
us.
We
should
be
passing
them
in
that
hierarchy.
There's
no
reason
we
can't
do
it
I
mean
philadelphia
is
one
of
the
great
cities
in
this
country
has
made
amazing
musical
contributions
to
the
world,
and
it
should
all
be
happening
right
here,
so
we
should
also
be
coordinating
with
our
neighbors
in
pittsburgh
on
state
issues
related
to
liquor,
control
board
on
council
members
on
issues
that
affect
your
districts,
where
there
are
mixed-use
areas
with
nighttime
business
interests.
L
Please
work
with
this
office
so
that
we
can
use
like
best
practices
in
management
to
create
and
maintain.
You
know
vibrant
districts
right
where
there
are
good
relationships
between
neighbors
and
establishments,
and
it's
very
you
know
harmonious
in
terms
of
like
trying
to
get.
You
know:
arts
and
culture
at
various
times
of
day
working
smoothly
in
the
city
and
not
having
this
kind
of
conflict-based
dialogue
and
these
conflict-based
relationships
that
have
characterized
this
for
years.
L
So
this
office
for
service
focal
point
for
business
services,
engagement,
public
safety
and
those
issues
for
the
industry,
for
workers
for
artists,
public
stakeholders,
their
particular
set
of
regulation
and
safety
and
cultural
issues
in
nighttime
industries.
So
it's
really
important
to
establish
trust
and
dialogue
and
give
a
voice
to
nighttime
interest
in
the
public
and
administrative
process.
So
there's
a
licensing
or
zoning
thing,
a
lighting
and
streets
thing.
You
know
the
streeters
discussion
that
happened
last
week
there
there's
a
nighttime
component
to
that
and
that's
something
that
this
office
can
can
be
a
part
of.
L
So
what's
next
for
the
task
force
aside
from
the
nighttime
office,
and
and
what
did
we
talk
about
I'll,
just
briefly
kind
of
run,
a
few
things
down,
so
it's
not
to
be
long-winded.
It's
all
in
the
report.
The
task
force
recommended
that
council
look
closely
at
reforming
licensing
associated
with
creative
spaces.
L
I
sat
down
once
with
former
commissioner
perry
of
l,
I
with
24-hour
philadelphia,
and
we
agreed
that
music
is
almost
functionally
illegal
in
philadelphia.
It's
incredibly
expensive
and
complex,
and
you
know
illegal
by
many
zoning
categories,
except
in
a
small
handful
of
of
districts,
to
create
a
space
for
creative
art
and
performance
without
getting
a
riskier
expensive
variance.
It's
very
hard
to
run
it
in
a
competitive,
real
estate
environment
that
cost
and
risk
is
a
high
barrier
to
entry.
It
discourage
investments
in
programming.
L
L
It's
key
to
putting
on
you,
know
talent,
but
that
cost
also
keeps
management
and
ownership
from
looking
like
a
cross-section
of
philadelphia
keeps
many
would-be
operators
out,
and
if
the
management
and
ownership
don't
look
like
philadelphia,
there's
going
to
be
a
gatekeeping
effect.
That
means
the
people
who
get
on
stage,
don't
necessarily
look
like
the
people
of
philadelphia,
so
special
assembly
licenses
should
be
more
broadly
available
and
there
should
be
ways
to
increase
flexibility
with
licensing
and
and
decrease
costs
in
the
interest
of
time.
L
L
That
works
well
for
venues
and
also
in
you
know,
nighttime
spaces
in
public
and
changes
in
last
call
closing
times
have
also
been
something
that
council
members
have
have
brought
up
as
well
as
state
representatives,
and
you
know,
there's
a
governance
framework
in
place
now
that
that
can
help.
You
know,
support
that.
So
you
can
look
at
the
written
report
for
more
on
those
recommendations.
L
A
D
You,
mr
chair,
I
am,
I
actually
don't
have
any
questions.
I
just
want
to
say
thank
you
for
the
great
information
that's
being
provided
as
well
as
the
advocacy.
It's
been
a
pleasure
to
work
with
mike.
I
appreciate
the
testimony
of
all
of
the
witnesses
who
came
today.
We
all
know
we
have
great
work
left
to
do.
I'm
council
member,
I
do
want
to
thank
you
again
as
well
as
your
team,
for
putting
us
in
a
position
to
be
able
to
have
this
important
conversation,
especially
on
a
week
like
this.
D
A
Let
me
just
note
that
we
did
receive
written
testimony
from
michael
rasheed,
our
commerce
director,
and
with
that
I
will
just
ask
if
there
are,
if
anyone
else
present
at
this
hearing,
who
would
like
to
testify
who
I
had
failed
to
call
or
who
wishes
to
offer
any
type
of
testimony
clerk.
Would
you
alert
me
if
there's
any
such
persons.
A
All
right,
thank
you
very
much
hearing
none.
I
want
to
thank
all
the
panelists
the
witnesses
for
your
participation,
the
council
members,
everyone
who
took
time
today
to
join
us
before
thanksgiving
for
this
important
hearing
and
to
hear
the
testimony
and
ensure
it's
televised
and
made
known
to
the
public.