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From YouTube: Public Art Committee May 10, 2023
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A
B
C
A
Okay,
well,
we
just
had
another
guest
okay,
we
have
three
guests
with
us
today:
Gene
dinhoff,
Katie,
Taylor
and
Stephen
Oliver.
D
C
A
All
in
favor
of
approving
the
April
12
minutes
as
submitted,
say
aye
aye
aye
any
opposed.
It's
unanimous:
okay,
old
business.
Current
project
updates
the
black
heritage
project,
the
Board
of
Commissioners
on
this
meeting,
but
the
last
meeting
approved
the
the
location
of
the
project
on
the
north
end
of
the
parking
lot
in
the
Tarpon
Springs
Marina
Diane.
You
have
some
something
for
us
for
the
Riverside
field,
mural
project.
E
Yes,
so
we
put
the
the
new
revised
call
to
artists
out
and
it's
been
distributed
and
I
did
receive
one
application,
I
told
them
that
you
know
it
was
going
to
be.
They
were
going
to
be
seen
at
the
June
14th
meeting,
so
they
understood
that
and
then
I
have
two
other
artists
that
are
interested
in
putting
together
a
proposal,
but
since
they
have
a
longer
time
frame,
they're.
A
A
Great
okay,
I
think
you
indicated
one
had
questioned
the
the
the
fees
and
you
explained
to
them
about
the.
E
Insurance,
one
of
the
artists
does
a
lot
of
larger
projects
and
I
explained
the
threshold
of
a
thousand
dollars
being
you
know
what
we
can
do
and
also
it
would
be
under
the
artist
would
be
under
the
city
insurance
policy.
However,
if
anything
was
over
a
thousand
dollars,
they
would
have
to
carry
their
own
insurance
and
she
said
that
she
has
her
own
insurance
and
that's
not
a
problem.
E
So
I
told
her
that
if
she
had
any
other
ideas
and
wanted
to
do
the
whole
building
or
whatever
she
wanted
to
propose
as
far
as
fees
go
to
the
the
committee
that
you
know
just
to
put
that
include
that
in
her
proposal,
okay,.
A
Thank
you,
I'm,
looking
forward
to
seeing
them
Megan.
Do
you
want
to
do
the
budget
updates
and
thank
you
in
advance,
for
you
know
sending
them
out
to
us.
B
B
At
this
time
there
are
no
current
project
updates.
The
current
balance,
as
of
yesterday
May
9th,
is
181.
134
dollars
is
just
a
small
change
interest
only.
A
A
The
CRA
mural
project
I
was
hoping
to
get
an
application
from
Catalina's
the
Mexican
restaurant,
but
I
guess
they
they
missed
the
deadline.
I
did
speak
to
them
because
they
had
indicated
to
me
a
while
ago
that
they
wanted
to.
You
know
to
do
a
mural
and
put
in
an
application.
A
Maybe
they'll
happen
to
the
June
meeting,
just
another
item
of
old
business.
We
did
get
down
to
the
docs
finally
and
take
a
picture
of
the
the
mayor
and
the
members
of
the
committee
with
joy
sackelson.
You
know
at
the
Pelican
and
Cat
sculptures
and
Diane
posted
posted
it
on
Tarpon,
Arts,
okay,
new
business,
same
Kate,
art.
If
you
look
in
your
backup,
you
will
see
that
they
submitted
a
proposal
and
please
note
that
the
393.75
is
the
quarterly
assessment.
E
B
E
A
C
A
They
do
the
work.
Yeah
they're
they've
got
quite
a
bit
of
expertise
in
in
this
field.
I
know
they
know
Robert
Stackhouse
quite
well.
He's
he's
worked
with
them
on
a
number
of
occasions,
for
you
know
different
kinds
of
outdoor
art,
Restorations
and
maintenance.
Well,
that's
great!
So
I
know
they
did
a
really
thorough
one
on
Alma
about
two
or
three
years
ago,
because.
E
I
A
Yes
right,
a
motion
to
annual
assessment
by
Saint
Cates.
D
I
move,
we
approve
it,
provided
that
the
invoices
are
corrected
to
say
annual
rather
than
quarterly.
Okay,.
A
Okay,
all
in
favor
hi,
yes,
and
we
do
have
a
budget.
In
our
you
know,
budget
line
for
maintenance
and
repair,
okay,
virtual
tour
guide
and
QR
codes.
I
know
we
had
talked
a
while
ago
about
doing
you
know
a
virtual
tour
guide
that
incorporates
QR
codes.
That's
under
new
business
on
your
agenda.
A
Okay-
and
this
is
something
that
could
very
easily
be
done-
I'd-
be
willing
to
take
it
on.
I
know
that
the
creation
of
QR
codes
there
did.
There
was
a
question
about
them
that
you
know
about
the
city,
so
I
think
one
of
the
issues
we're
going
to
have
to
discuss
further
is
how
and
where
the
QR
codes
will
be
applied.
G
G
Yeah
it's
on
the
partner
with
them
or
yeah.
It's
on
the
Florida
Florida
stories
app
right,
okay,
but.
H
H
With
it
to
perhaps
you
know
something
at
each
designation
on
the
tour,
there's
something
that
says
you
know
lets
them
know
that
this
is
which.
C
G
A
A
So
you
know
and
I
think
it's
important
that
you
know
well
like
this
year.
You
know
this
was
the
first
time
we
added
the
the
numbers
to
the
art
box,
submissions
which
I
think
makes
makes
a
big
difference
for
people
looking
to
identify
the
art
and
the
artists.
What.
E
Is
the
intention
of
this
is
it
for
specifically
for
a
public
art
tour,
or
is
it
just
cultural
question
areas
and
things
like
that
because
well,
if
you
wanted
to
do
one
for
just
specifically
for
public
art,
that's
doable
to
do
in
a
print
form
as
well
as
an
a
digital.
You
know
downloadable
map
with
QR
codes
to
the
different
areas,
using
the
gis
map
that
the
city
has
so
right.
G
Well,
you
know
I,
guess
that's
a
good
question.
What
is
this
you.
A
Know
yeah
I,
think
yeah.
Part
of
the
problem
is
that
a
lot
of
this
stuff
is
getting
overlaid
with
each
other.
You
know
if
there,
if
there's
a
walking
tour
that
already
exists
and
I
know
that
I
think
there's
somebody
on
the
docks
that
has
a
little
kiosk
or
something
for
guided
tours.
Yeah.
A
D
Is
that
say,
for
instance,
a
tourist
is
walking
past
the
Mermaid
statue
and
if
it
has
somewhere
on
it
a
QR
code
that
they
can
scan
and
it
gives
them
access
to
the
app
which
leads
them
to
all
the
other
places.
Instead
of
standing
in
front
of
it
and
saying
gosh,
that's
nice
I
wonder
if
there's
anything
else
like
that
around
and
and
having
no
idea,
then
they
would
have
a
way
to
get
access
to
that
information.
D
You
know
and
I'm
thinking
as
well.
In
particular
when
the
the
black
heritage
project
is
complete,
then
we
would
be
able
to
use
the
same
application,
the
same
techniques
to
lead
people
from
the
Union
Academy
to
the
docs
and
from
the
docs
back
to
the
Union
Academy.
E
Yeah,
however,
we
explore
this
months
and
months
ago,
when
we
first
started
talking
about
QR
codes
for
the
eliminated
art
boxes.
One
of
the
things
that
our
it
Department
said
is
that
you
have
to
be
careful
with
QR
codes,
because
if
it's
something
that's
down
low
or
something
somebody
can
just
you
know,
can
alter.
A
E
D
Yes
and
I'm
sure
that
the
IT
department
has
a
legitimate
concern
there.
If,
but
you
know
so
many
other
cities
do
this,
so
many
other
places
do
it.
There
are
QR
codes
everywhere.
D
I,
don't
know
that
it's
really
a
huge
problem.
How.
H
Perhaps
you
know
a
plaque
tasteful
plaque
next
to
the
art.
I
was
just
thinking
a
piece
of
Plexiglas
over
that
with
you
know
the
QR
codes
underneath
the
plexiglass,
perhaps
yeah.
G
D
D
Okay,
yeah
so
I'm
sure
there's
lots
of
ways.
I'll
certainly
look
into
it,
but
either
way
because
it
would
be
City
owned.
The
city
would
have
to
have
a
license
to
produce
QR
codes
and
that
does
cost
money.
I,
don't
know
whether
we
already
have
one
or
not
they're,
not
free.
G
E
G
So
so,
just
to
re-clarify
are
we
looking
at
just
the
public
art
aspects,
since
we
sort
of
have
a
cultural
one
already
in
place?
Are
we
looking
at
you
know,
enhancing
the
visibility
of
the
existing
and
adding
a
different
one,
just
so
I
kind
of
understand
where
we're
I.
A
D
D
C
A
You
know
specific
topic
or,
or
you
know,
approach
that
they're
they
might
be
more
history
oriented
than
art,
yeah.
A
We
have
to
find
out
more
about.
You
know
the
existing
existing
tours
that
are
out
there,
but
we
definitely
need
something:
okay,.
A
Diane,
do
you
want
to
take
the
next
one?
The
workshop,
oh.
E
Yes,
right
now,
we
are
in
highly
in
budget
season
right
now
and
also
the
Board
of
Commissioners
are
having
a
lot
of
their
own
workshops
and
things
so
I
talked
to
Mark
and
he
said
that
he
doesn't
see
how
we
could
do.
E
You
know
a
video
and
recorded
one
like
in
here,
because
it's
actually
just
so
deeply
down
the
road,
but
he
said
that
possibly
we
could
do
something
in
the
conference
room
here
on
the
second
floor,
which
is
on
the
other
side
of
the
building,
and
we
would
just
go
ahead
and
record
it
with
our
tape.
Recorders.
F
E
A
A
Be
well
I
think
one
of
the
things
we
were
talking
about
was
to
get
discuss,
getting
a
consultant
right,
a
public
art
consultant
and.
C
A
Know
I'm
I'm
sure
that
you
know
everybody
has
some
questions.
You
know
right
now.
We've
got
nothing
in
the
hopper,
so
this
is
kind
of
an
unusual
situation
for
us,
so
I
think
we
need
to.
You
know,
maybe
look
around
at
what
other
communities
are
doing.
You
know
both
locally
and
nationally
and
see
if
there's
anything
that
you
know
can
be
adapted
or
utilized.
For
you
know,
Tarpon
Springs.
You
know
I've
seen
a
lot
of
things
too.
That
are,
you
know,
involved.
You
know
multi-story
buildings,
which
obviously
wouldn't
work
around
here.
D
The
if
I
can
attempt
to
answer
the
question
as
well.
The
workshop
format
allows
us
to
discuss
things
in
ways
that
cannot
be
discussed
in
the
formal
pack
meetings.
D
We
can
brainstorm
things
in
in
there
that
we
can't
do
in
here.
We
can
ask
specific
contributions
from
people
outside
of
the
public
art
committee.
We
can,
you
know,
look
at
all
kinds
of
different
things
and
we're
not
so
constrained
as
we
are
by
this
structure
of
these
meetings.
G
A
Right
now,
right,
okay
staff
comments.
E
I
would
just
say
that
the
Heritage
Museum
Renovations
are
coming
along
really
well.
The
lighting
is
being
completed
today.
The
carpeting
the
new
carpeting
is
going
in
starting
on
Monday
they're,
going
to
start
working
on
that
so
I'm,
hoping
by
the
end
of
May
or
or
you
know,
maybe
mid-june
then
I'll
be
able
to
bring
you
all
over
there
to
see.
You
know
all
the
the
new
updates
and
everything.
Of
course
all
the
exhibits
won't
be
put
back.
You
know
completely,
but
it's
really
looking
good
and
I'm
so
grateful
that
we
have.
E
It's
going
to
just
enhance
both
sides,
you
know
they
put
in
new
Lighting
in
the
Greek
history
wing
and
you
know
in
all,
and
it's
just
beautiful
it
really
looks
good
all
the
updated.
You
know
things
we're
no
longer
in
the
1970s,
so
it's
really
nice,
but
that's
all
I
got
good.
Okay,.
H
Well,
first
I'm,
sorry
that
I
missed
the
meeting
last
last
month
and
all
it
was
unavoidable.
I
had
a
little
tummy
ache
and
all,
but
it
was
an
important
meeting
and
you
know
I
know:
y'all
talked
about
moving
Stevens,
a
piece
from
where
the
original
place,
which
I
guess
is
the
called
the
North
End
location
and
putting
it
on
the
the
Sponge
Docks.
C
H
All
and
I
heard
about
it
from
sponge
divers.
You
know
that
you
know
that
it's
a
working,
Waterfront
and
you
know
kind
of
kills
me.
His
piece
deserves
a
very
prominent
place.
You
know
I'm
part
of
the
the
the
the
community
down
there
and
from
the
sponge
diving
world.
C
H
H
You
know
these,
the
the
the
Waterfront
side,
you
know
it's,
just
the
guys
have
a
tough
enough
time
getting
around
there.
You
know
you
know
the
sponge
diver
statues
in
the
middle,
so
the
boats
that
are
on
the
north
side
of
that
statue
have
to
you
know,
drive
onto
the
the
Sponge
Docks.
One
way
then.
C
C
H
The
other
side-
and
it's
you
know,
has
these-
you
know
the
with
the
planters
that
are
there
and
already
with
these
huge
palm
trees
in
them,
it's
just
getting
so
congested
that
I
felt
you
know
the
the
best
place
you
know
if,
if
I
could
be
the
decider,
it.
H
Would
be
across
the
street,
you
know
in
front
of
the
sponge
exchange
when
you're
facing
the
exchange
to
the
right.
Where
the
you
know,
it's
a
high
wall
there
and
all
and
it's
you
know
to
me
it
wouldn't
be
an
impediment,
but
it
would
be
a
high
traffic
area
to
where
more
people
would
be
exposed
to
the
store
but
I
understand
at
the
last
meeting.
They
decide
to
put
it
back
at
the
at
the.
H
At
the
North
End
of
the
the
marina,
so
you
know
you
know
I
mean
that's
great
and
I,
don't
know
I
guess
maybe
you
can
expand
the
footprint
now,
since
it's
going
back
there,
but
then
again
you're
the
one
that
has
to
do
all
the
expanding
and
Contracting
on
your
piece
and
all-
and
you
know
it's
work
and
stuff-
I-
understand
that.
But
I
just
wanted
to
say
how
you
know,
I
think
it's
important
and
you
know
I
just
wanted
to
see
it
in
a
a
really
prominent
spot.
H
Now,
maybe
ancillary
to
that
discussion.
You
know
that
the
city
is
doing.
Let's
see
what
is
it
called
a
Greek
Town
traditional
cultural
property
preservation
and
place
making
evaluation.
C
H
You
know
it's
a
company,
stantec
is
the
company
that
the
city
selected
and
budgeted,
and
so
they're
going
to
be.
You
know
doing
this,
you
know
a
value
planning
and
stuff
and
I
guess
what
they
can
do
to
create
planning
strategies
for
preservation
and
place
making
you
know
and
I
was
just
wondering
as
far
as
us
getting
you
know
on
some
of
the
projects
getting
ahead
of
ourselves,
you
know
to
wait
and
see
what
they
come
up
with
and
what's
the
thing
and
how
we
can
coordinate.
You
know
with.
H
Plan
and
all,
but
you
know,
I
just
wanted
to
make
the
comment
that
I
wish
I
had
been
here.
The
last
meeting
you
know
and
and
all
just
so
I
could
have
pointed
out
the
fact
you
know
that
it's
a
working
Waterfront
and
that
you're
going
to
get
a
lot
of
push
back
from
the
from
the
from
the
guys
that
are
working
there.
You
know,
and
it's
only
because
you
know
anything,
you
know
anything
there
and
everything
there.
C
H
Know
and
it's
already
hard
dangerous
work,
and
so
everything
you
know
we
do.
You
know
kind
of
just
makes
one
more
little
bump
in
the
road
for
them
that
they
have
to
you.
H
Across
Sonu
I
just
wanted
to
you
know
that
was
my
comment.
You
know
I
kind
of
look
forward
to
you
know
seeing
the
completed
peace
soon
and
stuff
as
I'm
sure
Stephen
is
but
I
just
just
wanted
to
put
my
two
cents
in
okay.
G
Diva
yeah
I
mean
we
first,
the
Waterfront
I
would
like
to
see
us
remove
things
not
add
any
more
things,
because
it's
getting
it's
just
way
too
much,
but
yeah
I
mean
I,
wasn't
able
to
go
to
the
last
boc
meeting,
but
they
I
guess
made
their
decision
but
I'm
happy
to
see
it
go
move
forward.
C
G
This
point
you
know
because
I
know
you've
been
working
constantly
like
let's
just
get
in,
let's
get
it
somewhere,
because
it
is.
It
is
an
important
piece
as
far
as
all
the
other
things
you're
concerned,
I
mean
yeah
I,
just
think
oh
I
agree
with
Nick,
also
being
a
Community
member
down
there.
That
holding
off
on
any
new
projects
for
now
is
the
best
idea
until
we
have
more
of
a
vision
and
can
maybe
start
cleaning
some
things
up
down
there.
G
So
I
would
like
to
see
a
kind
of
a
halt
to
put
on
anything
else
with
the
Sponge
Docks.
Until
all
those
assessments
are
made.
C
G
G
Know
the
Sponge
Docks
I
think
we
need
to
press
pause
for
right
now.
F
I
kind
of
I
agree
with
what
Nick
and
Anthony
was
saying,
and
also
when
it
comes
to
the
Spanish
docs
I
mean
it
feels
like
we
should
be.
We
should
be
working
together.
I
A
D
A
D
Yeah
yeah
I
have
a
couple
of
things
to
say.
First
of
all,
the
the
black
history
project,
as
it
was
originally
conceived
in
in
my
mind.
Anyway,
it's
supposed
to
be
a
celebration
supposed
to
be
a
really
celebratory
piece
of
work,
something
that
stands
out,
something
that
grabs
your
attention
and
and
his
and
and
the
pieces
that
Stephen
designed
and
gave
to
us
in
his
in
his
proposal.
D
Well,
his
his
design,
work,
I
thought
were
particularly
wonderful
when
he
brought
in
those
models
as
well
and
and
did
the
the
paintings
and
showed
us
the
slideshow
and
all
the
rest
of
it,
and
we
all
agreed
with
that-
and
there
was
a
unanimous
agreement
from
the
public
art
committee,
followed
by
a
unanimous
agreement
from
the
Board
of
Commissioners
I
thought
we
had
it
nailed,
then,
and
and
and
I
must
admit
that
I
am
disappointed
and
a
little
frustrated
that
there
has
been
this
uproar
with
trying
to
make
it
smaller,
trying
to
put
it
into
different
places,
trying
to
make
it
less
significant.
C
D
And
it's
to
my
you
know:
I
I
think
it's
a
signature
piece
for
the
public
art
committee,
I
think
his
signature
piece
for
the
the
the
entire
community
of
Tarpon,
Springs
and,
and
it
should
be
honored
by
putting
sub
putting
it
somewhere
where
it's
visible
somewhere,
where
it's
clearly
belonging
to
us
to
us
all-
and
you
know
right
out
there
in
front
of
the
visitor
center,
where
it
was
originally
placed,
is,
to
my
mind,
a
great
place.
D
To
put
it
I,
understand
all
the
arguments
about
the
working
Waterfront
I'm,
not
talking
about
putting
it
down
there.
I
never
was
I.
Think
that
sticking
it
front
and
center
up
by
The
Visitor
Center
is
a
great
place
for
it,
as
is
the
one
down
at
the
the
Union
Academy.
That's
perfect
right
there,
the
the
Corral
is,
is
going
to
be
wonderful.
It's
going
to
be
a
great
addition
to
our
city.
D
Meanwhile,
anybody
that
wants
to
talk
about
Greektown
should
go
on
to
connect
Tarpon
and
and
do
the
survey
and
and
have
at
it
make
your
comments.
Yeah.
A
A
We
got
14
applications
and
all
of
them
were
designed
with
those
locations
in
mind
and
Stevens
was
rather
unusual
because
of
all
of
the
applications
that
we
got.
His
was
kind
of
the
largest,
and
you
know
the
most
expansive
and
Incorporated
a
lot
of
information
images,
maps
and
a
lot
of
historical
images,
and
so
it's
it
was,
you
know,
created
to
be
a
piece
where
people
could
look
at
it
and
learn
from
it.
A
It's
educational
as
well
as
artistic,
and
it
really
needs
a
space
where
people
can
take
the
time
to
give
it
the
credit
it
deserves.
It
doesn't
belong
on
a
sidewalk,
it's
not
a
statue,
that's
just
sitting
there.
It's
a
statement
piece,
and
you
know
the
the
design
is
wonderful.
I
personally
know
how
much
work
Stephen
has
put
into
it
in
terms
of
doing
research
talking
to
people
in
Tarpon
Springs,
and
you
know,
spending
time
you
know
I
found
out
that
he
has
a
connection
to
Tarpon
Springs.
A
A
The
selection
panel
that
was
put
in
place
to
vet
all
of
the
applications
had
a
good
cross-section
of
people
from
the
community
and
unfortunately,
two
of
the
people
that
were
on
the
committee
have
since
passed
Dudley
and
Annie
dabs.
So
you
know
that's
how
long
this
has
been
going
on,
and
you
know
it
was
brought
to
the
Board
of
Commissioners.
It
was
approved,
a
contract
was
written
with
Stephen,
so
it's
a
and
in
my
estimation,
it's
kind
of
a
done
deal.
A
If
anything,
you
know
is
to
be
done,
altering
anything
it's
going
to
have
to
go
back
before
the
Board
of
Commissioners
and
possibly
involve
a
renegotiation
of
the
contract
or
a
a
you
know,
a
reimagination
of
of
the
whole
thing
which
I
don't
want
because
I
love
it
the
way.
It
is
okay
and
that's
that's
my
two
cents.
A
Okay
I
know
we
have
public
comments,
Katie
good.
J
Afternoon,
everyone
thank
you
for
letting
me
speak.
Oh
no,
I
appreciate
all
your
input
on
the
sponges
and
I
appreciate
everybody
that
worked
on
that
project
for
three
years,
because
I
imagine
it
was
pretty
taxing
I'm
coming
into
it
a
little
bit
late,
but
I
still
want
to
voice
my
opinion
because
I
am
a
Bahamian.
My
father
was
from
Nassau
Bahamas
and
I'm.
J
J
So
my
concern
is:
is
I,
know
that
y'all
put
a
lot
of
work
into
it
and
I
admire
that
I
really
do
but
one
of
the
people
that
was
from
my
community.
That
said,
they
worked
on
that
board.
They
said
they
weren't
a
part
of
the
location.
They
they
only
was
part
of
choosing
the
artist,
so
they
didn't
have
any
input
on
where
the
actual
presentation
would
go.
Now.
J
My
concern
is
it
being
in
the
back
of
that
The
Visitor
Center
in
that
back
parking
lot
near
where
the
boats
pull
up
and
the
people
drink
at
the
bar
next
door
and
nobody's
really
going
to
go
back
in
that
area,
especially
in
the
evenings
or
after
dark,
because
if
I'm
not
mistaken,
most
of
the
shops
close
down
around
six
in
in
that
location
down
there.
J
So
after
six
most
the
people
are
doing
dinner,
they're
walking
down
by
the
by
which
I
do
I
visit
Greektown
all
the
time
myself
I
eat
in
every
one
of
those
restaurants
and
I
am
a
tour
sometimes
too,
because
I
enjoy
going
down
there.
But
when
you
go
down
there,
you
have
the
for
the
restaurants
and
all
the
people
that's
walking
along
the
street.
They
have
those
railings
that
people
don't
walk
in
the
street
and
I'm,
not
sure
I've,
never
seen
the
draft
of
the
the
art
project
that
that's
being
talked
about
here.
J
J
What
do
you
mean
if
it's
not
there,
I
thought
you
would
have
to
adjust
some
things
to
make
it
visible,
because
even
after
The,
Visitor
Center
close
at
what
3
30
4
o'clock,
how
many
people
are
going
to
be
down
on
that
end
of
the
block
to
even
visit
that
area,
because
the
only
during
the
day
people
are
going
to
go
in
the
visitor
center
yeah
they're
going
to
walk
through
it,
because
it's
the
visitor
center
is
open,
but
after
six
o'clock
nobody's
going
to
be
down
there
I'm
concerned
about
the
I,
guess
the
frustration
of
it
all
being
where
you
don't?
J
You
don't
want
to
reconsider
nothing.
You
just
want
to
say
this.
Is
it
we
voted
on
it,
and
this
is
what
we're
going
to
do,
but
our
community
is
looking
at
looking
at
a
little
differently.
We,
these
these
guys
mean
something
to
us,
a
lot
of
them.
Buried
in
real
cemeteries,
some
of
them
we
grew
up-
we
had
talked
to
them
and
if,
if
they
worked
on
the
working
dock,
then
why
they
put
it
being
put
at
the
back
of
the
marina
I
understand
the
work
in
doc.
J
I
appreciate
the
fact
that
you
can't
get
nothing
else
over
there
that
that
that
dog
should
be
left
alone
and
I'm
all
in
agreement
with
that,
but
that
tree
across
the
street,
where
that
Mr
Pappas
was
saying
well
according
to
Tina
Mr
Papa
was
saying
that
why
do
you
even
have
those
planners
there
like
Nick,
was
saying
why
not
put
it
over
there
and
put
up
one
of
the
railings
where
they
can
be
seen
after
people
eat
dinner?
They
all
go
to
that
plunge,
exchange
and
walk
through
there
and
Blossom.
J
You
know
Miranda
through
there,
but
nobody's
going
back
up
the
street,
so
it's
just
like
you're
putting
them
back
in
the
dark.
Where
please
think
about
the
location,
it
shouldn't
be
I'm,
pretty
sure
he
can
Stephen
can
give
more
ideas,
hopefully
where
it
doesn't
take
going
back
to
square
one
I,
don't
think
we
should
have
to
go.
A
Back
to
school,
well,
unfortunately,
legally
we
do.
You
know.
As
I
said,
you
know,
there
are
three
years
worth
of
of
work,
their
hard
work
and
a
lot
of
research.
A
lot
of
people
put
a
lot
of
time
into
this
project
and
the
whole
idea
was
to
honor
that
afro-bahamian
Community,
because
so
few
people
know
that
part
of
Tarpon
Springs
history
and
it's
a
beautiful
history.
You
know
the
Synergy
and
the
cooperation
between
the
afro-bahamians
and
the
and
the
Greeks
and
the
crackers
is,
is
you
know
when
Diane
can
vouch
for
this?
A
When,
when
we
put
the
call
to
artists
out,
we
didn't
think
we
were
going
to
get
any
responses,
because
our
budget
was
so
low.
I
have
a
very
good
friend
in
New
York
who's
special,
her
specialty
is
African
figural,
sculptures
and
she's,
one
of
five
finalists
at
the
moment
for
a
project
in
Pittsburgh
and
it's
a
half
a
million
dollar
project.
She
has
a
statue
in
Central,
Park
she's,
a
very
prominent
Sculptor
and
I
called
her,
because
I
I
wanted
to
at
least
give
her
a
shot
at
doing
this.
A
This
goes
way
back
when
this
first
started
and
she
said
Joan,
she
said
I'm
not
going
to
look
at
that.
She
said:
that's
not
enough
money
for
me.
So
when
we
got
14
applications
right
Diane,
we
were
actually
surprised,
and
it's
because
of
the
message-
we're
not
we're
not
dissing
anybody
we're
not
disrespecting
anything.
It's
quite
the
opposite.
You
know
the
way
that
quilt
artists
was
even
put
together.
A
J
A
Right,
because
when
we,
when
we
conceive
this,
when
we
conceived
this
project,
we
had
envisioned
a
figural
type
sculpture,
that's
not
what
we
got.
Stephen
proposed
an
arch
that
incorporated
all
of
these
amazing
images
and
stories.
That's
what
we
got
because
that's
what
we
wanted
and
that's
what
honors
these
this
community
of
these
people.
You
know
we
could
it
look
when
you
go
down
to
the
docks.
There's
a
sponge,
diver
statue
right
yeah:
do
you
ever
sit
there
and
stare
at
the
sponge?
Diver
statue?
No,
you
walk
past
it.
You
see
people
they
show
up.
A
A
A
J
A
Right
and
the
people
that
worked
on
it
have
a
passion
for
it.
This
was
not
done
lightly
and
you
know
when
we,
you
know
Stephen
Tony
from
public
works
and
I
think
there
were
Brandon
Crum.
There
were
a
few
other
people
when
we
were
down.
You
know
in
the
location
and
Stephen
had,
you
know,
talked
to
them
about
putting
it
in
the
grassy
median
in
front
of
the
visitor
center,
all
right
right
in
the
front
front,
Okay!
Okay!
A
Now,
if
you
approach
that
Steven
SP,
if
it
was
a
statue,
you
would
say:
oh
look
at
that.
There's
a
there's
a
statue
of
a
sponge
hooker.
Okay,
if
you
approach
Stevens
and
you
decide
you're
going
to
stand
there
and
try
to
absorb
everything,
that
piece
has
to
say:
you'd
be
blocking
parking
spaces
you'd
be
creating
a
bottleneck
for
pedestrians.
It's
a
trolley,
stop!
A
It's
noisy
people
getting
on
and
off
the
trolley
with
kids
and
Hubble
bubble,
and
everything
like
that.
It's
I,
I,
guess
what
I'm
saying
is:
I
almost
want
Stephen's
piece
to
be
a
chapel.
You
know
not
something!
That's
just
plopped
in
the
middle
of
the
sidewalk
that
people
are
going
to
walk
past
ignore,
say:
oh
yeah,
look
at
look!
Look
at
that!
Isn't
that
nice
and
move
on
and
oh
look
I
took
a
selfie,
you
know
what
does
this
mean?
Why
is
this
here?
A
I
A
Right
so
for
for
a
hundred
for
for
a
year,
has
been
working
on
just
assembling
the
images
for
this,
because
we
want
it
to
tell
this
amazing
story:
it's
not
slapdish
and
the
thing
is
I'm
I'm,
a
very
visual
person
and
I
think
you
know,
as
I
said,
I
obviously
have
a
passion
for
this.
You
know
I've
been
to
places
around
the
world
where
I've
gone
to
you
know
artwork
in
museums
or
on
the
street,
where
I
just
want
to
sit
there
and
look
at
it.
A
A
J
Can
I
ask
you
a
question?
Certainly:
okay,
I
appreciate
everything
you
said
and
and
and
I
respect
everything
you
said
and
I
agree
with
everything
you
said
except
putting
that
exhibit
in
the
back
of
that
Marina,
because
who's
going
to
go
back
there
after
The
Visitor
Center,
close
And
when
everybody
is
down
the
street
near
the
spongy
exchange,
where
everything
is
happening,
if
you,
if
you
put
it
back
there
who
in
the
evening,
is
going
to
even
Miranda
back
there
to
sit
around,
is
that
gate
going
to
be
locked?
J
Is
the
bar
going
to
be
still
active
right?
There
are
people
going
to
be
still
pulling
up
at
a
boat
a
boat
ramp
back
there
is,
is
the
marina
going
to
take
away
the
gate,
so
every
the
whole
parking
lot
is
open.
So
I
respect
everything
you're
saying
but
I'm
just
saying.
If
you
put
it
back
at
the
back
of
that
Marina
Marina,
they
didn't
work
at
the
marina
they
worked
at
the
Docks.
J
We
understand
that
nothing
could
be
put
on
the
dark
side
because
that's
a
working
dock-
that's
out
I,
agree
totally,
but
it
should
not
be
put
at
the
back
of
the
marina
when
The
Visitor
Center
closed
nobody's
up
that
way.
If
you
look,
if
you
go
back
to
any
course
of
the
day
after
six
o'clock,
there's
nobody
by
The
Visitor
Center
nobody's
going
to
Miranda
up
there
to
sit
around
and
look
through
this
Art
Exhibit.
They
it's
not
gonna
I
can't
see
it
happening.
I
can.
But
that's
you
I
see
from
I've
been
through
there.
J
J
In
the
evening
time,
when
The
Visitor
Center
close
who's
going
to
go
behind
that
way
in
the
back
of
that
parking
lot
at
night
next
to
a
bar
next
to
water
and
sit
back
there
in
in
Miranda,
it's
not
going
to
happen
because
of
the
location.
The
location
is
a
discredit
to
the
to
the
sponges
right
now.
I
agree
with
the
front.
J
I
don't
agree
with
the
back,
because,
eventually,
okay,
if
you
put
it
there,
are
you
going
to
do
a
study
to
see
how
many
people
sign
in
to
go
to
see
this
Art
Exhibit
back
in
the
back?
Are
you
going
to
do
a
survey?
Are
you
going
to
do
any
kind
of
study
to
see
how
many
people
actually
visit
this
this
beautiful
piece
of
work
in
the
back
of
that
in
the
back
of
that
by
the
bar?
Are
you
gonna?
How
are
you
gonna
adjust
the
parking
lot?
J
A
J
So
the
city
would
take
that
you
would
take
that
whole
parking
lot
area,
but
but
my
concern
is
after
the
senator
after
the
visitor
center
closes
it's
not
on
the
front
where
you
move
the
trolley
down
a
few
spaces.
People
can
actually
see
it
as
they
get
off
the
trolley
in
the
front,
but
once
you
cross
that
street
I
I
I
I
I
am
Bahamian
and
I'm
not
going
to
go
back
there
in
the
back
at
night,
trying
to
see
no
no
Monument
back
there
because
the
art
back
there.
J
A
G
You
thank
you
sure,
Bieber,
so
I
mean
the
spending
time
and
being
able
to
absorb
I
hadn't
thought
thoroughly
about.
So
I'm
really
glad
that
you
brought
up
that
point,
because
I
really
think
it's
an
important
point
that,
on
you
know,
I
originally,
you
know
I
pointed
out
you
weren't
on
our
little
walk
the
sponge
exchange
thing
as
an
idea,
but
you
walk
past
that
there's
no
way
to
stop
and
look
at
all
those
images
with
all
of
the
foot,
traffic
and
I
hadn't
thought
about
that
before.
G
So
I'm
really
really
glad
that
you
pointed
that
out,
because
it
is
something
that
needs
time
to
really
look
at
and
see
the
history
of.
But
what
I
think
you
know
and
I
understand,
sort
of
theoretically
and
logistically
what
you're
saying
about
it
being
sort
of
set
back
but
I
think
one
of
the
beauties
of
this
new.
You
know
Place,
making
assessment,
that's
going
to
happen
and
project
with
the
city
for
that
area
is
that
you
know
that
space
could
be
something
that
is
transformed
into
a
more
into
a
place
where
people
do
go.
G
The
city
doesn't
have
a
whole
lot
of
empty
areas
at
the
moment
where
that
elsewhere,
that
could
go.
Unfortunately,
there
may
be
in
the
near
future
if
we
acquire
cooker
spark
or
that
other
you
know
piece
of
property
down
at
the
end
coker's
park
because
they're
connected
you
know
that
could
be
another
interesting
place
to
put
something.
G
So
maybe
in
the
near
future
there
will
be
more
properties
and
but
that
just
drags
it
out
longer
is
the
issue,
but
but
I
agree
with
Joan
in
the
sense
that
if
you
put
it
in
a
place
where
yes,
theoretically
it's
more
prominent-
and
you
know
we
can
say
it's
out
front,
are
we
gonna
really
understand
the
piece
by
just
walking
past
it?
Is
anybody
going
to
get
the
information
that's
necessary
from
the
piece
if
we
can,
just
if
all
we
can
do
is
walk
past
it
so
I?
G
Just
think,
maybe
it's
an
opportunity,
if
that
is
you
know
if
it
does,
go
there,
that
that
area
be
inspired
by
the
piece
and
transformed
into
a
place
where
people
do
go
and
spend
time
and
look
at
the
water
I.
Don't
know
that,
there's
that
many
other
pieces
of
property
out
there
it
isn't
with
the
space
is
the
issue
currently.
H
H
Anchor
for
a
lot
more
to
go
on
there
to
enhance
it
to
make
it
someplace
where
I
want
to
where
I
want
to
go.
You
know,
but
that
is
an
anchor
piece
and
and
I
want
to
see,
be
it
through
landscape
or
a
combination
of
all
through
Landscaping
lighting
and
whatever.
However,
you
beautify
and
create
something
really
special
in
that
area.
With
that
being
the
anchor
to
draw
you
in,
you
know,
it's
like
why,
in
other
words,
create
a
spot
where.
H
Why
wouldn't
you
want
to
go,
hear
and
see
this
and
all-
and
you
know
I
can
think
at
night
time,
especially
if
you
do
something
I've
talked
about
lighting
before
and
all,
but
if
you
do
something
with
the
proper
lighting
and
again
landscaping
and
the
things
where
that
becomes
a
focal
point
of
what
I
Envision
was
something.
Maybe
if
you
do
it
right
that
pops
out
at
you,
you
know
at
night,
where
you
can't
really
you
know
where
you
are
aware
of
it.
H
If
you
drive
you're
going
to
look
over,
you
know
just
through
the
lighting
and
things
of
what's
there
so
I
mean
that's
a
possibility,
I
mean
but
I'm.
You
know
like
Katie,
you
know,
I
think
the
you
know
if,
if
I
could
just
be
the
guy
that
decides
everything
which
I'm
not
it
would
go
over.
You
know
in
front
of
this
exchange
there
you
know
and
stuff,
but
you
know
you
run
into
the
issue.
You
know
of
you
know
the
contemplation
piece
of
it
and
all.
C
G
J
J
H
G
I
I
really
appreciate
all
the
the
input
and
the
feedback
here
we're
actually
getting
into
the
the
the
the
nuts
and
bolts
on
the
the
kind
of
subtleties
that
you
actually
need
to
think
about.
It's
really
true
there's
a
lot
of
good
points
here,
and
you
know
even
some
of
the
things
that
like
seem
like
the
throne
me
or
maybe
sort
of
look,
go
out
the
box
and
look
all
around,
because
I
was
actually
afraid
that
we
might
lose
the
site
altogether.
I
I,
don't
know
that's
kind
of
like
that,
initiated
by
looking
around
so
in
the
report
that
I
sent
basically
I
tried
to
outline
the
things.
I
I
learned,
some
of
those
things
affirm
what
you're
kind
of
already
doing
or
on
the
way
to
doing
and
other
things
are
sort
of
cataloging,
because
I
wanted
something
good
to
come
out
of
each
thing,
but
as
I
my
sort
of
latest
thoughts
about
this
current
location
is
that
and
some
of
this
see
what's
forces
I
forced
to
go,
keep
going
back
down
to
the
site,
keep
talking,
keep
looking
and
also
keep
going
back
to
the
art
and
one
of
these
things.
This
gets
that
what
did
some
of
these
last
few
comments
is?
I
Is
that
it
is
actually
amazing.
You
know
when
you
start
to
do
something
creative,
where
it
will
go
and
you
and
you
have
a
like
an
artist,
but
it's
also
as
a
collective
of
whoever's
work
on
something.
You
start
something,
and
then
it
goes
somewhere
that
maybe
you
only
started
to
imagine
and
so
I
actually
tried
to
say
this.
I
A
couple
board
meetings,
oh
I,
maybe
didn't
say
that
well,
but
I
was
trying
to
tell
the
Commissioners
that
says,
like
you
know,
look
at
how
to
think
about
that
spot
as
something
that,
like
you
know,
if
you
were
having
an
Esplanade
man
that
would
be
like
Prime
real
estate
right
at
the
top
right
at
the
beginning
of
it.
If
you're
planning.
That's
that's
what
my
planning
eyes
now
granted.
I
It
takes
a
little
bit
of
imagination
because
of
the
way
it
is
now
and
I've
gone
back
and
thought
how
even
the
business
is,
how
they
are
they've
got
something
to
gain
if,
in
that
assessment,
I'm
glad
I
finally
know
the
name
of
it.
That
assessment,
hopefully,
will
address
some
of
that,
because
I
know
there
was
pushback
in
the
past
about
the
whole
Waterfront
development
and
gentrification.
It's
probably
the
legitimate
arguments,
but
the
truth
is
those
businesses
have
a
Front.
Street
they've
also
got
potential
in
the
back.
Why
not
shouldn't
they?
I
Have
it
all
and
then
more
people
benefit,
so
maybe
even
CL,
maybe
even
some
of
that
congestion
you
get
sometimes
along
the
Main
Street
will
be
dispersed,
spread
out,
but
in
any
case
not
to
digress.
So
in
terms
of
this
location,
one
thing
that
came
out
early
when
that
site
was
moved
and
I
have
to
kind
of
give
Public
Works
a
little
bit
of
credit
in
retrospect,
because
well
as
much
as
I.
I
Imagine
that
piece
there
right
at
the
front
right,
because
visibility
was
number
one
right,
because
you
want
to
get
you
want
the
story,
and
then
you
want
the
link
to
Union
Academy
so
boom.
What's
the
right
between
the
eyes
you
try
to,
but
there
is
something
to
be
said
for
the
content:
contemplative
piece,
especially
when
you
get
down
when
you've
got
more
crowded,
sidewalks
and
however
I'm
torn
I,
know
that
wanting
it
someplace
that
really
just
bullseye
on
the
historical
significance.
I
So
here's
where
the
art
kind
of
comes
in
a
little
bit
in
terms
of
this
piece,
it's
sitting
on
it's
sitting
on
the
water.
It
has
a
room
to
breathe.
It
has
that
I.
Remember
when
visited
Nicholas's
shop
and
and
Tina
actually
set
that
up
introduced
me,
and
we
looked
at
the
place
where
there
was
baptism
some
of
these
early
African-Americans
Behavior
people
were,
you
know
they
were
baptizing
down
there,
that's
really
close
by
the
spot.
I
As
a
matter
of
fact,
when
I
went
back
there,
some
of
the
images
on
that
side
facing
that
up,
East
on
the
river
addressed
that
so
I'm,
like
you
know.
So
again,
some
of
these
answers
come
in
the
art
and
there
are
some
logistical,
technical
things
that
I
laid
out
in
terms
of
just
the
distance.
How
do
I
do
that?
Like
I
had
this
okay?
How
do
you
something
like
okay,
this
isn't
something
that
is,
first
of
all,
from
a
distance,
that's
colorful!
I
So
it's
going
to
draw
you
then
you're
going
to
see
at
this
top
is
Archway
these
hands
and
they're
African-American
hands,
they're
African
and
their
baby
names
so
bam.
That's
is
that's
when
it's
supposed
to
click
that
you
get
that
there's
something
about
people
of
color.
Here,
it's
not
a
big
sign
that
says
something,
but
it's
something
that
draws
you
in
and
then
then,
like
you,
keep
looking
and
there's
layers
and
and
what's
neat
about
this
kind
of
it's
kind
of
a
new
way
to
use
this
material.
I
It's
almost
collaging
and
you
have
these
adjacency
and
cool
things,
beautiful
things,
kind
of
come
up
in
the
process
and
I'm
able
to
illustrate
without
having
to
write.
For
instance,
I
learned
that
John
Chaney
actually
funded
an
Africa,
a
church
which
ends
was
pastored
by
an
African-American
interesting,
because
I
already
knew
that
the
African-American
Bahamian
Community
helped
build
the
scaffolding
right.
The
Dome
on
the
so
I've
actually
got
that
essentially
in
a
silent
narrative
which
can
be
written
up
when
you
go
to
your
QR
code.
I
These
are
the
kind
of
things
that
are
like
wow,
you
know
so
so
anyway,
we
had
some
logistical
issues
of
distance.
The
way
finding
piece
is
a
way
to
help
solve
that.
So
I
went
back
on
my
latest
round
and
I
said
you
know
what
I
can
have
something
that
looks
like
another
sculpture
like
this
I
want
people
to
know
where
the
sculpture
is
right,
I,
but
it's
got
to
welcome
people
so
I've
some
got
something
now
that
really
it
really
connects
with
that.
Oh,
it's
almost
like
the
the
void.
I
It's
almost
that
shape
it's
just
that
it's
that
shape
so
as
a
direct
relation
visually.
Even
at
that
distance
and
there's
a
person,
his
name
was
Alex
Smalls.
He
was
an
employee
of
the
city
and
he
was
a
sponger.
It's
a
beautiful
image.
So
here's
this
tall
guy
with
imagery
there's
a
I,
can
show
you
you
know.
Is
there
right
to
greet
so
so
there's
a
lot
of
different
ways
to
look
at
this
being
in
front
of
the
visitor
center
itself.
Actually
is
a
prominent
location
as
much
as
there's
some
aesthetic
things.
I
I
So
when
I
mentioned
the
baptisms
and
stuff
like
that,
there's
also
references
to
like
Bailey's
Island
and
the
ankle
River
and
places
in
the
you
know
where
were
they
sponged?
So
there
was
this
earlier
generation
which
was
more
dispersed
before
the
docs
really
built
up
a
lot
of
these
people
who
I
know
the
names
of
we
know
the
names
of
who
are
buried
in
Rose
Cemetery
and
who
are
more
contemporary.
Those
are
the
people
who
were
more
integrated
in
the
current,
including
at
that
exchange.
I
So
I
thought
about
this
and
I
said,
and
you
know:
I
mauled,
I
mowed,
all
the
way
up
and
down
the
street
and
the
benefit
of
doing
that
is
is
I,
see
our
opportunities.
One
of
them
is,
is
this
and
it's
not
directly
public
art
but
but
part
of
her
concern
helped
me
keep
pushing
me
to
look
as
I
assess
that
when
you
go
look
at
the
exchange,
there's
the
Gateway
there's
the
palm
trees,
which
you
know
very
likely.
I
They
may
go
away
and
nothing
may
be
replaced
I,
don't
there's
no
guarantee
right,
so
I'm
listening
to
everything
and
realizing
all
the
concerns,
but
also
trying
to
balance
with
the
concerns
of
this
historical
connection
there.
So,
then,
you've
got
a
monument
to
John
Chaney
appropriately
placed
there.
There's
a
stone
there
on
the
other
side,
where
I
had
started
to
be
look,
was
my
last
rendition
starting
to
look
at
that
area
where
a
planter
was
I,
almost
eliminated
art
box
that
spawned
an
idea
as
because
it
was
like
oh
low
hanging
fruit.
I
We
put
in
images
related
again
I'm,
not
making
a
decision
for
you
I'm
just
saying
it.
Real
I
realized,
if
I
had
to
do
something
as
an
artist
and
I
already
have
images
in
mind.
If
you
want
to
use
them,
there's
a
place
to
do
it,
there's
no
technical
issues,
no
logistical,
no
traffic
issues,
no
and
it's
basically
the
purview,
but
here's
my
lit
this
is
the
the
this
really
addresses
even
more
closely
her
concern.
I
My
concern
about
the
the
the
the
exchange
is
that
right
opposite
the
Cheney
Monument
there's
also
a
grassy
area,
Tina
and
I
talked
about
this
stuff,
as
I
was
jocking
around
and
I
realized
that
by
simply
moving
a
plant,
something
could
be
lit
there.
No
I'm,
not
talking
about
art
necessarily
but
and
I'll.
Just
throw
this
out
there.
I
I
could
see
them
partnering
on
something
that
actually
connects.
Those
two
places
and
places
all
those
names
of
all
those
people,
because
I'm
not
going
to
have
him
in
my
sculpture
I-
may
be
able
to
reference
them
on
a
website
on
my
QR
card.
But
I
can't
now
put
on
a
thousand
names,
there's
kind
of
it's
kind
of
more
visual,
but
there's
a
way
I.
It
would
incorp
it
basically
involve
those
two
entities,
perhaps
partner
with
the
expunge
exchange
right
off
the
sidewalk
John
Cheney.
Here
the
african-americ
Bahamian
sponges.
Here.
A
So
if
you
two
want
to
talk
about
any
you
know,
changes
or
any
reconsiderations
or
anything
as
I
said
you're
more
than
welcome
to
do
it,
but
any
changes
to
what's
you
know
already
been
approved,
is
gonna.
You
know
open
a
can
of
worms,
you're
going
to
have
to
renegotiate
your
contract
and
do
a
bunch
of
other
things.
That'll
just
put
all
of
this
on
hold
for
quite
a
while.
A
So
with
that
in
mind,
I'm
gonna,
you
know
just
leave
you
to
to
discuss
it
and
maybe
we'll
just
put
everything
on
hold
for
a
month
and
just
wait
and
see
what
you
know
you
both
come
back
with
and
if
you
decide
to
leave
it
as
it
is
we'll
just
proceed
and
if
not
well,
we
we've
got
to
renegotiate
everything.
A
Okay,
Diane:
do
you
have
any
announcements?
No
I
said
what
I
need
to
okay,
it's
306
and
the
meeting
is
adjourned.
Our
next
meeting
is
Wednesday
June
14th
lag
day
at
2
p.m.
Here,
in
the
second
floor
media
room,
thank
you
all
for
your
interest.