[1. CALL TO ORDER AND ROLL CALL]
[00:00:29]
>> I PLEDGE ALLEGIANCE TO THE FLAG OF THE UNITED STATES OF AMERICA.
A STATEMENT FROM THE COMMISSION SECRETARY.
>> THE COURTESY FOR VIRTUAL MEETINGS ARE AS FOLLOWS.
[3. STATEMENT FROM THE COMMISSION SECRETARY]
PARTICIPANTS MUST MUTE ALL LIVE STREAMING DEVICES.KEEP BACKGROUND NOISE TO A MINIMUM WHEN THEY ARE NOT SPEAKING.
AVOID ACTIVITIES THAT COULD CREATE ADDITIONAL NOISE.
-- MEMBERS FROM THE PUBLIC WISH TO BE PROVIDE ORAL TESTIMONY HAVE THREE MINUTES.
DO WE HAVE ANY ITEMS THAT ARE NOT ON AGENDA.
>> ITEM 5, ROTATION OF CHAIR AND VICE CHAIR.
[5. ROTATION OF CHAIR AND VICE-CHAIR]
>> -- ID INFORMATION SO THAT AJ CAN CALL IN.
HE IS HAVING AN ISSUE WITH HIS COMPUTER.
WITH THE LINK SO IF HE COULD GET THE CALL IN INFORMATION.
>> SO I JUST WANT TO -- PREFACE THIS WITH SAYING THANK YOU TO VANESSA FOR BEING A GREAT CHAIR.
THANK YOU FOR THE WORK YOU'VE DONE THIS YEAR.
I'M SURE THE REST OF US FEEL THE SAME WAY.
IT WOULD BE GREAT -- IF YOU COULD HELP ME ALONG HERE.
CHAIR DURING THEIR TERM WOULD ASSUME THE POSITION OF VICE CHAIR.
[00:05:02]
AND SO I THINK IT'S BILL.I THINK BECAUSE YOUR TERM STARTED IN 19 WITH VANESSA AND TOM.
>> SO -- I PRONOUNCE YOU ROTATED.
WHAT TYPICALLY HAPPENS AT THIS POINT? SOMEONE PLEASE HELP ME OUT.
>> THE LAST TIME IT HAPPENED IT WAS IN THE CHAMBER SO IT WAS JUST A SIMPLE HANDING OVER OF THE GAVEL SO VENESSA WOULD YOU HAND TOM THE GAVEL.
>> YOU CAN HAVE THE IMAGINARY GAVEL THAT I NEVER USED.
>> THANK YOU SO MUCH VENESSA FOR ALL OF YOUR WORK.
WE ALL REALLY APPRECIATE IT AND DO WE MOVE ON TO THE NEXT ITEM?
>> I THINK YOU TAKE OVER THE MEETING.
[7.1 Landscape proposal for artwork at Dr. Carreon Park for Commission Feedback]
PRESENTATION 7.1 LANDSCAPE PROPOSAL AT DR. CARREON PARK.IS THIS ONE THAT WE HAVE A GUEST FOR.
>> YOU WANT TO DO AN INTRODUCTION.
>> I'VE BEEN WORKING WITH HIM SINCE WE WENT TO COUNCIL AND GOT APPROVAL FOR THE PROJECT.
WE'VE BEEN WORKING TOGETHER FOR QUITE A FEW MONTHS NOW TO COME UP WITH THE DESIGN CONCEPTS.
LIKE I SAID THIS IS A VERY PRELIMINARY CONVERSATION WITH YOU ALL.
OF COURSE, WE WORKED WITH -- WE WORKED TOGETHER AND ALSO TOOK INTO CONSIDERATION THE FACT THAT THAT PARK IS GOING TO HAVE MULTIPLE PROJECTS HAPPENING.
IT'S A VERY CONFINED SPACE SO EVERYTHING THAT WE'RE TALKING ABOUT WILL BE CONTAINED WITHIN THIS SPACE WHERE THE ARTWORK WILL BE HAPPENING.
CHRIS AND I HAVE WORKED WITH THE TEAM TO COME UP WITH THE LANDSCAPE AND LIGHTING DESIGN AND HE IS GOING TO TAKE IT FROM HERE.
THANK YOU SO MUCH FOR ALL OF YOUR WORK SO FAR, CHRIS.
AND I HAVE SCREEN ABILITY? YES.
IS EVERYBODY SEEING THE GOOGLE IMAGE.
I WANT TO GIVE YOU A LITTLE CONTEXT.
WE HAVE THE EXISTING DR. CARREON PARK THERE WAS ADDITIONAL WORK DONE.
PLAYGROUNDS ADDED AND SEEDING.
WE'RE GOING TO FOCUS OUR ATTENTION DOWN HERE.
THIS IS WHERE THE ART PIECE HAS BEEN SELECTED TO BE PLACED AND WE HAVE BEEN WORK ON THE IMPLEMENTATION OF THIS AREA THAT WILL BE GRASS FOR THE KIDS TO PLAY IN.
SOME ADDITIONAL LANDSCAPING BUT THE AREA RESERVED FOR THE ART IS DECOMPOSED GRANITE WITH CONCRETE CURB AROUND IT.
WE HAVE TO RELOCATE THIS PIECE OF PLAY EQUIPMENT AND A LIGHT POLE TO A DIFFERENT LOCATION AND SO, THAT IS PART OF THE SCOPE OF WORK AND WITHIN THE PLANS THAT WE'RE CREATING.
LET ME STOP THAT AND GET YOU TO THE CONCEPT.
LET ME TAKE YOU TO THIS PLAN REAL QUICK.
LET ME GO BACK TO MY SCREEN SHARE AND WE GET RID OF GOOGLE EARTH.
I'M GOING TO TRY IT ONE MORE TIME.
I HAD THIS SET UP BUT APPARENTLY IT DIDN'T WANT TO DO WHAT I WANTED IT TO DO.
[00:10:20]
SO WE'LL BRING IT BACK.IT'S NOT COOPERATING WITH ME TONIGHT.
NOW EVERYBODY SEE THAT? COLOR RENDERING.
SO WITHIN THAT SPACE THAT WE LOOKED AT WE HAD DR. CARREON BOULEVARD HERE TO THE SOUTH.
AND I MENTIONED THE LIGHT POLE AND THE PLAY PIECE WHICH IS IN THIS LOCATION.
SO, THIS RENDERING CONCEPT TAKES THAT PLAIN DIRT SPACE AND WHAT WE'RE TRYING TO DO IS KEEP THE LANDSCAPE AS SIMPLE AS POSSIBLE SO THE ART BECOMES WHAT POPS AND WE'RE DOING THAT WITH A VERY SIMPLE LANDSCAPE PALLET BUT WITHIN THE SPACE ITSELF CREATING OPPORTUNITIES TO WONDER AND GATHER AROUND EACH ONE OF THESE UNIQUE PIECES.
THEY WILL BE LIT FROM THREE POLL LOCATIONS.
ON THIS SIDE BECAUSE WE FELT THAT THE LIGHTING AND TALKING TO CHRIS OUR LIGHTING DESIGNER WHO IS ON THE CALL TO ANSWER QUESTIONS WOULD BE THE BEST WAY TO LIGHT UP THESE PIECES.
LANDSCAPE MATERIALS REPRESENTED HERE SYMBOLICALLY IN PLAN VIEW AND THERE IS PICTURES HERE TO GIVE YOU A FEEL OF THE LOOK THAT WE'RE TRYING TO GO FOR.
IT'S A SIMPLE GROUND PLAIN OF GRASSES WITH ACCENT OF AGAVE COMING OUT OF IT.
THE LAYOUT OF THE TOWERS AND THE LIGHTING IS ILLUSTRATED HERE.
THESE THREE LOCATIONS FOR THE POLES AND THEN CHRIS'S DESIGN IS A 16-FOOT POLE MADE OUT OF ALUMINUM MATERIAL WITH FOUR PORTALS FOR THE LIGHTING TO BE SET WITHIN AND THESE ARE THE CONSTRUCTION DRAWINGS SO THE LIGHT WILL BE SET ON THESE PIECES INSIDE THE STRUCTURE AND USED TO ILLUMINATE THE ART PIECE ITSELF.
SO, ITS A REALLY INTERESTING CONCEPT BECAUSE WE ALLOW ENTRY FROM THE SIDEWALK INTO THE GARDEN SPACE.
WE ALLOW FOLKS TO GO AROUND THE SPACE AND WITHIN THE SPACE TO EXPERIENCE THE ART.
SINCE THIS CONCEPT WE EXPANDED A LITTLE BIT OF SPACE AROUND A COUPLE OF AREAS WHERE WE THOUGHT WE NEEDED MORE FOLKS TO GET TO BUT WE ALSO WANTED -- IT TO FEEL LIKE IT'S NOT PART OF THE PARK.
IT'S MORE CONTAINED AS A GARDEN WITHIN ITSELF SO YOU SEE VERY CONTEMPORARY GEOMETRIC FORMS. A SIMPLE SOFT PALLET WITH ACCENTS COMING OUT OF IT.
>> I'VE GOT A QUESTION ABOUT SOME OF THE LIGHTING.
IT LOOKED LIKE IN THE DIAGRAM THAT THE LIGHTS ARE BEHIND COLORED GELS.
ARE THEY DIFFERENT COLORS AND CAN THEY BE SWITCHED OUT?
>> WE'LL LET CHRIS ANSWER THAT.
>> SO THE LIGHTING IS ACTUALLY PROGRAMMABLE LED AND THEY WILL BE DIFFERENT LIGHTING CYCLES.
WE CAN HAVE IN THE TWO TIERS OF THE COLUMN.
AND IN ITS ORIGINAL FORM IN COACHELLA THE PIECE WAS LIT IN COLOR AS WE'RE SEEING HERE AND TALKING WITH DEBORAH WE BOTH AGREED THAT WE DIDN'T WANT TO MISS THAT
[00:15:03]
OPPORTUNITY TO SHOW THE TRANSITIONAL COLOR THAT WE CAN PROVIDE TO ILLUMINATE IT AT NIGHTTIME SO THE THOUGHT IS THAT SOME OF THE LIGHTING WOULD BE FIXED AND SAY MORE MAGENTA, KIND OF TEAL BLUE TONES AND THEN CERTAIN FIXTURES WOULD HAVE A MORE OF A SLOW GRADIENT TRANSITION VERY, VERY SLOW.THEY ARE PROGRAMMABLE -- AND WEATHER PROOF.
THIS IS THE ACTUAL FLASH OF THE LIGHT ITSELF.
>> AND THEN MY OTHER QUESTION WAS THAT SOUNDS AMAZING.
WILL IT BE ABLE TO PROVIDE IT LOOKS LIKE ONLY LIGHT POSTS ON THE ONE SIDE.
IS THAT ENOUGH TO PROVIDE AN IMPRESSIVE EFFECT OR IS THERE A WAY TO HAVE LIGHTS ON OTHER SIDES SO, ITS ILLUMINATED FROM ALL ANGLES.
THREE COLUMNS RATHER AND A TOTAL OF FOUR LIGHTS IN EACH COLUMN SO A TOTAL OF 12 ALL TOGETHER.
AND THEY ARE MADE MORE FOR WASH PURPOSES.
SO THEY ARE KIND OF -- MORE IN THE SENSE OF A 180 SPREAD MAYBE EVEN WIDER BECAUSE THE COLUMNS SPLIT IN A V.
AND THE IDEA IS THAT ACTUALLY ALL OF THE AREA WOULD BE COLORED.
7 THE IDEA IS THE WHOLE SPACE OTHER THAN THE AREAS BEHIND THE COLUMNS WOULD GET SOME COLOR WASH.
>> THAT IS WHAT I WANTED TO MAKE SURE.
>> DEBORAH IS TALKING BUT SHE IS MUTED.
I'M JUST TRYING TO HELP -- PROPERLY.
>> I THOUGHT YOU WERE TALKING TO US.
TO ANSWER THE QUESTION THAT TOM FELT GOOD ABOUT THE LIGHT AND WE POSITIONED THESE TO BE THE BRIGHTEST ELEMENT POSSIBLE AND DRAW ATTENTION TO IT AND I THINK IT'S GOING TO BE A FANTASTIC DISPLAY TO THE ART AND WITH THE LANDSCAPE COMPONENT TO COMPLIMENT IT, IT WILL BE MUCH MORE UNIQUE THAN JUST PLOPPING IT ON THE GROUND SOMEWHERE.
IT'S ALL CUSTOM TYPE STUFF AND WE CAN GO TO A SET OF DRAWINGS BUT I DON'T WANT TO WRAP UP IN A BUNCH OF TECHNICAL STUFF.
>> I KNOW ONE OF THE THINGS THAT BECAUSE IT IS FACING THE STREET AND THERE ARE LIGHTS AND RESIDENTS IN THE AREA WE WANTED TO MAKE SURE THAT THE LIGHTS WOULD PROVIDE BEAUTIFUL ARTISTIC LIGHTING FOR A DIFFERENT EXPERIENCE AT NIGHT FROM THE DAYTIME BUT NOT INTRUSIVE SO THAT IT WOULD BLIND PEOPLE THAT ARE DRIVING OR A NUISANCE TO THE PEOPLE LIVING IN THE AREA.
SO, THAT IS ONE OF THE REASONS WE INCORPORATED CHRIS TO CREATE A SOFTER AND COLORFUL GLOW.
THE WAY IN WHICH WE COLOR THAT WE LIGHT THE PIECES COMING AROUND AND BACK INSIDE WE WOULD HAVE TO DO THAT JUDICIOUSLY AND CAREFULLY SO THAT WE MAKE SURE WE DON'T SEND TOO MUCH LIGHT GOING THE OTHER WAY AND INTO THE STREET.
SO THERE IS -- CHRIS IF YOU COULD TALK A LITTLE BIT ABOUT THE SORT OF PATHS TO THE ARTWORK.
AND ABOUT ITS ACCESSIBILITY AND MAYBE THE MATERIALS.
>> THIS IS ALL COMPACTED AND STABILIZED DECOMPOSED GRANITE.
WE HAD INITIALLY THOUGHT OF TWO MATERIALS SEPARATED AND WE CAN STILL GET THAT EFFECT BUT BECAUSE WE ARE VERY -- TRYING TO MAINTAIN OUR BUDGET WE'RE GOING TO DO A COMPACTED ADA ACCESSIBLE GRANITE AROUND THE AREAS THAT IS REPRESENTED IN GRAY
[00:20:05]
AND THE REST WILL BE A NONCOMPACTED MATERIAL.WE HAVE NOT GOTTEN TOO FAR DOWN THE ROAD ON THIS BUT THE IDEA IS THROUGH A POLYMER BASED MATERIAL MAKE THAT ADA ACCESSIBLE AND KEEP THE COST DOWN IN TERMS OF ANY OTHER HARD SURFACE MATERIALS.
>> YOU GUYS HAVE ANY OTHER QUESTIONS?
>> WERE THE OBJECTS AT COACHELLA LIGHTED WITH TINTED LIGHTS?
AT NIGHTTIME THEY HAD COLORED PAR LIGHTS AND THERE WAS A SLOW TRANSITIONING GOING ON.
SO IN A SENSE I'M REPLICATING THAT.
THE LIGHTS WERE PROBABLY $100,000.
THEY WERE COLORED LIGHTS AND TRANSITIONING SLOWLY.
>> SO YOU CAN SEE THE LIGHTS IN THIS PARTICULAR PHOTO ARE PURPLE AND OF COLOR.
BUT PHOTOGRAPHS DON'T ALWAYS TELL THE TRUE STORY.
ARE THE TINTED LIGHTS, WERE THEY DONE IN APPROVAL AND COLLABORATION AND COOPERATION WITH THE ARTISTS?
I COLLABORATED TO SOME EXTENT.
TRYING TO FIGURE OUT HOW TO LIGHT THIS -- PAUL WHO WORKS WITH COACHELLA AND WORKED WITH THE ARTIST IN CREATING THE INITIAL WORK HE SAID THAT THE LIGHTS THAT THEY HAD WERE EXTRAORDINARILY EXPENSIVE AND THAT WOULD BLOW OUR ENTIRE BUDGET SO WHAT CHRIS HAS TRIED TO REPLICATE WITH HIS OWN TWIST IS SOMETHING THAT WOULD GET US CLOSE TO BUT IT WON'T BE THE SAME AND TO BE MORE OF A DEMURE VERSION FOR THE FACT THAT IT'S GOING TO BE IN A RESIDENTIAL COMMUNITY.
MY QUESTION IS ORIGINALLY AND CURRENTLY DOES THE ARTIST APPROVE OF USING TINTED LIGHTS ON HIS WORK?
>> THAT IS WHAT HE IS -- -- WHAT WAS USED BEFORE.
>> WITH THE ARTIST PERMISSION?
THE NEXT STEP I GUESS AND WAND TO EMPHASIZE IS MAYBE HEAR OF THIS CONCEPT WITH HIM AND SEE IF HE HAS ANY FEEDBACK.
>> BECAUSE WHEN YOU'RE USING COLORED LIGHTS ON SOMEONE'S WORK YOU'RE BASICALLY CHANGING THE ORIGINAL CHARACTER OF THE PIECE.
I JUST WANT TO KNOW THAT THE ARTIST THINKS IT'S ALL RIGHT.
>> THAT IS THE ORIGINAL CONTEXT OF THE WORK.
>> I KNOW WE HAD TALKED ABOUT HAVING A COMMUNITY COMPONENT TO THIS PIECE IN THE FUTURE SOME TIME.
WILL THIS BE ABLE TO BE MODIFIED TO ACCOMMODATE ANYTHING LIKE THAT?
>> WHEN WE ORIGINALLY -- THIS HAS BEEN A LOT -- AND WHEN WE ORIGINALLY STARTED WORKING ON THIS WE THOUGHT THAT INSULATION WAS IMMINENT.
AT THE TIME MEETING WITH GROUPS IN THE COMMUNITY WAS NOT AN OPTION AND I DON'T KNOW HOW MUCH OF AN OPTION IT IS RIGHT NOW SO THAT PART UNFORTUNATELY DIDN'T SEEM TO GEL GIVEN THE TIME LINE BUT NOW GIVEN THAT THE INSTALLATION IS GOING TO BE CONTINGENT UPON FOR RIGHT NOW EVERYBODY GETTING BACK TO WORK AT THE STUDIO WHERE THIS WORK IS CURRENTLY LOCATED WE MAY BE ABLE TO AT THAT POINT DO SOME COMMUNITY ENGAGEMENT AND TRY TO FIGURE OUT A WAY TO INCORPORATE LIKE I HAD ORIGINALLY HOPED WE WOULD BE ABLE TO DO.
I THINK IT'S STILL VERY POSSIBLE AND WE HAVE TO LOOK AT WHEN, HOW, HOW SAFE IT IS
[00:25:02]
TO GATHER THE MATERIALS NECESSARY TO DO IT.THE RAW MATERIAL -- -- WHEN WE CAN TALK TO PEOPLE AND HAVE THEM GIVE THEIR INPUT IN TERMS OF THE LITERARY PART THAT WE WERE HOPING TO DO.
-- ABOUT GOING IN AND WE'RE GOING TO WORK -- WE'RE STILL TRYING TO FIGURE OUT INSTALLATION AND DETAILS.
BUT WE WANTED TO COLLECT STORIES ABOUT THE NEIGHBORHOOD BECAUSE THE PIECE IS CALLED CELEBRATION.
PEOPLE GETTING THEIR STORIES AND WE'RE GOING TO WORK WITH LITERARY ARTISTS TO WRITE SOMETHING TO INCORPORATE.
SO I WAS IN THE PROCESS OF TRYING TO WORK THAT OUT WHEN EVERYTHING HAPPENED AND WE DELAYED AND I DIDN'T WANT TO DO SOMETHING THAT WAS DIGITAL BECAUSE THAT WOULD BE ONLY ACCESSIBLE FOR SOME PEOPLE AND NOT FOR OTHERS.
SO YOU KNOW IT JUST KIND OF CHANGED HOW THIS PROJECT IS COMING TOGETHER.
BUT I STILL THINK THERE IS A WAY WHETHER WE'RE ABLE TO STILL DO THAT OR IF WE'RE ABLE TO DO SOMETHING.
WE'RE THINKING ABOUT CREATING SOME SORT OF BOOK OR PICTURES OF THE NEIGHBORHOOD.
SOMETHING LIKE THAT TO COMMEMORATE AND CELEBRATE THE NEIGHBORHOOD AND THE STORIES THERE IN CONJUNCTION WITH THIS PIECE.
THERE IS STILL AN OPPORTUNITY.
WE HAVE TO SEE WHAT THE TIME LINE IS GOING TO DO AND HOW WE WILL BE ABLE TO GET TOGETHER.
ANYTHING ELSE THAT WE HAVE ON THIS ITEM?
>> SO I JUST WANT TO SAY ONE MORE THING.
THAT GENE HAS BEEN DOING A LOT OF CRAZY THINGS OVER THE LAST 24 HOURS SO I SENT YOU SOME OF THE OTHER DRAWINGS SO YOU CAN TAKE TIME TO PERUSE THAT.
CHRIS AND CHRIS ARE HERE TO WALK US THROUGH WHAT IS GOING ON.
I'VE BEEN PRETTY INVOLVED IN IT SO IF YOU HAVE ANY ADDITIONAL QUESTIONS WE CAN CHAT TOGETHER SO THE NEXT TIME THAT THEY BRING IT WE HAVE A CHANCE TO LOOK AT THE TECHNICAL DRAWINGS AND MAYBE RAISE SOME MORE QUESTIONS BEFORE WE FINALIZE OR TAKE ANY ACTION.
>> THIS IS THE SET THAT YOU HAVE.
>> IT'S HARD GETTING IT AND SENDING IT.
BUT THIS IS JUST WHAT YOU'RE SEEING IN THE MORE TECHNICAL VERSION.
SO FEEL FREE TO PERUSE THAT AND COME AT ME WITH ANY QUESTIONS.
IF I DON'T KNOW THE ANSWERS I WILL BE ABLE TO CONTACT THE CHRISS AND THEY WILL HELP US.
>> IF NOT THEN THAT IS IT FOR ME.
>> I WAS GOING TO SAY THANK YOU TO CHRIS AND CHRIS FOR EXPLAINING AND PRESENTING.
IT WAS A FUN PROJECT FOR US AND IT'S GOING TO BE EXCITING TO SEE IT HAPPEN.
>> I'M THRILLED TO SEE THIS PIECE IN PARTICULAR -- INDIO.
IT'S ONE OF THE BEST IF NOT THE BEST IN THE HISTORY OF THE FESTIVAL.
>> IT'S GOING TO BE A CENTER POINT FOR THE TOWN.
>> THE ACTION ITEMS. NUMBER 8.
[9.1 Update on Mural RFQ]
STAFF ITEMS. UPDATE ON THE MURAL RFQ.>> SO AS IT SAYS ON THERE WE REMEMBER WE WERE WORKING ON GETTING THAT ON-LINE FORM SO WE DID THAT.
I CALLED UP A FEW PEOPLE AND ASKED THEM TO CHECK OUT THE RFK AND IF THEY WERE END TO
[00:30:08]
MAKE SUBMISSIONS.WE EXTENDED THE DEADLINE TWICE TO MAKE SURE WE HAD A POOL OF APPLICANTS.
I THINK WE AT THIS POINT HAVE ABOUT SIX WHICH IS ENOUGH FOR US TO GO THROUGH.
WE HAVE A FEW -- BUT EVERYONE ELSE WITHIN CALIFORNIA REGIONAL SO RIGHT NOW I DIDN'T WANT TO -- IT CLOSED ODD FRIDAY AND ACTUALLY I GOT TWO OF THE APPLICATIONS ON FRIDAY SO I'M GLAD I DIDN'T CLOSE IT EARLIER.
CHECK THAT EVERYONE SUBMITTED WHAT THEY WERE SUPPOSED TO AND THAT EVERYONE HAS ELIGIBILITY.
I'LL SEND THE PACKETS TO YOU ALL TO HAVE A LOOK SO WE CAN TALK ABOUT WHICH APPLICANTS HAVE CREDENTIALS AND YOU CAN PROVIDE GUIDANCE THERE.
THIS IS SOMETHING THAT THE CITY MANAGER AND CITY COUNCIL ARE FOCUSED ON HAVING DONE AND I KNOW IN THE LAST COMPETITION I HAD WITH KEVIN AND MARK THEY REALLY WANTED US TO HAVE THE MOVEMENTS AND MAYBE TO SORT THINGS OUT BY THE END OF THE FIRST QUARTER SO I THINK THAT IF I SEND, WHEN I SEND THE VETTED APPLICATIONS OUT TO YOU I'M HOPING THAT WE CAN HAVE A SPECIAL MEETING TO SORT OF REVIEW AND GIVE RECOMMENDATIONS SO THAT WE CAN TAKE THE NEXT STEP.
I DON'T NECESSARILY WANT TO WAIT UNTIL NEXT YEAR TO GET BACK.
AND THERE MIGHT BE LIMITED AVAILABILITY.
SO YEAH I GUESS WE CAN SEND OUT AN E-MAIL OR SOMETHING AND YOU CAN SHARE YOUR AVAILABILITY.
WE HAVE ENOUGH APPLICATIONS AND ONCE WE SELECT SOMEONE WE WOULD HAVE TO SORT OUT OF THE AGREEMENT WITH THEM AND THEN CRETE A SCHEDULE FOR THEM TO COME AND SEE THE WORK.
AND WORK WITH EITHER THE ARTISTS OR THEIR OWN TEAM TO DO THE RESTORATION OR WHATEVER THE CASE MAY BE.
WE ALSO HAVE TO TAKE THAT CONTRACT TO COUNCIL.
>> SO WE WOULD HAVE TO TAKE IT TO COUNCIL.
WE WOULD HAVE TO REVIEW IT AND TAKE IT TO COUNCIL AND THEN WE WOULD HAVE TO DO THE CONTRACT WITH THEM.
SO, THAT IS WHERE WE ARE WITH THAT RIGHT NOW.
SO IF YOU GUYS CAN LET ME KNOW WHAT YOUR AVAILABILITY IS WE CAN SCHEDULE THAT.
ANY QUESTIONS ABOUT 9.1? FEELING PRETTY GOOD.
ITEM 10, COMMISSIONER ITEMS. ANYTHING YOU WANT TO SHARE?
GREAT AND THEN IF THAT IS IT THAT BRINGS US TO THE END OF THE MEETING.
DO WE HAVE TO MOVE TO ADJOURN? WE DO HAVE TO MOVE TO ADJOURN?
>> KEVIN, DO YOU HAVE AN ITEM?
I WAS JUST SHAKING MY HEAD THAT HE IS CORRECT.
CAN I GET A CALL FOR ADJOURNMENT OR MOVEMENT TO ADJOURN.
>> HAVE A GREAT HOLIDAY SEASON.
* This transcript was compiled from uncorrected Closed Captioning.