Okay, here we go.

Good afternoon, everybody.

I'd like to call to order the May 11th, 2026 special commission for the Las Vegas Centennial Board Meeting.

Are we in compliance with the open meeting law?

Yes, we are.

Uh may we do a roll call at this time.

Certainly.

Chair Berkeley.

Here.

Commissioner O'Brien.

Commissioner Arnold.

Commissioner Stodle.

Present.

Commissioner Brown.

Commissioner Brown, are you on the phone?

I show on the phone.

Because I showed her stepped away for a moment.

Maybe.

Commissioner Coffin?

Commissioner Hilton.

Commissioner Sindna?

Commissioner Mowbray?

Present.

Commissioner Truesdale.

Brown.

Okay.

Commissioner Brandenburg.

Commissioner Creer.

Commissioner Mills.

Present.

Commissioner Prado.

Commissioner Diaz.

Here.

Thank you.

And Commissioner Brown is on the phone.

Yes, thank you so much.

So we have a quorum.

Yes, we do.

Thank you so much.

Agenda item number three.

Public comment.

Comment during this portion of the agenda must be limited to matters on the agenda for action.

If you wish to be heard, give your name for the record.

Or please come forward, give your name for the record.

The amount of discussion as well as the amount of time any single speaker is allowed.

Will be limited to two minutes.

Is there anybody wishing to speak to the commission?

Seeing none, we will go to agenda item number four.

Ryan, second.

Please all those in favor say aye.

Aye.

Opposed?

Aye.

Commissioner Brown, is that an aye?

Yes, that is the aye, yes.

Thank you.

Okay.

Motion passes.

Agenda item number five.

Report by the City of Las Vegas Finance Department staff regarding the commission for the Las Vegas Centennial Budget for fiscal year 2026.

So I'm gonna try to make this quick today.

Total program expenditures, which we have a breakdown of that on the uh next slide, 1.26 million dollars.

Uh G and A expenditures 185,000 for a change in that assets of uh $18,000.

So we started the year with uh $6.2 million in cash and currently at a little below $6.2 million in cash.

So if you go to this slide, this is the breakdown of all the amounts that have been awarded.

Uh you can see we spent uh 1,260,000 so far through the year, and we have uh about 2.5 million remaining on projects that we have approved.

Uh 2 million of that is expected to be spent after June 30th.

So most of these projects are gonna go into the next fiscal year.

Uh if you look at this list, anything that has funding remaining is pretty much gonna go into next year except for the $13,000 for the movie premiere.

This is the five-year projection.

So we started the year off with $6.2 million.

We're probably gonna end the year with about $6,123,000.

We are projecting revenues from the DMB to uh continue to decline by two percent.

Now we're projecting interest income at four percent.

The contribution to the city remains flat, and then the program expenditures, these are all the amounts that have been awarded, not including anything else that might be awarded today or in the future.

And then here you have your total revenues since the beginning of the the commission, it's 43 million dollars.

Um this year we'll probably come in just below two million, so a little less than what we've had in the prior two years.

Then here's that information in a bar chart, and then here are the license plate numbers.

Uh you can see that the Vegas Gold Nights are continuing to grow, they're above 80,000 at this point, but still not at the number of the centennial commission.

So any questions.

Um any of our commission members have any questions or comments, Mr.

Stodal.

The uh according to the report, we need uh to receive at least 464,000 dollars for the last quarter uh in order to meet the commission's uh uh budget for this fiscal year, which is a projected number.

Yes, sir.

Uh is is that last quarter?

Do you have anything off the top of your head?

Is the last quarter more than of the fiscal year we received than the other three quarters?

Uh the third quarter usually comes in higher.

If you look at this slide, we really have uh revenues projected at 1,690,000 based on the two percent decline.

So we don't think that we're gonna get one million seven hundred and twenty-five thousand dollars.

We think we're gonna be about thirty-five thousand dollars short.

So, where I'm going with that is is do we want to stick with the two percent decline?

Um what we're looking for, I'm obviously these are projected numbers, but but a more realistic because we're looking at projects that are coming before us that are being requested for three and five year periods out, and our projected number is dropping.

And I'm wondering if the two percent is optimistic and whether there may be a bigger uh a drop in three and five percent in in the sale of these plates.

Yeah, so this one hundred and seven one million seven hundred and twenty-five thousand that was set before the year began.

I would have to look at what our our budgeted number is for next year.

I believe it's below one point seven.

Uh I'm not quite sure what the number is, but I know it's less.

But but it's based, did you say on two percent drop?

I believe so.

And it's not a challenge, but how did they come up with two percent as opposed to three percent or five?

Is that based on history?

Yeah, so if you look at the slide, you see 21 through 25.

It's been dropping like 2022 is one point one seven, twenty twenty-three was one point four three, and so we said two percent would be a conservative estimate because every other year it's been less than two percent.

So that's kind of how we got the two percent.

And you think that that that's still a good tool?

It might be need to be adjusted up a little bit.

Okay, all right.

Um, and and when do we normally get the last payment of the fiscal year?

So the last payment will usually come in July, and we will accrue it back, so we will credit revenue debit accounts receivable.

Or a July meeting will have the total fiscal year.

Great.

Okay.

Uh on page five of the financial update report.

Uh I'm trying to figure out, and it's probably right there in front of me, but what is the total amount the commission has paid out so far in this fiscal year, and how much more are we uh uh obligated to pay out?

Uh this fiscal year we have paid out in just grant expenditures.

We have paid out one million two hundred and sixty thousand nine hundred and fifty, leaving a balance of two million four hundred and ninety-four thousand nine hundred and forty-nine dollars.

And you can see this breakdown right here on the remaining balance for 3026 column.

Okay, so where I'm going with it is is we are gonna have to dip into the reserves to meet our budgeted figure this year.

It really depends on the timing of the expenditures because you're gonna keep on the deal.

Paul is we issue grants that are due to be spent during a particular period of time.

Yes, sir.

And I'm wondering whether or not we are going to, in order to meet those grant obligations, whether or not we're gonna have to dip into our reserves.

Yeah, it looks like next year uh the our cash balance will drop to about 5.8 million.

So that would be about a 300k drop.

Yeah.

But when you say reserves, what do you mean referring to because it's just your cash balance?

Well, reserve, I I mean, I uh uh I'm defining it as as money that we haven't uh uh allocated yet, and that we have for example uh a couple of days ago, the owner of the Hunt Ridge Theater says he wants out and he wants the city to come in and pay for that.

It's the potential that that person may come to the centennial commission to ask for some money, and we would be able to, if it's proper, dip into the reserve.

So it's it's money that hasn't that's how I define it.

Money has been allocated.

Yeah, probably then, yes.

We would have to dip into it because I'm just worried that we're going down with revenue coming in and we're dipping into the to the revenue.

I'm just trying to get my hands about how much we're dipping into it each year uh uh before we wind up with no revenue, no uh no reserve.

So that's all I was trying to get at Paul.

Thank you very much.

Okay.

Is anybody yes, Mr.

Mowbray?

Last meeting I was volunteered to be on a committee to take a look and see what we could do to stem decline.

And uh, I guess our committee didn't meet, but I had some ideas thinking that maybe we should go to the DMV offices in southern Nevada with a cutout of uh Frank Sinatra or uh Wayne Newton and say, please remember and have our plates there and then have a list of our documentaries and perhaps have little teasers on their boards while people wait for their number to be called.

We have a picture of you.

Yeah, right.

Lovely.

That'd be great.

Let me ask you something, Mr.

Mowbray.

Are you planning to meet uh uh any time soon so you could report back to us?

I don't think I was appointed the chair of that committee.

Oh that would Madam Chairman.

I just want to throw that out.

Yeah, um is there a chairman here?

Ah yes, I was you you designated me, thank you.

Um I have uh Diane and I have have have uh met before we convened the committee.

Um this is a special meeting, obviously, and we sort of felt that we had a little bit more time before the full meeting came back together.

But the idea in a nutshell is to find ways initially to um that don't have any costs associated with it, you know, to tap into some of the things that we already do, maybe case L V, maybe with the uh uh the council persons newsletters that go out, etc.

And figure that out, and then we'll get to get find out what that looks like, and then we're planning to convene the committee and um brainstorm a little further and then bring it back to this.

Yes, ma'am.

Well, I for one am very excited for that report.

Yes, thank you.

Thank you.

Mr.

Coffin, thank you, Mayor.

I uh just uh don't see it in the report.

Maybe I missed it somewhere, but frequently you point out all of the other license plates, and uh so I can't tell from this data how we stand in terms of other plates and and and globally, how does the specialized plate uh you know basically impact everybody?

I is it gaining, expanding, or contracting?

What's going on?

Well, I think it's growing every year because there's more people every year.

Do we know that?

Do I know it for sure?

Yeah, no.

So we can't really tell from this stuff here.

When we do get the graph that you send us that tells us about all the others, or at least the big sales ones.

I'm really curious if people are starting to skip it.

You know, just curious how we stand about economy.

When you say we're trending two percent down, maybe the whole crowd is 10 per 2% down.

Um, I mean, just from this graph, it looks like the golden knights are continuing to uh grow, the uh Lake Tahoe ones growing, the Raiders are growing, which is surprising.

Um the uh Centennial Commission is it's not really losing ground, but it's not it's not really growing either.

So it's kind of remaining flat.

All right, well, it's really maybe those cutouts are not a bad idea after a boss in your legacy.

I've asked my question, so I know you'll get it through to me later or to us later.

Okay, yes, of course.

Uh Senator.

I don't know if this thing.

Oh, there it is.

Yeah, we're not trying to give you a hard time at all.

And basically, I'm not an accountant, never a numbers guy.

The bottom line for me is do we need to be careful that we don't dip into the reserves?

In other words, is there a warning light that says, wait a minute, you all on the commission need to be thinking next year and the year thereafter that these revenues that are coming in are declining, and therefore you ought to adjust what you're prepared to pay out each year in terms of grants.

That that's the bottom line.

And again, I apologize for not being able to follow this perhaps as clearly as I should, but that's a legitimate concern for the commission, and uh obviously that's helpful for us to have.

Yeah, I don't really know what point you would consider it like we're in dang in the danger zone, because right now we have enough revenues in the future to cover what we've already approved, but it's really dependent on what we approve moving forward.

Like we're fine right now.

I would say we're flush at this moment.

Yeah, like six million dollars was not three years ago.

The Centennial Commission did not have six million dollars, it had like two and a half million dollars.

So it's it's grown.

I used to have a slide on cash balances.

It's grown substantially, and the last three or four years it's just remained flat.

So it hasn't like grow the cash balance hasn't grown, but it really hasn't like dropped too much either.

So I don't feel like we're in a crisis mode at this point.

Well, I think most of us would agree it's not in a crisis moment.

We just need to know is there a canary in the coal mine?

Uh that's what we need to know.

And uh thank you very much for your presentation as always.

And uh does anybody else have any questions of Paul before we let him go?

I uh Diane, um, I guess the qu uh I don't uh I don't think of it as a reserve.

I think of it as our cash on hand money.

But um, is there a number that you think that if we drop below that it ought to be uh uh a signal to us that we need to um either find more revenue sources or tighten our belts?

What is that magic number if there is one?

Uh Seabert, for the record, um Madam Mayor, I'm not sure if there's a magic number, but I would say uh maybe uh once we get down to just one million.

Um one thing we can do is we can limit the amount of funding people ask for.

We do that with our historic preservation commission grants where they're only allowed to ask for up to $10,000.

Um so if this commission would like to revise our grant application and put a spending limit on it and say you can only ask for 100,000 or 150, whatever that number is.

Ever year, I would imagine.

We can of course do that as well.

Okay, I think that's a discussion worth having in the future.

Okay, all right.

Wonderful.

If there's no one else that wishes to question Paul, we thank you very much for your report.

Thank you, Mayor.

Agenda item number six, a final report by sliction culture productions regarding the completion of the Paul Revier Williams documentary funded by the Commission for the Las Vegas Centennial.

Hello.

Welcome.

Yes, please, if you don't mind.

This is all news, so um well, for many of us as well.

Would you um state your name for the record?

Yes, uh, I am Emmett Gates uh with Selection Culture Productions here to give the final report on our latest contribution.

And um so am I able to control this screen here?

Yes, yeah, I I believe so.

Oh with this here?

Yes.

Ah, there we go.

Okay.

Okay, so that's the end.

I need to go to the beginning of this thing.

Oh, there we go.

Okay, okay, okay.

Sorry about this.

All right.

Uh so our latest contribution is called Upside Down, Paul Revere Williams in Las Vegas.

This oh, can I pause this thing?

Uh to make it just stop like Oh, does anybody have uh and can anyone help uh Mr.

Gates with his uh I just need to pause it uh so they're not just rolling through.

I'm sorry.

Is somebody else autoplay has it so Jeff, not not Jeff Dorkak, but Jeff I could just keep going back and there's a timer put on this original one, so it's difficult to take off.

Thank you for your okay.

So do I continue or am I waiting for why don't go ahead?

Okay.

All right.

So this is our second uh collaboration with the commission, our last one being the Across the Tracks, the Las Vegas West Side Story, which was a documentary that documented the entire 118 year history of uh the West Side Historic West Side Las Vegas.

Um it's actually been uh since we've done it, it's it's been uh um it gets renewed interest every year.

Uh in January of this year, we um we had a showing of the film with the um uh leadership Las Vegas class of 2026, uh followed by a QA with uh myself, Tyler D.

Perry from uh UNLV as well as Clay T.

White.

Uh and we have one coming up with the MGM employee group uh for Juneteenth.

So that so every year there's renewed interest, generally around either February, a Black History Month or Juneteenth.

And so, and we're hoping the same thing with the Paul Revere Williams uh film as well.

So Upside Down, uh Paul Revere Williams in Las Vegas is the first documentary to focus on black American architect Paul R.

Williams and his works in Las Vegas, Nevada.

Often held as the architect to the stars, Williams brought his signature Hollywood glamour to the desert landscape of Las Vegas in the mid-20th century, designing some of the city's most iconic structures uh that blended modernist innovation with elegant sophistication.

This documentary explores how Williams, who overcame racial barriers to become one of America's most celebrated architects, left an indelible mark on Sin City through his works.

All right, now I'm gonna let you guys know up front.

Um there's uh some limited use of AI imagery in this film.

And let me explain to you why.

Um Paul Revere Williams' story starts in the late 1800s.

So there's a lot of we we we're very limited on pictures and and things like that of his early life.

So um, and I wish I could show you guys on the screen.

Is there no way to show this?

Uh so Mayor Sethloy for the record.

So um, according to Jeff, not Dorkak Basso, uh in the in the back, the it was sent over as a PDF which which had a timer on it, so it's scrolling through automatically.

Jeff is trying to remove the timer and get it back on the screen, or we can just have it run, but it will just run through the selection.

I'd rather I'd like to see it.

Yeah, all right.

So I can just keep going back.

Okay.

All right, we'll we'll get it up then and have it run through.

Okay, right on.

Yeah, and you'll see when the image is there.

Uh, for example, um, I wanted I wanted the audience to um understand Paul Revere Williams as an individual, uh you know, more than just an architect.

Um, this was a black man who was born in the 1800s.

There you go, right there.

You see him as a baby.

Um, and we made him extra cute um because why not?

I I needed the audience to connect with him, right?

And uh we we we go through the story of his biological parents.

This is uh um a story that's rarely told, or if ever.

Um I think it's very important that uh I think we do a big disservice to his life when we don't talk about his biological parents.

It's usually his parents died when he was young, he was adopted, and then they go from there.

But his parents were entrepreneurs at a time in Memphis, Tennessee, late 1800s, when that was very rare.

We're talking just half a generation past slavery.

Um these people were able to um accomplish what uh what wasn't expected.

Uh Memphis, Tennessee at that time is a very integral part for black Americans.

Like I say, it's right after slavery.

Memphis was one of those cities that um the Union Army was able to capture pretty early.

So a lot of black Americans in the South, they just had to escape and make it to Memphis.

So therefore it became a stronghold for black people.

Uh and we don't know too much if his parents were ever enslaved or anything like that, but we do know that they were there.

They were entrepreneurs.

They both contracted tuberculosis, which they had to force him to move to Los Angeles, and this is how he becomes uh this is where he's born, and this is where he starts his journey as an architect.

Um so anyway, uh the images you see there, they're all AI.

Um they're very limited in the film, so I don't want you guys to think that uh we abused it.

Um the film goes on to chronicle all of the uh the the works in Vegas, like we see here, Carver Park, which was his very first uh project in the Las Vegas Valley, uh would eventually become part of what we know as Henderson today.

Then we had Las Vegas Park, which was the racetrack, horse racing track, that a lot of people just don't know about, didn't have a very long life at all.

And then we have Berkeley Square, which we all know about, Royal Nevada.

And then we go on to LaCancia and El Morocco.

And through our partnership with the Neon Museum and Aaron Berger being one of our executive producers, we were able to get a very intimate interview with Fred Dumani Jr., whose father commissioned La Cancha.

And we also got the grandchildren, Fred Dumaney Jr.

and Lorenzo Dumene.

And so we they kind of discussed the future of the legacy that they're going.

But we we we uh we we did recreate La Cancha as it would have been on opening uh day in 1961.

Um so you'll see that in the film as well.

Um and of course, final we have um Guardian Angel Cathedral, and we had Bishop Gregory Gordon give us the um the history uh from his from his perspective and his his uh involvement with the church.

Now as we as we cycled through these um uh through these accomplishments of uh Mr.

Williams, we flash back to his past.

Uh you know, just so the audience gets a better education of who he was as a person.

And there we see some imagery um of we see him develop as an artist uh as we know, documented from the family and and whatnot.

Uh we do again we talk about the tuberculosis outbreak that uh struck America at that time, which forced them west.

Uh we talk about some of the racial hatred that his parents uh experienced while they were in Memphis.

And so um for our local history, we got Carmen Bills, uh, who is the um curator at the Nevada State uh the Nevada Museum of Art, I'm sorry.

Uh we have uh Sarah Hume, uh who is the deputy director of the Neon Museum.

Uh we have Brian Paco Alvarez, who is a born and raised local anthropologist, and of course, we all know Clay T.

White, and the uh associate professor of African American Studies at UNLV, Tyler D.

Perry.

Um we also included some contemporary black artists where we kind of explore some of the things that they still experience that that Mr.

Williams experienced during his time.

For that, we got local artist Brent Holmes, uh we have uh Jana Ireland, uh who is a photographer from Los Angeles, and it was actually her work that inspired uh the movement that's happening in LA right now, where um there they'll be starting this fall, they'll be uh celebrating citywide uh the the uh archives of Paul Revere Williams.

And then of course we have uh local artist Dale Mathis.

If any of you guys have ever, I'm sure you all have been up to uh the mayor's office, there's this big heart uh sculpture in the in the in there, or there was, he's the artist who did that.

Um we have special guests um through our partnership with the Nevada Preservation Foundation, we were able to secure Alan Hess, who is an architect and author, and a historian, and uh this great information just about architecture itself and and in you know throughout America.

And uh I was really happy to uh secure Milton S.

F.

Curry.

Um, as you may or may not know, Paul Revere Williams graduated, he was the first black graduate of USC's School of Architecture, that was in 1919.

Um almost a hundred years later, in 2017, the school um appointed its first black dean, and that was Milton S.

F.

Curry.

Uh he's the one who got the ball rolling on uh USC, um, the Getty, as well as LACMA securing the um the art of the archives of Mr.

Williams.

Okay, so that was a great interview.

And of course, we had Keepers of the Legacy.

As you know, people don't think that Vegas uh holds on to its history.

We just tear stuff down and just build over it.

That's not true, and we all know it.

So we brought in uh uh all of the organizations whose job it is to keep the legacy of Las Vegas alive, starting with April Minch with the Nevada Preservation Foundation.

Uh next we have Heather Harmon, uh, who will be the executive director of the upcoming um Las Vegas Museum of Art.

We have our good friend Aaron Berger there to talk about uh Neon Museum and its function.

And we have your own, uh Diane Cebrant, uh who talks about the commission and what you guys do to um keep these histories um fresh and alive.

And so this last slide here, you see the Wilfindale Club.

The reason this is here, this was uh this was a club started by Paul Revere Williams's wife uh in 1945.

And um I I went whenever I I cover uh you know somebody who did something great, I tried to also highlight uh those who helped them, you know.

And his wife, you know, she wasn't just some stay-at-home mother while he was out building stuff, she was actually really civically engaged in Los Angeles, and she wanted to her and her friend wanted to create a place where um black people in 1945 could have a place to have dignified um meetings, uh just a place where they could, you know, um meet uh it's so they secured this mansion that you see at the bottom there, and of course, Paul Revere Williams comes in and cleans it up and makes it really nice.

And uh this is where Martin Luther King would go uh to be safe and to have discussions uh and other civil rights activists.

This is where Diego Rivera would have art shows.

Um again, this is 1945, 19, you know, mid-1940s.

Uh the house is still active today.

Uh they just did a feature not long ago on 60 minutes.

Uh and um the reason I put this up there is that we've been in discussions with them.

We will be screening the film there.

Um when everything is going down in LA uh with all of the uh um the talk uh about Paul Revere Williams, we're gonna also bring this in.

This gives Las Vegas a chance uh to be included in those discussions, as well as the Wilf and Dell Club and some other organizations that use this place, and I'm pretty sure the Neon Museum is gonna also be around making sure that Las Vegas is included in those.

So that's that's the final report uh when we did when we had the premiere at the end of April, we had a lot of young people.

And so during the QA, I was able to ask the young people what they thought, and they they enjoyed it.

I asked them what they thought about the AI most importantly, and they said, well, it helped us understand it better.

Because I'm really concerned with young people when they watch these films.

Because if you can tell young people, hey, you guys want to watch a film about an architect?

Unless they're into architecture, they're probably not gonna be that excited.

But if I say, Do you want to watch a film about a guy who overcame incredible odds to accomplish some cool stuff, including some of the stuff you might see here in Vegas, they might be a little bit uh more apt to uh view that.

So I don't know if any of you guys have had a chance to see the film yet, but I I really would uh like to know your thoughts when you do.

I thank you so much.

Any questions or comments?

She didn't say where the club is.

I'm sorry, where is it?

Oh, I'm sorry.

Oh, I didn't mention it.

Yeah, that's in Los Angeles.

Well, more specifically, that's oh um it's a district, it's uh it's a high-end neighborhood.

Um I cannot think of the name of right now, but it's a certain district where the house is.

How about East West Central uh watching yeah?

Uh you know what?

I've never been there.

But if you better get it in your absolutely, and you guys will be alerted when we do when we are gonna show you guys will know when it's gonna happen.

I have a quote, Commissioner Movery on the uh Guardian Age of Cathedral.

Uh you know, that was started by the Biatorians.

Uh I I was there in February of 63.

It was uh designed or under the offices of Bishop Dwyer at the time, but all the Biatorians developed it.

The local diocese didn't do that.

And were they given credit?

Um as far as that, and and listen, when we do these films, one of the hardest things is what we have to cut because we get so much information and we have to cut a lot for time.

Um so we do talk about uh the the first church that um um sunk.

It was it was on bad ground.

It was at St.

Louis and Eastern Okay, so we talked about that.

Yeah, and then um we yeah, yeah, yeah, I just don't know if time permitted us to go that deeply into it because we had so much to cover.

Um but um I was just thinking two lines that was this clerics and saying by others from Chicago that Arlington Heights be specific that were responsible for that.

They went to Mo Daylitz, got a deal, got the land and everything.

That was just vacant land back then.

Right.

And they had the courage to uh do that and hire um uh the architect to get it up and running and everything.

Right.

So now I'm not criticizing who you interviewed for, but I did notice a couple uh scenarios in another forum where they weren't given any credit for really birthing that.

Okay, yeah, see, I uh if it wasn't mentioned to me or come up, I I wouldn't have known.

Okay, and uh yeah, but that that's yeah.

And last question, where can we see this?

Uh well it it has been turned in.

Um and and again, this is your film, you guys own everything, so a hard drive will be handed over to with all of the raw interviews and whatnot.

Um so uh the film is is there, I guess this is about a matter of programming uh when when it will be uh aired.

Um I can answer that.

See if for the record.

So, first of all, everybody was invited to the premiere.

I'm not sure if anybody was able to attend.

Um, but we do have the the film, and soon as Mr.

Gates is done with his presentation today, we'll forward that to our communications office who will put it in our list of documentaries.

Thank you.

Great, thank you so much.

Mr.

Stodolph.

Emmett, uh you and I have had a lot of discussions.

Uh I disagree with you uh fundamentally about your statement that AI is used very limited.

Uh I was overwhelmed by the amount of AI that you use, and when you said just today that you even made the baby cuter than before, that made me very, very nervous.

That's not what the purpose is, the purpose is is reality.

I uh now's not the time I'm gonna let the the other members of the commission see the documentary and draw their own conclusions.

Uh the documentary that we funded was specifically about the fantastic work that he did in in Las Vegas.

Uh and and so I think if I was I I don't want to do a a review at at this juncture.

Uh but my question to you is, and you alerted us to this fact that you were going to use AI.

This wasn't a surprise, it's in your budget or your proposal that you made a couple of years ago that you were going to use it because of what you of what you said.

But my question for you is when should the viewer be alerted that they are watching an AI product.

I think it may be obvious that he when he was a baby and all that, that may obviously jump out as being recreated.

But when there was a mixture of newsreel footage and AI footage, uh so uh what would be your recommendation to the commission about how AI material in a historic documentary, how it how the viewer should be told that a watermark, uh because telling me that it's well, we put it at the end of the credits.

Uh I love credits, but the world is is leaving the room when credits come up sometimes.

So help me with that answer.

Well, you know what?

I I that's a great question.

Uh it's a question that I think is still being explored in uh in film because of what what's happening.

Um but there has been no definitive um other than when we put it on streaming sites, they do have it on there where there's some AI generated content that may appear real.

Um I am interested uh because you said mixed with news real footage.

Um I did find some footage of Paul Revere Williams and his wife moving picture footage.

That was not AI.

Um just I think I was the only one lucky enough to find it.

I'm pretty sure other um uh filmmakers are kicking themselves.

I found that deep in the library of Congress.

Uh and I was really proud that that we were able to put it in the picture of the film.

But yeah, I don't know if that's what you were referring to, but the only places, and that's why I say limited, is because it's when we do the flashbacks and we start doing, you know, the period uh, you know, going back in the 1800s and whatnot.

And I again I'm always thinking about young people.

I'm thinking about students who may have to watch this in class.

And um, and you know, and I'm sorry that you felt it was over overused.

Um, but I just thought it was very important to tell his story as an individual.

Um I don't mean uh AI overuse is not my issue.

Okay.

The the value of that in telling a story is alerting the the public when they're watching it what's real and and and and what's not.

And and so that's that's the uh uh and I was taken back when you said you made him extra cute because clearly he is is extra cute in the butt that's makes me a little nervous.

So I thought I'm just asking you whether or not you had come to some how we let the viewer know, because I think it's something that we need to in future documentaries uh because it's gonna be more and more.

Yeah, and like I said, that's a good that's a very good question.

It's one that they're kind of wrestling with in filmmaking as it is.

Is how you know where do you draw the line?

Can we count on you being helping us come to a well I'll tell you what, what what I can I I can do, I can put a disclaimer at the front of the film.

I'm not gonna move forward.

Your expertise in moving forward on what we tell other documentary producers and how the city should should do that.

I think if you to if if if we put a disclaimer at the top of the film saying this film contains you know some AI imagery, that way it's it's it's documented.

But uh yeah, me and uh Dr.

Seabran actually discussed it because she was concerned with it when when I showed her the first, like when we first started using it, she said, I don't know about that.

And I was like, I think they'll they'll get it if I explain it, you know.

But uh yeah, so but I can do that with starting with this film.

Just put a disclaimer, get that over to to Dr.

C.

Brandt, and before before she turns it in and tell them it wasn't extra cute.

Right on.

Thank you.

Right.

Any other questions?

Mr.

Gates, thank you very much.

We appreciate you.

Right on.

Agenda item number seven, 26-0204-CLC one.

Discussion for possible action regarding approval of funding and the amount of 298,400 for the culture dog films to produce a documentary film titled The History and Impact of the Jewish Community in the City of Las Vegas, laying the foundation 1905 to 1948.

Uh, this impacts all the wards in the city.

Hello, Mrs.

Greenspan.

It's lovely to see you.

Hello, thank you very much for having us here today.

Uh, thank you, Mayor Berkeley and all members.

Um what we have to present today is a film, as you've said, which deals with the uh impact of the Jewish community and the history of that community uh on Las Vegas.

Um we do have slides, and I'm gonna let Chris uh I'm Robin Greenspan.

Oh, yes, would you please introduce Robin Greenspan with Culture Dog Films, and this is uh Chris DeFranco with um Quiet Film.

He is my producing partner and is the editor uh on all of my films, and we'll be on this one too.

Um so um to start with uh the history of the Jewish community of Las Vegas goes back way before um anybody thinks of immediately when they think of the Jewish community, because the first name that comes up is Bugsy Seagull.

No matter what you do, that's the name people come up with.

And actually, he didn't arrive in Las Vegas until 1945.

Um the history of Las Vegas of uh the Jewish community starts in 1905, about the same time as the history of Las Vegas itself.

Uh around 1905-1906, the first documented Jewish settler was a man by the name of Adolf Levy, and uh following him uh comes a bigger impact in around the 1920s, but there are names that appear before uh around the time of uh Adolf Levy.

And we will be researching to make sure that we have all of those names.

I have it on um good advisement that there's actually an explorer that came that was um a a Jewish settler uh before 1905.

Um so we're going to see whether or not we can we can um hash that out with our research.

Well, let's make Mr.

Levy very cuter than he is a little AI.

We'll see what we can do.

But around the 1920s, we we do start to see much of more of an um an influx.

But it was a very unstable uh population.

One of the reasons being that a lot of the uh Jewish settlers, if you if you will, um really split their time between California and Las Vegas.

A lot of them were land speculators, a lot of them had businesses in LA, but then also uh came to Las Vegas and started businesses here.

Uh so they went back and forth, and some ended up establishing many um uh community uh uh stores, but then ended up going back to Los Angeles.

So they were not always here and then stayed here.

Uh but as we get further into the 20s, uh we end up with Mike and Sally Gordon, who actually have the first child in the Jewish community that was born here, and we do have information on them, and we will be exploring them.

By the 1930s, this is when the names pop up that a lot of you are familiar with.

So the Nate Mack family.

Um, you know, everybody knows the name Mack, Thomas and Mack.

Well, they started here actually in the 1930s, and I don't think many people realize how far back that family goes.

There are other names, um, Harry Waldman, Harry Levy, and for me, uh Flor Flora Tschuczynski, who, as you all know her, Flora Duncan.

Uh she was uh a Las Vegas activist, and there is a building uh at uh UNLV that is named after her.

Yes, indeed.

So that there you go.

Uh we've broken this film into chapters.

Uh the first chapter, 1905, will explore further um the Jewish roots and and the birth of the Jewish community.

When we get into 1905 through 1920, we will continue with the growth as we've outlined.

Uh around that time, we also start uh um uh to develop through newspaper articles of the time from the Las Vegas Age uh and others um notices of holidays and activities within the Jewish community.

There was nothing established to any note, but these things start to pop up.

So there was a movement to start having an organized Jewish community.

Um and so we'll be researching the other other notable events and the arrival of new faces and uncovered through our research.

We're going to be using um uh uh Michael Green will be our he's our consultant, but through him we are going to be um employing two uh research assistants in the graduate program at UNLV, and they will be doing uh the bulk of the research.

We have a lot of outlets in Las Vegas through the Jewish community um through uh Jewish Las Vegas, which was formerly known as the Jewish Federation uh with their records, but we have a wonderful um Jewish heritage um oral history that is housed at UNLV in their special collections, so we will be using uh Aaron May's expertise too to uh help us a lot with this.

Um we will also be doing um research throughout the country.

Um a lot of these settlers uh and families who who ended up here, you know, we all started in uh mostly in eastern Europe and came to New York first or on to the East Coast and then made the move out west.

So why?

Why did they end up in Las Vegas?

That will be one of the things that we're hoping to explore through our research.

Um in chapter two, um, the first actual organization in Las Vegas was called the Sons of Israel, and they were developed, uh they they became an organization in 1931.

Uh from there we're going to explore the dam years, because that impacted the whole Las Vegas community, obviously.

And there were you know the ups and the downs of that, but that's when the hospitality industry really came about.

And um, and again, this is even still before Bugsy Siegel arrived.

Um so we'll examine the dam years.

And in 1939, the world war uh World War II begins, and it did impact not only Las Vegas, obviously, but the Jewish community uh was greatly impacted by World War II, as we all know.

Um that's what we will explore in chapter two.

Um chapter three, we're going to get into deeper uh chapter three into um uh the Las Vegas Jewish community during the war and the post-war years.

Uh for instance in 1946, the first uh Las Vegas Jewish community center opened.

So there was finally a place for gathering of the Jewish community.

And 4647 with the opening of the Flamingo Hotel, that's the start.

Yes, there we go.

Bugsy is finally with us.

Although he actually started downtown at the El Cortes, which he then sold.

But in 1947, the Las Vegas Jewish community and the United Jewish Appeal, which became it was a national fundraising tool for the Jewish community throughout the United States.

And it finally had a branch in Las Vegas.

And I will now tout my father-in-law.

But during that this time period too, Hank Greenspun was sentenced under the U.S.

Neutrality Act and ended up losing his citizenship.

But remained in Las Vegas and we uh purchased the Las Vegas Free Press, which, as you all hopefully are aware, became the Las Vegas Sun.

So there are new names coming in around the time of World War II.

Um and then we are going to end this film when in 1948 with the birth of modern Israel and the impact of that on the Las Vegas community.

And I've already been asked the question well, why would you select that?

Why would be that why would that affect the Jewish community so greatly?

Good, bad, or indifferent, the formation of Israel as a country has impacted the world.

So we will explore in through that.

How did it, how did it impact the Las Vegas community?

And it did.

Again, whether it's negative, whether it's positive, we see an influx of Holocaust survivors within our community that come out of this time period too.

We now have uh generations of um, you know, multi-generations of Holocaust survivors, children, and grandchildren who are now residents and are part of a vital part of our community.

So it feels like the right place to end the film.

If we had more time uh within this film, we could explore further.

But our suggestion is that we start with this time period, and then if this is as successful as we feel it will be, um we have part two that will then be presented at a later date once we finish this.

Thank you.

Thank you so much, uh Robin.

I appreciate it.

Um does anybody have any questions or comments?

Yes, go ahead, Kevin.

Kevin Mills for the record.

Yes.

I I do hope that any film like this will include mention of the Wiener family that moved here in 1931.

They had a tailor shop down on Fremont Street.

Yes.

Uh and helped many people start businesses here in this town.

Oh, yes.

There we don't have time to go through the list of names that are the people that that were so instrumental in getting us to where we are today.

Um, and within this time frame for this film, he is absolutely on the list, 100%.

Your honor.

Oh, yes, Mr.

Coffee.

Thank you, thank you, Mayor.

I uh came here in 1951.

I like to talk about that only because it's the end of an era for me.

And here, you know, as a kid growing up in the 50s, I was uh started about age eight.

I was uh only surrounded by my fellow playmates, Mormons, Catholics, and Jews.

And I don't think we knew of another religion.

I just don't think we could tolerate another religion.

We were all equal, truly, and buddies all the way, and it just crossed all lines.

Somehow it got messed up some even you know, even later.

But that kind of thing was a certain amount of tolerance that we were growing up with, and just never called about anything else.

I was called anti-Semitic a few years ago because I tried to separate Israel from a greedy developers' ambitions, you know.

Let's not get into that.

Oh, that guy mentioned him.

Scott.

I won't mention it and get you in trouble.

It's not getting me in trouble, but I think you're getting yourself in trouble.

All right.

Any other yes, go right ahead.

Yeah, Robin, I think it's a great idea, but I'd like to see you go on with chapter four and bring in Jay Sarno and Steve Wynn and Shell Nattle.

That's that's the next that if we do it, if we're successful for this, the next film, that is uh major um uh part of that, it's a component of that.

We didn't want to bring that to you today because uh this is a separate project to start with, um, and I we didn't want to bring you two films at one time.

Um but the the second part of this would be um the gaming industry, the development of the the strip.

Jay Son actually Hardy Heidi Sarno is on my list for this, starting with this film as one of the people to be interviewed uh leading up to the next chapter.

Um the other names that are not on here, um, the Melaskies, the Addelsons, uh the land development that happened after this is really significant, and those are the names that um are still still around.

Um as are many of these, but there's there are developments in the medical field, uh development, uh hospitality.

There's so many avenues that we just can't cover in a little over an hour in this film.

So that would be the idea for the next one.

Um Mr.

Career.

Thank you, Madam Mayor, Mrs.

Greensprung, good to see you.

Uh I have to say that I think you've hit on something.

Has there to your knowledge, has there been a documentary done something similar like this before?

I don't think there's been a documentary.

The um there's a uh an organization that unfortunately is defunct, but all of the files are at uh the UNL UNL V Special Collections, which was the Jewish Heritage uh I'm trying to think what it was um the U Jewish Heritage Initiative, I think.

Um and so there are a lot of uh materials, there's a lot of interviews that they did, but there's also through Jewish Nevada, there are um uh there's an oral history project that was done that deals with a lot of these names that that we're talking about, going back to uh uh before um the names that we we all recognize easily.

Um so that that's I don't I have not seen a documentary specifically about the Las Vegas community, and we've you know I think if it was there we would see it.

Yeah, well you would know about it.

I'm sure Mayor Berkeley would know about it or somebody would know about it.

Yeah.

So somewhat my point is this I think you've hit on something, and where you can go with this is endless.

And the impact that the Jewish community has made into our community is I don't I don't think you can really put a price on it, right?

It's it's it's it's very formidable.

Um of the challenges that we have with this, just for your FYI for this uh committee, is that we are are our charged to focus on Las Vegas.

And so it's easy to go outside of the city of Las Vegas and talk about the boundaries of Southern Nevada and the history of that.

And so I would I would it's gonna be a challenge for you, yeah.

And the team to sort of narrow that singularly focus on strictly Las Vegas.

Um and then I will also make a suggestion, which we've done in the past, I'm not stepping online, is that sometimes uh we will fund a project specifically gearing towards Las Vegas.

Now, if you go out and do something outside of that that expands from that, then I would be on you to figure that out.

Right.

Um maybe the county may have some opportunity to do some things as well.

But um, so we have we do have a history of taking a project and sort of segmenting it out to Las Vegas.

We fund that, and then you go from there.

But I I I wish you all the best, and I think it's I I think it's gonna be great.

Thank you.

Um but to answer your question about that, this first um project, this first film, I don't think is as challenging as it will be after this.

Um I my family moved here in 1954, so I I grew up here and within the and the Jewish community, um, and everything was in the city of Las Vegas because there was nothing for the most part, as far as community, much further out that in uh impacted us.

The only synagogue was um in Las Vegas, you know, was Las Vegas proper, and everything was downtown, all of our entertainment was downtown.

Um so I don't see that as being an issue for this first film.

I think it's gonna be a really interesting issue for any follow-up films, but I think that a lot of the development, even though um it the people whose names we will include ended up with projects in the county, a lot of them started with downtown um in the gaming industry and other areas.

So, Madam Mayor, through you.

Um have you thought about the use of the documentary?

Um, where it would be shown.

Um, how the city will have access to it, how it will be displayed, where you will present it, where it would go, where it will live, kind of people access it.

Um I I'm not sure that you're the right one to answer it.

Uh Diane, um, how do we roll this out and where will it be available to see?

Uh C Brent for the record.

So this is going to be um similar to our Boyd production movies, so we own the rights to it.

Um, and it will be on our uh documentary webpage for anybody to view.

And I have a feeling that we are going to roll this out, um, and it'll be a very big premier.

And and you will be our special guest, Mr.

Creer.

Yes, please.

Thank you.

Can't wait.

Not to my knowledge.

I'm sorry.

Um Mr.

Coffin asked if there'd be other any other sponsors for this film.

Not for this, not for this first one, no.

Um, I think because it deals specifically with the city, this budget, we're asking for the full budget from you.

And Mr.

Stodal, may I uh have an uh motion?

Well, actually, th I I like uh uh three quick questions.

Uh the first one is is that uh please write the name Joseph Bloom down.

I think I have that already, don't I?

Mr.

Bloom was a reporter for the review journal in the 1960s, and I believe the first Jewish reporter.

Okay.

Uh my question is uh for the gentleman to your right.

What uh because of the period we're talking about 1905, what do you see as the use for AI?

You know, it is it is an amazing tool, and I see being able to uh relate stories that we will be told, or articles that will be referenced to, any part portions of history that we don't have access to, being able to create those, but create those in a style.

You know, um, one of the things a documentary we just finished, we used to tell the story of early Cuba and Castro's rise and uh Operation Peter Pan and how that worked.

There's no real footage of that.

So what we did is we created illustrated animations through AI where it's not photorealistic, but it tells the story.

How do you identify this?

Really my quote.

I think you use a we would essentially it's you'll either be told from the narrator's standpoint, or you're gonna have what would look like closed captioning that would identify just like a photo credit would so if it's like from the the sun or from uh a specific photographer, it's the same thing.

Uh you you apply the credit to that particular artificial intelligence at AI because there's it's just like an artist.

That model is called a model or a seed that you plant within that specific AI that you have to give credit for because they created that.

So it's just like a photographer, it's just like uh uh an a newspaper article that you're pulling.

You need to give them the reference and you need to give them credit.

So the same works for AI.

Great, thank you.

The last two uh uh comments.

One is that uh it seems that this is one of the challenges is to become less of a historic documentary and more of a celebration of life, and and of contributions that were made as opposed to setting understanding how the Jewish community was treated in 1905 or 10 or 15 or 20 or or or whatever, and not just the things that were accomplished, but challenges that uh that were met.

And I think the second series of these documentaries, I don't know how you're gonna squeeze all I'm trying to focus just on this one to start with because it's my body.

And then my last thought is I think what you're doing is going to set a model for other opportunities for a documentary on the 1905 the 1930 Hispanic community or the Asian American community.

Those have not those have not been done.

So you have some significant responsibility on your back.

Uh, but I'd like to make a motion to approve.

Do I hear a second?

All right, all those in favor of approving agenda item number seven, please say aye.

Aye.

Any opposed.

Motion passes.

Thank you so much.

Thank you so much.

Can I ask uh Robin just one quick question?

Yes, you may.

Yes, sir.

Early 1949, I was a member of the Bene Breath Troops 70 Boy Scout Truth here in Los Angeles.

Well, and we met at a synagogue along about 9th Street, as I recall.

Later became the Greek Orthodox Church until they built their is that the first synagogue.

I was there a lot.

That was because that wasn't Beth Shalom yet.

No, not now they can say it been.

It could have also been the Jewish community center.

Yes, the Jewish community center.

Yes, it was.

I think it was the Jewish community center.

But if you have the first should have got just be interesting.

Sorry to take everybody's job.

It will be in there.

And can you uh can you also uh add that uh Senator Bryan was one of the Jewish troop members?

Yes, most definitely I think that deserves at least a chapter or something.

I believe I make him extra cute.

Oh gosh.

Thank you.

Thank you very much.

Thank you very much.

Agenda item number eight, 26-0166-CLC 1.

Discussion for possible action regarding approval of a grant request for 160,000 by the NEON Museum for the costs associated with the planning and running of the Duck Duck Shed, celebrating Las Vegas Architecture, Design and Culture.

Uh 2026 four-day event to be held in the fall of 2026, and the author and authorizing the president to execute the grant agreement as approved by the city attorney.

This impacts all wards.

Um hello, Mr.

Berger.

Hello, Mayor, and hello, commissioners.

It's a pleasure to be with you.

Um I want to before I think Robin left.

Oh, I wanted to just say two things.

One is uh, as a former Jewish museum director, I applaud you all for supporting this film.

I'm very excited about it.

If the Neon Museum can be of support in talking about the Jewish influence and the creation of show uh production that was done here in the early 30s, um, we are happy to be uh that resource as well.

So very excited about that.

So thank you very much for that support.

Um very, very happy to be talking about Los Uh uh Duck Duck Shed.

Um, I thought it might be helpful if we we've had some conversation in the past about what is Duck Duck Shed.

And so we actually have sat back and and really examined it from multiple angles.

Um the first is that this is a citywide event, and uh while it is held downtown, it will be at the California this year as the host hotel.

Each year it is always held on or around Fremont Street, so Golden Nugget, Circa, uh Binions was last year, and this year the California.

Um it is different.

Um it is the media describes it as part conference, part festival, and part immersion.

It's experiential, not just educational, so attendees don't just listen to a panel discussion, they tour historic sites.

Uh, for example, our walking tours of historic Fremont Street actually take you into the 1906 room, or you're going into Frank Sinatra's green room at the golden nuggets, and having a chance to see things that you normally wouldn't.

You even get into the men's room there at Main Street Station, uh, which I know is always a popular destination.

The highlight of the highlight of the tour is the men's room.

Always uh so uh it is also grounded in a single city and deeply.

So each year the programming is one city, it's one cultural identity and one evolving story.

So the programming is changing each year, providing different aspects of what makes this unique incredible city.

It's also, and this has been our research.

Um, so far we have not found another museum in the United States that creates its own conference.

We are the only one in the US to create a conference.

So it is then, therefore, it's produced by the NEA Museum, which means that the work is curated, it's scholarly, but we make sure that's accessible.

Locals, nationals, internationals are welcome to come and do attend.

Um access to this again just speaks to the fact that we are giving people that behind the curtain of view to understanding what is Duck Duck Shed.

So we like to work under this umbrella of architecture, design, and culture.

We have panels, author talks.

We did a movie premiere last year.

We had walking tours, culinary events, family programming, and exhibitions in these photos.

This is just last year alone, showcasing everything from uh the walking tour of the um of you've got uh a collage exhibition, um, view and LV students.

You have the movie premiere at Circa, which felt in the pool, which was very unique and a lot of fun.

A thousand people bobbing away on a rather cold night, but enjoying it.

And then, of course, we had the uh collection at City Hall of the Cirque du Soleil collection.

Over the years, we have grown.

Um, so we started this in 2022.

We had 31 individual programs, a little over half sold out, and that received uh attendees from the Netherlands, UK, Canada, Australia, and 27 states.

We had about 3,400 tickets, individual tickets sold.

23, we increased that by about 15%, 29 programs, a few less, but still around third around 30, and attendees, same countries, 26 states.

By the last year, we were at 41 programs, um, 72% sold out, same countries, 30 states, and we were over 5,000 tickets sold.

So these are people coming in and attending.

The AIA, so we've had in in this time since 22, we've had a 61 increase 61% sorry, increase since 23.

The AIA logo is that we have partnered with the American Institute of Architects so that those architects can attend these panels and be an active engaged participant and receive continuing ed credits for these last two years.

We also have a donor this year that is actually looking to fund Arizona State students to begin attending in this year.

So bringing tourism downtown and engaging in the stories of Las Vegas.

The media attention has been very, very strong with this.

Um, I can read these these individual uh no, I can't, not without glasses.

Um I can read some of these these headlines to you that are wonderful and very moving.

Duck Duck Shed makes the case for Las Vegas Architecture, Duck Duck Shed returns for another deep dive into what makes Las Vegas tick.

Duck Duck Shed may become one of the city's must do arts and culture events, and it's only in its second year.

But the important circle in that bottom left corner is that just last year alone we had 921 million hits media impressions in just 2025 alone.

So the attention that this is drawing is really three times that of the population of the United States.

Our partners are growing.

We have been uh a very strong reliant and very thankful to the Centennial Commission for standing in front and being our seed funders for making this possible.

Las Vegas uh LVC VA, Las Vegas Convention and Visitors Authority has also been a partner.

We are changing our partnership with them.

We have come to them and said, okay, we're in year four.

We want to move from 5,000 visitors to 10,000 visitors.

How do we do this?

You make conventions, make this one.

And so they are actually partnering with us to make this a very different aspect than it has before.

But we have been going through and asking for individual sponsors so that the Centennial Commission is not standing alone.

This year, our lineup is beginning to take form.

We should have this ready for you by the end of June at the absolute latest.

But so far we have 10 panels, two Arthur Talks, two curator tours, two walking tours, a culinary event, two family programs, one sign lighting, and then bringing back again the UNLV collage competition.

These are bringing in scholars from around the country from incredibly prestigious universities to come and speak about Las Vegas as a destination and giving a new perspective on this wonderful and very different community.

The request that we have is for 160,000.

The part that I think and I hope the commission will be pleased to see is this is a 20% reduction.

So in the beginning, when we came to you and asked for funding, we asked for money and said we do not intend to be on centennials teat for life.

This is not a new offering of the Centennial Commission.

This is something that we are going to continue to withdraw or lower our ask each year so that we can continue to grow our sponsorships while still growing the programming.

So the emphasis is on that sponsorship.

This gives you a breakdown of what that 160,000 will do.

So using the downtown revenues, uh downtown rental uh venue rentals, rather, uh, an event coordinator who makes my life much easier.

Um, honorariums to bring in these specific people, and then of course, marketing and using marketing dollars.

The other thing, and I just want to leave it on this note.

Um, this is the front page of the modernism week website.

If you just pull it up, you'll see this exact page.

Um, if you look closely, they are using our tagline.

They have shifted to our tagline.

So they are celebrating mid-century architecture, design, and culture.

We are starting to change something like modernism week and modernism week.

For those that may not be familiar, modernism week started off as a three-day weekend in Palm Springs.

It attracted 11,000 people in those three days.

Now, 19 almost 19 years later, it is attracting over 180,000 people over 11 days.

That is our goal.

Our goal is to continue to grow Duck Duck Shed day over day so that we continue to create this tourist driver here to downtown Las Vegas so that people can continue to learn about what makes this city tick and have a new perspective on the city.

So I just brought this little slide because I don't know, flattery.

I'm happy to take your questions.

Thank you.

Do any commission members have any questions or comments?

Mr.

Stoto.

Welcome.

Thank you.

It's been a minute.

A couple of questions.

I didn't quite understand when you said Las Vegas or this event.

It we're the only city in the country that does No, no, we're the only museum.

The only museum that is actually creating a conference.

There is no museum in the United States that is creating its own conference and actually creating a in our case a four-day window of 40 programs that are held over four days.

Please do the research.

We're doing it ourselves, but we have not found another museum.

There are museum conferences.

In fact, I leave next week for the American Alliance of Museums Conference.

That conference exists, but those are for museums to come together.

This is a conference curated by a museum for the greater community.

Okay.

Um first of all, thank you for for putting in although it's required, but you did you did follow the rules and putting in the the details of past grants.

And it does reflect what you said that I think one was for 200,000.

This one is is for less than that.

Correct.

You started to say that there would be a time you were gonna withdraw and and and then you you you said that you're gonna look for lowering it.

Is that you think lowering it to uh or withdrawing over a three or five-year period?

How much any projection you could give us, even we won't hold you to it, but I'm sure.

I would hope that the Centennial Commission would celebrate anything that is going to bring in an audience to learn about this city.

So I will always come to you, and it may be a ten thousand dollar request, but I will always come to you and ask to support this incredibly important adventure.

Okay, you will find my support if you had just added one more phrase, and that's historic preservation.

Sure.

I don't need we don't need to learn about the city today.

That's somebody else's function or this historic preservation, and that's what your conference is about in large part.

It is absolutely looking back.

We're looking back and understanding how we have gotten to today.

Yeah.

I think you've answered my questions.

I would make a motion to approve.

Do I hear a second?

All those in favor of approving 160,000 for the NEON Museum's Duck Duck Shed event, please signify by saying aye.

Any in opposition?

All right.

Yeah.

Okay, do we know who that was?

Commissioner Brown, is that an aye?

I said I, but I was on mute, I'm sorry.

Thank you.

She's okay.

In that case, motion passes.

Thank you so much, Aaron.

Thank you very much.

We appreciate your kind support.

Our pleasure.

Agenda item number nine, 26-0169-CLC one.

Discussion for possible action regarding approval of a grant request for 750,000 by the Plaza Hotel and Casino for the production of the 2,027, 28, 29, 30, and 31, El Dorado Days Rodeo, and authorizing the president to execute the grant agreement as approved by the city attorney.

This is in ward five, but it affects the entire uh Las Vegas City area.

And uh welcome very much, and will you please state your name for the record?

Thank you, Mrs.

Mayor.

Thank you, Commissioners.

Jonathan Jocel, uh, with the plaza.

Hi, Michelle Evans, Vice President of Sales Catering and Court Arena.

Natasha White, Director of Marketing for the Plaza.

And it is Natasha's birthday, so hopefully she has a wonderful.

Happy birthday.

She chose to celebrate with all of you.

This is a kind of of historical significance in the city.

All right.

Um does anybody.

It gets better with time, I promise you.

Um is there no, he says no.

Is there anybody that wants a recap of why we're here, or should we just get into the meat and potatoes of a motion?

Mr.

Stodol, what would you prefer?

I'd uh I'd like to make a statement in it in advance because I and at the bottom line is I'm going to be voting no on this uh on this project for uh uh several reasons.

I've outlined them in a copy that I've given the the clerk as well as each member of the of the commission.

Uh I'm just not comfortable with five years.

This commission uh also has discussed that originally for maybe a couple of decades.

It was one year.

Then we looked at the opportunities for uh two years.

A lot of discussion about that, but we moved forward with that.

Then there was an effort to go to three years, and that was that was turned down.

And and the real challenge with with with five years, and I was looking for, and and I want it's a minor point, but the listing of previous grants that are required to be listed in the application, they're not here in your application.

There should be in this particular application, and but I went back and and and did some research, and it looks like the the amount of money that has passed uh uh is about a million dollars, the 950 that uh the Centennial Commission has funded for the for this project.

I gave members of your staff a copy of the reasons why, and I think there's two fundamental reasons without reading this and just making it short, and one is is oversight and the potential change in society and what we what we want to do.

Uh I've always had an awkward moment with the rodeo.

I don't think it really fits into our fundamental mission of historic preservation.

But there's enough elements in the staff has worked uh to to bring that closer and having historic items in there.

But if if this commission approves a five-year grant request, then I can almost guarantee you that we will have any number of other five-year grants, whether it's the uh El Dorado Parade or the Martin Luther King Parade or Duck Duck Shed or the Historic Preservation Foundation with their home and history tour, or we've got uh uh a June June uh uh festival coming up later for potential uh funding.

So we're gonna see everybody coming for five years, and that just does not allow this commission to find accountability.

Uh plus the contract as it stands now, the agreement says only that you would have to come back at the end of five years to give a final report.

The contract needs to be updated no matter what, whether it's for a two-year deal, a three-year deal, or whatever, to reflect that we need a report every year, and that report be lived up to, which is detailed financial report to this commission.

We didn't hear that today with uh the gentleman that did the documentary on on uh uh Paul Revere Williams.

It was a wonderful visual presentation, but it was supposed to be detailed financial report, and I wanted to know how much money they spent on AI so we have a better understanding of uh the commission of what are going to be our future funding challenges.

I can't I cannot support five years.

Thank you, Mayor.

Thank you very much.

Mr.

Truesdale, would you care to comment on your original?

I appreciate that.

Go ahead.

Yes.

Yes.

Um desire to move for five years in support of this, is I guess we all come from a different period of life in Las Vegas, and to me the rodeo, like the parade, has always been that historical connection from the time I moved to Las Vegas.

So I see the I see the historic uh preservation part of it slightly different than the Mr.

Stoldal, and I understand his position totally.

I do agree with him though, we should have an annual accounting.

I I thought that was standard in our agreements.

Um I wanted to propose this as a way to create the historical picture and a time frame for us to exit being the primar primary supporter of this, and in looking at things at the plaza, the successes over the last couple of years, felt the five years at our a preset annual amount would give some consistency for uh the commission to support it, but also a way of saying this is our commitment.

We're not we're not I would find myself hard pressed if they can't stand on their own two feet at the end of this five-year period supporting it again.

So I I'm upfront about that, but I do believe what they've accomplished and what has happened for the benefit of downtown connecting the parade and the and the rodeo uh together does a lot for what we want our downtown history to represent.

We no matter how we look at it, we're a wild west town, born of the wild west, born of the gaming, and this in my view is one of one of the events.

While it's not a video historic video um commitment, it is a living commitment to the history as I see Las Vegas downtown.

Thank you so much.

Uh Senator Bryan.

Yeah.

I'm not going to support this or any other proposal for five years.

That's where I'm coming from.

Uh luckantly, I voted previously to support that.

I'm giving some hard thought to it.

I know a lot of work went into this.

It reminds me a little bit of the experience we had a few years ago when the Elks sponsored rodeo, and they came in every year, had a lot of personal.

My father was the exalted ruler of the Elk's Lodge.

Every year they came in, every year, every year.

And they just didn't perform what we expected, and ultimately we no longer funded them.

So that's my two cents worth.

I mean, uh, mayor and the rest of the mission.

Five years is a non-starter from thank you so much.

Uh, Mr.

Coffin.

Uh thank you, ma'am.

I think that uh I do have some questions about the five years as well.

I also have something to say in general about what the plaza has been doing here.

The plaza has done some something that the city did not want to do.

It kept alive for us the name.

It kept alive for us this date or this period that that I came in 50 75 years ago and still remember, and I really believe others need to remember.

Sometimes you have to tell people, sometimes you have to hit them on the head.

This is our history, and I think we should support it.

I really do.

I don't know of another casino downtown that has helped or has even tried to help on this.

Am I wrong?

Is there an any other casino that's expressed an interest in trying to preserve our history?

It's my understanding that the plaza, and I'll let Jonathan speak for the plaza, but uh the plaza is reaching out to the other casinos in downtown Las Vegas and asking them to become part of this, which I think would be very helpful.

Well, I think it would be more helpful if we reached out, and particularly those electeds, like uh I guess half the streets in Ward 3 and half the streets in Ward 5 or the mayor uh who overrides it all.

Yes, my The Golden Gate uh clearly and the Nevada Hotel there and the Circ both all have historic city of Las Vegas history elements to it.

I mean, the Golden Gate is is the oldest hotel we got, 1906, it's still there.

So I I understand what you're saying about the plaza, but but there are other places whether it's the El Cortez that are doing preserving the history of this of the of this community and in their in their own way.

And oh, I know these, Bob.

I'm just saying reclaiming my time if I could, man.

So I just wanted to say that uh, yes, they all on their own for their own customers.

Uh once they're in the door, they do things for them.

But here's something that the Plaza has been doing for all of us, for all their customers too.

And uh, you know, I I don't think I ever envisioned when I supported the creation of the downtown as it stands today.

I did not realize that we might be locking out history, that we might be making it very hard for history to continue at despite the best efforts, at least at the plaza.

And granted, uh I'll always give credit to anybody, uh the El Cortez, etc.

From the day one.

But really, I'm I'm not sure that it should end today.

I think that uh I can't support the five years either.

But I think that there should be an effort made.

I brought it up last meeting, that there should be an effort to engage the other casinos in El Dorado in some way.

And and I think if it embarrasses them just because they're being selfish about this community event, then let it be exposed.

Let them say no and say why.

You know, well, then we're taking care of our customers.

Well, how about taking care of the city for an hour or two every year?

Uh that's kind of like where I'm going.

So thank you.

Thank you, Mayor.

And uh probably well, who knows how I would.

Um Mr.

Jocel, uh, would you care to comment before I call for the vote?

Yeah, sure.

Um, I think just to remind everyone, when we came here at the last meeting, uh our initial request was that if we could own Hel Dorado as a brand, we were happy to underwrite it.

We haven't made money in the in the years you're referring to, that we've had the funding.

This has not been a profitable adventure for the plaza.

This has been something we were asked to do when the rodeo was gonna die.

We we did it because we had the infrastructure and the facility out there, even though it still costs us money to put on the rodeo.

So we undertook the venture of it, and then we realized with the funding ending, why would we continue to fund this if we don't in fact own it and can be taken away from us?

We do believe after three to five years, we last year was the first year we were able to charge money for tickets.

If we continue to build it with your support, we do believe it'll become self-sufficient.

Five years would be great to get to that point, and with the license that we discussed the last year, that we can use the brand.

We don't want to use this brand, and then you guys or somebody else takes it from us.

So if we know we can use it after the five years with a license agreement, then we're comfortable to take on that risk at our own expense.

Um, we always anticipated we have to do annual uh accounting for for the commission.

I if that wasn't in the document, we never thought we were just taking five years and never coming back.

And um we are moving the date to combine it with the rodeo, and we believe we will have the support of others downtown, but frankly, it's just been too small.

Like I said, it's been something that only had 3,000 free tickets over two nights.

We're gonna double the capacity and build it up to 6,000 people over two nights, and ultimately continue to build that.

So, with that, once that happens, we had the same conversation with the LBCBA where they want to get more involved once we go the attendance, and once you go the attendance, we know the other casinos will pay more attention to it.

But when you're talking about 1,500 people, it's just too small to get their attention on a business from a business perspective.

So we we're very comfortable uh that we can build this, but it is difficult to do it, knowing that every few months we have to come here and get beat up a little bit and listen to listen to the same conversation.

These are love tabs, I can assure you.

And uh and and if everyone believes in El Dorado, we're here to build it.

We have the facility, and that's that's our plan.

You know, it's uh I'm not a Western type of gal, but you know, I'm in that Hel Dorado parade every year.

Um when I was a kid, I was there as a spectator, and now that I'm mayor, I'm I'm um uh in a very lovely car.

It's great.

But I have to say, when uh this Saturday when I was in the parade, and I kept thinking about the rodeo and how how wonderful it would be if once the parade is over, there was something else for me to look forward to to engage more because I agree with Mr.

Coffin and and those that have spoken before me.

Um it in my mind, it is a part of our legacy in our history.

Now, I understand that technically we were probably not a rodeo town, but it is a part of what people think of Las Vegas and old Las Vegas, and I I would hate to see that tradition disappear.

And there's a danger in that happening if we don't support this um to give you the opportunity to get on your feet and become self-suspicious, not self-suspicious, self-sustaining.

So at this point, I would entertain a motion by Mr.

Oh, Mr.

Korear.

Thank you, Madam Mayor.

Three just a quick comment.

Um, you know, I believe I think I was the one that approached Jonathan actually about looking to find ways to support the uh El Dorado Days rodeo.

Um because it's hard to plan out when you're running a business year to year of what you want to do if you don't know if you're gonna have the support.

So I can I can attest to that.

If you know you had the support over the next couple years, um, then you were able to plan, you're able to make it bigger, better because you know it's gonna be there.

Um there five years could be a stretch.

I thought three years, two to three years, three years is probably maybe a better sweet spot for it.

Um and there's no doubt that they would have to come back every year.

I mean a lot of ways you can position a contract.

You can position over three-year period with one year automatic renewals unless the commission decides not to renew it, right?

But they'll know at least they have three years and they would come and present.

And if the commission decides not to, they can always pull it back.

I mean, if there's some malfesion or something taking place.

Um, but I would be in support of supporting them in some uh the three to five years with them coming back every year, not with per se a renewal, but with an update, the board can always say, Hey, you aren't you aren't doing what you said you're gonna do, we're gonna take it away from you.

Sorry.

Good luck, is my two sense.

Okay, I appreciate that.

Um, Mr.

True, before I entertain Mr.

Arnold's note uh motion, uh Mr.

Truesdale, did you want to close us out?

Um I I think it's um what commissioner Greer presented is you know possibly an alternative to look at.

But I I do believe in in my heart of hearts, if we look at a four or five-year window, this will be a self-sustaining uh success story for Las Vegas downtown.

And um I really uh hope that uh staff, council, we all can find a way to reach out to the rest of the properties and and get them to buy into the dream of uh growing this as a sustainable uh element for a community.

Thank you so much.

Uh Mr.

Arnold, will you uh will you make a motion?

Yeah, one more down here.

Oh, yes, Kevin.

Sorry, Mills for the record.

Uh, something just occurred to me.

Would would it be beneficial to go to the rest of the casino owners and tell them that we have a five-year commitment as opposed to a three-year commitment or or whatever?

Would that be much more helpful?

I mean, are you getting any positive response from the other casino owners at all?

Yeah, we are.

Uh, we've had some positive response, but it's been considered as a smaller attendance and a free rodeo.

I think once we upgrade that with an experience like we're talking about now with the VIP area and an upscaled event, we can definitely get them to use it as a place for their casino guests.

So I do think once we have the support of this and we have the shared vision for how we plan to grow it.

Uh, I feel pretty comfortable.

Uh at least two of the bigger players down there will get behind it.

Thank you so much, Mr.

Mills.

Madam Mayor, can I have a clarification?

Oh, yes, question.

Thank you.

Um this is for our city attorney.

Uh so today, as posted on our agenda, is there any leeway for us to modify?

I I like uh former councilman career's line of thinking um to approve it for X number of years with you know the potential to renew an additional couple, but I'm not sure if the agenda item as posted has the flexibility to move that or massage that in.

So I just kind of wanted to know what do we have the possibility on voting on today.

Jeff Dork, City Attorney, uh councilwoman, you can go ahead.

It's it's agenda is for five years 27, 28, 29, 30, and 31, along with an amount of money 750,000 in total.

That's 150,000 a year.

Um with something like that, we would be fine with going down.

You could reduce years and reduce the amount.

You just can't go beyond the years that have been agendized or that 750,000 that's been put on the agenda.

Mr.

Arnold.

I'll put on the spot here.

Uh Commissioner Arnold for the record.

I I spoke on the I feel I speak on this on every occurrence.

Um I'm a supporter.

I want to see it happen.

I like what you guys are saying.

Um I want to see this thing get the momentum it needs.

I appreciate you moving the date.

I also have tremendous respect for my fellow commissioners, Stowdall and Brian.

Um, and also the others that have spoken here.

Um, to me, I feel like I'm always trying to find that middle ground.

I think three years is it.

I think three years is the magic number at this point, because I want to see you guys continue.

Let's get over this hurdle.

Um, but with the understanding that we're still looking for, like you said, for you guys to continue to whittle down, not rely on us, but we want to see it self-sustain.

I don't know if we need to entertain um, you know, those one-year options.

I feel like you're gonna come back to us either way um for these fun conversations.

But my motion would be uh for three years at 150 uh thousand each.

Um is there a second?

No, I have a qu I have a question, and and that is we have been down this path before.

We had a commitment from the Plaza Hotel.

If we gave them money for three years, the end of the three years, they that would be it.

Now we're just doing the same thing again for another three years, and we'll do the same thing for another three years.

We need some honesty with what this is going with this is going on.

I don't understand why if you think you can be successful, why it rests solely on the word Heldorado.

You could call it the PRC, the Plaza Rodeo Center.

I mean, there's all kinds of ways that you could do this.

Why you feel the Heldorado thing is something that is is so that we have the same way.

Why are you why wouldn't you let us take the name Haldorado then?

Why are you protecting it?

It would be this the city is protecting it, not the commission.

Because there's history to it and there's some bad ideas.

Of course.

Yes.

Um that's the onset.

But it went away for years.

It went away for years and years and years.

And the Centennial Commission brought it back for one year, and then we got a bunch of smoke and mirrors for three or four years.

I uh we we fully understand your position and respect it.

Do I have a second?

Second.

I just want to comment really quick, Mayor, before we take a vote.

Um I understand uh Commissioner Stodal's frustration, but I I do see that there could be potential value added.

So, for example, the parade being executed and on its own, I feel as lackluster, and we don't have other activities to bolster the Eldorado days.

And it was sad for me to go down the parade trail this year and not see excitement for the parade.

My hope is with the parade and the rodeo happening in the same vein at the same time, that there will be some energy and synergy and excitement created because now we're channeling more than just the parade, it'll be two major events in our city, and hopefully we can see the heydays and the people who are excited about the rodeo come out to do both events, and I think we get more bang for our buck as a city and trying to bring people with that interest in Haldorado for two major events at the same time.

So I'm excited to see them work in concert because they've been in working in isolation.

You had the rodeo happening in the fall, the parade happening in May, and it just it falls flat.

Like the the parade is not taking off on its own.

And so I am excited to see.

Can we see it be really cool and exciting and see a lot of people in their Western wear walking down to enjoy everything that hopefully the city wants to get behind and bring bring that sentiment of our you know heyday glory days and yesteryears when a lot of cowboys wanted to come down?

But um, that's why I'm uh going to support because I think there is some potential to see um some more folks come and and be part of our city and celebrating.

Thank you so much.

I Mr.

Arnold, you're saying three years, 150,000 each year.

Uh they'll never come back to us again, but we need a report every year, uh financial report.

Is that your motion?

All those in favor of this motion, please signify by saying aye.

Aye.

Opposed?

Aye.

No.

All right.

I think we're gonna did you get a full account of that.

Excuse me, I'm gonna go down the list.

Thank you.

Commissioner Bryan.

No.

Commissioner Arnold.

Yes, Commissioner Stodle.

No, Commissioner Brown.

Oh, she's she hung up.

Commissioner Coffin.

Aye.

Commissioner Sinuk.

Commissioner Mowbray.

No.

Commissioner Truesdale.

Commissioner.

Commissioner Creer.

Aye.

Commissioner Mills.

Aye.

Commissioner Burke or Chair Berkeley.

Aye.

Commissioner Diaz.

Aye.

Thank you.

That motion carried seven to four.

Motion carries.

Thank you so much.

Sorry about putting you all through this.

Just the beginning.

Wait till your first financial report.

Oh, yeah.

Okay.

When is it supposed to be May?

Oh, it's gonna be the same day as Hel Dorado Parade.

So it'll be next May.

Next May.

So they won't have one in the fall.

No, we funded one for this fall.

Yeah, no, they're having it for this fall.

It's the following.

Okay.

Agenda item number 10.

26-0174-CLC 1.

Discussion for possible action regarding approval of a grant request for $36,000 by Juneteenth, Nevada for the planning of the Miss Juneteenth, Nevada, a year-round history education initiative honoring Las Vegas Trailblazers event and authorizing the president to execute the grant agreement as approved by the city attorney.

This impacts all wards.

Welcome and would you please state your names for the record.

Hi, good afternoon.

Good afternoon, and thank you.

My name is Marquis, and I'm the director for Miss Juneteenth Nevada Scholarship Program Pageant.

I am Deborah Evans.

I am the president of Juneteenth Nevada and the Vice Chair and Director of National Uh Communications for the National Juneteenth Observers Foundation.

Thank you so much for being here.

Thank you for having us.

Good afternoon, Commissioner and Mayor Berkeley.

This afternoon, we as part of the Miss Juneteenth Nevada Scholarship Program as part of Juneteenth Nevada as a 501c3.

And we've been developing young leaders through education history and cultural pride.

We are here today because Las Vegas has an extraordinary history, and too much has an extraordinary history, and too much of it has not been told in public spaces.

We'd like to change that with the commissioner's support.

We bring history to thousands of Las Vegas residents across our entire year of programming.

Over the past four years, we have also used our media, television, and commercials to reach the community.

Second slide.

Okay.

And moving into Fremont Street and the Old Vegas Mormon Ford and the West Side Community and Harrison House.

And the center of it of the story are the people who built this city alongside of its founders, women like Mother Helen Tolin, Ruby Duncan, and Dr.

Saran Knight Preddy.

Men like James B.

McMillan and the families who live on the West Side when no other choice was given to them, and who built beautiful, beautiful homes and history on the West Side anyway.

These people are not footnotes to Las Vegas' history, they are Las Vegas history.

And right now, most young people in the city and many of adults have never heard their names.

Our first is the scholarship program pageant and our community celebration of Juneteenth.

This is our flagship public event, a free community celebration where our participants, which are our ambassadors, present research on Las Vegas Trailblazers, and where they debut our historic historical display panels and such during the pageant.

We have screened and video play during that time.

Our second is our Empower Her, which is a Black History Month Education Summit in February, and a full workshop that has panels as well.

This event, these events put our Las Vegas Black History at the center of our national organization, the National Juneteenth Observance Foundation.

The third is our Empower Her Women's History, which showcases our trailblazers in March for Women's History Month, and it includes a gallery of style panel exhibits.

Again, when I speak of the participants, I'm speaking of our ambassadors, which are our young ladies in our Juneteenth Nevada program.

It serves as a public combination and a report to the commission.

Throughout the year, the participants, the ambassadors complete eight structured workshops in the Los Vegas of Las Vegas history.

They conduct original research and develop educational materials that remain as a public resource long after the grant would be finished.

I'm gonna switch our slides so I'm staying in.

Okay.

Across these three events and our year-round workshop, we estimate reaching between 2500 and 4,000 of our Las Vegas community members, youth, family educators, and residents of all backgrounds.

And this year we are intentionally expanding our program to include young men alongside young women because history was made by entire communities, not just women.

Including men makes our history more accurate and our program more impactful.

The historical display panels, educational booklets, and digital resources we produce will outlast the grant here and will be available to schools, libraries, and community organizations for an ongoing basis.

Okay.

We are requesting $32,980 from the commission, well under the $50,000 threshold to fund curriculum development, professional historical display panels, printed materials, event productions across three public events, digital content and personnel at a rate of $30 per hour.

We are also bringing $3,200 in matching contributions from our organizations and community partners because we believe in this program enough to invest in it ourselves.

Every dollar goes directly to history, education, and public programming.

There's no food, no furnishings, no ineligible expenses.

We have thoroughly read the guidelines carefully.

Okay, empower her.

I'm a few slides behind.

Okay, historical lasting.

Okay.

Okay.

That's our community impact.

That's what I was just talking about there.

Okay.

And finally here.

Las Vegas turns 121 years old this year.

It is an extraordinary moment to ask whose stories have been told, whose stories have we told, and whose stories haven't we told.

This program answers that question with action, not intention.

We are asking the Las Vegas Centennial Commission to invest 32,980 in a year-round public historical education initiative that will reach thousands of Las Vegas residents, produce lasting educational resources, and ensure that the names of the city, true trailblazers, are never forgotten.

Mother Helen Tolin is one of those Ruby Dunction Ruby Duncan is another.

And they all should be known to our young people here in the city.

The Harrison House that deliver that deserves to be more than just a landmark.

It deserves to be a lesson.

So we are ready to make that happen.

And we are grateful for the commission's consideration for our grant request.

Thank you so much.

Are there any questions or comments from members of the commission?

Mr.

Stoto.

Just a quick question.

I noticed that uh in your budget you have uh a certain amount of few thousand dollars for photography, uh video and so forth.

Have have you you have past events been recorded as well?

Yes, sir.

And and uh how far uh what kind of what would if I were to look at last year's video, what would I see?

So last year, the programs that we're talking about.

I have been working with Miss D in Juneteenth, Nevada, for the last three years.

So each of those empower her as well as the scholarship program pageant, they are all videoed and on our website now, so you can actually watch the programs in their entirety.

Okay, that's that's good.

Because the question is in looking down the future, whether or not there's an opportunity to put a long range or a long form of gathering all the years together and and and doing something.

Okay.

Uh beyond that, the the only thing that kind of gave me a little oodge is that this is we're selecting a queen.

And that just seemed to be a little, it's not a beauty queen, but what it's selecting the queen.

Uh the the celebration of what took place um and and what's being celebrated clearly brings tears to one's eye if you really think about what was what took place then.

At least the law changed.

Reality didn't change right away with on that day.

But the question of selecting a beauty queen and so forth, that kind of struck me.

Well, and and that, but then you answer my other question is you're also bringing men into this.

Yes.

Could you go a little more into that?

Of course.

And I'll pass it over to Ms.

D in just a second, okay?

So, with just so you know, the scholarship program with our young ladies, yes, it's set on a pageant platform, so we have a queen, first runner-up, second runner up, but they all transition from delegates to ambassadors, and they all participate in the program for an entire year.

So we're not competing against each other.

We just have to have a person that sits in that helm position.

Bringing the young men in, we're looking at now, of course, adding them, and Miss D is going to look at the Buffalo Soldiers program so that we can educate our men and also have our men mentors that can teach them that history of our U.S.

college.

You know, what's interesting is during the pageant and on a pageant platform, you do invite other sashes, so to speak, to come, and we have had kings show up to the platform.

So if you look back a few years, you'll actually see on the stage a panel with a man with his crown on because men do have a lot of people.

I'm gonna make a motion to approve, but one last question.

Will we see you next year asking for additional funds?

You will uh see us asking for a different program for next year.

I am already working on a separate program.

Uh over the 20 years that I have had this the organization, we have recognized 50 or more pioneers of the of the community.

And I will be next year.

I am looking at expanding that portion to produce some written uh booklets or pamphlets on the 50 people or more that we have in our history, which will then be used by the the Juneteenth, uh Miss Juneteenth and the Buffalo So the Junior Buffalo Soldiers programs that will be developed.

Now, Miss Juneteenth is an educational program.

It is not a beauty contest, there isn't there are no bathing suits.

They must learn the three documents of freedom.

We teach them general order number three, uh the emancipation proclamation and um amendment 13 so that they learn where they come from and why they have their rights now that they did not that their ancestors did not have.

Uh, we also will take them into the 14th and 15th amendments where everyone became with their voting rights, but we also understand that freedom has not been free.

Uh, but Juneteenth is an equal uh title program to the 4th of July, the uh Christmas.

It is a federal holiday, it is an orphan program.

People really do not know what Juneteenth is, and we are trying to uh we're looking at the myths that were told improperly, such as uh we were told that General Granger rode in on a horse and went up on the balcony to declare freedom.

We found out he came in on a ship.

Uh that was posted on the door of the church.

There were 9,000 black soldiers there where they said that blacks did not fight for their freedom.

These are the things that we are trying to bring forward, uh, not only to the the next generation of leaders, but to their parents because their parents, the generation after myself did not get this information, and my generation got it incorrectly.

So we are doing research.

We are going into the the newspapers from the 19th and 18th centuries to pull up some of the stories as they came.

We are investigating uh the stories from the ancestors uh that they that they told to their descendants.

So this is where we're going in Nevada.

I came out here for a vacation.

So I'm here.

Nevada held on to me, and now it's it's my city.

And I know I'm still a newcomer every 20 years.

I understand that.

But the children we had we're working with, they have no knowledge of any of this.

Uh, because I didn't have it wasn't taught when I went to school, it was not taught to their parents.

So we now want to bring them to the future to let them understand that there the descendants had to work for their freedom, had and that we have contributed to every part of this country's freedom and Nevada.

Uh and we're right now I'm looking, I'm trying to get information.

Perhaps someone here can tell me.

I'm looking for the names of the other two uh boarding houses in addition to the Harrison House because I can't find it anywhere in records.

But it said that there are three boarding houses.

Maybe I'll help you with that.

But I would like to make a motion to approve item 26 0174-CLC one.

Um is there a second?

Second.

All right, let me add a let me ask a question.

According to the agenda item there, uh the request for 36,000, but uh in the conversation it was 32,982.

Is that what you're asking for?

That's what we were asking for.

The 3200 additional was the money that we have uh looked at our partners and are saying that we will put into this.

It will be in kind in in most cases.

We do we will we we have operated with no funding outside of our organization for 20 years.

This is the first time we have come to you.

Yes, you do, and we thank you for that.

Thank you so much.

Um, you know, so you're asking for 32,000.

What we have lived on, and we need to expand.

As I said, no one knows about Juneteenth.

So to be able to do that.

Oh, I'm very excited about this.

I just wanted to clarify the motion at 32,000 or 2000.

32,000.

32,980 dollars.

So my motion is for 32,982.

That's it.

And that is the second.

All right.

All those in favor of agenda item number 10, please say aye.

Aye.

Anyone opposed motion passes.

Thank you, ladies.

Thank you so much.

Yeah.

And I look forward to seeing you at the fashion show and crowning the queen, who will not be in a bathing suit.

That's correct.

That's correct.

In fact, I hope to see you before then because I do want to bring the flag down.

Uh I hope we will be able to have it up for the 30 days again this year.

I did not have uh did you make an appointment with the office?

The sooner you can come in the better.

All right, okay.

Thank you so much.

Thank you so much for the commission for your help.

Agenda item 11, 26-0177-CLC one.

Discussion for possible action regarding approval of a grant request for $53,766.10 cents by the Urban Chamber Community Development Corporation for the costs associated with the restoration project of the historically listed and aforementioned Harrison House and authorizing the president to execute the grant agreement as approved by the city attorney.

Uh, this is in ward five, but affects all of us.

Welcome, and could you please state your names for the record?

Um, my name is Rashawn Baldeo.

I'm Catherine Duncan.

Robert Bazak.

Uh, first I want to say good afternoon, Madam Chair, and to all of the members of the commission.

It is both exciting and a little nerve-wracking to present in front of you all today.

Um, as uh was just stated, we are requesting a grant for um the Harrison House.

What is the Harrison House exactly?

Um the Harrison House is one of Las Vegas' most important historic sites connected to black entertainments, segregation, um era travel, and the cultural history of the historic West Side.

Preserving this building protects not just a structure, but a living piece of Las Vegas history.

A lot of the times history ends up behind glass.

It ends up in places that is hard to reach, places that we see but can't really touch, breathe, or feel.

Having buildings like this still stand and be restored to their former glory helps us to re-learn, relive the history that they represent.

Not only that, but it teaches future generations on how to build upon a legacy that's already there.

So with that being said, what exactly are we trying to restore at the Harrison House?

So currently we have about, I think it's seven windows that we'd like to fix.

These windows aren't in the best of shape.

And what we would do is we would fix them to be um up to historical standard um measurements.

Uh, these are the photos of two others that are that will be fixed.

Uh we also are going to replace um, I think it's about five windows.

Um these windows are also going to be matched with the historical um significance of the house and make sure that they stay within the era um that the house was built in.

Um these are the other three windows.

Uh we'll also have three doors that we are going to be um replacing as well.

Um there are I think two externals and one internal um of pictured here, yes.

Uh, and then these are the door options that are going to be possibly used.

Um there also is going to be the external of the house will also be painted, um, as well as the chimney will be restored.

Uh so these are really the the the restoration things that need to take place at the house, just in a little bit of generality.

Um there are there is extensive work that does need to be done in terms of the interior and exterior to get these things done.

Um but we can go a little bit into a little bit more detail um with personnel descriptions, um, in terms of what the grant will cover in terms of uh um paying personnel.

Um we'll also have these are the contracted descriptions um and what they will cost.

Um, in total, the total amount of the restoration will be 120,000.

Um today, however, we are requesting 53 from the grant from the commission, sorry.

Um yeah, uh and this is going to this is the breakdown of what the grant will cover as well as what other funding sources will have to cover to complete the entire restoration of those things.

Um the whole house would be does need to be restored.

Um, it is a very important piece of Las Vegas um culture.

Um that does that I really think holds a special place in a lot of people's hearts.

Um but why?

Why are we doing this?

Because we can restore buildings all day long, but they they're they're just gonna be money suckers, aren't they?

They're just gonna have to be restored in the next couple of years.

So, what is the real reason to preserve history, to preserve Brooks and Mortar?

The Harrison House is also putting on programming.

These are going to be things that don't just elevate the community but also bring tourism to Las Vegas.

Um, it's building upon the legacy of those who have already stayed at the house, such as Sammy Davis Jr.

and Nat King Cole, um, Ella Fitzgerald, Joe Lewis, um, Harry Belafonte, just to name a few.

And what it is right now is um we are doing several different things, free community events such as Mulan Nights, which we successfully pulled off this last past March 25th, um, and we are doing again this May 24th.

I would love if um the commission would allow me.

I do have some invitations that I would love to present as well.

Um we're also gonna be doing some stuff like off the porch, which is gonna be um musicians rotating, coming on, playing and doing different types of stuff.

We'd love to do free workshops for our community, teaching people not just the art of music, but also the business of it.

And also, how do you survive in um a city of entertainment where there's so much opportunity?

How do you become a successful artist?

Um we want to do health and wellness, we want to do networking and fundraising, um, vocal lessons, dance choreography.

We want the Harrison House to be a space that artists can come, live, breathe, and learn.

We want it to be not just a place of entertainment, but a home.

Just like it was a home in the 1950s and the 1940s for performers on the strip.

We want it to again be a home for performers in Las Vegas of every color, race, and creed.

So, with that being said, I would love to play a video.

I do not have a play button on this um remote, however.

Oh.

Um, if there is a video embedded in there, Jeff will play it.

Okay.

It comes across as a PDF and no PDFs are allowed to embed.

I sent it as a PowerPoint and a Canva link as well, if you have those in the email.

I only received the PDF.

Okay.

I would have loved to show you guys this video to show you what we can do.

You know, um, but this was March 25th.

We we did a uh a very successful day in the morning.

We commemorated the end of segregation in Las Vegas, and in the evening we had a celebratory um event where we had uh a lot of local artists, a lot of local musicians, they played off the porch.

It was like uh it felt very much like a professional barbecue, you know.

Um, really good music, really good sound system, but still that family wholesome vibe of gathering in someone's like front yard and really just experiencing um life in moments like that.

So, with that being said, I would like to thank you for your time and if you have any questions.

Thank you so much.

Um, Senator Bryan.

There is absolutely no question that's a critical part of the history of Las Vegas and what occurred there.

Uh, some of us remember from our own childhood experiences.

Uh uh two questions.

None, who owns the property and who would be responsible for maintaining it.

I've been there in all the construction improvements, not improvements, but actually improvements is the sense that it needs to be done.

And what you say about the windows and everything else, no question about that.

So the money is not an issue for me, the need is not an issue for me.

The history is clear beyond who owns it and how is it going to be maintained prospectively?

Who can the city turn to and say, wait a minute, you committed us to do that?

That's that's a the thrust of my questions.

Oh, yes, so Catherine Duncan is the um owner of the home.

The Harrison House charity enjoys a 99 year lease on the property.

And upon my demise, it will go into get posted in the bike one of the other.

Okay, so Catherine Duncan is the legal property owner.

So you're the owner.

That's me, yes.

Yes, and um the Harrison House charity who Rashawn represents, it's a 501c3.

They have a 99 year lease on the house.

Um we um have the house open every day for tours between um 10 and 4, and all the money that comes in from the tours go to support the charity and the cultural programming.

But I am responsible for the um construction and the upkeep as the private property owner.

Uh Chairman, my question follows the senators and to some degree is you mentioned that uh uh you want artists to live there potentially and performers to live there potentially.

Does anybody currently live in that house?

Yes, Catherine Duncan still enjoys it as a private residence, primary residence.

You can come and knock on the door anytime and you'll catch me.

One of the things that what that we uh so do you pay the uh I'm so this is a private owned uh building, and this is your building.

Yes, and you live there as at your home.

Are so there are other rooms for artists or so um I wasn't sure if I did necessarily say live there.

Um I don't really mean like live there permanently or have it necessarily as a boarding house.

What I more meant is um you know, like how someone says that my home is Capitol Records because that's where they are able to produce music from.

I would love for people to say, like, oh yeah, I come from the Harrison House.

Like I had a gift of singing, I went to the Harrison House, they were able to train me, they're able to give me workshops.

I took it literally what you did when you sent people uh I I could add to that before the regulations change, we were offering Airbnb nights in the Sammy Davis Junior Suite.

But we ran into some issues with the whole Airbnb rules, but the way the house is situated, I'm perfectly isolated from the public space because of how the house is architect.

How many square footage is the house?

So the main house is 1700 square feet, and the cottage is 600 square feet.

And my last question is that uh there is while there is uh other elements of what's going on with uh preserving that and and not cleaning it up, but I mean getting things structurally sound.

You talked about landscaping, but there is no request from this commission for any landscaping.

No, I am currently working with a local business who um on March 25th did donate in kind turf.

Um, and we are currently working with them to see if they would like to complete the landscaping on an in-kind donation.

And my last question is there's a a uh a justice uh 40 initiative referenced here are you have you applied?

Are you getting any money from the Justice Boarding just wondering?

Justice 40 was a part of the Opportunity Zone and Jobs Credit Act, and what it does, it allows outside investors to invest in these opportunity zones and defer their uh tax liabilities.

So the last the money that I got invested to be the upfront money to get this work done came from an opportunity zone investor.

Thank you.

And if Mills for the record, just a clarification for me, what was the date of segregation ending in Las Vegas?

Officially it was March 25th, 1960 when the meeting was held.

There was no official document signed, however, there was a meeting at the Moulin Rouge that was mediated by Robin's father-in-law, Hank Greenspan, where the governor, sheriff, um, the major hotel owners all came to a meeting at the Moulin Rouge and um agreed that the practice of denying accommodations to Negroes would cease, and that what's the Moulin Rouge Agreement.

March 25th, 1960.

Mr.

Career.

Thank you, um, Madam Mayor.

So I have a couple questions for you.

One, a couple years ago, you came in front of the commission, and you asked the commission to give you 25,000 to fix windows.

Yes.

It that item was going sideways.

And I hold on.

I will speak, and I'd appreciate if you wouldn't interrupt me.

And so it was going sideways.

We I remember having conversations, we fought.

I personally, I remember the conversation, fought, and helped get my fellow commissioners on board to vote in favor of giving you 25,000 to fix windows.

You did nothing with it.

And if I'm correct, that might that it was never utilized and was never used.

Correct.

Okay.

So now you come back a couple of years later, and now you want 50 semi thousand dollars to do windows to do some other improvements.

And so I'm I'm unsure of how hold on, please let me finish.

I was unsure how an entity that you come to for some has invested in you previously, you didn't get it done.

What makes you think you're gonna get it done now?

And it was also discussion about if the commission should be supporting the Harrison House.

You live there, it's your personal home.

Are we doing this on the ospice of giving you new doors and windows for your home?

Are we doing it on ospice of really the the um for the Harrison House and what it is meant to be?

It there's a there's a fine line that is here, and I don't believe that we have funded any project that was really personal residence or personal something of somebody's it's more been um globally for support of Las Vegas and the history of Las Vegas, and so I'm I don't understand how you plan to use this money if you're gonna use it efficiently, and if you didn't get it done the first time, what makes you think that this commission should trust in you again?

I'm done.

Okay, so thank you for that.

Those two great questions.

On the first $25,000 that you awarded, it requires is a reimbursable grant.

Which this one will be as well.

Absolutely.

So on the $25,000, I didn't raise $25,000.

So prudently we did not accept your funds because we didn't have the money in the bank.

But now we're requesting $53,000, and I took out a $74,000 loan, which I have in the bank.

The Urban Chamber Community Development Corporation will be the fiscal agent.

They will, I'm giving them the money, they're gonna put in their bank account, they'll pay the contractor, and then I'll get reimbursed.

So we're and on the second question, I don't believe there's anything in your bylaws or your rules that says the property has to be, it can't be a private property.

So you you're saying that uh you got a really a short-term bridge loan and using a commission to become your sort of long-term supporter of the project.

What we're saying is that we're asking the commission to help us preserve a property that's listed on the city, state, and federal registers of historic places because of the importance of the property and the history that it tells.

Under the roof, it's where we have tours, and we have humanities program, and we teach people how to deal with racism.

We teach people how to understand what happened to African Americans there in their history of Las Vegas.

The fact that I live there as my private residence makes it even better because I am a historian and I'm able to conduct the tours, and it makes it easy for me to get to work every day.

And something with the programming as well is um when the Harrison House was fully operational and up and running, the owner did live there.

So it's a huge selling factor as well with programming, where I've said to people the owner actually lives there, like you can actually talk to her.

Like you can actually like ask her questions when you come over to the Harrison House.

It has actually aided in getting people a little bit more interested in what's going on there.

And I do believe this commission has funded and continues to fund private property.

For example, the Hunter's Theater.

The Hunter is private property.

Private commercial property or private residential property.

Well, the difference between private commercial property that is versus a private residential property.

Yes.

That's not the same.

No, that's not apples, apples.

Thank you, Mayor.

Thank you.

Could I I'm sorry, I'll uh do you mind if I call on he's had his hands?

Of course not.

All right, but always you will be next.

To yield the floor.

I was gonna pass, but I think Cedric asked uh what I was I remember so well when you came a couple years ago, what we committed then, and then not seeing anything happened, very disappointing.

And when I saw you come back, and then oh boy, here we go.

Yeah, it's hard to borrow money when you live on a social security check, and in my neighborhood, um you know I have to borrow very expensive money to get this project done.

Very expensive money.

Before I call on uh Senator uh Brian, um let you return the 25,000, didn't you?

I never took it.

You never took the 25.

Okay, because you couldn't match it.

Couldn't couldn't, I didn't have to have it up front.

Thank you so much.

Thank you for that.

Um Senator.

Yeah.

Uh Commissioner Career raised a couple of questions in my mind.

It's a it's private property, you live there, and there's some type of a commitment that there is a explain that to me, and I want to ask our city attorney, what kind of relationship between you and the organization that is apparently a 501c three, as I understand.

The city attorney have you reviewed those documents at all?

Uh Jeff Dorkak City Attorney, we have the actual grant agreement, but if you're talking about uh a contract between the homeowner Ms.

Duncan, and then the chamber, I have not seen those documents, no, but I Dr.

Siebrand says she's well, I'm not trying to be difficult, but let us suppose hypothetically that the 50C3, whatever, uh you know, two years from now simply falls, then in effect, this goes back to uh Catherine and what assurance do we have that it will be continue to be used for that function when now if the hypothetically if the 501c3 says I we just can't support it, we're just not getting enough generated support.

That concerns me a little bit because the default provision would be is uh commissioner career, right?

You know, we've in effect funded a private residence for an individual who's been a good part of the community and a wonderful human being.

But that that kind of gives me the the he big jeebies, as we used to say.

Um for the record, if I could add in here, I just wanted to um clarify the um grant that was awarded in uh uh 2020 for the 25,000, there was about 6,000 of that collected um and re uh we paid to Miss Duncan for some of the work uh with the then um architectural historian they were working with.

Um but the money never was given to Ms.

Duncan, um, so we had to terminate that grant in 2022 because the work wasn't um she wasn't able to do the work.

Um just to clarify that one.

As far as this current grant, and I just want to make sure um Ms.

Duncan is aware of this.

This the applicant is the Urban Chamber Community Development Corporation, so we are not giving Miss Duncan money.

The money has to go to the Urban Chamber Community Development Corporation, they are the ones that will need to pay the contractor, and then once they show proof of payment to us, then we pay the urban um chamber back.

So it's not Miss Duncan's money.

Um there was an MOU that has been signed between Ms.

Duncan and uh the chamber that says that.

Yeah, that as far as that they are taking over, um assisting her with the restoration of the property.

Uh are there any uh yes uh councilwoman?

Thank you, Madam Mayor.

Um so just so you can educate me, Dr.

Seabran.

Um this I just heard that it's on all registries, city state, national.

Um so does the modifications and the changes come before the HPC before they're executed?

How do we ensure because my concern is how do we ensure that the TLC that the historic home receives is appropriate and maintains the integrity of the house for its time period?

Stephen for the record.

So yes, they did come before HBT HPC for their certificate of appropriateness application, which we did um approve, and it is in the backup to show that um it has the approval of the HPC.

Ms.

Duncan is also required to get the approval of the state historic preservation office because it also has covenants on it from uh state money.

Okay, Mr.

Stodal.

If I understand correctly what because I uh having served on a another funding uh committee on the state level, the Harrison House uh asked for and was given a grant of 98,000, but it had to be canceled when it was determined that it was a privately held building.

Are we are we setting up a system to where private buildings uh that wouldn't be eligible unilaterally, so to speak, to get a grant, all they have to do is find a nonprofit to be the filter to do that, and then they can get that money?

Uh uh, or is there what what I'm asking for is there some filter, these human beings live here.

So that's that's that's not the issue.

The the the question is, are we setting up some sort of a one-two-three that people now can say, well, that's the way we could get this private property all fixed up and getting a grant, we'll just go get a nonprofit to to be the uh the the cycle to get that money.

I do we have any precedent or are we in fact setting a precedent?

Uh Jeff Dorcock, City Attorney.

So as you were speaking, uh Mr.

Sole, I was asking uh Diane the grant guideline question, which I think is the start of what you were asking, which is can a private owner come here and make a request?

And I think we you uh everybody agrees yes.

There is as long as it meets our definition within the Centennial Commission for the use of the money, and that was mentioned by uh Ms.

Duncan during her presentation.

So to your question, is it a loophole for us of some sort?

No, because you could be private and come here anyway.

Um in terms of your and member Brian's question, that's ultimately a policy call and consideration for the full board.

When you get this nonprofit situation involved, are you concerned with it?

Does it uh cause you heartburn and maybe you don't want to approve the money?

That's totally within your purview and your policy uh decision.

And the other thing I've got my head for slow over the record is the Bricks and Morder policy where there's a matching matching fund in the city will match fund for a private uh uh a private uh building.

Um thank you.

And I just want to add one other thing that there are covenants placed on the deed, so that we have to perform the work.

The covenants are already on the deed, so we we don't have a chance to covenant from who the covenant city has covenants against the deed, the state has covenants against the deed.

And um yeah, so there are covenants placed against the deed on the property.

I'm getting a very uh nodding of no.

So Seabrink for the record, the city doesn't place covenants on our properties.

The reason why there's covenants on the Harrison House is because of the grant you received from the State Historic Preservation Office, and they put the covenants on there to ensure that you maintain the property um with the money that they provided you.

But we do not have covenants.

And um, if I may, before um as we vote on this, we'll call for a vote.

Um I I'm very excited about this.

Um the Harrison House has um uh tremendous history, all not good um in this community where uh incredibly talented performers could uh perform on the strip, but they couldn't stay there because of the color of their skin, which I find so incredibly important, but it's so much a part of our nation's history.

The fact that we have this um uh uh this building, this home that um uh very famous people stayed in uh because they had no alternative when they came to Las Vegas to perform, is uh very meaningful to me.

I would like to see it fully restored and and uh and make a uh a serious uh not only attempt but to seriously showcase this property and the fact that you live there, um that does not bother me at all.

And I I could see where if you're conducting tours to have the woman that actually owns the house now be able to give tours and and have uh uh an understanding of the history of that uh of that um uh home, I think is is very good.

So um I am gonna oh I can't call for the question because there is no question.

Do I hear a motion?

Um if if um possible, I did find a way to play the video for my laptop.

I would love to show you guys if possible.

Okay, yes, we'd love to see it.

Yeah, I only got it once looking at nobody's rushing to your assistance the other Jeff.

Oh, he can put it easy to be in my own.

Oh, perfect.

Well, we're doing this.

I mean, we're not restoring it, this building to the way it was in 1948 or 46 or 47, because that was a terrible building in those days, and what Mrs.

Harrison attached to some of those, and you know this better than I do.

Her history is terrible work.

Her history is colorful as well on how she charged outrageous prices for some of those rooms.

So uh there's some opportunities for that story to really be fully told about the rooms and whether it was Rochester, Eddie Anderson.

Oh golly.

Um or Sammy Davis Jr., they had some issues with Mrs.

So we do plan to come back for some help so we can help curate the property to make documentaries, tabletop books, but we thought that it would be great to just um preserve the actual physical asset first, and then um get it to a space where you can be climate control, be cool inside, and now that Rashawn is here, we're starting the cultural programming.

Do you know the names of the other two houses?

Um the Shaws and Cartwright.

The young lady, young lady before.

And um and we didn't mention that it's also a green book destination.

It's in the green book.

It's in the Negro Motors Travelers Guide.

That's what makes it different.

Yeah, absolutely.

Um, do I have a motion?

You're good to play the video.

Mr.

Mowbray, what is your motion?

Is there a second?

No second.

All right.

Um, all those in favor of the grant request for $53,766 and 10 cents um uh by the Urban Chamber Community Development Corporation, please say aye.

Any opposed motion carries.

Congratulations.

Thank you.

Do you want to show the video now?

Um, yes, let's see the video.

I want my money's worth, yes.

Like that.

What the world needs now?

Sweet love.

It's the only thing that's there's just two little love.

What the world needs now is love, sweet love.

No, not just for summer, but for everyone.

We don't need another mountains.

There are mountains and hillsides enough to climb.

There are oceans and rivers enough to cross unless the end of time.

What the world needs now, sweet love.

It's the only thing that there's just too little love.

What in the world needs now is love.

Thank you so much.

Thank you.

And Mark March May 24th.

May 24th on your calendar because it's the 70th birthday of the Mularus.

Oh, heavens.

Thank you so much.

Agenda item number 12.

A short report by the executive director of the Commission for the Las Vegas Centennial regarding completed and current projects and announcements relative to the Commission for the Las Vegas Centennial.

I know it's getting late.

I'll be quick.

For the record, Centennial projects, as you can see.

They're either in progress or coming up, or they will be giving their reports at the next few meetings, upcoming meetings.

This Saturday, 6 p.m.

Everybody was sent an invite, and only two members of this commission answered that invite.

We understand that it could be a no because we know that it's graduation season and there's a lot of things going on.

But please send Teresa an email if you are coming or not, because we have to um consider our catering, our valet parking, um, the theater space.

So again, even if you can't come, please answer in the negative.

Um, and I'll stop erating you about that.

And then uh the last update I have were our historic preservation commission.

We have um our awards luncheon on May 27th because it is, of course, Historic Preservation Month.

Everybody was invited to this awards luncheon, and do we have any no?

We have no responses from this commission.

So we would love okay, Bob's well, Bob's on HPC.

So we would love for you to be there, and again, we need the numbers so we can account accurately for how many guests we're going to have.

And this is a way to actually meet um many of the individuals who have received grants from this commission from this board or have done projects, and a great chance to talk to um other people and mingle a bit.

So I have nothing else unless there are questions.

No questions.

Thank you.

And would you do me a favor and get in touch with Kim in my office, make sure it's on the schedule?

Yes, absolutely.

Thank you so much.

Thank you.

Agenda item 13, discussion regarding topics for future agenda items.

Comments made during this portion of the agenda by individual members shall refer slow solely to proposals for future agenda items.

Any discussion shall be limited to whether or not such proposed items are within the purview of the commission and or whether such proposed items shall be placed on a future agenda.

No discussion regarding the substance of any of the proposed topics shall occur, and no action shall be taken.

Do any of our members wish to speak under this agenda item?

Please.

Secondly, based on discussion that we had with the documentary makers, I think it's important working with the city attorney's office that we develop a set of guidelines for the use of AI generated material for the historic documentaries.

There's so the answer is it has to be uh uh there's likely other AI elements in the city, but this is particularly one with a focus on on historic documentaries.

Thank you.

Jeff Jeff Dorcak City Attorney, we're always trying to get ahead of Stoldall.

So we have the election.

I believe Diane's gonna have that on for July, and we she's already as our office, and we're looking into the AI component as well.

Great.

And if I can help with the AI in any way, please let me know.

Anyone else wishing to comment?

Then we will go to agenda item 14.

Citizen participation, public comment during this portion of the agenda must be limited to matters within the jurisdiction of the commission.

No subject may be acted upon by the commission unless that subject is on the agenda and schedule for action.

If you wish to be heard, please come forward, give your name for the record.

The amount of discussion on any single subject will be limited to two minutes.

Seeing nobody, this meeting is adjourned.

So we got a lot of work.