Thank you.

Chair, staff is ready when you are.

Good afternoon and welcome to the October 7th, 2024 Sacramento Arts, Culture and Creative

Economy, Creative Commission.

The meeting is now called to order.

Will the clerk please call the roll to establish quorum?

Thank you, Vice Chair.

Commissioner Tokalino?

Here.

Commissioner Wilson-Rami?

Absent.

Commissioner Winnlock?

Absent.

And Chair Enriquez is also absent tonight.

We have quorum.

Thank you, clerk.

I would like to remind members of the public and chambers that if you would like to speak on an agenda item, please turn into speaker slip when the item begins.

You will have two minutes to speak once you are called on.

After the first speaker, we will no longer accept slip or speaker slips.

We will now proceed with today's agenda.

For our land acknowledgement.

Please rise for the opening, acknowledgements and honor of Sacramento's Indigenous people and tribal lands.

To the original people of this land, the Nissanon people, the southern Maidu, Valley and Plainwants, Miwak, Patwin, Winton peoples and the people of the Wilton Rancheria, Sacramento's only federal recognized tribe.

May we acknowledge and honor the native people who came before us and still walk the scientists today on these ancestral lands by choosing to gather together today in the active practice of acknowledgement and appreciation for Sacramento's Indigenous peoples.

Indigenous peoples, history, contributions and lives.

Thank you.

I pledge allegiance to the flag of the United States of America and to the Republic for which it stands one nation under God, indivisible, with liberty and justice for all.

Thank you.

Thank you.

Our first business today is approval of the consent calendar.

Clerk, are there any members of the public who wish to speak on the consent calendar?

Thank you, Vice Chair. There are no speakers for this item.

Thank you. Are there any commissioners who wish to speak on this item?

Okay. Is there a motion and a second for the consent calendar?

I move.

I motion.

Second.

Thank you. I have a motion by Commissioner Blair and a second by Commissioner Narono. Will the clerk please call the roll for the vote.

Thank you, Vice Chair. Commissioners, please unmute. Commissioner Anderson?

Aye.

Commissioner Lamelli?

Yes.

Commissioner Martino?

Yes.

Commissioner Narono?

Yes.

Commissioner O'Haboo?

Aye.

Commissioner Smith?

Aye.

Commissioner Tokalino?

Aye.

Commissioner Wilson-Rami?

It's absent.

Commissioner Winlock?

Absent?

And Chair Enriquez is also absent.

Thank you, motion passes.

We'll now proceed to the discussion calendar.

Item number one is.

This one.

This one.

This discussion calendar.

I'm just interested.

Creation of Entertainment Services Division under the Convention and Cultural Services Department.

Good afternoon, Vice Chair, Commissioners.

My name is Dustin Hollingsworth. I'm the Assistant Director of the Department of Convention and Cultural Services.

And I also head up our new Entertainment Services Division.

There we go.

Perfect.

Earlier this year we brought to you the Sacramento Music Census and an in-depth look at the regulatory review,

quite frankly a very long in-depth look of a bunch of PowerPoints.

I promise it's going to be a little less painful today.

In tandem with that, we did the regulatory review.

At the same time, the Office of Innovation and Economic Development, our partners over here,

Tina Lee Voughten, John Adair, they worked on the Sociable City Plan.

Those two frameworks provided a lot of guiding information for the city as far as it approaches,

entertainment, and how it permits entertainment.

The regulatory review, again, I'm not going to go through all 16 recommendations in paying staking detail,

but it outlaid these 16 elements.

Now, interestingly, the Sociable City's assessment had these eight as duplicate of efforts

that were recommendations to the city in order to follow up to improve the entertainment environment

and the ecosystem to really promote good entertainment within the city.

I'll get into a little bit more detail about what we're speaking of when we're speaking of entertainment.

Of those, these items with checkmarks are the things that we're already working on.

Number one right at the top, you can see, is the creation of an entertainment services division.

That's really, was our number one fraud scale thing that we jumped on.

Back in June, Council approved the creation of the entertainment services division with the city's budget,

and that's why we're here today is really to talk about that number one item.

So, entertainment services.

Prior to June or prior to July 1st, the city had three separate functions for special event permitting,

and for what's called entertainment permitting.

Special events, anything in the right of way, it's in the public spaces,

and whether it's public or private parties, whatever it is, if it's on public land,

then it does fall within special events.

Anything over 200 people with alcohol amplified sound, those are kind of the components of what makes up a special event in the eyes of the city.

And there's a very detailed permitting process for that.

Similarly, and again, that was made with youth parks and community enrichment,

otherwise known as parks and rec.

Inside the Office of Arts and Culture was the film permitting division,

headed up by Jennifer West, who's our film commissioner.

And she permitted commercial filming, feature film commercials,

and that applied to both the public and private property.

If it was commercial filming, it did require a permit through that department.

The other thing that this office did really well is promoting Sacramento as a film destination.

A lot of outreach to filming in California and trying to drive business into the area,

and create a great grants program for local filmmakers.

Finally, in a completely separate department over encode enforcement, we had entertainment.

Now, entertainment refers to anything on private property,

typically applies to bars, restaurants, clubs,

current to constant menus, anything within assembly use of over 49 or more.

And the application of that could be anything.

It can be concerts, karaoke, bingo, comedy, trivia.

All of those went through the same rigorous process of entertainment permitting

if you wanted to have entertainment within your business.

So, the creation of one division took all three of these things from the three different departments.

From Yipsey Office of Arts and Culture and Code Enforcement,

we brought it all into the Department of Convention and Cultural Services.

Initially, we've established some baseline goals just to focus on in the near term,

but we're going to do a lot of data gathering, we're going to do a lot of community outreach,

and revise those goals as we're going along.

A proactive approach to Sacramento's growing entertainment scene.

Again, that was one of the key recommendations out of the regulatory report.

Promoting harmonious living.

And this is the idea that, yes, we want Sacramento to be the city of festivals,

but that has to be done so without the absolute compromise of everybody who lives within jurisdiction,

so within range.

So, having events and festivals and music and noise,

all of that contributes to the city environment.

But if we can find the ability to strike this harmonious living,

where people come to expect that this is what it is to live downtown,

this is part of being a vibrant economy, vibrant creative economy.

But then also that the producers and promoters of these events

are also being respectful of their neighbors and the neighborhoods in which they're promoting events.

That's one of our big goals.

Encouraging entertainment activities.

Again, these entertainment activities, whether it be film, special events,

or actually entertainment permitting,

they all have a place and there's a big drive within the city of Sacramento right now

to really live up to this entertainment zone to bring people in.

Strangely enough, most of these processes are done without much online interactions.

So, you're not doing it through online forums.

And this has created a lot of bottlenecks and a lot of hardships and paper processing.

So, we're actively working on an online process for all three of these

to create interaction and or to create a common point for both applicants

as well as for city staff to reach back.

And again, all these processes, because they all resided in three different departments,

all the processes are vastly different even though they have very similar structures to them.

So, we're working on economies of scale to try and clean that up

and streamline a lot of those processes.

That goes right into improving the applicant and staff experience.

We want to create a robust knowledge base and once again for applicants,

for people who are producing events, for people who own venues,

for people who want to film in Sacramento.

We want to create this knowledge base where they're able to come to a central point

and get as much information as possible without having to reach out to staff

so they can just do that search and gather the information and then come to staff

with more of a knowledgeable place.

Similarly, because there are so many different departments and we'll show you here in a minute,

because there are so many different departments that have outreach to,

or have a rather connection to these activities,

we need to make sure that city staff has access to a knowledge base

that will inform them as they're making their decisions and putting input into these processes.

And finally, we want to establish an equitable policies that incentivize compliance.

So, that's overall goals of the entertainment services division.

And click. There we go.

This is the structure.

So, again, myself, Dustin Hollingsworth, I'm the Assistant Director of the Department.

We will be hiring for a program manager to assist in overseeing the department or the division.

Melissa Romero, who wasn't able to be here today, is our special events manager.

She came over from Yipsey and has been working in special events for well over 15 years.

Leo Castro Romero, who was formerly with the city, just came back to us.

And she's poised over entertainment permitting.

And finally, Jennifer West, who I think you're all familiar with, has our film commissioner.

Reporting to you, Melissa and Jennifer will have three separate admin texts.

So, what we do.

And make no mistake.

I am not the authority by any stretch of the imagination in this room.

But the Sacramento's Film and Media Office provides location assistance.

So, when somebody's coming into Sacramento, they want to know where to film.

The film and media office has a large portfolio of options and alternatives to help them find the right location that will suit their exact needs.

Access to production information and whether that's resources for production houses or equipment that they're able to get on in hand.

And also, ordinance and regulatory information being able to keep them updated on how Sacramento may operate differently from other jurisdictions they've worked in.

Then on the flip side of things, she's established a great internship program that gives students the opportunity to get in and experience what the film industry is actually like through the city of Sacramento's lens.

There's grant opportunities for film, film, local filmmakers as well as a local film rebate program that's been established.

The impact since 2020, there's been over 375 permits resulting in 880 days of filming, 2861 local hires, 6409 hotel nights, all in all putting together for a $14.3 million impact on the economy.

The film grant program by itself for 2023 awarded 8 separate grants worth a total of $254,000 and $583 in Sacramento spend and resulted in 181 local hires.

Special events. So, speaking through the special events process, an organizer has an idea, submits for a special event permit.

And then all of these city and other jurisdictional input end up coming in.

If you want to talk about a very heavily bureaucratic process, you can see that we've got solid waste is involved, parks, police, risk management, all these different divisions and departments throughout the city play a role in determining the really how the

approval of the permitting process will go for special events. And there's a lot of reasons for that. Obviously we've got state and local laws that impact that.

We have life safety is top, it's paramount as far as the consideration for special events.

Parking, there's impacts to community, all of those things have an impact on how this is how a special event can and will function.

And that group really advises special event organizers into putting on the event that's adequate for the space or the time that they're looking at.

We do get a permit and then finish it off with the event.

The impressive thing about this special events process or special events permitting is if you look at the growth that we've had in recent years really leaning into the city of festivals, it is a significant thing.

There's going back to 2018 and 19. It was right in the thousand mark already as of the beginning of September in 2024.

We were already at one thousand two hundred thirty one permitted special events. It's a significant increase year over year and it's just the trajectory is continuing to increase.

As we look forward, the problem is the resources with the exception of this division, the resources and have an increase.

So when you talk about people in police and fire, when you talk about people in parking and traffic management and solid waste, these are all all those people that we were talking about that did review.

This is an addition to their daily duties. There isn't typically somebody who is specifically dedicated to doing special event review and analyzing the impacts that it will have on the city.

There's a great team that understands their work, but after they get through or as they're going through their list of other things to do, they hit this and that lack of resources does cause some tripping points within the process.

So the city encourages development of arts and culture and recognizes that entertainment venues do create a rich and diverse cultural experience for both our residents as well as our visitors.

Right now we have more than 70 active permits and within venues. Most of them can be found within old Sacramento downtown in the midtown.

And they get a permit for the initial permit is for two years. There is the possibility of a two year extension as long as they don't have any major violations.

Those permits are non transferable. So if they sell the business, new business owner does have to apply for for their own entertainment permit.

Along with the permit, there's a list of conditions based upon their location, public safety, health, welfare, all of those things play into the role of what the.

What the entertainment permit looks like and the conditions on it.

There are two, there's currently one other type of entertainment permit, which is a special entertainment permit and that's for a limited time period.

So if somebody wants to have a have entertainment for just a limited time period, they would apply for a special entertainment permit.

And finally, the limited entertainment permit, which is in development right now.

We're working with the Office of Innovation and Economic Development on creating that.

And it's for businesses when you think more where the use of entertainment is secondary in nature.

So a cafe that once, you know, two piece band with amplified music playing on the side that has occupancy over 49.

They go through the same rigorous permitting process as a large venue such as faces goes through.

And so we're trying to get some equity and some opportunity for these smaller venues to be in compliance but still be able to provide entertainment with, you know, to their customers.

So that is an overview of like where we are and where we're started and there's going to be many many updates to be coming forward.

But if you have any questions, I'm available.

Thank you.

Thank you.

Clerk, are there any members of the public who wish to speak on this item?

Thank you, Vice Chair. There are no speakers for this item.

Thank you. Are there any commissioner to wish to speak on this item?

You're on it too.

Okay.

Great.

Oh.

Thank you for that presentation.

I'm reminded that this was a vision of Mayor Steinberg several years ago.

And his vision was one stop shopping for permit process and the like.

And I'm all for that.

This is also part of that other greater mission to revive the nighttime economy.

And that included the permitting process, especially from music venues.

So it begs the question, is there going to be a streamlined permit process?

In vision as part of this?

Yes, there is.

And that's one of the things that we've holistically been working on.

We've engaged IT who's helping us do an analysis of the workflow for all three of these permitting processes.

And identify bottlenecks and really do a very in depth.

Get a very in depth understanding of how everything functions, trying to identify where there's opportunities.

And it's not even just streamlining the processes.

It's creating better communication both within the city and with the applicants through those processes as well.

Because we've discovered that that's one of the big.

Big concerns in the way that things are working right now is even though there's communication through things like email.

There isn't a centralized place where somebody can just go back and refer.

So yeah, that's absolutely in the works.

For a few years, there was from, there were frustrations due to barriers and bottlenecks as you just described with filmmakers that sought permits that seemed forever to attain.

And out of frustration, they just up and left.

They relocated.

Well, when they do that, that's revenue leaving with them.

So that's why I asked the question.

There has to be a component that allows for a streamlined permit process so we can retain that kind of potential venue.

Revenue rather for the city.

And it's encouraging to know that there's going to be less regulatory barrier.

Is that what you're saying?

There's going to be less regular.

We're hoping to identify places where there are unnecessary regulatory barriers.

My other concern would be a curve.

If you mentioned that, uh, uh, uh, given, you know, city of festivals and where they commonly occur where others were otherwise reside.

There's always been the, uh, concern that, oh, it's going past 10 o'clock.

And, uh, I think this used to be a greater issue in old Sacramento.

And so, look, well, there's people that live there because apparently there's kind of many of our apartments there in old Sacramento.

And the complaint was, well, it gets loud.

Of course, look where you live.

You know, it's a tourist attraction.

You know, there's no way you can have a common stream of commercialism, tourism, entertainment, and have it all done by 10.

No, so I would hope that would be something else you would revisit to extend the curfew on live music beyond 10 o'clock, 10 p.m. rather.

And we're, you know, ultimately we will be going to council and very possibly in front of this commission as well.

Um, to seek really there after we have a list of recommendations to seek, you know, how they would feel about the ordinances that are in place and alterations to those ordinances.

And there will be a fine balance, especially in residential areas.

And there may not be a one-size-fits-all response to it.

But we, I will tell you that there's nothing that we're not willing to look at at this point, including, you know, curfews.

Thank you, 10.

My question's more in regards to the limited entertainment permit and what the actual timeline is for that because a lot of people in my district, D2, are wondering about that.

We are definitely hoping to get it launched by the end of the year.

What we don't want, didn't want to do is we didn't want to get ahead of it.

As I said, Leah, who's helping us spearhead entertainment permitting right now, right now the process is still residing within code.

Entertainment permitting in general is still residing within code.

We are working on that transition, training her in the current process so she can pick up the, so she can pick up the application process of the general entertainment permit.

We didn't want to launch this entertainment, the limited entertainment permit without having resources in place to basically take on the additional work load as it came in and just have it fail from minute one.

The person who's doing most of the entertainment permitting right now falls into the exact description of other, you know, that is another thing that they do.

I believe they lead a staff of 17 people on top of a list of other things and their actual time that they're able to dedicate entertainment permitting is extremely low.

So we wanted to make sure that we had the competency in house before we brought that over and pushed that through.

But our target is by the end of the year is what we're really hoping for.

Okay, thank you.

Thank you, Justina.

Yes, thank you for your presentation.

I think I have an idea of every type of permit, but for accessibility for myself and for the people in the audience and for the people watching at home.

Could you give us an example of each permit type of a real world example of someone who need a film permit, a special events permit and an entertainment permit?

Absolutely.

For special event permit, if you consider California International Marathon, that's one example that requires a special event permit.

But again, the activities can be so completely diverse and vast.

Somebody who's just doing a small street closure, same thing, if you're doing a block party.

So you've got a wide range, everything from California International Marathon, which has city wide impacts down to a block party.

So those would be special event permits.

As far as film permits, those can be anything such as the WB.

WB?

Yeah, one of the other show that we had earlier this feature film that was filmed here earlier this year to a simple commercial for a local business.

So it was again all required film permits.

And then entertainment permits, as I mentioned, can be faces or asus spades, things in that nature, down to smaller coffee shops that do have or cafes or restaurants that have, or bookstores, even that have live entertainment or trivia or things like that would require.

I know, like when working with arts organizations, we've had to apply for like one day permit or like an alcohol permit for a one day event.

Is that under this division?

So alcohol is for ABC.

Now I don't know what other, it's possible that you may have had a special event permit or a special entertainment permit with one of those.

But alcohol specifically is handled by ABC, which is a state agency.

Okay, so that if these events needed alcohol, they would also go to ABC.

Yeah, that wouldn't be Ralph and this.

That's correct.

Okay, thank you.

Can you also tell us what from your guys is and is the biggest hurdle that most people tend to come up against where you guys have to send them back to the drawing board because it's not going to pass for that permit.

In which permit?

Because again, there's three vastly different permits.

And in, in all fairness, again, I'm just starting to learn it myself.

So just say like a festival permit.

Okay.

A lot of times in that case, it is one of the big things that we tend to run into is fire life safety issues.

And whether that's tents, because most people think they can go to Home Depot and just pick up a tent, you know, a 10 by 10 tent and be okay just putting that up with their festivals.

That's unfortunately it doesn't always work because it has to be in a proof tent by the state fire marshal.

And, you know, surprisingly, that is actually one of the biggest hang-ups that happens.

Beyond that, probably, and excuse me, as I'm kind of rewinding here, probably the biggest challenge we have is the lack of resources.

Because for special events, there is typically a required number of police based upon what they've got, what kind of capacity they're anticipating having with their attendance is expected to be.

And as a result, if we don't have PD resources, if we don't have traffic resources, if we don't have fire resources, those all impede our ability.

And there are times of the year where there's actually blackouts on special events because the city doesn't have the resources available to man all these things.

And then quite simply, when you consider the impact of something like the Golden One Center, when it has events going on, it can close down into several blocks around it just from a traffic management standpoint.

So that impacts other people's ability to have special events.

So, to curve you a big hurdle for a lot of these special events where it's 200 people or more within the city limits.

There's definitely promoters that would like to go later and that we occasionally get requests to go later.

Yeah.

Thank you. Anyone else?

Thank you.

Thank you.

Okay.

We'll...

Fashion on ARPA, Framework and Funding Priorities.

Great. Thank you, Vice Chair LaVuello.

So, my name is Jason Jong. I'm the Cultural and Creative Economy Manager with the Office of Arts and Culture.

Supporting the work of the Commission, it is my pleasure to share with you information about our revised approach to individual artist support through the ARPA Framework.

I'm going to share a bit of a summary of the staff report that you do already have and then I'll be available to answer any questions.

So, the Framework for American Rescue Plan Act, for the American Rescue Plan Act was adopted by Sacramento City Council, 914-21.

It allocated 10 million forward critical projects and programs needed to address the impact of COVID-19 on the Creative Economy.

Subsequently, the ARPA Framework and Funding Priorities, Arts and Creative Economy Funding allocation.

The Framework was approved by Council 3122, outlining 2.75 million to establish a guaranteed basic income pilot program for artists.

Since that time, on October 24, 2023, Council adopted Resolution 2023-0336, approving the revised approach for funding creative businesses through the Arts and Creative Economy Program.

And also rescinding the previous approach for funding creative businesses through the Arts and Creative Economy Program.

So, since this time, we have the Office of Arts and Culture has engaged in extensive research regarding the guaranteed basic income program for artists.

And in consideration of some of the feedback provided by Council at their March 2022 meeting, this is a kind of a synthesis of what we learned from that.

This also includes the work of gathering information from GBI practitioners, guaranteed basic income practitioners throughout the country, other arts administrators, and then local artists and creatives through two advisory group convenings.

And one public listening session, it was held at Celebration Arts and two community surveys.

So, based on synthesis of this information, we are recommending this, a READ revised approach in alignment with the original objectives of the GBI program while also responding to requests for greater accountability in the program.

and three provide financial assistance in recognition that many roles in the creative sector remain unpaid or underpaid, and economic precarious prevalent in a gig economy, and then forth to reduce barriers to staying in the arts and culture field.

So, some of the proposed modifications include the idea that artists selection should not be randomized but not enormously based on income but would employ a standard application and peer review panel that would make recommendations based on commitment to artistic practice, artistic merit, and public benefit.

And then, other changes that artists would not be anonymous and this would address a desire for greater program accountability and evaluation, and then this would also allow us a stronger ability to convey the program impact by getting to know who the program participants are.

And then, additional modifications that we're hoping to see with this change include increased efficiency of third party individual artist payment administration, increased engagement with community organizations to assist with program communications and ensure outreach throughout the entire city, increased individual artist professional development activities and opportunities, which also would be a way for us to engage, to ensure that the artists would be engaged in these opportunities to engage in the community.

So, we're going to connect network and learn from their cohort, a more comprehensive research evaluation and community piece, and third party development and not necessarily funded through this program, but a part of this program is third party development of a centralized online artist community and resource hub.

So, this revised approach takes the form of a 12 month program that will include regular payments of $850 a month to 200 artists for a total of $10,200 per artist over the term of the funding period.

So, as I mentioned before, the recipients will also have access to convening and network opportunities, as well as professional development programming tailored to the cohort's needs.

So, for example, within the application, the applicants would see a menu, they would perhaps have an opportunity to self identify areas that they would like to develop or grow their creative business or their practice, and then we would custom tailor the experience for those who are successful.

So, this has a working title of the Creative Growth Support Fund, and this program aims to advance each recipient's artistic practice while fostering creative growth within the overall artist population.

I wanted to make a couple of notes about the application process, so this is somewhat of a shift back to what might be seen as a traditional grant approach within the application.

The applicant would be able to share, again, their commitment to practice, perhaps through a resume description of their history of work or technical skill, your traditional artistic merit, perhaps through work samples and letters of support, and then the public benefit that is being provided or has been provided by the applicant, this might be community impact, social practice, civic engagement, or cultural equity.

And then artists would be ranked according to the scores in each round, someone in a traditional manner, and the panel would submit their final rankings to the Office of Arts and Culture.

So, the artist receiving awards would still be expected to remain engaged in artistic work and report out on their progress and results through the funded period.

Work could include project research, serving as a teaching artist, creating a new work of art or moving forward on an existing project.

So, I wanted to pause there and to see if there were any questions from the commission.

I want to thank those of the commission who took up my offer to share background information on this item, knowing that it may not have originally been seen by many of the commissioners with us.

Any questions?

All right.

I'll see some speaker slips.

Just a public interest for us.

We have no speaker, we have no public speakers for this item.

Thanks, Chris.

Okay.

Okay. Thank you.

First of all, I'm glad to finally see this come to life.

I think there's only like two or three of us that were here way back when we first got the mandate to come up with clever ideas for how to spend the relief funds available, made available to us.

And this is one of the ideas that was submitted to us through our constituency.

So, I'm glad we finally see it on paper because for too long, the local arts were saying we hear of this money, but where is it?

We haven't.

It does us no good until it's actually delivered.

So I'm glad we're closer to that greater end.

The other is I like, I like the idea.

It's been a long time coming.

I work in my real job.

I work in health care services.

And when it comes to patient care, we always have what is called a person-centered plan for their rehabilitation.

So I'm glad that this is not going to be a one-size-fits-all and that the approach is going to be tailored to the artists, not just one controlling criteria.

The questions I have because it's been an issue in the past is there's this pure panel review.

I would hope that with that we'll come considerations for what is already in place, the racial cultural equity protocols that we have in place.

Because in the past there was concerns that there were greater considerations not used, not limited metrics for lack of a better term.

So I'd hope that those would be taken into consideration.

Much like in jury selection, there's always the need for a cross-community of representation amongst the peers.

I hope that the peer panel would reflect the community we serve, you know, that would be diverse as well.

The other is, I don't know how that was going to be undertaken, but the three criteria is commitment to practice, artistic, merit, and public benefit.

That could be subjective.

So I would hope that therein lies the need for greater diversity so that we can entertain all opinions and insights.

So when the selection is made, it's not one side.

It reflects what is a diverse group and a heterogeneous one at that.

When it comes to the professional development, in the past there was concerns that when it comes to grant writing some were weaker than others when it comes to presentation.

So I would hope that when it comes to professional development that would be one of the criteria that is addressed.

I'm sorry, Don, I guess there isn't here, but when I spoke to him about it, when it comes to the community murals program, he said that was a problem.

I see the work, they've got the skills, but the presentation lacks.

So I would hope that in part of the professional development that would be something that we would focus on.

It's also when it comes to the application process itself, is that going to be streamlined because when I say stream, I don't mean abbreviated, but made easier because now too many times.

The complaint is it's cumbersome, you know, and it's so frustrating that I'd rather just not even apply because I don't have the patience for it.

Well, then everybody's being cheated when they do that, the city and the artist themselves.

So I would hope that would be something that would be a primary component in that as well.

Beyond that, I'm glad it's finally coming to fruition.

I would be interested to see who or how this panel would be selected, and I would like to see greater details.

Thank you for those comments, Commissioner Cruz.

So I'll try to address each of those briefly, but remind me of if I'm missing something.

I think that a cornerstone of this will be the employment of community-based organizations who are already deeply connected to our neighborhoods, and leaning into their expertise, the recommendations for who might serve on any given panel.

We have, I think, made great strides in streamlining the way that our grant applications roll out.

And I think in particular, the review criteria that we employ and the rubric that is represented in that review criteria will hopefully address some of your concerns, but the training that we provide panelists,

the selection of the panelists, the support through that process is going to be very important.

And so we lean on them for their expertise.

Certainly, I think that when building out the application, we can either explicitly share the opportunity to indicate grant writing as a desirable training area or education area.

And have I missed anything?

I think that, you know, with overall with the application process, it is a continual practice to refine it, to consider simple, straightforward, plain language.

And I think that our recent applications will serve as evidence to try to reach some of those goals as well.

Thank you, just seen it.

Well, I do have a free grant workshop coming up next week at the Mac, if any artists want to attend.

Besides that, so some comments on this item.

Let's see.

So with the application, I know we're moving away from the guaranteed basic income program model.

I do believe that, or I suggest that there be a financial question on the application, because based on my own data with events I've done for artists, there are plenty of artists here that do make a good income and would not need the financial support.

And there are also a ton of artists here that really do need financial support.

So I think, even if it's too complicated to gather artists' income and expenses and things like that for the application, I believe there should be some type of question that asks about their financial challenges or barriers and how this funding could help alleviate those.

Another suggestion I have is to, for the public benefit criteria, to be kind of open and flexible on that, because, you know, especially recently there's been so much emphasis on artists having public benefit or engaging community in their processes, and I'm all for that.

But there are also plenty of artists that just their work doesn't lend themselves, lend itself to that as much, for example, a writer who is maybe in their office most of the time writing novels, just because they're not doing something that's actively engaging the community doesn't mean that it doesn't benefit the public, because when artists are supported, that benefits the public.

Because they're spending money at local businesses, they're able to feed themselves all that great stuff.

And then you mentioned that you'll have partnerships with community-based organizations, so I think that's great.

I would suggest when you're doing your outreach to really utilize those organizations to get the word out to artists in all districts.

I think that the Office of Arts and Culture does a great job with the newsletter, but a lot of artists don't check their emails, or, you know, they might miss it, so being able to have the community-based organizations spread out this call throughout their networks would be amazing and what crews were saying about artists having difficulty with applications.

That is true, and I think in the past you've had mentors, like grant mentors for these applications, so if we could do something like that again, I think that would be great, and another suggestion could be maybe having an example application that's filled out that gives what a strong application for this would look like.

And then finally, I do have one question, and it is, when will this application launch?

Thanks, Commissioner Martino.

So you had questions around...

I had mostly comments.

Thank you for your recommendations.

I think that with our partnerships with community-based organizations, that is the intent is to make sure that this opportunity is made widely available throughout the city.

We can also explore additional opportunities whereby staff might be supportive of that, the efforts to engage directly with community, whether it's in district presentations with community organizations around that.

I think it's a good example or a good request to see what an example application might look like, and so we could look into that.

With regards to your comment around a suggestion for how we might capture financial need, challenges and barriers that folks might face.

One way that we might be able to capture this is to, within the application, solicit information around the impact that an individual might see where they to receive this type of support.

And support over a 12-month period of support, which would ideally free up their time to engage in their artistic practice, which would give them a level floor of support.

So I think that there may be ways that we can try to get closer to what you are looking for within the application. We'll look into that.

Do you know when it will launch?

Right. So the first hurdle for this program is to make sure that our third party funding administrator, we have identified that organization of the entity by the end of the year.

This is an item that is also going to be seen by City Council tomorrow.

So we're a bit of a ways off from, you know, I would say quite several months perhaps a ways off from having a full application ready to be viewed.

But the first step is to make sure that that that our third party funding administrator is identified and those ones are encumbered by the end of the year.

Thank you, Ten.

So I kind of want to echo a little bit with Justina said about the financial need.

I've been keeping track of what we've been giving out to artists in the past years.

And I noticed that there's not a lot of accountability and quite a few of those artists were very well off.

So I want to echo that I think that that should be on there from my own standpoint.

I want to say that also I noticed that on there it includes lots of different industries in the arts.

And one particular one that I am in as a graphic designer.

And so it's highly competitive.

And so now we're talking about giving City money and guaranteed basic income and creating an economy that might be slightly competitive.

And where it may cause some problems and animosity.

And so I'm kind of concerned about this and I'm wondering how the AOC is going to handle this.

And then also we have like over 4,000 artists in this area.

Are we is the office ready to go through 4,000 applications?

Because that's what I fear when we're only going to be able to award 200.

So that's a lot of time.

And so I see I hear you at the end of the year.

My concern is though that you're going to get every single artist, designer, musician, book writer coming out.

And that's wonderful. That's exactly what we want.

But I'm also concerned about that and how many in the criteria are we going to award to certain types of industries?

How are you going to decide that?

So echoing cruises, what he was saying about the cultural and equity cultural stuff that we need to make sure that we're handling as well.

Sorry, I'm very passionate about this.

So I get a little like, we need to talk about this.

Because that's a lot that I fear that we're going to get inundated with applications.

And a lot of people are going to start talking and the artist community is very tight.

And they all speak to each other and hearsay and fires start very quickly.

So I just, those are some things, comments that I have.

I'm for it, but I'm also kind of very worried about some of these other things that I just brought up.

Thank you, Commissioner Blair.

So I think the point is to keep this opportunity broad.

Such that a broad range of artists, creatives, culture bearers, traditional arts practitioners see themselves in this opportunity.

I think that we want to keep the door open.

And the nature of this or any other funding opportunity like this is that there is going to be an element of competition for limited resources.

I think that the best that we can do is to make sure that the process is equitable, that there is time, care, thought, empathy woven throughout the process.

And that is something that you see when you look at the grant guidelines and the application and you go through this entire experience.

And that we also lay out a lot of opportunities to receive help either from staff directly, from our community partners, perhaps from mentors.

So it is the goal of the project to keep the opportunity open for those who would see themselves benefiting from guaranteed basic income type of program.

But this is not a guaranteed basic income program.

It does retain the tenets of the initial proposed pilot, but it is not a guaranteed basic income program.

I do want to share that as I mentioned an important part of this to all work is the enlistment, is the engagement of the third party funding administrator.

And that opportunity is actually available currently, I believe, through the city.

So, ish.

So the third party funding administrator is integral to making this happen.

We are removing and streamlining in a way, pulling back the requirement that they are the ones who are vetting for the level of income.

We are not vetting for the level of income, but this is not an anonymous program.

So the requirements on the third party fund administrator are less.

We don't have the staff capacity to go through hundreds or possibly thousands of applications as you had noted.

So this is another reason why it is really important for us to make sure that the third party fund administrator is identified.

So, I think that they will be key to making sure that this program goes ahead smoothly.

They are the ones who will be issuing the monthly payments to the 200 artists.

I just want to say that I really appreciate Justina's suggestions of putting application in the example applications up.

Because the last time we did grant funding a few years ago, we saw the lists and the areas that were lacking probably education on how to fill out those applications.

You saw that there were barely any applicants in those districts.

So I really appreciate that. That's a great idea.

I know that for most part, for any application, especially in districts where lower income is prevalent, filling out applications is what they're not going to do.

They're not going to put it out because it just seems too much of a hassle to actually even put the information through.

So that's a massive suggestion.

We'll take a look at that. I think a big concern might be that it would appear prescriptive.

So there's a risk to that. I think that perhaps, strong guidance to how one might best uplift their story, their background, maybe more support and training for how to prepare your artistic work samples and that sort of thing.

Not saying that that can't happen, but I'm just pointing out that that could be a concern is that if you start providing a certain level of detail within example sample applications, then you'd end up with a whole bunch of applications that are just kind of gearing for the same thing.

Anyone else? Is there a motion and the second for the consent calendar?

Motion? Second.

Second.

We've got a commission on Martino for the motion and commissioner Smith for the second.

Thank you, vice chair. Members, please unmute for vote. Commissioner Anderson?

Absent. Commissioner Blair?

Aye.

Commissioner LeVulo?

Aye.

Commissioner Lemmele?

Yes.

Commissioner Martino?

Yes.

Commissioner Ronho?

Aye.

Commissioner O'Hable?

Aye.

Commissioner Smith?

Aye.

Commissioner Tocolino?

Aye.

Commissioner Wilson-Rami?

Absent.

Commissioner Winnock?

Is Absent?

And Chair Enriquez?

Is Absent?

The motion passes.

Thank you.

Our next discussion item is preliminary discussion.

2024's Sacramento Arts Culture and Creative Economy Commission annual report.

All right. So the purpose of this discussion is to provide you all and members of the public with background regarding the submission of the 2024 Sacramento Arts Culture and Creative Economy Commission annual report and the 2024 work plan that would be seen within it.

We went through this exercise for the first time for the 2023 annual report.

And so we're here again.

But maybe with some additional information to guide us just as an overview, the timeline that we're looking for is by the November Commission meeting we might see a draft.

And then in December, this body would approve your annual report.

We would submit it by February to the Public and Personnel Employees Committee for review and feedback.

And then by April or May, it would be submitted to the City Council.

So a typical report would include the highlights and accomplishments from the previous year and any resulting recommendations.

It would also include projects, priorities, and objectives for the upcoming year including resources required.

As you may recall, the last year's annual report kind of gave a rundown of a lot of the major items that the commission saw during the course of the year.

It also included a breakdown of the expenses.

I would generally or the staff support would generally help with that piece of it.

I think that for the commission to consider what primary goals they would see for themselves, whether they're internal goals.

So education around certain policies or procedures or education around a certain element of the creative economy and the arts community that you're seeing.

So internal education and external engagement, how you might consider that.

And that's something that we went through the last year.

So that's part of what I wanted to open it up to you all to decide you might not have any of the details.

You would likely need to lean on staff for breaking down what any kind of potential cost may be.

But the overarching goals, that's something that the commission should be considering and should be determining not staff, supposing proposing specific goals for the commission.

There are some potential topics to consider.

And when you're breaking down potential goals, you might look at outcomes that you're looking for.

Many partners or project collaborators, the timeline for the completion of particular goals, any metrics of effectiveness and any resources that you might bring to bear.

And then I thought that we may also briefly discuss how the commission sees themselves moving forward through this work.

And being that we meet, you all meet once a month.

There is an opportunity to identify individuals who might serve on an ad hoc committee in the future.

We will not be sort of determining who we won't be determining who that will be today.

But I can certainly take down names of folks who would like to work with me and perhaps one or two of their peers to help us see this through to the finish line.

As you know, no, it's hard to get a lot of detail worked out.

And if the goal is to have a draft of the annual report and work plan by our next meeting, then we're going to have to identify individuals that might take leadership roles in that.

So the first question of whether you all have specific goals that you would see for yourself for the upcoming year, I can open it up to the floor and I'll be taking notes and allow you to have your free flowing discussion around that.

Do we have any speaker slips on this item?

Thank you.

Vice Chair, there are no speakers for this item.

Thank you, Cruz.

Okay.

I think globally we have lived up to our greater mission, which was enhancing diversity, equity, and inclusion.

And a ancillary benefit to that has been raising our own visibility in the community.

I know we've all made it our greater effort to attend more events in the community and show our presence more.

And by extension, I've seen more approach to this entity for whatever concerns they have, which tells me that they know who we are.

We are recognized.

We're sought.

And to that greater end, I think we should give ourselves some credit.

And that's something that I would like to see included in the annual report as our improved inclusion in the community and our adherence to the diversity, equity, inclusion that we're committed to.

Thank you.

Anyone else?

Okay.

Okay. So some suggestions.

I might be totally off on what's supposed to be in this report, but I'll just go for it.

Some suggestions that I think we could include from this past year.

Or the rollout of Prop 28 and what schools have successfully implemented that.

And then of course, I think the Creative Corpse Program was really wonderful.

So maybe some case studies from the community on that.

So future goals for the commission.

One of the reasons I, one of the goals I came to this commission with is to make more affordable and safe art studio spaces available for artists.

My studio, May tonight, I've been looking for studios.

There's nothing.

There's a few spaces.

They're not great.

So if we could, the commission could have more education on either develop the development of workspaces for artists.

Or what ones are available, like just how to make workspaces more accessible and available to artists.

Another future goal I would say is to ensure that all schools in Sacramento are utilizing their Prop 28 funds and also to get more information out to artists for how to get access to these teaching opportunities available through the Prop 28 funds, whether it's getting a certification or teaching through a community based organization.

Another future goal I would say is that I think that the Office of Arts and Culture you are making some strides and making your information more accessible.

But I think that the social media could be a lot more robust through the Office of Arts and Culture.

That's where most artists are getting their information these days.

And the commission meeting information is really inaccessible even for myself sometimes.

I'm like, how do I get to this commission agenda again or how do I want to live stream?

Like just while I'm here at this meeting, I had multiple artists text me saying like they didn't know how to get to a live stream.

Is there even a live stream?

I don't know.

I think there's a recording.

So yeah, I think we just need a lot more access because these, the artists in our community, many of them, they're either working a full-time job and then doing their art on the side or they're doing like 10 million things as artists and they don't have time to do all this research to try to find information that should be easy for them to find.

Okay, yeah, that's all for me.

Thank you.

Anyone else?

I can't answer that it is live stream.

Okay, I do sometimes.

We'll attend any of the other live stream so it is live stream.

And sometimes we have colors that we'll call in as well.

But Jason.

I don't see any others.

Any other comments?

Any takers on supporting the work?

This is your annual report.

It's not staff's annual report.

I can support but I will be away from October 21st to 31st.

But if you have anything for me before then, let me know.

I think a really good question to ask you since you're asking us for volunteers in what capacity are you asking to help with social media, to help with the things that are being brought up here at this in the

Dias today or in weeks to come things that you come up with.

Right, right.

So specifically crafting the annual report itself.

Going through and identifying the primary goals, supporting the commission in working out what the details might be.

There are associated costs or pieces of information from the city side.

I can help support that.

But the goals should be identified from the commission itself.

I can help with that process.

But as you all know, we, you know, this might not be the forum for a discussion around how to fine tune or wordsmith a document.

That's what the ask is to see who might be available to support the actual creation of this annual report.

Just pointing out, you know, another aspect of our work or your work is that we are looking at a number of commission seats being made available soon at the end of the year.

And supporting incoming commissioners might be of interest or continuing the work of the prior commission.

And seeing how that folds itself into the upcoming year, that might also be a goal for this commission to consider.

So I can sort of be a partner in that.

But it's specifically to work out the details of the annual report, hopefully getting a draft by November.

Thank you. Any crews to do anything?

Anybody else have anything to say?

I don't believe there's a vote that needs to be done on this.

Next item is the directors report.

All right. So this is where I get to share a lot of really exciting information just as a reminder for folks out there in the audience or who might be listening.

We really encourage you to sign up for our monthly Office of Arts and Culture newsletter.

We also encourage you to invest a source to stay connected to activities, opportunities.

And we are also active on Instagram and Facebook.

So to start off, I'll lead in with items from our Art and Public Places program.

There will be a Hanami Line Public Art Dedication ceremony Wednesday the 23rd, 5.30 to 7pm at Robert Team at Sui Waterfront Park.

All are welcome. And attendees will see and hear from our artist team, the Reed Madden team, about their sculpture.

And you can sign up on Eventbrite. You can find us on Eventbrite if you search for Office of Arts and Culture Sacramento.

We also encourage you to mark your calendars for the Dale Rio Trail Artists presentations and reception event.

This is two days of events actually.

November 8th from 5.30 to 8.30, rather, at the Latino Center of Art and Culture will be artist presentations.

And then the following day, which should be really fun.

November 9th from 10am to 12pm at various points along the Dale Rio Trail.

You can stop by and talk with artists near or in front of their works.

This is also available through Eventbrite. If you've had a chance to go along the Dale Rio Trail, you'll notice that final sculptures are currently being installed.

There will be a total of 18. And you're invited to come and check out the Newark installed at the trail at Riverside Boulevard by Stephen Glassman.

Some updates from our programs and grants team. So to date, 15 creative venue recovery grants, totaling 315,000 have been awarded as part of our ARPA framework for creative businesses.

And these grants are for for-profit art galleries, bookstores, and live performance venues in for neighborhoods that were identified as hardest hit by the effects of the pandemic.

We also just opened a second round of creative venue funding with a smaller pool of funds, however, that is now available through the entire city.

Applications are open through October 28th, guidelines, and an application webinar can be found on our website.

If you do have questions about the creative venue opportunity, then you can please submit them in writing to art grants at cityofsacramento.org.

No later than October 17th for PM. We are finalizing the next round of our cultural arts award guidelines and expect to open this opportunity also within this month, perhaps within a week or two.

Stay tuned to our website and our social media platforms. This is an ongoing collaboration with the Sacramento County Board of Supervisors and it offers three years of general operating support for nonprofit arts and cultural organizations throughout the Sacramento County.

Again, you can bookmark our website for complete details and information on how to apply when that becomes available shortly.

So supported by the California Arts Council, our Capital Region Creative Core program has officially ended with the projects completed by the 26th partnering organizations and five city artists and residents are documented on our Capital Region Creative Core website.

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full of the capital of the capital of theART of the capital of the matter within the capital of the Cathedral of the capital of the capital for or order of the capital of the capital of the capital of the capital of thepiano that you had in the trip when you click on the

much that you had in the ritual that you had in the ritual that you had in the ritual that you had in the ritual that you had in the ritual that those

and information reflected on the city's boards and commissions.

Website does indicate that there will be a number of commission seats opening up.

Number of seats will roll over at the end of the year.

And I do encourage any existing commissioners who would like to be considered for reappointment

to apply.

This would be our even numbered commission seats.

So 2, 4, 6, 8, as well as two mayoral appointed seats.

We currently do have, I want to know, we currently do have a 12-member commission that will change

at the top of the year.

We will shift to an 11-member commission where two of the three mayoral appointed seats

will be filled.

The youth seat appointed by the personal and public employees committee that does open

up, I think it's June and July 2025.

So that's still a ways off.

But folks out there in the community are encouraged to apply.

And again, any commissioners who are interested in being considered to return are also encouraged

to apply on the city's website.

Thank you.

Do you know when commissioners would hear back if they did reapply when they would hear

back if they are going to be granted to stay on or if they're going to be moved on

and someone else been selected?

Yeah.

What I do know is that the goal is to have seats filled and individual is identified to

fill those seats before the top of the year.

Our first commission meeting in 2025 is January 13th.

So I believe that the idea is to have those seats filled by then.

So the best thing to do if you are interested, if you're a serving commissioner and your

seat is going to be open up and you are interested is simply to reapply as soon as possible.

Thank you.

There's been mention of can you go to the website, go to the website.

Can you tell us what that website is?

Because when you Google Sacramento Arts and Creative Culture and Economy, it takes us to

the bios of everyone, but it doesn't actually bring us any information to what's going

on with this department.

And then when you scroll down at the bottom of it, all of the Instagram pages and so forth

doesn't take it to straight to that.

It just takes it back to the general city page.

You know, I'm not certain what your experience might be.

I know that if you visit the city's website and search under Convention and Cultural

Services Department and one of the sub pages, the primary pages should be the Office of

Arts and Culture.

We did change links recently, but again, the Office of Arts and Culture should be the

first thing that does pop up.

I think I'd have to kind of look through what that experience might be.

And as far as your question to the question.

The answer is go to Office of Arts and Culture.

But there is a separate section of the city's website where you would find detailed information

on boards and commissions of the city.

So yeah.

Perfect.

Thank you.

Any?

It is hard to find the boards and commission stuff.

Chris, did you have something that you wanted to?

Okay.

Anyone else?

The last item is public comments.

Matters not on the agenda.

Clerk are there any members of the public who wish to speak on public comments?

Thank you, Vice Chair.

Yes, we have two speakers.

Four matters not on the agenda.

Our first speaker will be Francine.

Good afternoon commissioners.

I'm Francine Mata.

President and co-founder speaking on behalf of the Sacramento Law Writer Commission.

I hope what I'm saying if I go over time that I'm able to finish.

I have worked with some of you, some I haven't, but we do look forward to working with all

of you in your respective districts.

So I'll just read off what I have.

I'm here to request that the City of Sacramento and the Arts Commission formally recognize

the commission.

That's all of you.

Several individuals and their teams for their outstanding efforts in fostering diversity,

inclusion, and cultural partnerships within our city.

Talking with Donald Jensler and Jason Jung and the city staff, I found that we don't have

an annual formal recognition ceremony or event that highlights the commissioners or city

and county community members in their work within the arts.

I know that we do some organizations do individually, but it wouldn't be nice to see this, you know,

at the end of the year.

You usually see people in these meetings that are being approved for items, want to give

presentations or have a concern or a complaint.

So I want to make a formal request in pursuing such as it is important to reflect and recognize

as you said with your annual reports to prepare for the next year.

Specifically, I would, we would like to honor Eben Bergoon and the Crocker Art Museum team

for their work in creating meaningful cultural collaborations and their support of the low

writer community through various art initiatives and the amazing art mix in Fuego.

Estella Sanchez and the team at Soul Collective for their ongoing advocacy for Social Justice,

excuse me, I'm a little nervous, cultural awareness which has empowered numerous communities,

including our own through creative expression, and partnering with several community programs

and the groundbreaking Boulevard Dreams Sacramento and Boulevard Dreams California exhibits.

Ed Silva and Joe Hensler, staff at the California Automobile Museum, Delta Pick Mellow and the Sacramento

History Museum team for highlighting the important contributions of Sacramento's diverse

populations while engaging in the partnerships that build bridge the past with the present,

including their work with the low writer community and the groundbreaking Boulevard Dreams

exhibit.

This brought magazine articles, global news channels which Gabriel Teague photographer

won best feature photo at the 2024 California News Publisher Association Gala in Los Angeles.

Amanda Meeker and Amanda Sanchez along with her.

Thank you for your comments, your time is up.

Chris Niharro, district four of the Sacramento Arts Culture and Commission for his dedication

and leadership in promoting inclusion.

We'll go ahead and extend your time.

I'm almost done.

Thank you.

Thank you.

So, crews and the dedication and leadership in promoting inclusive artistic initiatives

and working to ensure that Sacramento's creative economy reflects the diversity and richness

of our city's communities, including your attendance and contributions to

fostering collaboration with the low writer community and beyond.

Crew supports Sacramento every weekend.

We don't know how he does it, but he shows up.

These individuals and their teams have consistently demonstrated a commitment to evaluating the

voices of diverse groups, fostering inclusion and creating spaces with cultural diversity.

They deserve to be celebrated and so do all of you.

Thank you.

Thank you for your comment.

Our next speaker is Ginger.

Can you ask if you can have a possible theme that the co-chair vice chair has allowed

an extension.

I'll start.

Thank you since we allowed the last speaker to extend.

We'll go ahead and allow you to extend as well.

Okay, I don't think it will take that long.

Anyway, my name is Ginger Rutland.

I've written a play called, When We Were Colored, A Mother Story.

You guys have it all on your little tables there.

So you sort of know what it's about.

The play premiered in 2019 at the Sacramento now defunct Sacramento Theater Company.

It did very well.

It was in that little black box theater.

It sold out every night and they had to schedule more performances because not everybody

who wanted to come could get in.

Anyway, we're doing it again.

It's going to be at the Guild Theater in Oak Park.

It opens on November 9th.

It goes through the 24th.

It is being underwritten.

So I'm not asking you folks for money.

It's being underwritten by the Sacropolis family.

I think you guys will enjoy it because it is a play that celebrates this city, Sacramento,

and it also celebrates a family that came to this city in 1952.

It is something taken from a memoir my mother, Eva Rutland wrote called, When We Were Colored,

A Mother Story.

It's the story of a middle class well-educated black woman who is raised in the Jim Crow

South who comes to Sacramento after the Second World War with her husband and her four young

children.

She's been raised in what everybody thinks of the scary South, but actually she was protected

and loved in that environment.

She's terrified coming to Sacramento because her children are going to be in an integrated

world and she doesn't think that people will be kind to them.

It is a story of challenge, but it's also a story of joy and love.

And I want folks in the seats.

And that's why I'm here.

I hope you folks can tell people to come.

I hope you all come.

And that's all I have to say.

And I took just two minutes.

Thank you.

Thank you for your comments.

Vice Chair, we have no other public comments.

I just.

Congratulations, Ginger, on your play.

I look forward to seeing it.

Thanks for sharing with us.

Thank you.

Please come and send your friends and your kids and everything.

There's also this thing about students can come for free.

There's a kind of complicated explanation of how they get the tickets.

Thank you.

Thank you.

This concludes today's agenda.

Oh, now maybe not.

Bruce?

I'm sorry.

I'm sorry.

Several things.

Fran, I hate you for making me look so weak in public, but thank you for the kind of

words.

The other is thank you for your comments and journal because now we have something to

add to the annual report to reflect our greater efforts.

So mission accomplished on that.

The other is I wanted to and not some of the coming events in the art community that

I want to draw your attention to.

On the 10th, there's the art mix color madness at the Quaker Art Gallery.

So I would encourage you all to attend if you are able to do so.

Also on October 11th, Madre Tierra, that's an art exhibit reception and that's going

to be at Soulcolectivo that starts at, let's see, which time it's for three hours.

It starts at six.

So there's another event.

Also, Dia de los Muertos Fiesta, that's an old Sacramento.

No, sorry, take it back.

That's at the California Museum and that's going to be on October 12th.

I think that might be sold out already, but I want to bring that to your attention anyway.

Also, let's see, I want to make sure you get all this right.

Let's see, in Oak Park, there's going to be the, it's poetry week and it starts on October 20th.

Our poet Larry was here earlier, but left him, but I promised I would make that announcement.

So I would encourage you to please look that up and attend as that will kick off on the

20th of October.

And it includes the different areas of Oak Park, to Paso Heights, Arden, Midtown,

Florenton, Valley High.

Don't cheat yourself on that.

The other is Souls of the City, Dia de los Muertos Festival, that is an old Sacramento.

That will be on October 26th.

Let's see, and also at Pantheon, that's going to be at the Latino Center for Art and Culture,

and that's in November, and it's for the weekend of the, I believe, the first, second, and third.

That's what I wanted to add.

Thank you, Justina.

Yeah, so just some opportunities for artists I'm involved in October.

I also have a little Zena, I have a few more if anyone wants one.

So the first I am teaching a free grant writing for artists workshop.

This Thursday October 10th at 5.30 p.m.

at the Mac in Rancho Cordova.

So if you go to my art tonic on Instagram, you can click the link in bio to register for that.

My business art tonic is partnering with Mutual Housing, California, to put out a call to select two artists or artists teams to create public art in collaboration with residents of the Wong Center,

which is a new affordable housing community in Sacramento Historic Rail Yards area.

There are indoor and outdoor opportunities.

The budget for each is $15,000, and this project is expected to run from December to June.

So arttonic.org slash Wong Center art, or once again the link in my art tonic bio on Instagram.

If you need the link to that, the deadline is Friday, November 1st.

Coming up this month is also Design Week, which is hosted by Capital Creative Alliance.

It's an annual event that celebrates and showcases the creative spirit of Sacramento's art and design community.

There's community events throughout the week and lots of neighborhoods in Sacramento, one at the California Museum, one at Topstitch, at Lucid Winery, at Mates Studio,

at a bunch of places throughout the community, and then on Friday and Saturday, it's a professional development conference.

That's not just for designers, it's for all creative professionals who are trying to earn money from their work.

You can visit designweeksack.com to register for community events in the conference.

And that runs from October 14th through 19th.

I'll also be hosting a free discussion during that week called Exploring Artist Residencies.

So I'll moderate it and we'll hear from artist Sunrip Court, Ashley Tattersal Diaz, and the Social Studies Residency Co-Founder Ross Roadrock.

And that's next week, I believe, Wednesday, October 16th at Lucid Winery, and you can register at designweeksack.org.

Thank you.

Ten.

Okay.

Well, you just covered a couple things I was going to say, so I don't need to say those.

But I will be at design week, so please come through.

It'll be really exciting.

I have a huge event that I'm a founder of Graffiti for Good.

That happened last year.

That's happening again this year, that's this weekend, October 12th and 13th.

It is American pioneers of street art culture.

Bring people in from LA, the Bay Area, Sacramento, New York, Philadelphia, Florida, in all for this event.

We do have a really cool book signing release by a New York pioneer of the street art culture.

And then we have a movie release, it's called The Sticker Movie, that will be happening at the Capitol Event Center.

So this is like a multi-district event that we're putting on.

And then on Sunday, there will be panel discussions.

It's for the people.

It's all day, and you'll get to hear from multiple generations of different street art culture pioneers.

It will be held at the Capitol Event Center as well.

There will be live art out in the courtyard that you can come.

So if you want an alternative to Aftershock Weekend, we will be out there having a great time.

Please join.

Oh, Eventbrite, thank you, Justina.

Eventbrite has tickets for The Sticker Movie.

And that would be you would just stick in Sticker Movie into the eventbrite.

And then Graffiti for Good.org has all the information.

So if you go to the website, it has all the events, it has the locations, it has the ability to buy the ticket.

And it will tell you what's going on.

Thank you.

Thank you.

Any other commissioner comments?

This concludes today's agenda.

Thank you, everyone, for your participation, meeting as a journey.