All right, welcome everybody. We have, I think, a couple of items before we get into the nitty gritty that are not on the agenda. I see we have two speaker slips. So we'll start with them before we get into it. Anyone else is public comment on items not in the agenda? Please speak now or forever hold your peace. We'll start with David Gingold. Welcome. Hi, Councilmembers. Mayor, everybody else, all the people that were contacted by phone today to give me an answer whether you want me to go forward. And the city is going to stand by their denial of my claim number two. And that's what they advise me of. In my claim number two, I submitted 30 pages of causes of action and 30 pages of just notes. Post 23 addendums, each one with a different cause of action, and notified the city to incorporate in my claim number two of January 4th of this year the four appeals I made with the city council. The four appeals I made with the City Council, one was the Trusdale Comming, another one was that I appealed the decision that TPC didn't want to disable parking space, the other one was an appeal that Aaron Coons said that after the City Council approved it, it was going to take eight months to design it and cost it, and there was one more appeal, plus I asked to be incorporated in that, the staff report for the hearing on July 24th that was extended to August 21st. The third party administrator, as well as your city attorney, and if it was reviewed by city council and the city manager couldn't find one single legal cause of action that I had. Which I alleged not only violation of civil rights, violations, discrimination, bias, cover up, elder abuse, retaliation, six false police reports against me that were made by civilians and found I did nothing wrong legally by our honorable police department. The abuse that was instilled on me, knowing that I've tried for two years to keep this local. And on the advice, whoever said that, someone just yelled out to the city. On the advice of the Beverly Hills Courier who told me months ago to file a civil suit against the city, as well as other people, that's what I did, but it has been rejected by the entire group as a body that's on the deist today. There was a small claim court trial last Tuesday. And in that, where I was able to submit evidence and why it was necessary for me to be reimbursed that I was told to give my own notice about the July 24th and August 21st City Council meeting. Oh wait for Mayor Mierst to get back so he could listen to me. Welcome George, City Manager. That and even though I had evidence of Beverly Hills Couriers, Beverly Hills Weeklies, and even though the judge first said, how would we expect to give names to write to 3,000 P.O. box holders? I said because you write box holders with the number, but to give notice to the people. And then the judge says to risk manager Sharon Dressel, so you could have given notice, but you chose not to. And then the judge says to risk manager Sharon Dressel, so you could have given notice, but you chose not to. And she said yes. Because they were following, they basted on Aaron Coons, who I said in small claims court, and indicated that Aaron Coons has attitudes not only of World War II Nazism but current neo-Nazism that disabled people are just worthless and that they didn't need a disabled parking space and they didn't need a crosswalk and although the consultant said fears and peers there are 600 not pedestrians, J walkers. David, please wrap it up. Anyway, I wanted to bring up in small claims, Clark, just before you pop the champagne. Don't do it yet. Don't pop the champagne yet. It's not ready. But we need to, the judge tried to end it. And I said we need to get to the second item of the $6 facts of a criminal TPC meeting that was going on in July Notifying city government and she wouldn't hear one bit of evidence on it Anyway, okay. Thank you, David. We need to move on Like to ask Tom Roberts to please come Thank you, David. I'm going to be taking my wares with me, but I've got about 100 DVDs here of city council meetings of mayor gold being interviewed by Beverly Hills View talking about the nine dictatorships and the current assassination. These are improperly the way to treat a public climate speaker here in this city. Thank you. Tom Roberts, please, I understand you have a video presentation. Please keep it to three minutes too. We have a lot of things to get to you today. Thank you, Mayor Muir. Thank you. I'm going to speak this evening about La Sianna Gaparque, but frankly, when I was preparing the materials for that, I went through the exhibits that the architect are presented and came across what you're seeing on your desk. I have an intimate knowledge of West Hollywood Park for a couple of reasons. One I did a building on Robertson in which we removed areas of rental space in order to make a connection between Robertson and the park. And I actually had offices in that building for approximately a year, so I was intimately familiar with West Hollywood Park. I also watched as the library was built, and I constantly keep suggesting to everyone to go over and take a look at library at West Hollywood Park and the park itself. Now if you actually look at the left-hand side picture here and look at what was there, this whole idea was keyed by something Mr. Johnson said about all of the functions that happened in the park and how they've all been removed. You know, I used to go to the park and if you actually look at what's there, there's all of these functions that relate to the park. The Sumimpu relates to the park. The basketball courts relate to the park. The library, which was a really wonderful piece of architecture, relates to the park, the library, which was a really wonderful piece of architecture relates to the park, and everything is in a perfect sense of scale. If you look to the right at what he has designed for the current West Hollywood park, what you'll see are LAs of trees and virtually nothing else. Nothing in the new building relates to the park in any way. And in fact, he did there something similar to what he's planning on doing on La Siena Ga and found a way to try to minest the scale of this building. Now the building I designed and we took out the rental space now has right in front of the exit a 15 foot high wall three feet from the property line with only dirt on the ground. The grade in that position has been taken up 16 feet and it goes even higher. And this is partially to again obliterate part of the building that he's building. I think when you're doing a park you might want to consider what was happening before in West Hollywood Park, where the function's actually related to the park itself. I mean, would a child actually enjoy being on the roof of a building in a coal blank kind of area, or would a child rather be looking at it at a park while they're swimming in the swimming pool? I mean, these are the kinds of things that I think should be considered. I long ago gave up the idea of trying to save the building that exists there, but I will bring up this building now. You please try and wrap it up. Yes, I will. If you look at the drawing on the second page, you'll see how small it is. And how much it really relates to the park. Is there a possible way to use part of it or all of it in functions that would relate to the park? Even the people who are doing their card playing, it's much more pleasant to be in a park than it is to be in a six-story building in a card playing, it's much more pleasant to be in a park than it is to be in a six-story building in a room, maybe with or without windows. Anyway, that's basically what I wanted to say. I think you need to consider these kinds of things very early because once this gets rolling, it's very hard to back up and change course. And I hope you'll look at that, and I will be back this evening and do another presentation. Thank you, and as you know, there'll be other meetings to discuss this specifically. I have a card from Phil Sabinick to speak on C7, which is an information item. So what I'd like to do if you're okay with it, Phil. If you want to come up and speak now because it's something we probably won't, it's just an, and it's an information only item so I don't want you to have to work. I actually wanted to submit some information for that process as real why I came today. I do have a little stick there. I went around and just took some pictures around the city so that I could kind of explain why the South portal is fundamentally unsafe and so that hopefully we can do something about it now while we still have the opportunity. So number one. I would like to come back when we can actually see this, but I wanted to start early because basically we're dealing with the, oh there we go. No actually number one, fabulous. It says why the South portal is fundamentally unsafe. Yes, okay, and you can all see it. There is no access to drop off or pick up without blocking traffic. There is the picture. It is unsafe for pedestrians crossing Wilshire. There are inadequate sidewalks on both sides, on all sides, and the security and bathroom issues are still to be determined north or south. Now, if somebody could help me, we'd go to the number two, because I got three minutes, but I think I'll make it. Okay, now, this is why we need to load and unload all pedestrians on the north. These are just pictures taken at random in our city. The first one is two people trying to cross wheelchair. Pedestrians and cars are in the crosswalk at the same time. Two people. Below it, the pedestrians can't even enter the street because of gridlock. Cars are in the crosswalk. Our city is not moving. Above is Beverly Drive. Same thing. Gridlock, people and cars in the crosswalk at the same time. The picture below is a photograph we took outside the Metro station in Hollywood. Look at the number of people. We cannot get two people across the street safely. We are looking at a situation, tens of thousands, perhaps hundreds of thousands of people trying to cross wheelchair. Right now, square one, we are not doing the job, we cannot do the job. The South Station is fundamentally unsafe. Next slide please. Number three, okay. When we use the word station, the word station should never be applied to the south portal. If we do, Uber and Lyft will think that's where they drop off and pick up people and there is absolutely no place to load or unload. The south is a portal. What you see here is where the station really is. It goes all the way from pass-barvely drive to pass-canon drive. That's a station. It's a skyscraper on its side. What we are talking about are stairways, escalators, and an elevator. They are just portals. If we refer to them as portals, Uber and Lyft won't go there. The next one, please, and I'm sorry, I ran a little bit over. But this is why it's so important that Uber won. Well, gridlock comes after, but basically we have gridlock at Santa Monica and Wilshire every single day, almost every light. We have gridlock at rodeo. We have gridlock at Rexford. We have gridlock at Beverly. And as you can see on Santa Monica Boulevard, we have human gridlock. The cars are not able to move through our city. We are one day into the subway construction, these were all taken before. We couldn't get people across the street then. Now it's only going to be worse if we go back to number two. Number two, I'm sorry, number three. Okay, I know four. I'm really wrecking this presentation. Okay. This is why we need a designated pickup and drop off zone. First thing, Uber and Lyft blocked the sidewalk when they drop people off. The second one, Uber and Lyft are blocking the intersection letting people off. In number three, Uber and Lyft have blocking the intersection, letting people off. In number three, Uber and Lyft have stopped dead in the middle of Rodayow and backed the traffic all the way up to gridlock. And number four is a little present that Uber and Lyft left for us on our lawn. They do not respect the residential neighborhoods, and yes, that is a bottle of urine. These are not professional drivers. This is not a professional company. They're wildcatters. If they're waiting for somebody, they'll leave their urine on your lawn. This is what we're doing to our city. Right now, I just want to bring it up. This is information. We're not blaming anybody, but what we're saying is, we've got to deal with this now. There are a couple more if I've got the time, and if not, I'll come back. But basically, I think this is information that we should know, and this is information I'm going to give to Aaron's group. And I forgot the name. But anyway, I just want this to be part of our EIR is we have this big problem. Our sidewalks are insufficient for subway volume. Outdoor dining takes up half the sidewalk. There's a picture. Dangerous egress from parking garages. People can't see where the cars are, and as you can see, people are walking into the street. Outdoor dining, landscaping, and a parking cutout, we've eliminated the sidewalk. Now, below is a picture we took at Hollywood Boulevard, right outside the metro station. They have been forced to divide the sidewalk into five parts. There is a private sidewalk for people using the establishment. There is a row of licensed vendors, mostly tourists and tourists related. Then there is a public sidewalk with the stars. Then there are street vendors, and then there are curbside vendors. There are five levels of it being Tijuana. If that's what we have to expect, we better prepare. If there are ways that we can prevent it, we need to do so now. But basically what I'm seeing is Metro is a different situation than we are used to handling. The volume of people is not something we are prepared to do. If I could have one more slide. Thank you so much for your patience. I just prepared these because this is information. We're not, you know, I want to make sure it's in there. The proposed North portal, again, a portal is a stairway or an elevator. It's not a station of any sort. And we're lucky because the station in Hollywood is all advertising. It's really not a classy outfit. Now, here's the deal. If we put it on Beverly Drive, we're gonna lose a lane of Beverly Drive, and there is no off-road vehicle access. If we put it on Rees, it is unsafe, depending on what this undisclosed for a development is going to be of that lot. The city has air rights. If we're going to build a building, then obvious there are going to be ways that people can get in and out of the building safely. The tenant, whoever owns the building, can build bathrooms and have security. It's an unknown what is going to be on that block. I doubt very much it is going to be an empty block with a stairway on it. I believe there are plans that should work into the EIR. What's going to happen there? Same across the street. There are three buildings that were torn down. They are going to be redeveloped. Until we have some idea of what that is, how can we make an informed decision? Basically, the three spots that went on Canon would be in the street. We would lose Elena's traffic. In certain ways, that's the optimum because it may lead to us getting a second street. Canon drive being a destination, and that's where everyone arrives and we revitalize the city. The third, the fourth option is crescent in the alley. Again, there is no vehicle access whatsoever to get in and out pending what's going to be built there. The city has air rights. Rosenstein has rights to rebuild. That is where the subway should be. That is the safest place. That is the place that makes sense. They're responsible for bathrooms. They're responsible for security. They want extra height. They have to give the city the ground floor for city services, for a visitor center that's meaningful that says, you don't just go to rodeo. You go to restaurant row. You visit the movie stars. You visit whatever it is, a diversity of our city. It is the moment that we can begin diversifying what the city is. We have a terrible situation in the south. Let us say what the agenda is going to be and let us make the conversation. How is it going to work for us? The very, very last one, and then I thank you again for your time, is the fourth option. Actually, I did this one already. again for your time is the fourth option. Actually, I did this one already. I worked it in because I passed. The fourth option, and I know Barbara will hate it, but everybody else should at least hear it. And that is a permanent closure of Canyon. We put the subway portal right there at Wilshire in Canyon. You enter the new city. It's a restaurant row, it's an outdoor mall, and it's a place where we can celebrate the herringes of the movie stars who were our residents, and we do light and music and outdoor dining, and all of the things you had planned for Roe D'Aile, move them to Canon, make Canon the attraction street of Beverly Hills. This is our moment to have some planning, to have some foresight, and to just say, as it's set up, we cannot get people across Wilshire. Let's start them on the north, and let's create a new environment, a new destination, and a new Beverly Hills. I thank you so much for your time. Okay, thank you, and with that, we're going to move into item one. Robbie, did you have a speaker, Slub? We're going to move into now item one, which is the Cultural Heritage Commission interview panel. Good afternoon, Honorable Mayor Mirish and City Council. The Cultural Heritage Commission interview panel composed of Mayor John A. Mirish, Council Member Robert Wanderlich, Commission Chair Noah Fury, and Vice Chair Jill Tavillman-Collins met on Tuesday, August 20th, and Wednesday, August 21st, to interview 15 candidates for the position of Commissioner Richard Waldo, who's term is ending on December 31st of 2019. The panel unanimously recommends Mark Taren for the position. Mr. Taren must attend all cultural heritage commission meetings leading up to his appointment on August 1st, I'm sorry, on January 1st, 2020. With approval of the full City Council, a formal report will be prepared for adoption at the September 17 City Council regular meeting. The interview panel wishes to thank all of the candidates for their participation in the recruitment process. And encourage the remaining candidates to reapply for upcoming commission vacancies and participate in team Beverly Hills if they have not done so. Thank you. Thank you. And there will be another vacancy which will probably be posted in December for interview in January, I believe. The liaison, could I ask councilmember Wanderle? We did have an especially large wealth of talent and interested people applying for this position. I think we had 15 people applying and there really was a lot of expertise as regards his stark preservation areas and cultural heritage. There was a lot of enthusiasm for the position. And so, I think even more this time than is often the case. It's often the case that we're so lucky to have so many people who are willing to work with the city. In this case, we had such a large number of people, and ultimately, we can only pick one. We did agree on Mr. Taren. Mr. Taren, among other things, was bringing many years. I forget the exact number of more than 10 years of experience. As a builder and a contractor working exclusively in historic preservation areas and connected with historic preservation projects, and he had gone in approval for those projects in a variety of areas across the country. And we did think again there were many, many people who could have been selected but we did think that Mr. Taren was bringing the good mix of experience and views. And I'll concur with that. He had some very unique experience, I believe it was in Maryland and Washington, D.C. with historic districts. And he saw things from multiple sides. And I think he brings something to the table that we didn't have. But as said, this was an embarrassment of riches. And there's going to be another position available soon. And so we encourage people who are interested to with that did you Robbie did you have any comments or or Joe Collins tells anything more about the man I've never heard of them before. Nobody knew them, but did his live from Beverly Hills? Yeah, he's lived in town for, I think 10 years, but I'll double check the specifics. Six years, yeah. Okay. And he's. I'm gonna come back and talk to him the other items. He's been here for six years and he's had projects overseen by the historic preservation review board of Washington DC, the old Georgetown board, architect of the capital and commission of fine arts. He's specialized in historic restoration, adaptive reuse, and as said, he was working on projects in Annapolis and Georgetown in DC. So he's bringing experience that he's had in other areas of significance like Georgetown to us. And we felt he was very uniquely qualified and had the right attitude and was very sensitive. So with that, I'll close public comment and I'll ask for Council Member Questions and comments. No, and I support the recommendation we made. I do too. I have a question. I don't know if Lord, is she want to answer this? So I just heard that there'll be another opening. I believe I heard the mayor suggest that the applications will go out again in December and in January. About November, December. November, December. November, December, and then we'll open it in November. And then the interview process again will begin in January? Yes, so we typically open the recruitment for two months or eight weeks and then after that we schedule the interviews right away. So if you have had, you know, 15 applicants and if any of them want to reapply again, do they have to fill out an application all over again? Or can they just say, please use my application? How would that work? They need to reapply. They need to submit another application. But they could certainly use the same content of whatever they wrote before if they wanted to. They could just change the date. They can use the same content, but we just want them to resubmit so that, you know, in case there are different questions that are being asked. We typically ask the department to refresh the questions if they feel that they need to add new questions or you know. So it will be a different. So I think you answer my questions. It will be a different application. So it won't be as easy as somebody who's applied and wants to apply again. They can just say use it again what you're suggesting is it'll be a new application. So they will have to. From what I understood it could be the same if it were, they could just like here. Here's one example. They could just use the same answers if the application didn't change. I mean, I don't think we know if it's going to change or not. So essentially, if we're now in September, essentially in two months from now, this will reopen again. Yes. Okay. For a normal fewer position. Okay. Thank you. So I supported. Okay. Nice move. So this was an exceptionally talented group has been pointed out before and I think that the liaison vetted it along with the commission and I am supporting. Thank you as a I think we'll move on to item two. Seeing. Good afternoon. Mr. Mayor, members of the City Council. As City Council is aware, we have been considering possible locations for the placement of Ringo Star's piece and love sculpture that is being donated to the city by Mr. Ringo Starr. At the August 6th meeting, City Council directed that the piece be located at location along Santa Monica Boulevard. A number of possible locations for the piece were considered along Santa Monica Boulevard, focusing particularly on Beverly Gardens Park. On August 22nd, joint liaison meeting was held of the Arts and Culture Recreation in Parks and Cultural Heritage Commissions. It was the recommendation of this group and our council liaison, our arts and council liaison's Mirish and Bosse to Place Peace and love by Ringo Starr and Beverly Gardens Park. In the southwest corner of the Hunter and Hounds block, which is bounded by Beverly Driving and Canyon Drive, Ken and Drive. So here is a sketch of where it would be located, this circular circle here. This is Beverly Boulevard here, can it is over here, the newly constructed restroom building is located there. So the question was how far back off the street is that? If I had to guess, I'd say approximately 15 feet. There is a desire by the artist here is an up close look at what it would look like in relation to the corner and the street here Santa Monica. There is a desire to limit access to the back of the piece of the sculpture. The artist has this desire to limit the access that members of the public will have to the back of the sculpture to take pictures at the back of the sculpture. Since this location is in an open grassy area, it's recommended that hedging be added behind the piece to obscure the view of the piece from the back. The hedging would be placed close enough to the piece to obscure the view of the piece from the back. The hedging would be placed close enough to the piece to limit the number of photos that could be taken while still providing access to the back of the piece to provide maintenance to the piece itself and also to maintain the hedge. It has been indicated previously in other staff reports, the art piece based relocation and installation costs for this piece would be donated by Mr. Stark. The city would be responsible for the engineering of the base of the piece. The new location in Beverly Gardens Park will require also the installation of the hedging material behind it. The engineering cost and the landscaping will not exceed $10,000 and can be absorbed into the approved operating budget. Here is one view where it would block the piece, which is right at the corner of Beverly and Santa Monica Boulevard. There is a utility box that's there, but otherwise it appears that there would be visibility of the piece. From all streets around there and with that we're happy to answer any questions. Go to public questions and comment. Robby. I appeared at a meeting with when this was brought up and endorsed and I wanted to thank all of you for moving it off city hall grounds and this is a much better location for Mr. Star's sculpture. Just protecting it and the dignity and I didn't know until just recently that what that meant. And apparently Mr. Stardas, and he wants to cover it up to prevent that from happening. I don't know how you're going to do this without a lot of bogan via maybe rose plants. But in any case, I'd like to see it move back. I think it's too close up to the street. I think it's too close up to the street. the area, maybe rose plants. But in any case, I'd like to see it move back. I think it's too close up to the street. It needs to be moved back and maybe a little over to the right. There, because you get this up against the street, you're gonna have people stopping, photographs, make them get out of their car and go up there, and park and come and see our parks. of their car and go up there and park and come and see our parks. But I'd like to see it move back a little bit. Thank you. Can we hear from our arts and culture and our historic preservation view? Or we'll let's hear from our liaison first, Will. Okay, yeah, thank you. So we met with the art and culture, Reckon Park and Cultural Heritage Layasons. We all met and it was a unanimous support of this particular location. Reasons being that we felt that this was appropriate. It's across from the Wallace. It was actually next to a tour bus stop. And also across from the Lillipond Beverly Hillsign. So we thought it was an ideal location. We were told that it was also set back with plenty of space for photo opportunities in terms of safety. And it was a unanimous concurrence from all the commissions. Okay. Thank you. Council member Wunderland. I do like this location for Thamglad that we took the opportunity to revisit where it might be. I think this will allow for appropriate interaction with the community more so than where it was pre-do I do support this. Thank you. Dr. Gole. Allow for appropriate the interaction of the community more so than where it was I do support this. Thank you Dr. Goh Thank you. So just a couple of questions The the reason that it's not being photographed from the back is that There's some cultural sensitivity to that or is there something about the piece itself? No, there's cultural sensitivity about it. So Richard Stark, he is Ringo Starr, and obviously he's British, and in Great Britain, apparently, the other side of the peace line has some significance, negative significance in that culture. Okay, and so we're comfortable that this sort of hedging will be sufficient to prevent that? I think, you know, we don't have a lot of experience with hedging right behind an art piece. So having said that, I think that we will do our best to select a plant species that's hearty, that's evergreen, that will be tall enough that it can block views from the back. So we would like maybe Norwegian wood. Yeah, we haven't looked at different species yet. That would, you know, obviously are, are. Okay, sorry. Got me on that one. And presumably we're going to have to water the plants. We're not going to have a problem with the sculpture in the water. So we've had pretty good success. The sculpture is stainless steel. As you know, we have the Roxypean sculpture and the Tom Friedman piece, both of which are stainless steel. And they do not seem to have the kinds of issues with overspray that we have with some of the other art pieces. So because of the materials involved, I feel more confident with this piece. This is going to be much closer. I mean, this hedging is going to touch. Yeah, so it'll require maintenance. The over spray will require maintenance to watch, essentially wipe off the water spots. But other than that, I don't think it'll cause any damage to the piece based on our experience so far. And in terms of the front of the piece, are we going to do something to dissuade people from climbing on it? So I think one of the goals of the piece, and I don't want to speak for Ringo Star, but my understanding is that he encourages interaction with peace, not necessarily climbing on the peace, but standing next to it and interacting with it. And so I guess that's a long way to say, no, we wouldn't dissuade people from coming up to the piece and touching it and that sort of thing. But I mean if we really do have people putting the kids up there and take pictures and things like that. Yeah, I mean the piece is actually fairly vertical. I apologize. This picture is, you know, as easy to make out. But if you look kind of at the lower part of the hand, there really isn't a place where you could set a child or easily hang on it, not to say that people won't. But it's not like the Roxypane where it has more of a horizontal surface that people can get up onto. And we're reasonably comfortable that it's not going to get too hot. Yes, we actually did some research on stainless steel. It has an interesting capability of not absorbing heat at the same rate as other types of metal steel and that sort of thing. Not to say that it won't get hot. I think the hedging will help some with providing some protection as well. And like the sun, it relates to Santa Monica Bolvar. Yeah, we took a look at that. It's a little difficult to tell, but the hand actually goes down to the detail of the, what do you call it, the ridges on your skin. And so there aren't as many, it's difficult to see from the picture, but flat surfaces that could really capture the sunlight and reflect it back because of the detail on the hand itself. And again, I think the hedging, especially on the sides, will help with that as well. And on a different note, is that light pole truly caca? Is that just the lens? You know, it's the same. I don't know for sure. I assume it's the angle of the photo, but we can certainly look at it. I mean, it may be nervous. Anyway, I couldn't support this in front of City Hall. This is fine. In front of them, all of us make sense. And I think my only concerns are the things I'd discussed, and if in fact any or all of those become an issue, I think we'll just... Thank you. Council Member... Thank you. So I don't remember the artist name. It's the, I think she's Russian. The Russian seeded our... Conovitch. Conovitch, I believe? Yes. Something like that. Yes. Yeah. On the corner of Rexford and Santa Monica. I think has a similar situation where there is hedging behind it. Yes. Yes. And have we had any negative issues with that particular piece? I think the only issue that I can mention Frank may have an opinion, but I think the only issue we've had is that that hedging tends to grow very quickly. And so we have to trim it back fairly frequently. That piece is in the shade quite a bit more than it would be here, so we'd have to study if that plant material will work well and full-sun that sort of thing. But we'll work with me, Alaren Associates. Obviously they did the design of the park and have a good sense for what types of hedging will grow well in this soil and which types may not. So we'll do our best to find a hedging material that will be very viable. Okay. I as well as many of the council members, I know Julian went as well. I think most of us did went to see the piece. And I think when you see the piece itself, I think the concerns, a lot of our concerns were alleviated in terms of heat, in terms of surface, in terms of safety and such. And quite frankly, when you see the piece in person, I think we were all very impressed with the piece as well. I completely agree this is a much better location. I'm really happy we have moved it. So I actually think this was a blessing in the skies. I think for all the goals that we want for this piece, it will definitely be achieved in this location. And given that all the commissions supported this and directed that unanimously, I will support it as well. Vice Mayor. Thank you. And I also had the opportunity. And I thank you, Jill, for making the special arrangement for me to come on a Saturday after I was working. The piece is quite impressive. Some of the concerns that have been raised were ones that I had also and have been answered. It appears to me still that this is a little bit out of scale. I look at the person to the right of the hedging and when I stood next to the hand it seemed like it was maybe two feet higher than I was. I don't think it's as big as this. That was a concern I had initially when it was in front of City Hall also but I think it is of an appropriate size. I think it's going to be. The brown building. Okay. The comment that was made from the audience was the height of the brown building was 12 feet. But in any event, I think it's a little deceptive, but I certainly think that the piece is within scale and appropriate and I am supportive of it. Thank you. And obviously I'm also supportive. I'd like to thank everyone who worked on it. Thank you also, Robbie. At the end of the day, this turned out to be one of those Shakespearean alls well that ends well situations. Speaking of Shakespeare, we actually this Sunday have a reading of not alls well that ends well situations. Speaking of Shakespeare, we actually, this Sunday, have a reading of not alls well that ends well, but mid-summer's night dream with the Shakespeare Center, some more culture at City Hall. And I actually do like my idea of Norwegian wood, but you can look into that. Thank you, you have unanimous. Sir Robbie. So the question was does the sculpture sit level to the ground rather than being raised. We are still designing how that piece of it will look. At this point in this picture is shown as flush. Okay, thank you and with that we'll move on to item three which Rob Welsh is going to present. It's the more art. Neural concept for the temporary sound wall on Canada Drive. Welcome Rob. Good afternoon mayor and council members. My name is Rob Welsh and public works and I'm here to go through quickly a little background schedule update and I have Bo Bass with the Bass projects that's gonna present the two concepts in front of you today for consideration. We'll talk about the process to install this and then an opening event timeline and to get your input on an opening event and then ask for your direction. So quickly in July of 2018, City Council approved the North Cannon Drive Closure. This closure included a sound wall to protect the businesses on North Cannon. And at that time, staff was directed to work with the stakeholders to develop a mural concept to be installed on that north side of the wall. Next Beverly Hills Committee also adopted an initiative for the mural at that time. In February 2019, the MOA with Metro was approved which included the requirement for the closure of North Cannon and the Soundwall. In April, we came to City Council for approval of the muralist, Tomakatsu Matsuyama, to develop concepts that are in front of you today. And then in August, we went to arts and culture liaison and stakeholders as well as some members of the Beverly Hills, next Beverly Hills Committee with four concepts. And they recommended that two of these concepts be brought to the full city council today for your consideration. So schedule wise we have closed North Cannon. We're in the process of constructing the cul-de-sac and ultimately the wall. The wall is anticipated to be constructed by September 23rd. the wall. The wall is anticipated to be constructed by September 23rd. We are here today for approval of the concepts. And this evening there is a formal session item to authorize the city manager to award the bid and execute an agreement for the wall skin. This is a skin that would be applied to the wall once erected to allow for the mural to be moved and or used at a later date. We are in a request for bids right now. We did this quickly as informal bid process. We actually have a bid opening on September 12th for that work. The wall skin installation, we are anticipating to start September 25th, and that would be a cement fiber board option that was developed. Initial estimates were 85,000 as we were refining that scope over the last couple of weeks. We are thinking that it's going to be closer to 120. So we're asking for not to exceed amount of 120,000 for that this evening. The mural installation date, that date has shifted as of late. We were informed by the artist that the staff needed to install either one of these options that are in front of you today are tied up on other projects and heured us that he would be in the process of installing the mural in and around November 14th, but would complete by the end of November now. So that is a change that's different than what we have talked about in the past. And then the mural, like I said, the mural installation would be completed then end of November. And again, we were aiming for that November 14th, bold date, but it's not looking like that's going to be the case. And then a mural opening event, which I'll talk about a little later in the presentation, is we've heard that we want to have an event, which I'll talk about a little later in the presentation is we've heard that we want to have an event, so I'll talk about the possibilities of that and ask for your input and direction as well. With that, I'd like to hand the presentation over to Bobass who's going to go through the two concepts in front of you. Tom. Bobass. Tom. My name is Smarr. Thank you for taking the time. Really excited to present to you a couple of the concepts that Tomokazima Tsuyama has provided for Beverly Hills. We were fortunate that we were able to spend some time with the liaison committee to go over with some members of the Fine Arts Commission to discuss the different designs and options. And I think we've really honed it down from four initial concepts to two specific design concepts and they're fairly different. So, Mural Concept 1, Mr. Matsuyama has titled Utopia Cordian. In a nutshell, this is sort of the actual design and this is sort of it rendered out. Just to refresh, this is a significantly large wall. It is 80 feet long and an excess of 20 feet high. So here's a rendering of what it'll actually look like on Cannibal of Art. You guys have them up, Mondras up, yeah. The concept behind this mural is really his take on sort of what Beverly Hills is sort of famous for, the fame shopping areas, the beautiful residential neighborhoods, really trying to connect nature into the neighborhoods, but really ideas as a utopian ideal of Beverly Hills. So you've got several figures, a lot of very fine detail in both the clothing, the windows, the wallpapers. And really the idea behind this was to present both very intricate designs if you're standing up against this wall, but also to create a very strong scene. So if you're standing all the way at the under end of Can a boulevard, you can actually see the scale and scope of this. We got some very good feedback from liaison and stakeholders. Some positives and negatives. I think this was a design that was really well received. Some of the stakeholders mentioned that this is a painting they'd want in their house, but there were some concerns that it is not necessarily speak to the diversity of the community. The artists figures tend to be fairly anonymous, but there was concern that it didn't reflect the diversity of the community. There was some requests to replace a couple of the images, some of the slight details. There was sort of antlers on the wall in the background and a wine bottle. We were asked to speak with the architect replacing, which he is open to. And potentially including some more human scale objects on the table or in other areas of the mural. Again, really with the idea of it creating some more, some more images that if you're standing close to the wall, again, it's 20 feet tall, 80 feet wide, creating some more, some more images that if you're standing close to the wall, again, it's 20 feet tall, 80 feet wide, creating some more images that are more relatable at a human scale. And the thought was that we were really trying to make this a little more Instagramable again. So you could take pictures in the community, visitors, Beverly Hills, you got actually take pictures in front of the wall. The second concept is how to 1000 regards in shape of color. This is a more abstract design. This is a little more reminiscent of the artist's typical work, so it's a little more familiar in his body of work. Again, you can sort of see it rendered out into the onto the street. This is a little more of an abstraction in the details and colors explosions and some sort of abstract birds. And again, the feeling he's trying to reflect with this is positivity, showing the sunset and sunrise, sort of the natural beauty and really the everlasting warm weather that attracts us all to Beverly Hills and makes Beverly Hills a really iconic destination Los Angeles. And really this is focused on for him the bird is a symbol of eternity across various cultures and really metaphor. So a little bit more of an abstraction. Some notes from the stakeholders in Leazons. There was a belief that this might appeal to the largest group of people. Again, it's a familiar artistic style for him, so people would instantly recognize his work. This was felt that it created both a dramatic view from a far and from a close. So again, if you're standing in front of this wall, there are some moments to really connect and engage and take photos with this, but it also still stands from two blocks away. There was a feeling this design was really good for the site location and really created a great photo opportunity. Side by side you can see two very different design options. I think the overall feedback from the liaison and the stakeholders that there were various positive feelings toward both and I think now we're leaving it. To you to sort of help us make a decision, we were not able to make a decision in the liaison committee because I think people felt really positively about both. So the installation process, as I mentioned earlier, we are coming forward to the City Council for a request for City Manager to award the contract for a skin on the wall. This would be a cement fiber board application on the wall and this contract would be not to exceed $120,000. It would cost or it would take about three to four weeks to install this skin once the wall is erected. And then after that the painting would take place 10 to 14 days. This would be exterior paint with a graffiti coating and LaBosse projects would document the installation of this. Maintenance after painting, the paint will is intended last up to 10 years. It's an exterior paint with a graffiti coating applied. We think it's minimal maintenance costs, we have washing of graffiti or dirt off of the wall at approximately $1,000 a year while that mirrors in place. And then again, the future use of this, the skin material would allow for it to be removed. We must consult and gain approval to artists once we decide and if we do remove that for a future use We need to consult and gain approval with that artist for that reach option And then we intend that there would be additional maintenance associated with potentially relocating it after it's been up there for some time There may be touch up or things after we move it or take it down. That would be required. So the opening event, we have a special event coordinator identified that's going to help in establishing event considerations for this opportunity. We are going to initiate, we intend to initiate stakeholder contact and discuss participation dates and time of day. Is there the potential to have it incorporated into bold programming, the overall programming of an event, and we anticipate a budget to range from 30 to 60,000. Once we have some meetings and identify this concept for an event, we would bring that back to City Council for consideration. With that, we would ask for your direction on the selection of one of the two options and in any input on the mural opening event. Thank you. Before we go to public comments, we'll have a brief report from the lead. Thank you. So as I always say, I don't believe there's a right or wrong with art. Everybody has a different taste. So one doesn't make one right or wrong. It's just a matter of preferential taste. From my perspective, let me start off by saying that John and I had a difference of opinion on this. Respectfully, of course, as always. I liked concept two. I mean, I liked them both. But I did agree with some of the comments that the stakeholders had at the meeting, which was, concept one is a wonderful piece of art and it's a great piece of art to have in your home. But from my perspective, in terms of the scale of it at 20 feet tall, when somebody is standing next to it, you don't get that depth. Whereas if for number two, wherever you are, you're getting that experience. So from my perspective, my choice was number two. I'll let the mayor say why he chose number one. We have some of the stakeholders here. As I see the stakeholders that are in the audience, I believe they also chose concept two, but from my perspective, whichever one we go with, I think will be fabulous. So I thought that number two was sort of Murakami-esque, you know, Murakami. And I thought number one was just original. It does speak to Beverly Hills. It draws you in. Two is more abstract. And I do, you know, I quite frankly do think, I wouldn't worry too much about Instagramable, but I think it is. I think people will take selfies from various angles and there's so much in there, I think, that it's serene somehow and interesting and you know I know it's as said I think it will look wonderful from any angle as well and the colors are beautiful and we did have the points that we didn't think that there should be antlers there and those are things that can be done and the notion that you have the windows and the background sort of when you look at it, it creates a sense of perspective and it draws you through it and the colors are beautiful. And you know, it almost, in a sense, it tells a story, although you could ask what it is, and that's a good thing in any ways. I thought it was good that we had something that was more representational. And as I said, I just personally thought it would be beautiful and can envision looking at it and walking towards it and having it speak to you in a way in which the second one, which I think if you look at it for a long time, I don't know. It's a jumble. To me, it would, if I looked at it for too long, like with some of Kandinsky's work, and I admire him as an artist as well, give me a little bit of a headache. Yeah, I just, I like the serenity and the style of the top one. And so we did have a disagreement. There were a couple of other ones as well that we looked at that were sort of, Ho-Hum, these were sort of the two. And so really it is just a question of personal preference. So with that we will go to public comment before we go to council member questions and comments. We'll start with Robbie Anderson. I'm going to go to the council again. I was at that meeting that a lot of you were at and John and Lily were there and I really prefer the second concept is being more generic and not seasonal. I don't know. There's like snowflakes in the back that seems maybe they're stars but and here's my other thought is here. You're talking about putting a skin on here. You haven't paid for this painting yet. You haven't paid for it. Like I did some of you have my painting hanging in your offices of the Beverly Hills fountain. Before I sign the deal with that artist to paint that painting, I have exclusive rights to that image and as part of the deal. So if he's painting this particular image, four can drive, four Beverly Hills, we should be able to reproduce that. I was having lunch over the weekend at Beverly, Vira, the new, with the, Avra, yeah. And I'm looking up to the side and there's this building. This got this white big wall with paint peeling off of it. And it says jewelry below, a big wall. I mean, I thought, wouldn't that look nice? If they cut that down, blew this up and put it up there. As, you know, doesn't have to be permanent, but just, you know, it looked nice. And that's just something to think about. And I want to tell you I'd like number two. I think it's, you know, an all year kind of thing. Thank you. Okay, and Barbara Lazaroff, welcome. Hello Mayor and City Council, thank you. We've obviously spoken about this at Great Lent. We went to a lot of different artists, so get to the point. I like them both very much. They're very different, however. I also agree that number one is, I think it's artistically, it's more unique, it's different, it's lighter. I don't think it's a seasonal thing. We don't have seasons in LA. I mean, people think of us as being sunshiney all the time. And primarily we are, except when we're not. I think that number one could be altered. I don't see them as snowflakes. I see them as stars. I did want a piece that didn't provide a flat surface where it sort of stopped at the end of Canada. I wanted something with almost tromploy in a sense, something that had perspective. I would have liked even more tromploy in a sense, something that had perspective. I would have liked even more tromploy, so the sense of continuance. Obviously, if, you know, my, as Lily said, it's so true, art is so subjective. You know, I own three huge Jim DeFrance, the France's, they're very abstract, they're big blocks of color. And I also own very figurative art. I like them both very much. I can see the mayor's concern about number two as well. After a while, you kind of habituate to abstractions. You kind of look at them and it's, okay, it's a big, big blocks of color and whatever. So it's decorative, but is, are we trying to just say the wall is just decorative or we're trying to say that we're making an artistic statement? I think, I'm giving you both sides of this and I'm trying to be quick about it. Yes, it will be easier if you're thinking about cutting up the pieces as I had suggested a long time ago in the mayor. Once you, number two, you can cut it up more easily and do things, but you can do things with number one. I was the one because of other stakeholders that had expressed concerns about diversity, that spoke up about it because I didn't think the other person felt comfortable speaking up about it. So I put my neck on the line about it. That maybe that you don't want to micromanage an artist, but maybe we could have asked for more diversity in one of the individuals here in skin tone or whatever. But then again, you're micromanaging the artist. Take the antlers out. I don't have a problem with the wine bottle except for the people that are in AA. I don't know what to say. We are serving food and wine in Beverly Hills, putting some other images lower to human scale could help. So do I think the number one is a far more unique piece? I do. I think that's it. And then the last thing I want to say is I actually wasn't going to speak. I'm concerned about the schedule. And I thank Rob for calling me, speaking to me earlier, about the fact that it had changed in the last few hours and we really, in closing, I'm very concerned that things happen, what if it rains, what if it rains again, if the wall doesn't get completed, we're going to move into festive and we're going to have an issue. And as far as the party, we're all in. Thank you. And the last speaker in the public comment is closed. It's Kathy Gohari. Good afternoon. Well, I seem to be repeating a lot of what we've heard here today. I think you all have these pictures. Do you have copies of these pictures? My mug shot all over the place? So there is currently a scaffolding, a pretty picture of an editorial across the street from our store where it's a building that's probably, I don't know, maybe 40, 50, 30 feet tall, not very clear. But if you can see, I went and stood next to it. And did you see where I ended up? I ended up with the shoes. This could be a nice Instagrammable moment, but not the right one, or the bottom of the animals' feet. The beauty of this mural is all on top. Both of these are amazing. They're all original art. The concept is great. The colors are great. If I've learned anything in the last three years is people want to take pictures. People, when they see color, when they see an interesting piece of art, they want a moment of it. They're not spending hours here. No time to get dizzy. They're coming, they're taking the picture and hopefully Barbara, they're coming to eat at your restaurant. That's what they're gonna do. So the reality is both of them are beautiful, but it would be so much more useful to be able to not get lost in the picture. Because if somebody wants to capture more of the first concept, they have to step at least a good 30, 40 feet away. And then you can't find the person you'll find the mural. So just my personal opinion, I think it would be nice to give the opportunity to, would be if nothing else a better experiential moment. That position. Thank you. David? David. Mayor and Honourable Council Members. I really like number two. We talked about this in the liaison meeting for a couple reasons. If we had five murals, I think number one would be fantastic as a part of a collection of murals. But if we're only going to have one, I'm not sure if it's going to be a risk that I would like to take as a stakeholder on Canon Drive to put out there. Art is very subjective, I agree with it. Part of me would like to have something a little bit more vanilla, if you will. And I feel like this is the Instagram-able moment, up five feet away. One of the biggest items that I mentioned, this in the liaison committee, is people taking pictures in the middle of streets on Beverly Drive, going north to Santa Monica. In the middle of the street, I see probably almost every day. I don't want this to happen in terms of ruining traffic and all any of that stuff with respect to an 80 foot person that someone wants to take a picture Kind of like the leading tower piece up and so I love I love both pieces, but I think number two is better for our city. Thank you Okay, with that Robbie Not really I mean we have you know, we don't make up the rules on the fly. So I just need to come back to the Cultural Heritage Commission and if you don't have enough names on that 15 people list to fill that slot and you're not announcing it now I'm not going to refile. I'm not going to resubmit. I'm just telling you something I'm not going to resubmit. I'm just telling you something. I'm not going to resubmit. And you guys know who I am. And the stuff that I do for the city. And we'll just see how this plays out. Thank you. OK, with that, we'll close public comment. And we'll go to council member questions and comments. Council member Wendell. First, a question about the skin. I think in the past, well, this time the way I was hearing it, it sounds like we think it's pretty likely that it would be possible to move the mural and reuse it. I thought in the past we weren't that optimistic about that. So one of my wrongs, were we always optimistic that it could be moved? We knew there were challenges. In particular, one of them was working with Metro to make sure that they didn't have shoes with it, and we worked with them and sat down with them and worked through all their concerns, including incorporating some of their concerns into the contract line. Which, with the,ist. So we did go through eight options, and we came down to one due to either structural issues and or artist preference for painting. So we did only end up with the one option. And things happen, but we're reasonably optimistic. It can be moved. We are optimistic that this, yeah, this skin can be removed from the practical question. Where do we store and preserve something like this? We haven't come up with a plan to where we want to put it afterwards or how we're going to use it? What would the approval be contingent upon is that we're respectful of it in wherever I mean why might we not be given permission to use it again and can we do something about that why why don't we just have permission to use it again. So Larry correct me if I'm wrong it's the fact that we don't know how we're going to use it that the artist was not willing to allow for a blanket statement in the contract to reuse it. He wanted to understand how it would be reused in the future. Is it totally at the artist's discretion to say yes or no, are there certain parameters? It is at the artist's discretion. Was there also a schedule built into the agreement that it was supposed to be done by a certain time, which now is being pushed back? So we have an opportunity given that to certainly allow the artist to have input into how the pieces used. We don't want to use it in a disrespectful way, but to give us some greater assurance, given that a schedule isn't being kept. So what's the schedule written into the contract? The schedule was not written into the contract in detail like you saw today. There are a lot of factors including Metro's construction schedule which we have seen fluctuate. So we were unable to build that into the contract. So there's nothing in the contract schedule. Well, to the extent we can, I mean, I'd like us to try to get assurances that if we treat the artwork respectfully and if the artist feels that there'd be certain parameters around the artist's decision, that it just not be totally at the artist's discretion, but that if we're treating it respectfully and putting it into an appropriate place that approval will be given. Is there anything we could do along this regard? We can do that. Not to the artist, right? Also given that we have the slippage in the schedule, which is not a good thing, we'd like to try to get whatever assurance as we can that it'll be adhered to, of course, having to work. Wait weekends or whatever the case may be. But also there was a suggestion in the email that we got today, which I think was a good one, which said to make the installation of the artwork part of the process, to make the installation of public event, let the public participate and not literally share it, but be able to witness the creation of the work. And I could see that partially mitigating the delay. The notion that perhaps a camera could be erected that would be taking film that we could then fast forward and edit so that people could see the process and we could put it on our website, you could put it on the city's website and whatever because if people are experiencing the process, again, you have to make sure there's proper traffic control or whatever. You have a cold attack there, you can't have everybody congregating. I was mentioning earlier to Rob that, you know, when CA had looked and signed doing the mural, they did let people and people participate, the SEC there, you can't have everybody congregating. I was mentioning earlier to Rob that, you know, when CA had looked in Stein doing the mural, they did let people and people participate, but it also was a controlled experiment. Those are great suggestions and points. Thank you. And just, we do have, we are going to be video documenting the installation. And as many people have remarked, art is personal in a matter of choice. I agree with the selection down to the two from the four. Both one and two are attractive. For me to rely on my own personal taste, my own eye. I would go with number two. I would go for my personal taste. I like the way that it combines, I don't know, elements of a Picasso, when Asian theme, there are Japanese theme dimmages. It's of the two. It's the one I personally prefer. And I think also I take to heart the comments of it potentially being more serving better different scales and being better able to be insigremable for people to do better able to take close-up for people to better able to take close-up photos and things like that. So my personal vote would be for number two. As to an event, I think an event is appropriate. I would also suggest that the event go even beyond just the opening of the mural. That it not just be, you know, here's the mural, here's let's stop the curtain, but to have some ongoing event that makes it a more of an event, just one more reason to have people enjoying our city. I also wonder, so I'm not only in favor of an event, I'd be in favor of an event that goes on for some longer time period than just the feeling of the mural. And I'm also wondering about, and I've mentioned this before, and I know Phil Savna, who may have left by now, has mentioned this before, but about additional things that are on Canon Boulevard, we have the cul-de-sac there. What are we doing to take advantage of the cul- ASSAC and a more pedestrian experience by the COLD ASSAC? When we were talking about the programming for bold, there was the possibility of freeing up some money because perhaps we weren't going with the hologram boxes. Could we have some additional events that would take advantage of the COLD ASSAC? The mural, the mural is a background. I would be in favor of doing things like that. Okay, so I'm going to go a little backwards. I would agree with the selection of number two. Taking to heart what Barbara said about micromanaging the artist. It just seemed to me a little bit on the bigger picture. It was a lot of black. I don't know if there's something. Can you go back where we just saw it by itself? We saw the coldest act. There. There. Not that one. Next. Keep going. Number two. Okay. Right. There you go. So, I don't know. It seemed to me that some part of that looked a little dark, but, um, certainly I'm not the guy to tell the artist what to do, just an impression. So yes, I do like number two. I think, for lots of reasons, I prefer it, but apart from that, I also think that the abstract nature of it actually allows multiple people to get multiple pictures simultaneously. It's not like there's any one part of this where you want to be positioned in order to get the perfect picture, but any part of this where you want to be positioned in order to get the perfect picture. But you could, any part of this will probably give you approximately the same sense. And it's easier than a picture that has defined figures where it's a, you want to be in proximity to those figures in some way. So the fact that I liked it better and the fact that I think it may function better lead me to this. And of course the fact that Councilmember Bosse liked it and Barbara liked it, put me way over the top. In terms of some of the practical parts, I guess I'm a little concerned that we're going to spend more money to create the picture. And so, and I know we've talked about preserving this, I think it's nice to preserve, but as a practical matter, I just raised the question, is it really worth $120,000 to put this particular skin when there's no plan to use it? We're actually, it might almost be that when we were done with it, we would, especially this particular piece, we could have it in pieces and have multiple parts of the city. Not just one large, I mean, it's going to be very hard to find, unless this stays forever. It's going to be hard to find a place in the city that's big enough that we're going to be able to continuously display this. So I just raised the question of whether or not fully committed. It's not a sort I would die on, but it is a question I have. The second sort of ties to sort of the, some things that Councilmember Warnley started, which is what are the rights of the city as it relates to this piece? Do we own this piece? So, so we, the rights to, is, do we own this piece? Yeah, we, we own this piece. We would own this piece on the skin. Be able to reuse. So if we own this piece, if now are, as we've paid for it, then why are there any restrictions on what we can do with it? You would find such restrictions in almost all the art that we own because the art, well, yeah. Sorry to sort of clarify, the city will own, the artist being contracted for a temporary mural on the wall. When we were starting to contract with the artist, we have language that the city may intend to reuse the mural. Typically, murals don't get moved. So normally, a mural goes in a wall, and that is sort of it for the lifespan. Knowing that this wall is a temporary wall for Metro, the artist is comfortable with having further discussions about moving it, and Council Member, your question's about what that would entail. Because we don't know the use, what image was selected at that point. Obviously, image 2 might be able to, because it's abstract, might be lend itself more to, hey, we have a wall that's only 40 feet. Can a piece of this be taken out versus image 1 that's a little more direct? So the language in the contract was fairly vague because we didn't have a lot of specifics. The city does own rights for any non-commercial image usage. So for marking materials, for website use, promotional materials, the city can use the image for any non-commercial, but the city does not have the right to say print t-shirts with the design. If they're going to be selling them on Beverly Boulevard. Um, we don't own this. This city is purchasing a temporary mural for Cannibal afar. We own a temporary early. We're leasing it. Not to give it back. You have to give it back. Don't have to give it back. Well, but we can't do anything else with it. Put it somewhere else. You put it somewhere else. Well, not without his permission. That's something we said we. If this wall is a permanent wall, you don't it until it was no longer the sun bleached it out or until the wall came down. But because so this was long as that wall is there, we have a six plus year lifespan after that. And that's why I think we discussed having the skin to potentially reuse this. And the artist is open to it being reused in another publication of the city or you know, Ms. Lazaroff had mentioned, you know, alternate uses or auctioning these pieces until we know what that specific usage is. The artist isn't prepared to authorize any open-ended use. So I would almost tie that to the skin because if we're not going to be able to do anything with it or not going to know if we can do anything with it, why would we spend the money, put up a skin that costs more than the peace itself. If we have a pretty good sense from the artist that he will let us relocate this, then it makes them sense. But if we're going to have a problem at the end of this, then we're going to spend a lot of money to put the skin on, and it's not going to offer us any. So I would just ask that in the course of negotiations, you kind of clarify that. Beaches run de-essential, all that kind of stuff. I mean, do we have any rights as it relates to that? We certainly have the rights to get down and terminate the use. So that any time? Yeah. We don't need the artist permission. To terminate the use? Terminate the use. To terminate the use on the wall. No. Well, we have other artists where we have to, we can't get rid of the art because they won't let us. I realize that, but this was designed to be temporary. So. A temporary with a fixed timeframe, relatively fixed timeframe. I don't believe, I will look at the contract again, but I don't believe that. I don't believe there's a fixed timeframe, but it is written that it is a temporary use and the artist will grant this. It's, I don't know the specific language, but the city has a right to terminate the use of the wall and use the all-recogni point. Okay, well, for me I would like to resolve the issue of what exactly we're going to be able to do with this long term. As we approach the question of whether or not we should spend $120,000 putting up the skin. So, let me say, unless the council is willing to do that at the next meeting, because the meeting after the next meeting is October, mid October. Well, I would give, I mean, I would be okay with direction that said if we can reasonably relocate this. If we can create language that would allow us to reasonably relocate this, then I'm okay with it. But if it sounds like that relocation is going to be difficult, then perhaps we have to revisit. A technical question that might help inform that. If we didn't have a skin, would we need some other coating on the wall in order to be able to complete the painting and not the painting the mural and what would that be? I'm sorry, I apologize. If we didn't have the skin, would there still have to be some special coating or whatever applied to the background so that the painting could actually, the mural could actually be put in place? The wall would have to be primed skin or no skin. So I mean, the only special coating is essentially the wall primed in advance. And is that much cheaper than the cost of the skin? I think that's already included in the budget regardless. Thank you. So those are my thoughts on it. I love the piece. I'm glad we're going to do it. I think it's perfect. I just question whether without a plan going forward for how we're going to potentially use it or permission to, within certain defines of how we're going to use it, whether or not we have to spend the extra money on that backing. Thank you. So, as I stated before, I do support concept 2. I love them both, but I think for this location and for what the goal is of this piece I do think concept 2 is the right choice. And I just want to go back us up to why we're even discussing a skin. I think when this first came before us, it came before us as being painted directly on the wall. And it was actually through our conversation at council that we directed looking at the ability to keep this beyond the wall. This actually came from us because we felt that once the wall goes down, we lose this. And I think this was a way to maintain the ability to keep the artwork and perhaps be able to use it in different pieces in different ways, which we have yet to determine what that looks like and where we would put it and what size and all of that. I don't think we know that yet. And I think that also lends to why I also support number two because I think with number one, you can't do that. You have to, you're limited to each figure primarily. So I think a lot of the conversation that we're having is something that we had had initially when we were talking about why we wanted a skin. So I'm not sure. I feel like this is a little bit of a circular conversation because that's why we have a skin, so I'm not sure. I feel like this is a little bit of a circular conversation because that's why we have a skin because we wanted to have the flexibility, which is why the skin is happening. Right, so if, again, I would suggest that if you want, I'm sure we can negotiate something with the artist to bound his discretion a little bit, but if you want real assurance, you know, I think this needs to be on the agenda next week because we're moving forward with the wall and you know, it's it's there won't be that much assurance. I would say if we were looking for assurance and I would suggest that perhaps between now and the next council meeting we try and think of situations where we would want to use it, you know, that we want to have that flexibility because I don't know that there's many places in our city that we have a wall that's 20 feet wide, I mean, 20 feet tall and 85 feet wide. So no matter what, we're going to have to cut this, this picture up. So I think, you know, at the very minimal, get the permission from the artist that we would be allowed to do that. That's not necessarily destroying the art, but I can't think of very many places in our city that we have this type of space that we could take what's existing here and move it somewhere else, I think, from my perspective. And especially with this patterning, we want the flexibility to be able to break it up into different pieces and use it in other spaces. And I see Barbara is raising her hand. Number two, the way you construct the wall is going to help indicate how you're going to be able to cut it up, as opposed to just cutting through it. It might be helpful to speak to the artist. First of all, I agree. I agree with you. If you're going to spend that kind of money on a skin, I think we should know whether or not we can reuse it. Obviously, we're never going to put it someplace in that size format. But the other issue and the important issue is the artist is likely to want to have some impact on where you're cutting into his piece of art in terms of how you're sectioning it up. Right. So I think the goal initially when we have this conversation was for the city to have the flexibility to use it as we so chose when the wall goes down. And if I agree if we are not going to have that flexibility, then it doesn't make sense to invest the money and if at the end of the day, we are limited. So if you could find out, you know, what our flexibility is and if we don't have any flexibility then I agree that it doesn't make sense. And I think Barbara actually may have set some decent parameters for it, that the artist will help us at the end of the full display to identify how this artwork will be sectioned and from there we can determine with some perhaps agreement by the artist, but our discretion, where we'd like to relocate this, assuming that we're respectful to the art, and yada yada yada, like that. I would, I actually think that's a realistic framework for a conversation with the artist. Because I actually do believe that whether it's in places in our city that we have not yet determined or charity or you know or such that this will be a sought after piece of art to have pieces of it. After it you know this will be a historical piece of art in our city that you know that will be there for many years and I do believe that if we can keep parts of it alive we should try to. And I think Council Member Bosse adds another note which is the city should have the discretion along with the artist to use this in a charitable sort of way. Either as a donation or in order to generate money that'll go to a charitable cause or anything that's in that ballpark at the end of its useful life is a large wall. I think those are really important things for us to be able to at least have the ability to do. Right. Great. Thanks, Mayor. So the dimensions once again are 20 feet high and 80 feet wide 85 85 feet wide and The cost of the piece for the artist approximately 125,000 Okay, so going to the concept concept one or concept two I think they are Okay, so going to the concept, concept one or concept two, I think they are both wonderful pieces I could certainly accept either one of them being there. However, accepting concept one in my mind would require some changes. The first thing that I, they came to my mind when I looked at it was the lack of diversity in the piece. And not wanting to give my thoughts as to what it should be to an artist, I have to reject number one primarily on that reason. So I would go along with concept number two. The other request for direction was regarding an event and I do think that would certainly be appropriate, would bring it to everyone's attention in our community and elsewhere and I think that's a really good thing. In terms of the dynamics of whether there should be a skin or not, I completely agree with Council Member Bosse and Council Member Gold and I think Bob said the same thing. That unless we are going to be able to have up front the ability to use this art, I just can't see investing another $120,000 on the chance that the artist would be receptive to our future use. So I think there needs to be something that gives us the discretion to reuse it or it just doesn't make sense to spend the additional sum of money. And we've had some ideas already and we'll go through them again, but I think that's something that needs to be worked out before I could accept spending the additional amount of money. I am disappointed by the timing. I think that it would have really been appropriate to have had it available for the bold opening. And I'm not sure it doesn't sound like there's anything that can be done about that, but that is extremely disappointing to me. When we say further discussions, at this point in time, it would be to take further discussions with the artist. Are we talking about any monetary considerations? Are we just talking about potential uses that would be in the future? I think this, again, the initial request for an artist going all the way back was to provide a temporary mural. The skinning, the reuse, and I appreciate Councillor Member Bosses refreshing everybody that that came from council. That was not the artist request. He is open to it being reused, but the initial contract, the entire project was for a temporary use. I think he's open to it being reused. Potentially, again, it all depends on what that future use is. And some of those challenges are, what we don't have in the contract right now is, we have the ability to terminate it. We don't mention any sales because I'm sure you're right. The city's requiring work artists often don't want the city, silly selling those works or auctioning them off. So I think whatever that future uses, however, whatever compensation, I think we'll probably have to include a lot of additional language, depending on what the city's expectations are. So I don't know if I can't really speak for the artist. And again, not knowing what the use is. It could potentially be monetary, additional monetary fees. It could be, again, it all depends on what that usage is. OK, so I think that more, at enforces my thought that we need to have something upfront before we spend that additional sum of money. Those are my comments. Thank you. So a couple of things. I think that we should, so it's not going to be ready in time for the opening of our winter holiday festivities, but maybe the painting of it could be part of it. At that time, he'll be, you know, and I agree with everything that was said before, we should make the actual painting of it into something that residents and visitors can look at and publicize that and make that almost an art installation if you will in a way. But presumably he will be working on it or they will be working on it on the 14th and that could be part of that. I think that's important. You know I do think we need to figure out before we spend the money on the skin if we are going to be allowed to reuse it. He may not want us cutting it up into little bits and auctioning it off. I get that. And if that's something we're not able to agree on, then it isn't worth spending the extra money. Now there aren't a lot of places probably where we could reuse it. One of them might be the new La Siena de Park rec center. That hasn't been designed yet in theory there there could be bold spaces inside there where this could well it could be you know absolutely or or inside or outside you know it could be part of it but I think we I do think we want to understand it because it really isn't worth spending it if at the end of the day, after these years, we're going to have to destroy it, or we're not going to be able to reuse it at all in any form, then I think we have a problem. And again, I understand if the artist says, he's not willing to let us chop it in a little bit and sell it off like the Berlin Wall or something like that. But I think that we, as said, we should use the fact that, unfortunately, it won't be finished. Let's turn that into a positive by having the actual painting of it be a kind of a cool event. People, like seeing Alexa Meade create her artwork. This will be the ability for us to see him create this piece of art. And I actually think we should be featuring not only doing a video and so we can show how it was done, but actually allow people to go there and watch. I mean, I don't know if he's willing to, you know, say, hey, you know, would you like to do a stroke or something like that if he's got a team, maybe even let people participate a little bit. That could be kind of fun. Obviously, Council majority wants to do number two. I still personally think number one is more special. It's more magical. It's, I understand sort of the reasoning behind it. I, again, art is very subjective. But I think all in all, that's what we need to do. And we definitely need to figure out before we spend the money for the skinning. Because 120, you know, now that it's gone up to 120 grand, that's a significant amount of money that we could use for some other event, for example. So let me suggest, I suggested earlier that we bring it back to the council, but given the consensus on the council, do you want to delegate that to the committee and let the committee decide if the artist has given us reasonable parameters to? Well, how about hearing just from the council polling, what in general would be reasonable, what kind of agreement we might expect from the artist, you know, I'm guessing that we're not going to say however we want to do it, you know, we'll use it. But what are sort of reasonable parameters that might be helpful? Well, I think it's already suggested. I don't know, maybe it dates back to Barbara suggestion or somebody else's suggestion about input if we're going to cut it into how exactly it's cut consultation rights in terms of where in the city we might use it or how we might use it, you know, although we ourselves are confident we'd use it in a respectful way, but for the artist to be able to weigh in on that. But not for it to be just purely in the artist's discretion as to whether, as long as we treated it respectfully, as long as we allow the artist to I'll allow the artist to specify how it might be cut up under those set of circumstances. Sure, why? A little hard off the fly here. I mean, I think we should be able to use it in any city building that we should either on the interior or the exterior. I mean, if you want to be specific, I guess you can, and maybe there were rooms we shouldn't put it in, but as a whole or cut up? There's nothing big enough at the moment, but conceivably if the new La Sianica we could put it on the walls. I don't know. I think we should have that sort of flexibility. I agree that artists should help us define if we're going to cut it, where we're going to cut it, and how many pieces of that. And then again, having done that, whether it's four, six, or eight, or 10, or whatever, we should have relative discretion within the context of city, schools, you know, public areas, all that kind of stuff. I can understand not wanting it in people's homes, got that, not wanting for us to sell it without part of that, if ever that were to happen. A reasonable discretion about, if for some whatever reason we decided that some are all of it, we wanted to store for a while and not show we should have the ability to do that. The manner in which we store it can be prescribed. I don't have a problem with that. I'd have to think about it a little bit more, but those are sort of the kind of things that jump out of me as sort of a starting point for conversation. OK? Yeah, so I agree with my colleagues. To me, a starting point and actually an ending point for me would be is that we as a city have the ability to show this in any city building or any public use that we felt was respectful. So I wouldn't want to have the artist to determine where we can or cannot do that. I still would like to have the ability, I'm not sure that he would support it, but I would like the ability to be able to use this for any of our local charities. For our schools, for our parks that we're raising money for, something that's really centered to Beverly Hills, I would like the ability to be able to raise money on some of that as well. That's not a deal breaker for me, but I would like to at least ask if we could do that because I think since we are using city money to purchase this, I would like to have the ability to have this as an auction item for our local charities that we have. But for me, the deal breaker would be is that we have the ability to choose where, which government buildings are where in the city that we will respectfully show parts of this. And to be able to cut it up because I don't know that we are going to have this exact space. And I also want to see what he would limit us in terms of size. Like if he says, I'll only allow you to cut it up if it's whatever. Right now it's 85 feet wide. Let's say he says, I'll only let you cut it up if it's at 60 feet. I mean, that to me, I want to have more flexibility on how we can divide it up because I don't want to be so limited because then that will limit us in terms of the locations. So I agree with all the comments that were made. I think that we need to have the flexibility that has been determined. I have a feeling this is going to be somewhat of an issue at this point. It's probably something we should have done on the front end rather than looking at it on the back end in terms of having that flexibility before we contracted with the artist. I know. We haven't contracted with the artist. We've actually contracted with LeBosque. So that's and he's contracted with the artist. So we'll have to do this through LeBosque. Okay. So all of the suggestions that were made some form of it, I agree with. I think we need to do that. So the question is, is the council willing to delegate it to the committee? I mean, I'm happy to be part of the committee, but I'm not sure that you even need the committee because I think you've received direction and if you based on what the issues you've heard from the council members, if these no go, then I think the answers are already there, and then there wouldn't be a skin. Just in terms of time, I think we don't have a lot of time to kind of hold this off. I think you've heard from us what our parameters are. You can relay that to the artist. If the artist is willing to do that, then I think we go with the skin. If he's not, then I think the answer has been made for us, and then we don't do the skin. But I think if you need some advice along the way, use the skin. I think that would be the, you know, if it's black or white, then it's easy. If there is some conversation in the middle, use the committee. Okay. All right. Thank you. Thank you. All right. Thank you. All right. With that, we'll move on to item number four, request by Dr. Gold to establish an Office of Innovation and Sustainability. Laura, welcome. Thank you. Good afternoon, Mayor, Vice Mayor and Councilmembers. My name is Laura Byrie, Marketing and Economic Sustainability Manager for the City of Beverly Hills. I am joined for today's presentation by Cindy Owens, Policy and Management Analyst for the city. So at the April 9th, 2019 City Council priorities setting session, Council member Gold requested the city explore the creation of an office of innovation. And for the purpose of today's discussion, staff provided case studies on five municipalities that have established or undertaken an office of innovation or office of sustainability. Those five case studies included Tel Aviv, Israel, Houston, or undertaken an Office of Innovation or Office of Sustainability. Those five case studies included Tel Aviv, Israel, Houston, Texas, Palo Alto, California, West Hollywood, California, and Glendale, California. Now the model's vary between each of the municipalities that we looked at, including where the organization decides to place the office of innovation, how they staff that model, and what the focus is. Many of the communities started with the focus on being a smart city, and they later expanded that into looking at innovative ways to analyze data, create efficiencies within the community, and looking at the larger business community and economic development. There are several common themes throughout all of these municipalities and their Office of Innovation. These can be utilized to create an Office of Innovation here in the City of Beverly Hills. First, it would be to support and develop best practices in conjunction with our City Auditor's Office. Secondly, we would do empower our frontline staff to generate ideas on how we can do things more efficiently to deliver services to both our residences and our businesses. Third would provide a supportive environment for pilot projects. Many of the communities identified by having that supportive environment that culture of innovation, where pilot projects are incentivized and encouraged by staff, for a short amount of time, allowed innovation to foster and grow. Fourth, embracing technological advances in advocating for the a short, apparent, mounted period of time, allowed innovation to foster and grow. Fourth, embracing technological advances and advocating for their implementation in conjunction with the Information Technology Department. And some of the examples that we looked at, the Office of Innovation, was incorporated as part of the Information Technology Department. In others, it was referenced and worked in collaboration with. Fifth, develop and implement ideas for creating a more sustainable environment in conjunction with the Public Works Department In some of the communities they have a separate office of sustainability Here in the city of Beverly Hills. We do have sustainability in our Public Works Works Department and finally creating programs that encourage economic growth and development in the city as economic models continue to shift how people decide where to travel shop in Dine. We have all heard that the retail industry is changing significantly and how people are shopping and dining and traveling is morphine and we have to look at ways to innovate and be competitive and stay competitive in today's market. So what we're looking for today is direction regarding a quest to establish an office of innovation and sustainability. And based on the direction that you provide, staff will return with more details regarding what the staffing for that would look like, a budget and any further consideration items. Thank you so much and we're available to answer questions. We have one public comment, Mark Elliott, welcome. We have one public comment Mark Elliott welcome Good afternoon mayor Mirish vice mayor Friedman members of the city council. Thanks for the opportunity to speak on this I was a little confused by the staff report I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I mean, I a city known for luxury hotels and shopping. The rest seemed to imply this was kind of an office of marketing in some way. And then the disparate case studies didn't really narrow it down. I mean, they suggested some opportunities for our city, but I just didn't understand how it kind of co-heared into a whole. When I think about innovation at the local government level, I think about, I think about innovation is coming from three sources, really. the community, department leadership and staff. I'd like to see these ideas come from all three. Community is key. We have a sunshine task force that I think does a great job in servicing ideas, not just around transparency, but ways to improve city government generally. I think that's been a great success. Department leadership should be key. We pay for the best. We expect the best. I hear that from council. I'm from time to time. And we expect not only management, but we expect, I think, good ideas coming from the Department leadership. The auditor, I think, is going to be very helpful in identifying waste and just generally places where we can refocus our resources. And if management culture is the issue, I look to George because he knows what problems need to be fixed. He sets the tone and the tenor. And I think that he can do some of what we're talking about for this chief innovation officer. And also I wonder what is innovation day about? There is every day, every year, there's a day, innovation day for staff. What happens on those days? I never see a readout. I don't know if anything comes of it. So I think our record is mixed when it comes to innovation. I can think of good examples. Communication is much better than it used to be. Keith Sterling is open. I think he has great ideas. Not so good examples. The library. It's very difficult to get the library to make changes. It still uses two completely different web interfaces, depending on whether you're looking for general information with the catalog, they look nothing alike. And it's very frustrating year after year, that hasn't changed. I think IT, I think David Schoen was open to good ideas, they're doing good things with open data, that can be encouraged. I think most problematic from my perspective perspective having had a lot of experience by now is most problematic when you bring ideas and they don't get any traction. Comp Cate is a great example year after year of making suggestions and still even today staff doesn't seem to see what the public sees. So they don't understand for example we can't see when a code enforcement officer is assigned to a case. There's nothing on our side, but it is on the staff side. I mean, there are problems like this that we can suggest. These are specific fixes that can be made. I don't think we need an innovation officer to identify these things. I think these ideas can come from stakeholders. They should come from staff and from department heads. And I would go back to the innovation day. Perhaps that's a day when we can all get together on the same page and think about how to move our city forward. I'm not sure what happens on that day, but I think there are opportunities there. Thank you. Okay. Thank you. We'll close public comment and Dr. Gold. This is your item. Please. All right., well thank you. I'm going to have to move here. I'm just George's microphone. Hopefully I won't break that one. So thank you for placing this on the agenda. I think clearly there is no model here for us to adopt today. Really, this is the beginning of a concept. And really, I think that the, if you look, if you really look at Tel Aviv as a, for instance, they, they have established innovation, an innovation office, a chief innovation officer with a very broad platform. It's not a platform that's entirely tech-based. It's not a platform. Some of it is very simple. Some of it is encouraging frontline staff to talk about, how can we do things better in our area? Some of it's technology. They obviously are leaders in technology, and they use that very well too. And certainly if there are things here, which would help us with the economic piece of this, I think that's great. I think that makes sense. Likewise, I think Mark is correct. We started, we did start with green city, smart cities. We do have sustainability embedded into our work plan, but all of these things right now are a little amorphous. There's no single point where somebody can go and say, I've got a great idea, or I've got a problem, or I think you should look at, or any of the things like that. It is very, very decentralized. And I think that what most of the agencies that have created sustainability officers or offices or both have found is that by centralizing the responsibility for this, they get more. They get, it's easier to create accountability. Somebody knows that the idea has been submitted and there will be a decision one way or another about it. And at the same time, it encourages, because people know that all of this is going on. It encourages others both from within the community and from within the staff to come forward with new ideas. You know, we've always prided ourselves on being cutting edge of these things. I think while we've been on the cutting edge of a lot of tech, and I think the fiber thing is, for instance, that was standing as challenges, but I do think that in this identification of an innovation officer and or a sustainability officer. I think we're a little bit behind. I do think that there are other cities we can learn from who've done a really good job who actually have a work product that will demonstrate the value of whoever it is that's doing this work. And I think as we're looking to the future and we're really looking to, what do we wanna be, what are aspirations for this? I think it's gonna take somebody who's responsible for kind of cataloging and keeping us on track with all of the recommendations for innovation. And as I said, it doesn't all have to be high tech. I mean, much innovation is very low tech. It comes from observations at the front line that people with the managerial level just don't see because they're not doing that work every day. I know in my formal life we went through this exercise at Seeders and the front line just had a different view and oftentimes they would come up with an idea that said, why don't we do this? We're going to save some time, we're going to save some money. And the only reason we ever got to that is because it was somebody who was charged with asking the question, how should we do things differently? What do you know that I don't? You know, you don't know what you don't know. And unless somebody's actually charged with asking the question and then garnering those responses, it often doesn't get done. So how we ultimately shape this, I think this will change over time. I think that we will find different things for this officer to do over time. But I do think that identifying somebody who has the responsibility, the ability and the interest in doing this is something that we ought to seriously consider. Okay, thank you. With that, we'll go to Councilmember Wonderland. Thank you. And thank you, Dr. Gold for bringing this forward. Being open to innovation, being willing to embrace innovation would be a great thing. And if this would help bring that along, I'd certainly be in favor of that. You know, as you said, as I'm sure other people would say, we try to pride ourselves on being the leader. And in some aspects aspects we are leaders some aspects whether it's Our smoking ordinances. We're seeing the rest of the country follow us In terms of a variety of things we are leaders, but we're not uniformly leaders You know what area which I'd set up and which I think we're behind many of the great cities of the world many of the Places in Southern California that are attracted to live with us in terms of mobility. We continue to be supportive of a car driven, car driven, could apt use of words there, culture. Many of the great cities around the world are recognizing the negative impacts of a focus on cars in terms of community, in terms of health, in terms of the economy, in terms of retail. And so I'm certainly in favor for us, pursuing innovation, recognizing innovation, and we also have to have a mindset in which we're going to be willing to embrace things. Not necessarily adopt everything, not everything that everybody's going to suggest as an innovation will be a good thing to do. But we have to have an open mindset about potentially adopting things. This exact combination, innovation and sustainability. I'm not sure the particular linkage there. I would say that sustainability can be an example of innovation, but innovation could be a lot more things than sustainability. And so I would suggest an office of innovation, which would recognize that sustainability, of course, a lot of practices could be a good thing, could be an innovative thing, but not to necessarily label it an office of sustainability. Also, because sustainability is such a broad term, economic sustainability, environmental sustainability, has a lot wrapped into it. We of course would have to think about how something like this would be structured, what it would really mean, that be some overlap with what Eduardo is doing in terms of the tips website, but I don't see that as negative. I mean, all of that can be incorporated together. But of course, we'd have to give some thought into how this thing is being structured. Who picks what to look at, how to fund. One of the things that you said was in terms of a centralized place for innovation. And I think I would phrase that a little bit differently because I don't think you want the responsibility for innovation to be centralized. I think you want everyone to be imbued with a desire to have innovation. You don't want people to sit back and say, well, there's an office that's worried about innovation, so I'm not going to worry about it. I think what I would see would be an individual or a person who would be facilitating innovation across the city, who would be more the champion for innovation. Coming up with ideas from a variety of places, encouraging people from throughout the city, people who work for the city, residents, whatever the source is, and then to become the champion of it, to become the tracker of what's happening with it, a facilitator more than saying, here's the office that's going to develop what are the innovations for the city. And I think that was the concept. I don't think that the idea was any one person to sit and make up all that. And also in terms of some of the programs in the other cities, sometimes they were saying it was technology focused, the public works focused. I think innovation goes way beyond that, and it shouldn't be either technology focused, the public works focused. It's innovation in the full gamut. And to set up somebody who actively is the champion for trying to get us to embrace innovation, I think it'd be a good thing. Thank you. So I love us being innovative. I love us being future thinking and I think that's what our city is built on. It's built on vision, it's built on risk taking and doing things out of the box and leading. on risk taking and doing things out of the box and leading. And so, and whenever any of my colleagues bring up something that we should all consider, I feel that we have to have an open mind and try and work towards a common vision together. So I think for me, whenever I hear the word innovation, I think end sustainability. I think of the future and I think of what is the foundation of Beverly Hills, both of the past and the future. I think some of what I'm hearing today, some of which I feel that we are currently doing and working towards. We just started with our auditor and we haven't really yet unpacked that. So I think some of what we're looking at here and talking about, we'll fold into what the auditor is doing. And I would like to at least initially see where we are with our auditor and what we're learning from this experience. We just built out this auditor office and the auditor is interfacing with many of the departments that I feel are part of the innovative and the sustainability of Beverly Hills. I've always been a person who believes that our biggest strength of our community is really based on the vision of all of us. And meaning all of us in terms of the people who live and breathe you know in our city every day you know the residents who I mean we've seen this many time where we've you know we've hired consultants and we've had reports and they'll tell us what's happening on the streets or what what's happening in certain neighborhoods based on traffic council this or this or that but it's really the people that wake up every day and live here or work here that really know our community and really know where they want us to go in the future. So, part of where I think we need to look at, whenever we're hiring anybody or an officer of anything in our community, it has to represent in my mind the people who live here and work here and are the stakeholders that really, in my mind are the ones that are gonna be shaping our future. So for my perspective, and I know that this is just the beginning of a conversation and I think we have a lot more to discuss in shaping this. But granted, this is the first conversation. I really want to understand it in terms of how, I mean, when I'm seeing the cities that we're talking about, Tel Aviv, Houston, Palo Alto, West Hollywood, Glendale, some of these, for example, as was suggested by the report in West Hollywood or Glendale, they're already part of their, you know, their auditing team. They're already part of the IT team, you know, so I just don't want to, and I don't think any of us want to do something twice. So I want to see, and that kind of goes back to what I'm saying in terms of the audit, I want to see where our holes are, and versus doing something one time and then doing it again, and adding just layers of bureaucracy. So I think the first layer for me is to understand what is it, and how this really fits into the Beverly Hills vision, because I think each city and each community has a, you know, just a different makeup. And I realize today's the first day so I don't know that, know that answer yet. I want to know which departments that we currently have could fit into this currently in terms of innovation when you know we're in sustainability, public works, IT, you know the CVB and the Chamber have their own visioning plan and sustainability plan. We have a strategic committee. So I think to me in order for me to really understand this as a whole, is to really look at what we have, what's working, what we, you know, is missing. And I still, like I said earlier, feel like we haven't really scratched the surface yet with our own auditor. So I'm open and I'm always open to being innovative and trying to take our city forward, but I think we need to do it in a way to understand what it is, we're missing versus just jumping in and saying here we have an office of innovation, have the shingle up and there we go. Because I think we already might have some of this embedded. And I really believe that a lot of this for me needs to also be led by the people that are the stakeholders that really are shaping our community. So the way I interpret this was a little bit different than that. I think that it's, it looks to me like we want to get to a place and do we start looking at that now. I didn't see that we were going to out and hire an officer at this point in time, but I think that the discussion is appropriate to have now, and looking at the things that you talked about. I mean, we certainly don't want to duplicate what exists already, but I don't think that we, I think that we need to get on this horse and learn how to ride it, and look at this. I mean, I do see it as an office of future vision and innovation. I think that is something that we need to be proactive and do. I don't think we're anywhere close to hiring a person yet. And I think that we need to look from a staff standpoint as to where we have it already, where our partners are, and perhaps have that discussion as to where we should go. Okay, perfect. And I do think ultimately by centralizing it, ultimately, way off, that you do have accountability then. You have everybody working towards a common goal or idea. And I think this is a next logical step after the City Auditor's Office is up running and moving. And been very pleased with the progress that the Auditor's Office has made thus far. I think that they are fulfilling the goals at least initially. They, we just have two people that were recently hired. They are on an active audit or audits right now. And I think this is the next step. By starting the discussion right now, it puts us that much further ahead to a finalization of where we're going to actually, hopefully, wind up. I also agree that innovation and sustainability, I think those are a little separate. I think future vision is more in line with the idea of innovation. And I'd like us to start the discussion, start looking at this as a positive step forward and the next step that our city should be taking. I mean, we look at Tel Aviv. I mean, Tel Aviv, the innovative ideas that come out of Tel Aviv. I don't think there's any city in the world that- Thank you. Thank you. Yeah. Completely agree with you, but you also have to look at the city of Tel Aviv. I mean, they have universities, they have hospitals, they have teaching centers. You know, we have to look at our city and what we are, we have to learn from other cities and grow from other cities, but that's what I'm saying for me. I think that we have to define what it is, in my opinion, you know, how does this shape into Beverly Hills? Not Tel Aviv and not West Hollywood, but there's no question why is it we have such an incredible partnership with Israel because they are at the forefront of so much. So I agree with that. For clarity though. Yeah, I can't. That's not going to work, sir. For clarity, the municipal innovation center is separate in a part. Everything in Israel has an innovation center. All of the universities, all of the major hospitals, all of them have their own, but the city has it. And that's really sort of what we're looking at. We're not looking to create novel molecules of cure cancer and all that kind of stuff. We're just looking about innovation as it relates to the city. And so. I mean for me, my current thought is so that it would be best and capsulated by a champion. That all of us think about innovative things, but this would be somebody whose daily charge it is to think about these things and what we can try to do to bring them about. So it's opposed to a portion of a person's job. This would be the focus of the person's job and to be a champion for the ideas for the things that are brought forward from the city, brought forward from other places as well. And one last comment, I think the first thing innovation should look at is getting a working mic for Council Member Goldie. Thank you. Thank you. So I agree we need to infuse our culture with innovation and yet I react somewhat differently to the notion of a champion. That puts it all on one person. That creates an ownership of one person where this is this innovation is something we should all take ownership with. Every department, every council member, every policy maker. Right, but, you know, I don't think it would be the single champion who's responsible for everything, but it's a member of a public makes a great suggestion. How does that member of the public follow up all the time to see what it is that's happening? Is there some individual who is... I think that happens all the time. Well, we have that now with the auditor. I mean, we've had some ideas about usage of rangers. That's exactly the notion which has not even been formally presented to us yet. We've had some success. Can I please finish of the tip line? And to me, that is exactly one of the reasons that it's not just a whistleblower line. It specifically states it is something for new ideas. And so, but the notion of having one person a staff member, no less, pushing innovation. This unfortunately, I think can create silo mentalities. It can create empire building. It can create the opposite of teamwork. Again, I think we're an agreement that innovation is good. The question is how do we get there without a silo mentality. Clearly, when it comes to technical innovation, Dave Schurmer should be the one who's writing, he's the one who is our CTO, CIO, and he should be the one who's constantly saying, hey, there are these new programs available that we could do. But I think and hope all of us, as we connect with colleagues from other cities and do our due diligence, are going to look not only at ideas that other cities have done, but will have our own ideas and we'll bring them here. And the notion that there's going to be a kingpin or a czar of innovation, I think is less democratic than the notion of having someone who is like the auditor's office, who is able to get ideas from all over and to be able to sort of be a clearinghouse and not push an agenda but filter them and look at those good ideas. You know, again, in a city the size of ours, another office, again, to me, a whole office to say, well, we need to have someone to champion to push or whatever of innovation to get things done. I don't think that's the case. I think we as a council need to take responsibility for example when it comes to multimodal transportation. When it comes to saying what can we do? Sorry? I agree with you because we make the policy along with our community as a partner. So what can we do to be cutting edge and we did a great job when it came to tobacco control. I think I agree with you. There are issues and some of them may be more political than anything else about public transportation, not public transportation, but multimodal transportation and a car mentality and looking at that, how do we change that? I mean, we have a vision and we've had a vision, the notion of a municipal autonomous shuttle system that would literally take cars off the street. And we have a technology, a very good tech robust technology committee that is made up of Residents who are also bringing ideas to the table. So I think we have a lot in place. There's things that we can do to be better. But I actually see that the higher of Eduardo and now with a full department as that's sort of the next place that we should do with, how can we use technology? I mean, you can't deal with sustainability as well. How can we come up with ideas? But I shy back a little bit from some kingpin or a czar taking ownership of it. I'm sorry. Sorry, sorry. I actually think it's the opposite of silo building. And I don't think it's a kingpin. I think it's at least my thought is it's more of a facilitator. Not somebody who's taken control of all these things, but is trying to help make things happen. And also, obviously, I was the one who initiated the concept to have the auditor. So I'm absolutely in favor of that and absolutely in favor of the tips to line in the things that we've come in from that. But there's also other realms of innovation that really aren't necessarily the improvement of city operations. I mean, one we're talking about, mobility, that's not really a city operation. But using mobility as an example and using complete streets as an example. I mean, we have in my opinion the appropriate process for that. Well, I don't think we're limiting any tips. We're not going to say sorry. That's not a tip related to structural operations. This is just a great idea that we have that we'll do this and that or the other. I think this city would be helped by having somebody who is looking at what's happening around the world, who's helping to bring things to our attention. We are creating the policy, that's correct. But we're not, we have lots of things on our plate. That's not the only thing that we're doing. And having somebody who's in that facilitative, in that awareness role, I think it could be a helpful suggestion. I think in public works you have Shana who's going to give us the latest on anything related to public works when it comes to computers, Dave Shermer, when it comes to policing, it's going to be the chief when it comes to fire. I mean that's why we supposedly, hopefully, have the best people in all of those departments. I believe our department heads should be those for their specific fields, those innovation officers. And ultimately, it does go back to George and City Manager's office to look at best practices and that sort of thing. To put in another layer to me is asset. It's another level of bureaucracy, which I don't know is going to do what we wanted to do, which is to take good ideas, to act, you know, to allow us to process them and make policy and move forward with them if we think it's good policy. It seems to me that I heard at least three and maybe a half. What you heard from me is I don't feel at this point that we have a need for. So I think from at least three that there is some interest in exploring this. And what I would like to recommend is that working with the city manager, we develop this a little bit further and bring it back when it's got some specifics attached. Well, I'd like to suggest as councilmember Bosse has said that we haven't even opened the tip line yet that we figure out a way to- What's the rush? I mean, let's at least get our autographed- What are we going to lose by having the conversation? Because I feel, I mean, I'm open to looking at this, Julian, I just want to do this right. And we all agree with that. No, but in my opinion is, you know, we haven't yet, you know, let's not rush into this and let's at least see what's happening with the audit function. This is not an audit function. But the audit, so that's what it is. That was some of it is, but most of it's. But we've suggested the auditor is more than just an audit. More than, I mean, that was very clear from the beginning, more than a traditional auditor. The auditor's office is an ombuds person, serves as that for residents, which is something that we had before. This is not that individual. It's also now something that is a tip line in the sense of looking for ideas and innovations. So one more time, I think there was, if I heard correctly, three people who would like to move forward to develop this concept. But when you say develop a concept, I think we're taking baby steps. I mean, it took two years to get the audience involved. Well, I think that's my point is I... Yeah, let's see. That's my point. When we knew when we talked about the auditor, we knew that there was a significant hole that we needed to fill. And all I'm saying is, I think, I am the first one who supports innovation and the first one who supports sustainability. But to create an office without even understanding what it is we're creating and why. Well, that's the point. Let's define it. So. But in order to define something, I think you have to understand what it is that we don't have. That's what I was saying. We can work with the city manager to explore that. So what all I'm saying is I don't want to, and I think the vice mayor said, I don't want to do something twice. If we already have something in existence in certain departments or in certain aspects of how our city is working, I don't want to recreate the wheel. I want to see what that's all I'm saying. Well we all agree with that and the goal of whatever this exploration would be to be I identify those things which were already doing and they would not be part of the portfolio. I think that absolutely what portfolio of this individual. If somebody is already doing the work, there's no reason to do the work again. I think we all agree. And if we get into this a little bit and we see that it's totally duplicative, we can just pull it. I think we're doing ourselves a disservice if we don't start looking at it. And if we have to pull it. But that's what auditing is. We're looking and seeing what. The auditing is different. Well, to me, I think as we talked about, as you were talking about the multi-mobility. Why wouldn't we allow the auditor to look at, we're not talking about, we're not talking about, but allow the auditor to look at how can we better integrate innovation into? So I would be pleased. Because everybody has multiple things on their plate. And Shana brings great ideas to the table. David brings great ideas to the table. But they have multiple things on their plate. I think it would be helpful to have an individual plate is thinking about innovative things. And all that we're talking about now is thinking about that. Well, I think I'm saying I think we better have that in place now or in trouble and that's George and it's also Nancy and it's they have many things on their plate. Well, of course they do, but among them they have many things in their play. Well, of course they do. But among them, they have many things on their play as well. But to have someone just to say, all I'm thinking about is innovation, then you create a need for somebody to do something that may or may not be needed. Because that's their justification for being there. George and Nancy's justification for being there is to do things as efficiently as possible to do all of that. So there's not a need, there's not an inherent need to create some sort of product. And I would suggest that George. So I just like to say that I hear all of you and I think you all know that both Nancy and I are working managers. So we do exactly what you're asking us to do, but we are also doing a lot of other things. About 25 years ago, there was probably a very similar conversation. Maddie Illuserie did this, actually. He had a sustainability, what do you call it, a strategic planning thing in place similar to what we're talking about. Right, and there was somebody that was handling that at the time, and I'm not advocating for new positions or anything, I just wanna to make this point and actually draw your attention to the next presentation that we're gonna be seeing because about 25 years ago, there was a whole conversation about public safety. And I think every single department, including the police department, the fire department, the community development department, are charged with public safety. We brought forward, I mean, I wasn't a part of it then, but I know that it didn't happen because they created an office of emergency management. And that was to coordinate the efforts of all the departments to put forward the best foot in public safety. That role does not replace the role that the police department does, it does not replace the role of the fire department or any other department, but it does make sure that we're always looking at best practices for public safety, making sure that the employees are properly trained and prepared and always making that a part of what we do. So in my mind that is exactly what I'm hearing is being talked about. So if we could bring forward the concepts would love for the council to look out. I would be willing to work with one of the other council members and the city manager to bring forward. Okay, I'll do it. It'll be the two of us. Well only if you're going to keep it'll be the two of us. It'll be the two of us. It'll be the two of us. Well only if you're going to keep it will be the two of us. It will be the two of us. It will be the two of us. Thank you. Well then I'd like to ask that we put it back on the agenda in a month. Put it back. No, I don't. We'll see what the agenda is. Again, you heard. Julian, what's the rush? Let's do it right. Exactly. Three There are three people here who are afraid to do this. Julie, and I have no idea. Because John doesn't want to do this, and he's going to obstruct it. And really, Julie, and we'll thank you. You mean the way you've obstructed somebody things that has asked? Let's think that I'm going to act the way you do. Is that what you're suggesting? I don't act the way you do. All I'm saying, let me just say that I am more than open to having this conversation. I just, I think in order to do anything right, not only this, to do anything right, I think we need to really look at, like I said, it's gonna take more than a month in my opinion, and I can't imagine George is gonna disagree, given the fact what we have ahead of us to get the information and the questions that we all agree on, you agreed. We don't want to do anything duplicates. And why wouldn't you want to look at what the, again, the tip line hasn't even opened yet? Because it's not what we're talking about when it comes to the point of view. It absolutely is part of it. We're philosophically we don't agree on that point, John Absolutely, it's part of it. The autotour is part of the autotour is not just an audit function. But it's with talking about apples and sort of apples. So all I'm saying is I'm, I'm, I'm working to develop this in a way that makes some sense. And I'm perfectly happy to work with you, John, if we can do it with an open mind. But Julian, as said, if you're open to the fact that we don't do something just for the sake of Empire Building, and for- I agree with that. I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry to define what the role is going to be and bring it back to the council with some broad outlines that we can talk about. And I personally based on some of the questions that we've all asked, I don't believe that we will have those answers in a month. That's all. We don't have a new month. That's fabulous. But I just want to be realistic because I would like to get to yes with information. And I like that too, as long as we can approach it, all of us with an open mind, and I'll include myself in that. But it needs to be something that's going to enhance the organization, not going to be something that's going to put it right on it. And we also have to think of, you know, when you say an office, is that a person? Is that like the auditor's office with five people, with seven people? Nobody knows what sort of thing. And that's our one. John, can I suggest, and I know that you'd like to be a part of it, but Bob was really instrumental in the office of the auditor and knows exactly what the functions are, at least at Metton, what's going on right now. I really think it should be Bob and Julian. Yes, wait a second. Our auditor is not having the same, our auditor has a different function that is tailor made for Beverly Hills as it should be. We took an idea that other organizations have had. No, but what I'm saying is that I think that Bob working with Julian, at least the ideas will be synthesized for all of us to make a decision. Obviously it's gonna have to come from all of us if we wanna move forward with anything, but I think Bob is, and I'm sorry to volunteer you, Bob, but I think it's good to have people who have diverging points of view to try and reach some sort of an agreement because if you can, you'd be us, exactly. Rather than to create and to create, and there is an election coming up and that sort of thing, maybe it becomes election issue. I don't know. But the fact of the matter is, it's better if we can... Can anybody want to be in a vote? Well, I don't know. It's better for us to be able to deal with the... I think staff has never proposed. To deal with the concerns and to try and figure out... NSS said, as Lily and as Julian himself has said, if it's something that we already have or there's a structure that already exists that we can incorporate it into. I think nobody is against the idea of innovation. I think we are all concerned in various ways about what may enhance and what may stifle innovation. And also nobody's in favor of redundancy. That's why I want to make sure that those questions are so clean and fill in. But as said, my concern is that we're going to be more or less putting the responsibility for innovation on a staff structure rather than stepping up and taking responsibility ourselves. And it's one thing if you have someone that says we have an idea and we have a bold vision, help us figure out how we get there and we're sitting here or sitting here and saying, well, what should we do? And please guide us. And I am very concerned that we should be the one driving the conversation. And we may have the vision, but there may be people who help us reach technical solutions. That said, that may be already in place. I think we're moving forward. Yeah, I think this is a difference without there being a difference. I think we all want to. Yeah, I think that, well, I think this is a difference without there being a difference. I think that we all want to do it. We're moving forward. I don't think we need to, I think we've all agreed to agree that we're going to move forward and have this conversation. And number one, I think we all recognize we don't want to have anything duplicate. That's the first layer. And then when we have analyzed what the needs are, if it happens in a month, fabulous, if it takes a little longer, and then we could bring it back with something that is closer to getting to moving forward as opposed to bringing something back that doesn't make it. But I also want to say, I disagree because this is one of the things that I felt was so exciting about the tip line. I don't think it's just a whistleblower. I think the notion of that was... Undoubtedly, yes. That was to bring any kind of, you know, what people might consider to be, cock-eyed or whatever, ideas from all across the board, which will include ideas that would be considered innovation. So to simply try and pigeonhole Eduardo and say, well, he's just an auditor, I disagree. I think that the tip line is meant now, whether Eduardo is then the person to proceed or whatever, but I think that that is going to be an important element of calling ideas from the committee. And I think— And I just want to add, I think all of us are very, very aware of sustainability. And we're talking about sustainability and we're talking about economics. We're talking about when we're looking at adding one staff member or however many staff member, none of us in my opinion are going to support adding more staff unless we can justify. Or incorporating it into existing structure by- So in order to- that's what I'm saying. So in order to have this conversation I think we need to take a little bit of a step back, understand, what we need, where the whole is, let's not duplicate something that we have, which is what we did, and that's all I'm saying. So that's why I'm saying we don't need to rush this, we don't have, I'm not saying we should slow it down either, but I just say let's do it in a smart way. And here we have. Clearly, just a quick point is that at the next study session next week, I'm scheduled to provide an update to the City Council on the implementation of the trust and innovation portal. Perfect. So that's the beginning. So Edwardo, would you please repeat the name of the portal and focus on the middle word? It's trust and innovation. Sorry? And. Yeah. Well, the eye for the, yeah, it's, I mean, so I, exactly, I think that there's a reason for that and maybe we can take some of Dr. Gold's ideas. And if at the end of the day, you know, there's, again, I don't like the idea of a czar of anything, but you have, sorry, but, but have someone coordinate, but let's look at that side of the end of as well. I mean, let's just not forget that Eduardo is not just an auditor. But also there's a difference between a czar and somebody who's focused on something. Those aren't the same things. A czar has control. Somebody who's focused on something isn't the control of it. Well, as said, I'm hoping we're all focused in everything that interests us, whether it's water technology, or housing, or policing, or whatever. And all of that that we're all focused on innovation, or being as efficient as possible, not innovation for the sake of innovation, but true innovation. And I think we are. And I agree with you. I think there are specific things we need to look at, which some of it would be multimodal mobility housing, I think is another thing. Sure, those are just examples, not the- I agree, but I think we're aware of that. And the question is, how is it great if we know that? How would, you know, what would a person we had who would separately or an office or whatever, how would that person, and I think these are questions to ask. It's not a rhetorical question, further those goals. So. Great. So we're now on the same. But next week, we're going to have the presentation from Eduardo. And please can you be informed by this discussion as well as to how you see it could or wouldn't dovetail with what Dr. Gold is discussing. Okay, thank you. I was not sure if I was going to come up tonight. I'll try to condense. This is about a 15-minute presentation, so I'll try to condense it. We're short in time. So, hello, Mayor and City Council. My name is Pamela Motay-Smaller, and I'm the Director of Emergency Management, Resilience and recovery. And the purpose of my presentation today is first to meet federal and state guidelines to train all employees, to provide information on the disaster response recovery in the emergency organization, and review the roles and responsibilities of the City Council and review that as part of the City Council handbook that you were provided. First, I'd like to just talk about the phases of emergency management. The phases are mitigation prevention, preparedness, response, and recovery. preparedness, response, and recovery. It's interesting because response is what we often focus on. And in a disaster, it's found that response is actually only about 10% of the disaster, and most of the disaster is in the recovery phase, which we talk about how to get people back to their home, back to work, and back to school. We have preparedness goals, and they are community employee preparedness, and response and recovery. So those are the four areas. So I'd like to spend a little time talking about resilience and what is resilience kind of goes into what we were talking about, or you were talking about just before. Resilience is the capacity of individuals, community, and institutions, and our businesses and systems within the city to survive, adapt, and grow, no matter what kinds of chronic stresses and acute shocks that may be experienced. The more a city or an individual is resilient going into a disaster, the more the city or the individual will be resilient going through the disaster and recovering from the disaster. The bottom line is to be a resilient city means we are healthy city and we have a healthy government. The mission of the office of emergency management is to strengthen the city's ability to mitigate against, prepare for, respond to, and recover from. This is done in collaboration, coordination, and cooperation with all city departments and stakeholders. We have an emergency operations plan. We, this plan has been updated and will be coming to you for approval. As part of that plan, there are 18 plus manuals and anuses. And this City Council handbook for emergencies and disasters, which are part of the staff report. And you've been provided as part of one of those 18 manuals and annexes. Some of the other annexes and manuals we have is we have an animal plan, we have a volunteer management plan, a hotline plan, an EOC supplementary annex, a power plan, a pandemic plan, so a variety of plans that are part of this emergency operation plan. Now of course, we have definitions besides resilience of what is an emergency and what is a disaster. And you see the definitions here. The bottom line are disasters can be man, or emergencies can be man-made or they can be natural. It can be an earthquake, it could be terrorism, it could be a fire, a wild land fire, building a fire, a wind land fire, a building fire, a wind storm, an act of shooter, a mass casually a plane crash, a landslide, a water main break, a cyber-secure attack, or a protest. These are just some of the types of disasters or emergencies. We also deal with, of course, these days, a lot of pre-planned events, which we must do provide in a coordinated atmosphere. So when we talk about what are goals and disaster, the most important obviously is to provide effective life safety measures, reduce property loss, and protect in the environment. We also must provide for the basis for the direction and control of the emergency operations. We must plan for the continuity of government, which comes in with the Session Plan. We must provide for the rapid resumption of impacted services, provide for the protection, use and distribution of the resources that we have. Now, we do this by three systems. And in a disaster, we find these three systems. And they are the Incident Command System, the Santa Rays Emergency Management System, which is state and then the National Incident Management System. And therefore, by City Council Resolution, by state law and by their presidential directive, the city must use these three systems to manage emergencies and disasters. The bottom line is the city. All disasters are local, and we begin and end here at our level at the local level. Now, there are six levels. The disaster and emergency starts at the incident, moves to the field, then again to the local government, and then on to the Op area, the region, the state, and the federal government. If we need additional resources in the city, we would ask for mutual aid, and we have a variety of mutual aid agreements. So we ask we have needs, put then there are a variety of Nutri-Lade that can be provided to the city. So we would start at our neighboring cities lay the four west side cities We would then go to the county which is considered our operational Aisional area, what's your 88 cities? We go to the region and then the state could go to any One in the 58 counties and then onto the federal government, which has all the departments of the federal government and then all the states. Each one of these systems that we talk about have five sections in each of these systems or these levels management or it's command in the field, we have which manage or in the field of the command. Operations are the doers in the planning and intel section. We have, they are the planners, the logistics are the getters and finance are the payers. It is important to remember that all employees are disaster service workers. That means all employees must either stay at work or return to work in times of emergency or disaster. All departments have specific primary roles and responsibilities. And each department has org charts that each employee is put on that org and charts so they have a specific job function. Now where do we do this or where we do this in an emergency or disaster is our emergency operation center, which provides for that centralized coordinated response. There's representatives from all different departments there, and we have standing objectives which consist of situational awareness, determine the priorities of the incident, crisis information, develop and support policy decisions, according with you as elector officials, acquire and allocate critical resources. So again, you see these five sections in the EOC also, and the management and then operations, plenty until logistics and finance. This is the whole AOC organization. And again, each department has their role in responsibility, they have primary roles and supportive roles. In management, it's mostly from the city manager's office, but operations is fire, police, public works, community services, building and safety. And that operations is run in a unified command with police and fire. Plenty intelligence is operated there by community development and also supported by IT, GIS, and also fire and police. Logistics, we have our IT, our transportation, our personnel, who will, and section who will take care of all the, do the volunteer management and employee care and staffing and supply procurement, which is finance. And then our, and that is overseeing by public works and our finance, which is obviously over seed by finance. In the management section we have the council and we have the director of emergency services which is the city manager and the policy group is all the department heads and department heads. The policy group will come together to work on policy and those policy will often be recommended to the city council It's missing a line across but the deputy director then there's a public information the safety officer which is a risk management legal officers the eternal attorney in the liaison officer So let's look at the roles of the City Council in a disaster. The roles of the City Council, General Duties are listed in our emergency operation plan. The bottom line is policy direction, providing leadership, condolences, and encouragement to our community and meeting with media to desk community resilience spirit. Some of the general duties will be to proclaim and ratify a local emergency to pass important resolutions, to obtain briefings from the director of emergency services and provide information to the public and media, to support a multi-agency disaster response and to host a VIPs and other government officials. We will provide policy direction to ensure that the city is disaster prepared and provide policy direction for the financial, financial, physical and emotional recovery of the city. As part of the City Council role will be one of a leadership and encouragement, motivate and support employees so they can accomplish these difficult tasks. And still, and this is I think one of the most important is to instill confidence in the public that the incident can be managed effectively. And the community will need leadership, comfort, caring and encouragement. When meeting with the media, we will discuss the community's strength. And we encourage that all media contacts are done in accorded in effort and should be done through the city working with the city's public information officer. And in the OOC, there are the PIO function to ensure that it's a coordinated effort. We do operate a multi-department public information function where we have representatives from each of the functions that come together to make sure that we are providing one message. We speak with one voice. We want to try to avoid answering questions without specific cases regarding disaster assistance. We want to provide symphony, symphony? That's not the one. Sympathy. We do not want to make comparisons to other disasters. And we want to make sure that all our information is so important to be timely and needs to be correct and by the PIO. And of course hosting, visiting dignitaries and federal state officials will be one of your roles also. In the Layas on Officer position, because the City Manager also will be very busy, the lay-as-on officer will coordinate with the council in regards to the regular duties. So we talk about WINDER report, so it's as directed by the Director of Emergency Services, and WINDER report to the fourth floor of City Hall. If you're unable to get in or is unsafe, you report to the emergency operation center. And the liaison officer will again be, liaison with the City Council. So one of the things that would happen initially is you might receive a phone call and by the council liaison and to see if you're all right and if you can report and that type of thing. One of the things I think it's really important and this is a public safety, we'll tell you this, is try to resist the temptation to speed to a scene of an emergency disaster, especially if it's very concentrated. Any decision to go should make a consultation with the EOC liaison officer who will coordinate this with those in the field. Now, that's a lot different if we talk about we have a large scale, but especially when it's a certain specific incident. And we have an incident command post. The chain of command must not be bypassed to maintain the unity of command and safety of the responders of yourself. Try to avoid participation in the field of the EOC operations, staff and specialized training, and the incident commanders in charge of the on scene management and insect commander would come either a fire or police official So just to remind you that we have succession plans the city council are we have you three deep the city manager goes ten deep Each department head has a session plan for seven deep and each division head has The government's head has a session plan for seven deep and each division head has a plan for three deep. And we are currently updating our business continuity plan, which is, includes our session plans as well as identifying what critical and central day-to-day functions that we do, which can stay, which can, in a disaster, which need to be, make sure that we do during a disaster and that type of thing. And just so you know, excuse me, they don't have a follow-up. We're going to have an ICS and NEMS online training and I'll provide you information to do that. And then we are going to have a future meeting with each of you as council members to discuss the emergency management, crisis communications and media relationships. And Adrian will be coming up contacting you to set a schedule of those meetings. And that will include also some update on our security. So I'd like to thank you for your support. As you've heard me say many times, we live in an area of great risk. And with that, that risk comes a great responsibility. We owe it to ourselves, our families, our co-workers, that on our community be disaster-prepared. And it really takes a city to prepare. It's a city to respond and to recover. And that means every city department, that means in city to ploy, that means every city department, that means and city deploy, that means every resident and every business that are we really are in this together and together we prepare all of us. That point, I'd like to take any questions or. Okay, thanks. Do we have any public comments? If not, I'll close the public comment and we need to go to council member questions and comments. Thank you. This is timely and it's probably always timely and unfortunately. You said that there's a, as regards getting in touch with us, there's a, I forget the exact words you might have used, but a council liaison officer, who is that? Is that you? I'm not sure if that's the case. I'm not sure if that's the case. I'm not sure if that's the case. I'm not sure if that's the case. I'm not sure if that's the case. I'm not sure if that's the case. I'm not sure if that's the case. I'm not sure if that's the case. I'm not sure if that's the case. I'm not sure if that's the case. I'm not sure if that's Next deputy is usually the deputy city manager and so the next deputy will be the liaison officer and then under that There is represents from the Yeah, deputy There's a manager so that position would usually fills that role and then The community outreach manager is in that. It jiblata, the human services. There's a variety of people that are also in that role to staff that role. So let's say there's an emergency and maybe I'm not reachable the way I usually would be. What's the first number that I should call to try to find out what's happening? I don't want to bother you. I don't want to bother George. It's going to be doing a million things. You know, what are the first three ways that I should try to reach out? Call me. And you're by the way, you're not bothering George. Well, but George, you know, you know, if he has to talk to each one of us individually, that's okay. That's part of the show. Well, I can see that. Right, there should be somebody who knows what George knows that we could contact to get that download. So it should be, so Adrian is your contact, it can be your contact initially to touch base with and then she will organize and coordinate and she'll be working with that liaison officer. Yeah, I think it would be good for us to have all of us on our phones and new place cells. List of three numbers in succession to call because each one may need a little bit of a tree that we can add. OK, I like that. Yes. Yeah, with the employees, we have employee numbers, but I don't think that's quite the number for you. We have an employee call-in number that's specific, but yes. That's right. And I think we want to quit at 5.30, so I'll just ask one more question. I'm sure you have lots and lots of drills. Do we have drills that forces us to do the role playing also? Yes, I think that we need to do one of those. I like that idea. And we have our get-stri-l. And next, I think this week you'll be getting part, you'll be part of the emergency notification. We test that every year and you'll be getting that call on your telephone from the city. So, so. Thank you for this. I know we're going to be meeting again in the near future. And I'll pass it. I'm good. Thanks. Thank you, Ben. So, I always ask this. I'm going to ask it again. How good of a job are we doing in the outreach to our community when there's a disaster? What do people do? How will they know what to do? Because maybe their phones aren't working or their house phones aren't working or their internet's not working. I've always been saying this for years, always concerned that, you know, God forbid there's something that People who are working here are living here. They have no idea and I know that we we put in or we put you know some sort of I don't know not the word intercom but some sort of system that Call that will give us warnings or the sirens that will give us warnings or the sirens. We have that. Right. I know that. Whatever it used to be, what was it every last Friday? Exactly. We are looking at putting it to the present. So I just, you know, I thank for, you know, for the community, people who live here and who work here or, you know, anybody who's here in Beverly Hills, God forbid there's a time of an emergency. How are we going to let them know what to do? Yes, communications. When I started this 30 years ago was the number one issue in a disaster. And now we have a million ways to communicate and it still seems to be the number one problem in a disaster communication. We have a variety of tools. Actually, we're going to do it. It's part of National Preparedness Month. We'll do a short presentation this afternoon or this evening, and we're going to talk about all those variety of ways. We have so many ways. We continue to try to educate people on those ways. In any way, and we send out even cards to all residents and businesses that list all those ways that we will communicate with them. We encourage people to sign up for, of course, our social media, our NICSOL, our Everbridge system. You can go online at EverlyHills.org and do so. We have now just entered into an agreement with the federal government, where we have been given permission and working on those SOPs right now, do what's called the wea, which would then, we would be able to send a emergency message to all cell phones in the geographical location city. So we're finishing up those SOPs currently, and again, we're looking at the sirens. We will have a disaster hot one. The sirens are not up yet? No. I mean this is the time we're in that. So remember we talked about it. We are putting out yes and so the RFP RFP has been completed and we're looking at putting that RFP out within the next couple the next month. They will be up this discolour. OK, good. And it's pretty, it's a pretty complicated. Because my concern is, again, I'm just being proactive and conservative. But we have to be. Is, you know, God forbid, there is something. And, you know, cell phones aren't working. Cell towers are. And your computer's not working, and, you know, I mean, we have days right now when, you know, there isn't a disaster, and our internet's not working, right? You know, and our phones are not working. So that's why the siren is important, because when technology isn't working, how are we gonna reach people? That's right. So working, how are we going to reach people? So I think, yeah, yeah, and I know I always bring this up, but I, you know, I think we really need to think along those lines and not just expect that people are going to be able to get to their cell phone to get the information or be able to go online to get the information or get to their phone to get the information. A lot of people don't even know where to go if God forbid, you know, where is the emergency shelters? How, you know, I'm not sure that we have that information out. I would, I really want us to get these sirens up as soon as possible. I think that is a priority in my mind of yesterday. And I also think that it might be worthwhile for us to consider just as the mayor you know reminded us growing up here that there was these days on Fridays where we'd hear that maybe we you know do a day once these sirens are up do a day where it's just a test that you know the community knows on this day we are doing an emergency test of, you know, and- Why did that stop? I don't know. But I- But I think so, so then we see what works and what doesn't work. And so people know, you know, in a worst-case scenario, if their phones aren't working, their computer's not working, and you know, what happens? Because I want us to get ahead of it and hopefully we'll never have that situation. But I think we won't know until we at least test it out. Somebody who's living on wherever, their siren didn't work and they didn't know that they can go to Horace Man or wherever. So I think we should really consider getting ahead of it. And I really would love George for us to stay on top of the siren issue because that, you know, I, I, I mean, I just see on days when even we have bad weather and the Internet doesn't work. And our cell phones don't work. So I think it's going to be highly likely if God forbid there's something that the technology that we right now depend on to get our information, we've become so dependent on technology to get information that I think that we need to kind of step it back and actually go back to the old days where we didn't have technology back when they had sirens because they didn't have the ability to count on you know the TV or radio and I really want us to get ahead of that. Okay, great. That's wonderful. It's wonderful. I never I never I never Yes, and I never thought so I've always wanted to bring back sirens and I never thought that I would come to a moment that I would be begged to put up the siren. So I thank you. And I think it's really, really important. As I see, just, you know, for all of us, when our internet or Wi-Fi is down, every, like, the world stops if our phone doesn't work or we can't get on the computer to get our emails, the world stops when it's not an emergency. So imagine if there was an emergency and we can't use our technology, you don't want people just running out in the street going, I have no idea what to do and you have people in fear and chaos. I would rather have people feel secure and no, don't worry. We got this. This is what's supposed to happen. Great. Thank you. Thank you. Thanks, Mayor. So the sirens that you're talking about are those? Is that just a sound that's coming out or is that words that are going to be able to be heard in an area? So the sirens that we're looking at is that there is an ability to do words also. So sirens were kind of the civil defense, the cold war error, but sirens are used all over the country for tornado and weather, but there are sirens out there that have the ability that somebody could speak. Is that what we're looking at? Oh, yes. That would be, yeah, we would look at those. So, I do want to- Let's not use the same vendor as these microphones. And, you know, I do want to just bring up. We do also have, and I didn't say this is, we do also have still our 1500 on the AM dial. And that's exactly my next point. Oh, okay. That was exactly my next point, is that how does that 1500 on the AM radio work? Do we take that over or is that, as a city or is that generally? We have that. we own that. And so we can do that from any phone, if the phone's not working, or we can do it from the instrument in a talcden or cable office. So, and then at 1500 end, you know, I think people have gone away from using the AM radios and that type of thing, but we still, because you still sit in your car and you can get that information. So in a disaster, we would have the mayor go and post information on that AM radio. So that's really an important thing that everybody really should have an AM radio available with fresh batteries more than one or two on the side. Several years ago at the behest of Council Member Gold, I started making my emergency preparedness kit and we refresh it every July 4th. And make sure that we change out the batteries, have the radio that works, we test the radio that works, have extra shoes available in case there's glass all over. So those are the kinds of things that come, the information that we give out during National Preparedness Month. Is that available to the community? Yes, so that information, yes, we provide information on how the community should gather supplies, what supplies they should gather, and then how to make kits, as well as make a plan and be informed. And I think that's really essential that everybody really take heed to that. I know that at our home we have two trash cans full of clothing and pet food, which is something that look in the bottom of it and throw it out, put new stuff in, but it's worth it. And I, you know, this is really good. And the information that's in this handbook, the disaster myths are something that are really interesting reading. And I encourage everybody to take a look at it. to take a look at it. The one that really gets me, and I know it's true, is myth number four that says people obey evacuation orders. Well, we know that is not the case, and then people, if there is an evacuation order, it's for a reason. And our public service employees cannot go in and rescue people safely if they have not obeyed the evacuation order if one is given so That's very important. We need to make sure that the resources that we have are used to their best So I would always encourage people if there is an evacuation order don't Assume that somebody else is going to be able to rescue you. Thank you very much. Thank you very much. And if people call the office at 310-285-1014, what was that number? 310-285-1014. And we will send them a disaster bag which has a variety of information in that bag as well as a supplier to for their kit. So I also always ask, as council member Bosse has questions she always ask, I always ask this and I'd like to know what are our plans in place thermonuclear war or for a catastrophic media or strike? Well, we do all disaster planning here in the city. So it doesn't matter what type of disaster that this plan still is in effect. And I think the sirens, I think that's important, especially when we're talking about people sheltering in place. I don't, we, many people might laugh in regards to the nuclear threat, but it is a, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I's very, and that's interesting because, yes, I mean, in the wars and the World War, you saw that in London, and there's different going into the metro areas. I think certainly that would be a potential at this moment. We tell people to shelter in place, and the city would provide, the government would provide people information on what to do. The best place in a nuclear, some type of nuclear attack is in a middle of a building. You're in a house or complex and you're not at the top. So, that's why we encourage people also to have supplies at their I'm sorry to have supplies at their businesses or The tools they used to teach us to drop and cover there was a school Procedure is that does that so is that still valid? Yes, I mean yes to shelter in place to shelter in place So it used to be like in a nuclear, you would be told to get under a desk. Right. Okay. Drop and take cover. Yeah, take cover. Just like in an earthquake or in a tornado or any of those type of, but that's true. So we would encourage in a nuclear to, for actually then all children to be brought into the center of the building, or freely in the middle of a floor. We have plans in place, let's say that, for example, there's a tsunami and we're out of the zone, but some of our neighbors from neighboring cities are impacted. Do we have plans in place to help and aid them and perhaps shelter them in such situations? Yeah, and we actually did a drill years ago it regards that with our four west side cities because there could be a variety of disasters that could actually push people into our city. And how would we work that? Yes, so yes, we do have a plan for that. Anybody have any questions? If not, unfortunately, we're not going to get to the next item which we had hoped, which was going to be an update on the water treatment plan. We'll have to do that next time, hopefully. We will go into closed session. Thank you so much for having us on the closed session agenda. Thank you.