Okay, good afternoon, everybody. Welcome. We're going to call the meeting board. We'll stand up with a bunch of meetings. We're here for a few minutes. And again, I pray to the easiest to live life of the United States of America and to the Republic for which it stands one nation under God, individual liberty and justice for all. Thank you. Okay, I talk about agenda. Here's the non-immiginative public comments. Is there any public comments from the public? Actually, it's high have a public opinion. I mean, I just wanted to use myself in most folks, some artists, I'm a British and I've been served as my national city in New York's 2020. And before that, I was on the planning commission or that service commission. So I haven't been to familiar with all the arts committees with my first public arts committee meeting, but I go in my experience as when I was a board member, then I feel like you could have been better, you'd let's have been better, you should have had more to do more projects, more being proactive, more leadership. And I just wanted to encourage you guys all, with like Tracy's help and support. And I'd love that we have Tracy here to with his experience and see what other cities have done and how to make this blossom, not just with this vision, but like Chair, if you guys, so I'm not here at the State Division. I'm just here to support you all because I know that part of this, at least for me, my interest was really sparked by a change in skin, our graffiti tech, who had proposed that being into save our city money and to contribute more arts in the community, which is a graffiti based on your own world environment. So, in that group, with our G for the vision culture foundation and starting the project on 24th Street. So that's for the BTS city, all the worst building. So so much of that is like, that could be a feel like replicate it with public arts. I don't know how, but if you guys, like I would just just encourage the city council level, like, don't worry so much right now about the funding part of it, figure out what you guys need to do research and try to please let me go with everything to the sportsroom, always question resource. But I know you can be creative and find money if we like start small and build something. Whatever I can do. On the track, would you work with public works, working with your 3D or done with talks. Let me introduce everybody who I am. My name is Tracy and I'm on the intern director. I was a previous community service director and chair of this stuff. Where I spent six years as their community service director, worked on many art projects there. Some are still coming to fruition because the working in government does take time Prior to that, I was the director of the US Olympic Training Center during Chula Vista. I did that for 10 years. Prior to that, I was a director at another training center in my hometown. I'm from upstate New York, like class of New York. My background actually was a water sports and then about 17 years ago the West Lampa Committee asked me to switch from winter sports to summer sports and then they asked me to come out here and run the Olympic training center. So I did that, then I worked for Trula Vista, but I've had a wide experience working with many different organizations to my Olympic experience and then to my six years with a semi-truel Vista. I did retire. I'm not as young as I used to be, but like I think many people here in the city and the reason you people are here is people ask for help and we like to serve. And it's about service to our others and helping to lift everybody in our community and make things enriched and enhanced for where we live. And we always want to make where we live our homes or our community strongest so it lifts everybody up. So when I got all to come help out, I'm here. I have to follow certain restrictions because I am retired and I don't want to jeopardize my social security or my calipers so I can only work so many hours and that's why there's another gentleman that works with me his name is Buck Martin. Buck Martin has a plathor of experience working in parks and rec for not only city of west cities one of the first people I met when I moved out to the California but also did a lamesa and was there, there a director out there. So we're a team working with our rec supervisor, Zeydie. I think she's been here before. She is a wealth of knowledge as well as a very passionate person for her community. So we're here to help guide this commission. I believe the culture in a community is exhibited through many facets and we're hoping that we can bring some of this. I have done some neural projects in Trulavista on the Bayfront as well as work with different mayoral groups in the parks and we do see a diminish in presence of graffiti on beautiful pieces of art. So I welcome the committee and thank you for welcoming me and letting me kind of give my field, but I wanted to let you know I'm here and I hope you're successful. And by being successful, we help enrich each other. So that's what I look forward to in our partnership. Thank you. Welcome. I, in that momentum, we'll speak a little about us. So we know each other with our guests who are new and what are you here? Or are we known as warmly? My name is William. I'm an artist and our teacher at the video program. In grade. Pretty much the same thing that might be like, you know, close to the RJ and the other day. We, you know, the community girls, all of us in. So, thank you. You know, my name is David Costillo. I'm a sophomore and I'm raised in San Diego. I've been in August. I nearly forgot the matter. That's how we will win the year for the next year. So we're working with our G. We're working with your project. Great. Hello everybody. My name is Forte Lopez. I'm Zia. I'm an academic coordinator. Old Brad are able to survive. Lucy wasn't able to beat her today, she was over in Sacramento for our first advocacy name, but here we't able to be here today. She is over in Sacramento for our office. I think it's a day but I'm here for any more organization. Hi guys my name is Ryan Johnson but I go by RJ. I'm with the Vision Culture Foundation and the National City here at Island Avenue. We have a community center and just like my voice said, we do a lot of community work and we do a lot of community work. We have a lot of arts in the community. I'm also really looking forward to our community. Since 2020, since. My name is James Kim. I'm a voice here in National City. I'm kind of living here in two years in this community. So I started working with the city called that five years and in a transfer with your two national city, but like, for 19 years working for National City, I did need a graffiti and street legends in calls back. And now I, like I hired you to even repeat these are your dual-concector in National City. So that's great to be back home and getting back to my community. Also, I take care of the community of being here in natural setting, wherever it needs to be done, under that kind of a dot type of that under. But the thing is that after so many years of doing that, we're just spending our wheels. and from our wheels we had a full different idea of how to build on this and for some odd reason I think I ran into you know, I'm very, very sorry about you guys, but I'm not really sure about this. Actually, I talked to the city manager today, that day, and I met this gentleman and he was like, the 24th street trawling wall, I remove that piece of advice from him. Just getting hit and hit and we put next month money and removing and paying flyers to be out there. And then the next day, it's like you never get anything. So we need to run out of that. What can we do to stop that, you know, leave? So I know there's only two, a couple of, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, game, and I was doing a removal that day, you know, right, and next to Vision Culture, and I'm doing a utility box, and I'm like, what? I hear this radical shaking, I don't know, like, it is like in the afternoon, about 12 o'clock in the afternoon, I hear this radical, and I'm going up, and I'm like, what? Now, I looked over the side of the fence, I'm like, hey, they're looking up sitting sign the bench, and go back into the East guys. And I'm like, hey, they're living out sitting there, hey, I like that color, whatever I told them. And they're like, oh, we got permission to do this. I'm like, sure you go, yeah, the guy goes, really? He's inside. And I'm like, all right, cool, though, trouble, you can't get into art piece. I read it to RJ and that's all. Funny how these pieces, and pieces, you know, like the letters, you know, circuits, all these pieces and up going together from that thought to confusion. Giving myself an application and finding, you know, vision culture at the same time. And we're talking about something you're always having. I grew up doing the, maybe portrait, you know, heroes and stuff like that. He goes, yeah, we could do stuff like that. I mean, you know what? No, I might have something for you, you know, other poses for you that you're interested in. And I just talked to the city manager and thinking about things, you know, such as artists, I think they're in a law. And we just collaborated in that that Moe was definitely an active county head. I mean, you know what, they don't help the city with money. But now we're paying the cost of the material in time in flaggers that we gotta be out there twice a month. And it's gonna be utilized community at the same time. You know, and it's a great location for it. So that's how this became a snowball that would have been today after a quick die from meeting these gentlemen and collaborating with RJ and just a moment that today in this design, we're going to go to that direction. And that's why it's called R&D. It and it's always movements and so there's many aspects of art that are in your story. They're built to start getting your show. Introduce yourself. What do you want to do in one year now? See if I can answer today. First of all, I apologize for being late. This is okay. My name is Charles Riley. And I've been a volunteer national city for the 15 years now retired. What else can our city should go see Bill's theater whenever you can? One of the best things going in town. And I'm interested in what life has been that was enough. And my life came to be today. Oh, I'm not a mayor. I tell them about your experience with public arts. It's a deal. Well, yeah, I served in the court public art committee. I represent a national civil for I think four years. I sort of come by this through marriage, but I wanted to actually spend my career in art at the University of California, to St.V.D. and never taking in art class but having problems to book it and find it for the pleasure. Okay. And you're graduating for sure the class. Oh, that. Yes, Mary, my wife, new John Bolton, sorry, who grew up in National City. And they were good friends and she commissioned them into a work at the University of California. Cindy A. Goes. have to say, it was Brad Ralston, a previous city manager who found this house that all the sorry took an important, made an important image of it's here, National City, and folks who own that house, I'm probably gonna to come today. I'm going to come today. I'm going to come today. I'm going to come today. I'm going to come today. I'm going to come today. And what can I say? Is that enough for sure? I know. I know. I know. I know. Actually, what do you think? I know. I I was in college. I actually was one of the opening of a button button to hand for the paper. I was wrestling coach for 45 years and a wrestler. And that's what I do. I'm the producer and artistic director of the oldest multi-cultural theater company in 7th-Alt 20th century it's got an IKA. And we do the longest theatrical holiday tradition play in 720, before we call it a pasta wrap. We have four generations of actors and four generations of audiences. And we're going to be doing it at Santa Cigaro and our theater, when we're going out in the Santa Cigedar. One week and then for the first time, we'll be doing the show at South Washington College, going to be at the beginning. So that's what it is. And I found it. I think this, the Cholvista Arts Council, with Rick Todd, as a million years ago, was the Public Arts Advisory Council for the Supervisors and the Criticons in the next time. And I've been here for about 15, 20 years on the Blue Sky. Now I'm opinion about it because it's been a long time, you were trying to kind of revolve this thing, we'll be trying to get a meeting of what how we encompasses besides the public arts funding. We are trying to retile this committee as a committee in arts or in the position. They said just public arts, they could have funding is very particular to public arts. You have to have public space, mostly comes to the port and reaching out donations is relevant. The other thing is I was happy when arts came because they are really the foundation of the whole art culture in the nation cities. They have trained and actually developed great artists yet to get to know. And I was a fondly memorable out of the Chicano part. And the first number of what we'll call the border arts in the 60s with mirrorless, like, with virtual, like, literally, or smiley designs. So I'm the only guy in the block. So that's what I am. And now we go on to the agenda. Is anyone coming? No? OK. So thank you for designing this, everybody. You haven't had it. Sorry. about signing. Yes, I sang her praises, but maybe she want to say the truth. And it just really quickly. So if you get to the agenda, my name is said in Google, my phone number, she and Aya, and I'm a recreation supervisor with the Community Services Department. So I do attend these. I'm very excited about everything I order are working on. I think it's super important and I'm glad to be here and just seeing projects come to fruition and here to be projects to them about. So thanks for having me. Well, you're doing it. Thank you very much for being here. Okay, so we have National State Public Works Building, you're only presented by Vision Culture Foundation. And then will they give good Backtrack really quick. I noticed that there's an issue with this agenda. We didn't have roll call on here. Can we go ahead and backtrack and roll call officially this? Okay. Charles, for everybody. Brian Johnson. Will you purchase, President? That's three. There's six. Currently, there's only six slide. I'm going to go back to the next slide. I'm going to go back to the next slide. I'm going to go back to the next slide. I'm going to go back to the next slide. I'm going to go back to the next slide. I'm going to go back to the next slide. I'm going to go back to the next slide. I'm going to go back to the next slide. I'm going to have a look. Who's the national's in public parks and works? I mean, I have a really technical presentation. Yeah, we're going to be cooking. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. We're in a classroom. provided to us by, as you told you to talk about this particular project. Thank you, RJ. Yeah, of course. Thank you. Hopefully you guys can read it. A lot of nights, like what James said, you know, what do you spend every two months? You said like, it's like $30,000 or the three months in the regia pavement. So we, he and I and Marcus and some others have been kind of collaborated for the past what year and a half on a couple different options for helping with you know graffiti deterrence. What we're talking about today is this public works building which is along the tracks on 24th Street. It's the last building in this national city property obviously. It's only by the national city as the public works building. Talking to everybody that's in public works and talking to James and kind of getting pointers on what they wanted to see, we tried to incorporate it best. We could, it is public works. So it's all those departments that are behind the scenes everyday. I'm going to go ahead and pass it to my partner over here David Castillo because he's the actual artist that rent this but before I pick that I just want to let you guys know that all of the art that we do in the community is done by artists that are one and raised in national city residents they work there, one and raised in South Bay or Southeast San Diego. So all our artists are local, they're all, you know, you know, home grown. And they're very talented and they deserve opportunity just like the big artists that get the contracts at a single time. And that's what we do. We're a grassroots organization. We're a very small community-based organization and we believe in, you know, amplifying the talent that's already out there, you know, in our communities. So with that, I just want to, I'm going to, David, take it away because he's the artist to actually render this based off of how the recommendations for him is. Well, once again, my ex-year, because there, I work closely with James on this project. He gave me all of the input as far as how it would the expectation and the ask was for this particular personnel. And I just took in and put it into my own language, the, you know, the, as someone who comes from this neighborhood from San Diego and South Bay, broke here after certain things that I felt the city in a way spoke to me and I wanted to be able to convey that in this art piece. So one thing that I was stood out to be was, you know, riding the shopping back at work from the East to the Senators State, a lot of times I'm becoming home late and I will see the reflection of the water from that part of the bay. It just always stood out to me that it's very vivid like orange. You don't really see in many other cities because the reflection of the sunset happens to be like against not when you've learned both flat land and in big ways. So that's all that was very unique. I always thought that that blues represented the people in a way. It's a cool color. Their accent was a cool city. And I wanted to emphasize the national city with that bright blue that shines out of the work from the center of it's not all these. And I would be gradually transitioning to like a loyal blue from the North and South sides of the city. Like contrasting that with the magenta colors that show the freeway in our section of the city, despite the intelligence and the greater San Diego, I wanted to continue to use a brighter point like point, like the Magenta, something that was vibrant, and warm, and keeps the same sunset, themes in mind, and then it's kind of hard to see this, but there's areas like Kimmel Park and other parks in the area, and they can like up and down the sandy road. Or up and down the riverbed where it's more lush, and I wanted to keep those green because as you can tell later in the mural works the south side of the west-based wall there's more like palm trees where the structure is going to be seen being less heavy and then there's the downward facing triangle, like architecture, the current time, all like just as you do the block and off the national series. Just so you guys, if you couldn't tell already, you're looking at two sides of the building, okay? You're looking at two different sides. I'm going to say, sorry. Oh, I'm going to call it a night in four days. Is this here? Oh, that's me. Yeah, it's very good. But it's not. Which better happen. That's what I get. And I can say, I you've certainly are always all here. No, no. I'm not. I said, where's the better? Yeah. Yeah, very good. Yeah, I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I said where's the better. Yeah. Yeah. Thank you. Thank you. Thank you. Where's my comment. I'm not. Okay. Okay, and using warmer tones, and it's mostly the reflection uniforms, but the most worse with employees and those colors that are like in the uniform, the dress and give them stuff like that will be represented throughout the would cool out. The muralized like a motif of a wave contract our own unique skyline. And then in the most image that would be in soft-facing wall, it tells this much story of someone from the city who, you know, at a young age is interested in things like sports and maybe they're not that good about by the time they get older, you know, they get balanced evolve on their finger, they're up close to the rim that Kimball Park and it's very hard to talk with this French out, but in the digital version you can see that I actually incorporated the the ball backboard of the Kimball Park basketball with like, pins and that. And it contrasts in a way that the treats are on the opposite side of all. And there's a further treatchum of the political dancers. And there's a reason why I get all my in there is because like James Henry had suggested to be incorporating things like, I said, it's a little demo, okay, community center, parts of Iraq, and everything that young person can expect to see or do within the arts or athletic spaces, in these third spaces. Even as far as helping the library, someone reading, someone lecturing me, I want to take corporate like a retired teacher from the two working part school district And many of our well-awesons are preparing to Massa or Artsamales or Sofos and stuff like that. Someone in a blue color shirt and a coat to represent the people who will help facilitate all these things. other people who are, the people who play sound quality, or they're being there, or it could represent someone like a professor that's almost in college or down the street or something else. You know, I just wanted to be able to incorporate all these different pages and so you're looking at it as kind of like a timeline. in the's online. It can resonate no matter what age you are. It's very intergenerational and intersectional. You know, if you have so much city workers, but it also has a bunch of community members and different agencies. I don't know this doesn't take you too much time, but I didn't do the problem on the side of the image. And you've let me read it to you. It's only about the time I just took some. We are here. It's what we are here. We are here in the heart of the city building on the legacy of motion midway, building together towards the goal of the brighter future for our children, for our ancestors, for ourselves, building together. Let's go. Let's it. To give you guys a visual comments. Any questions or any comments? Now you're here. You need funding for this or what's the story here? Bill, I'm here to start this program in our city. To start developing, you know, we have finally had a collaboration with the global parties in the community to put up one of the murals such as the next one. Instead of me, that would want to do the config of the community. So anything that's doing for treaty treaty, I do the documentation, I've been reading over the rest of the institutions and it's possibly a company, that's what I do for a national city. So yeah, we could just point the finger and tell somebody, do something, or is there a better way of doing something? Maybe working, you know, I mean, I know as writers and artists, they may work express themselves. And that's the way out there being challenging, I release themselves from expressing things to put it on walls and stuff like that, just like a poet or something like that. That's how they help themselves mentally. and then if we could fight it out of you, so we could do it in the right way and be able to put an art they could keep it up there and show their parents, hey, this is my piece. I did it the right way and to be able to show the showcase what type of my talent that I have in our community. And that's what we're doing there. And that's why I'm here, I'm continuing to proceed and to make this grow and working with all you guys to make this happen. It's really revolutionary that the way he's coming at it, you know what I mean, most of times as we know in our communities, it's very punitive the way that they approach these things. They're looking to arrest more people and do things like that. But he's looking to actually collaborate with artists from the neighborhoods, you know, to me, and give them healthy al this and beautify their own communities, which is why we're here, which is why we're proposing this here. Well, I think it's a great idea, but you know, this is, and murals are not easy. There's a beginning and middle ends of murals, you know, and then and then there's a process of maintaining and keeping up with that group of other graffiti guys bumping into. But the respect of muralists is that quite, quite good here in San especially in San Isi Greshin, walls that have not been touched because of the mural and then then the next side wall has been just plastered. Yeah, so I'm sorry, but I probably I was going to add that one. One thing that we were trying to keep in mind was the use of, and this might, I'm not this going to make sense, but with graffiti, there's a lot of techniques. And it might just look like But there are a lot of things that and approaches when we're trying to build these pieces as they're called. And I try to do that in some macro ways and some micro ways. Like even in looking at the aerial view of the map of the national city, there's actually a significant fee to meet this use to make very straight lines. And I was thinking like if we properly that, it'll kind of be in a way showing other writers that like hey, this was not using their feet. You might not know who the artist was, but a repeat writer would go and recognize clearly, oh, that's like a writer. I should respect that. Whether it's any name or anything on it at all. We try to keep that in mind as well. So that's just a few Instagram feed artists but in a way, shung them high. Hey, homage. You got it. I better than this if you're going to show it and go over this. You know, I think it's great. I also think that we fall in the middle of the canvas which we started. And what you said is an educational piece. You have all this knowledge, and I think one of the flaws that happened to be a party, you know, at the party of Logan too, we were too late in documenting the process. We were too late in educating through film, and now I absolutely acknowledge you documented the process and taking it to schools as a educational tool for young artists to get into guidance because we happen to fall into our own little titles, right? And this is a whole community thing. I congratulate you on this thing, you know, but if somehow you've been documented to process it, so it is a bridge to educate what you just said is really important to you know, because people they thought we're going to be the cause which is put on the wall. You know, so I appreciate it. One thing that I would suggest, you have an incredible palette, and I think you're a theme, the story, the beginning, and there's a whole story here that if you choose the faces, I would say to you, it really is honor real people, a real public, give this face, the guy who's working here as a firefighter, Mr. Hulsed,, say the language of life, what's the name of it's right. Get a real teacher, get a real kid that's in the community. And they'll be a mirror for the rest of their lives. They'll leave with literacy of family. So instead of just a general face, put a face in this community of role models out there. Well, in terms of the coming, I talked about, I mean this is my voice I met. I literally like this age, my son, my good ones. This is my mom, my sister. I'm going to talk to you about what I'm doing. I'm going to talk to you about what I'm doing. I'm going to talk to you about what I'm doing. I'm going to talk to you about what I'm doing. I'm going to talk to you about what I'm doing. I'm going to talk to you about what I'm doing. I'm going to talk to you about what I'm doing. I'm going to talk to you about what I'm doing. and solving this international community. So I was using real people to visit my company. No, that's really good. So, you know, as far as I watch, it's you go and pull from brand to people and brand to faces, I would really young that he helped get the meter of learning site ice cream farther into producing the ice cream before the school district. So they would always have the job essentially producing the ice cream for all the students who have been in the elementary school district. So that was one of those things where I was like, oh, this is like important, or if this is how you get the community to thrive. You know, by time people that are trying to make it, and it's telling them it's a whole family, hitting them city contracts and stuff like that. I hope we're not really receiving a word to very young. Congratulations. Yeah, I think me by me, I think they're really important things. See, if I was seeing it, I would say, oh, this is different. If there was a, like in your poem, if you say, this is my, this is me, me. So this is a personal thing, you know, and it identifies you with the artists that you're not only and sub-, but other families. I think in an on-selfish way, I'm going to make it more... Generotic. I understand that. I think the story is you. But these are city workers. Yeah, that's great. And everything that we do, like we maintain, the every artist that works on these, we match colors so that if it, if it in fact does get the face, which we don't think it will, because these are artists from this neighborhood doing the back, we will be out there the next day working on it. Congratulations. We clean it up because we have quality colors in action. So, I think it's a wonderful idea. And we want to weekend, we can. I think we'll be at it later idea and we want to re-cancel. Thank you. Yeah, better. And we want to see them make a lot of too much. This is Joanne Till's. Thank you, Mr. Chair. It's a rich. I'm excited about the proposal, but I also love the fact that we have young people here. here. We have residents, our seasons, fans citizens, but also the city that James, you're here. That this is a great demonstration of what it looks like when community works with government because there's a lot of polarizing things going on out there, but this is a great demonstration of what it looks like when we work together. And the fact that you have everything detailed out with the Poland, with the story, the history behind it is amazing. So having worked with the city, on the receiving end where people were complaining about, this means clean up, this needs that, but Murrow's Duke not only paints a story of the history of the community, but it is a great deterrent of the unwanted, you know, I know people, you know, I won't go to that debate. graffiti is the style for first time. But something that's presented like this is greatly appreciated. And thank you for allowing me to comment. Thank you. OK, congratulations. And we'll do whatever we can to help you. You've got our support. If I may, I did want to say that it is wonderful. I love all the details that you've provided and just knowing that you know those places is that much better. I did want to go ahead and ask. We did speak a little bit about funding. So I'm very curious as to how that is going to work. How is the project itself be funded? RJ, if you're not prepared, I think what we'll do is we could table out at this jump shirt. Part of this presentation will need to get into the legislative process and present it to council. There are some things that we can look at working with James, working with public works on some in-kind cost. As you know, the city is on a very tight budget. We have a 10% reduction and there are some things. However, this has certain aspects that could be cost. We have to formulate that, working with James, working with public works on, you know, the fencing that we need to put up to keep while you're doing this work, it protected in the equipment that you might be using to get up to the lighter spaces protected. There might be some paint. So I think before, but I think that if you could work on a total budget, we've already done and you've given it to the city former city manager. Yeah. He's the reason it's on agenda. And so he obviously is known with us. I have not been brought into the speed on all your budget is. I was looking at the synergies that James was presenting and an already foreign waiting like how do we look at because as things will be tight as we go forward and present a budget. However, a project like this has an innate value, and we just got to figure out how we benefit from that. And what budgets, what pools can we tap in? We do get you across the finish line. But there's some things that you and I will need to discuss about how we get this. When do we bring it to council and have council get that support believe you'll you already told a good story here I believe you'll be able to tell a good story off the dius. You're gonna have to repeat it all again and read you a good last week. But I think then I'd like to suggest that we work on that. I am not seated so I can't respond. Just an observation. I appreciate the read. I can't take action. My sense is that the group thinks it's very worthy of support. But don't let me see. and the grant of audience disagrees. Also, I think one of the things that came out is there's a, it's not a spending program. It's a saving money for things. And I think. But I think time to formulate the data so that I can reflect that in a definitive way to counsel into the community. And so that people that are somewhat, we're in a very environmentally friendly group. But not all groups have the same vision that we have about how our dollars should go and where it should go. So to tell the right story, it's just going to take the time for RJ and James and I to sit down and to look at what's been put together. Get that and then present that in a very logical data driven faces to counsel so that they can get behind and support it because it needs to be a win-win based on the budget that we're facing in this company. And I believe like you stated it can be a win-win. We just got to be prepared for what a naysayer might come or somebody who isn't there and be prepared to have the right response so that it mitigates not drawing this out and we can attack this in a very timely manner, because I think like anything, time is only essence. And we've got a great story to tell, but we have to make sure we do it in a very proper fashion to ensure success. That's all I'm asking for some more time to meet with both James who I've just recently met, but I've heard your name and I know I'm supposed to work with you on this project. As well as the first time I've met RJ, but I didn't know that RJ did meet with our previous city manager who was excited about this concept and one of his final statements to me was, along with this get this into legislature get this in front of council and so we're all here I'm here to help support that but I think I have to get my information correct so so that when we do present at the council and we have the great passionate storytellers, Tom, we'll be able to sway even the nasors. This also, because what happens is that because we're just, you know, very very narrow dishes and very public arts advisory council council that's our title. If we help you when he helps because obviously this is a city wall. So it's a city light, if you want, and that got to be fixed. So I'll help last move our agenda to broaden the scope of this committee. And to create more funding. I'd go over one funding in a broader sense. If our whole committee is pondering and cultural research is a couple of us. So congratulations and thank you for everyone. Now thank you for the protocol clarity. I think that's really important. And you know, there's a lot of your work we're seeing because we've been just dancing before. And sometimes our feet get higher dancing. But I think we present presented in a very logical with the right data. Right. And the good community stories that I think will also just put into say Tracy, of course, yeah. Talk to Ronnie Soriomo as well because he and James kind of already crunched the numbers so you're be able to get a lot of data. Everything's going to be free. Yeah. Submitted. Yeah, I know you're just coming to Amnesty. The first you heard of the Amanda you're coming in to something totally in process. Yeah. And I'm going to kind of catch out to work for the months and months of organizations to get this point. I definitely would love to meet with you, Tracy, looking at the time and the matter. And for Andrew Stuck, we're being a while. And so we can definitely, we can definitely, the Charles, I like what Charles said too, I mean that's what we're trying to do. We're trying to save money, we can appreciate it. That's what we do. But if we keep doing it, do it, we'll just throw money at one money. And that's not how we're able to come say our money is the same money and do more things like that. So how do you want to do marks? It's more of a solid foundation that you want to do more future events and I'd like to bring you guys a little support in this as well to making us strong progress. So as we go through this process, it was highlighted by this gentleman over here, he talked about documenting. So again, this is a new process for this particular city. So there's what we could lay as the foundation of the framework about how other projects could be presented and establish the framework of this step, the goes to this step, the goes to this step. So that the stuff that RJ is going to go through, the go forward, go back, go forward, go back, we can lessen those by the less than 70. So we just have to make sure, as we establish this, we establish the framework of policies, the procedures, the steps that help all artists and this community share their vision for the culture and the beauty of the community. But I'll steal it from you. Document it, layout the foundation. I can't make a video. I don't have that resource. I want my best friends, I think I was actually turning it on. I think I was just looking at the student with it. It would be, it would be, it would be. So it's in the community. Yeah, so I'm looking at, we all can just look at that and say, but I'm looking at more, I come slowly from a paper, you know, in a heavy world, and I need to look at policies and procedures and follow those and establish those if they're not there. But once we get those in, usually it makes it go from a trail that's not a herd path and we can hand it into a beautiful trail instead of a herd path. Well, thank you very much. The agenda is a lot, we should have approved the agenda of the, so the committee, we should look at the agenda, we have an approval for the agenda, April 27th. I'm looking for the second. I'll say it. All those in favor. It's been moved here that we approved in agenda. A meeting in the minutes of January 25th. And agenda of the 22nd of my life. Yes, maybe. Okay. No, and I'm finished business. The bell is ours. Sorry, kind of black events for years. And I't even know how to say go ahead. Ars? The chair. Oh wait, that, I'll take it, I didn't go. Okay, that says nothing so. And you're not going to be a boss. I want to introduce the family to the main office possible. I'm going to stand with you. We will be going back to you. For those who don't know or never seen what the kind of statements that is the wrong fact to which that is the wrong challenge in which this fact refers. Jose and the N.S. Markos. and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is fast and the family is this class. So they're the heroes. So we have, I keep down, the matter of time and the answers, are the zeros. There we go. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. You're not going to be the one that's going to be a case of trial for seconds. This. And if only we were hoping to have completed the adoption against? Well, yeah. But the family goes for it. I think we don't have to do it. They're in the end if they can stay. But there are also some donor shears, right? One goes one. And I will speak to each of them now to make sure they're stable for the future. They get to sign it. Yeah, that's right. You're on the packet. I'm going to go to one next time. Family, would you like to say something? um just when I made Charles who was working on the house of a police and then I'm doing construction so we were about to chop that tree down to the function. So we were about to chop that tree. Let me test that some caution tape. Hey, what's going on? I'm going to start a two-woman. I like art. Come when you kiss like art too. So it was very nervous that day. They have fun work. So we've got to do our best. You know, we're going to do this to make happen. And what we're happy about is finally here. See, tell me how this was going. What's that? Oh, there's a making way in here. Well, you know what I'm saying. A wonderful national fitting. That really is about family and community as we talk about this work. We have some luck along the way, but nothing like it. The people who are gonna really be the suspect. I'm sorry, I'm sorry, I'm worried, I'm saying, you know, I mean, so, Thank you. Yeah. It's been a journey of three and a half years, but this is just didn't happen yesterday. And so what happens is, it's like, you know, when you get into a wall, you find out how you're gonna get around it underneath it jump it you know and so what happens is that in this bureaucratic life that we have because of time when people have to come to that yes this is good right it's just like saving a tree it's not only saving a tree's saving history. This gentleman is a world-renowned national city of all. That was very, like a money in history. It takes people like Charles to unearth this Egyptian money and bring it to front. Because without people like Charles there's other artists by the way There are musicians there are are composers, there are poets, there are dancers in National City, there are historians. And this is the first piece of mural that can be gathered in National City to build a great mural of how great artists are built here. And here's a theater in Islam, right? So there are the ballasars of the future. So it took three and a half years, but you know, it's like having a baby, you just didn't come up. There's labor in it, you know, and sometimes it's hard. But when the baby comes out, it's beautiful. Thank you for giving us the mini. And thank you for meeting the parents. And then you can actually have one other thing that everybody can participate. The guy who made the plaque, I asked him for a prize probably three and a half years ago. They gave it to me and all along the way, we would update it. It's got closer. Finally, you blew up that means I'm not going to do this. And I said, no, we're going to do it. So, this is a postcard and everybody here would sign it on the back. I'm going to send it to him. I said, thank you for hanging in there with us. Congratulations all. Okay, so now the reason to survive update. Hello everybody, how's everyone doing today? I have a couple updates from the arts. I hope to not for you all today. The first one is for our project called Recool Effect. It's a state-of-project we've been working on recently. It's a youth web project to be able to buy and make and purchase a complete water source. That national sea residence top here, that's on board stream, I believe, it's open to a state of our, I don't quite know the next three way. Used in our community arts program, our part that we're creating, that design and visual elements alongside Ross and Alma from their teaching artists for the project. And we're designing the design process as well, so we hope to get you all some of your rules as we progress with that project. Second, as you all know, we are on all of hand national district sites, our federal visual art classes, our school for youth in the district. We just managed our last family workshop, or one of our last family workshops last week at Central Elementary, and those are very traditional generational workshops where we bring families together to be creativity. Each family participated in the workshop that we can take back so that they were able to continue to create new homes. As we near the end of the programming session for spring youth youth and our program year finishing up the projects that are being exhibited at U of R and S. This year we took inspiration from spring, with Paul in Bloom. You are all invited to our express to mold. It's free to the community. And I have some invitations here. It is on May 3rd. That's a Saturday from 12 to 3, where you will showcase all of their final projects. There will also be workshops, activities, and snacks for everybody. Most of the art center will be activated, so y'all will all be able to see our gallery, but make a workshop, and all that fun stuff. I think I just recently were all welcome to attend. We are also in the final stages of our bright lights planning. Bright lights is a first spring fundraising event. That's great to be on Thursday May 15. I believe you all should have gotten e-loss for that event. And can happen else that happen to patients that will lose wealth and so for bright lights we honor six individuals, one of them is here today by the members of the Ingema Cities of Congratulations, she'll be honored on her bright lights and events. It's pretty much all my updates for us. Thank you very much and thank you for all the work you do in economics. And you know, we are a reason to survive. That's great. Okay. Any, Charles, a cultural and design committee for the board, nothing, nothing. Go for it. Go for it. Well, I don't represent the port, but there is an interest happening, and that's why I was trying to come in during public comment. Okay. On May 1st, Guy Charger is proposing a charging station and EV charging station for trucks. And this charging station will be be by Pacia, I wanna say it's 19th and Roosevelt, but I could be wrong. But there will be a presentation where there is a community benefit discussion that will start. So when it comes to art, and I'm not saying I cannot make that promise, but one of the proposals could be art at the charging station. And while I, again, I don't represent the board, this is on port property, and it is an initiative. Skycharger has been contracted by the Port of San Diego in National City, where they have it had outreach and that and just full transparency. That's what I'm doing for the project is to go out into the community and let people know there's a possible opportunity. But there's also other benefits with the charging station is to get diesel trucks off the road because if you may notice they park on the streets in the neighborhood and there's an incentive to switch from a diesel truck to an EV truck and that EV trucks electric vehicle trucks will be on display at the aquatic center on May 1st. So I can email the actual event flyer if anyone is interested. It's open to the public. There's other economic opportunities that will be presented and addressing some concerns that was presented at the first meeting I did the September last year. But it was just timely. I thought I could go to the special meeting next door. And they said, no public comment unless it's on the agenda. So I'm like, OK, I know that arts was meeting here. So it's a blessing in disguise. So thank you for the opportunity to share. Well, you're only welcome. You're a role model for all of us into one. Thank you. We didn't have a representative and we're trying to define a representative. So you know for the sports committee, because we've always had one and we've been in tune with that, especially with funding sources, you know, with grants and stuff, with things that are happening politically here, all the funding and we can be in cash, you know, no, everyone. So it's going to be a rough goal. But we're trying to find another member to report because that's really important because that's what is we are. There's no reference, it's weird. There's no representative of public arts from the port. It's strict, you know, it's an oxymoron. So anyway, we have a cultural arts plan that we, by the way, we're working on a cultural arts plan, so you know, again, it's been like 10 years that we've been working on this cultural arts plan. So we were thinking about having to retreat one day and figure out what we're gonna be doing with new goals and vision. We do have an arts plan that we were gonna propose to the City City Council when it was approved. But we're going to have a meeting, right? So we could flesh out the yes or no subway. We're supposed to be. Okay. That's what we're doing. And the cultural art budget, line item. So working at the current budget as we're going through this process now and the instructions that we've received is the city is looking at a police of 10% reduction. I just want to point out that currently within the parks or community service budget, they are programs that do affect parts. make music program going on at the Casa Rec Center and our senior and the different crafts and different art projects, so forth. There in a way there is, but there is not a direct line item and the way the city looks to be heading at this juncture doesn't seem like the time to work to try to get a specific line item in. I think it's going to be a project to project base, which is what the commission is entitled to do. I think it's going to be a project to project base, which is what the commission is entitled to do. I think it's going to be a project and project base, which is what the commission is entitled to do. The rec will come to you on projects and request your support so that we take it to council, that it does have the endorsement of the commission and it helps on the hopefully, we can be reflecting on the dias the council has reviewed it and is supporting any art initiatives. The rec staff is really engaged and understands the value of arts to the people we serve. And right now I to say let's your mark the next dollar I don't think that will be successful. I think we need to continue to bring you projects and receive your support and then take it to council. Just as we're going to do with some of this mural project. So I think that's the way I recommend. At this current junction or at this financial situation that we're facing to try to earmark X the problem wouldn't pass. So I think you, I think, treat, continue to be that supportive of the wreck when we come to you with different projects, the music instruments that we were able to purchase for the kids for our music program, 3,500, was spent to buy guitars, piano organ, and different instruments by lens that we do for our intro and the intermediate music program, so stuff like that. And then now this mural project will be something where once we have it formalized, we'll come back, we'll do the formal thing to verify the cure of full support, which you might already know you are, and then we'll take it to counsel with your endorsment. So I think that's the way we need to proceed at this jump trip. And I could change once we get everything going with the plans and then see how that falls in the future, but being a realist, I'm saying we're facing some real. Well, I've been working here in New City for almost 19 years, and I am a union who goes here every year, certainly says, we're in debt zone. I wasn't that close to the time that one is not, we have the money. What we do is play the money, it's 24 million dollars from our senior respect. The city will have used it, it's no season, it's been used in the county folks. And the thing is that there is fun in this. And then when we go, you know, Jefferson, I don't know, you know easing it, the thing is Councilman Bootsick. And the thing is that there is for the office, and then when we go, you know, 10% or not, you know, we cut that, that's needed. And the thing is, project like this, it's not a, a, a, a, it is one type giveaway. It's a long time off stage. So it's a no, that's going to be an easy story to tell. And I'm just saying for us to say a commission, no commission has a specific line item in anybody's budget. Right. That's the issue with us because what happens is we become a rubber stamp, which is not fun, but you know, every committee as you will know and so was the cultural arts contracts as a budget. And that budget is for the cultural arts committee. And that mostly because they get a plenty of money so that's right. So what we have to do is create a budget for this committee. So when people come here that has not piecemealed, other people, see, what were the center of the arts committee? I mean, we're just a advisory committee. Right. But we have no influence when somebody comes to us because we have no budget. Well, there's no funding to say yes. We have half, we need to get, let's go get 50, your score's 50,000, 100,000. We have 50, let's go get the elephant. But without that kind of strength, in terms of our play, right? We have no say any reason for us because we can't administrative folks. So I would suggest, and this is a long conversation with, but that's what we're trying to work out. Can this committee, and it's a broader sense after the arts plan, as it works, and it could be a group. Can it have a working budget? So when we have people to come and ask for help, we can actually get together with it because right now we can't. I mean, I've been in education 55 years, and every year you have them. It is a song, it's a chorino, you're the only one. And you guess what? It will never stop. Because that's the language of bureaucracy and government. Yes, we have no bananches. And we know we're not stupid. We know how priorities go in the bureaucracy and who's handling them. We know that. And so what happens is to be really smart, we have to be fact-finding, we have to know the facts before we open our mouths and really find out how it works. Because when yelling is the way, we have no power. You have influence. Go answer. I'm gonna answer. Anyway, I want to thank you very much. And thank you for the support. You know, there is no, we're all talking to the choir here. You know, we all know how the value of our art is. But the foundation is, I don't understand, they've shown me the money, right? Because you can't do anything without La Muna. And I got to tell you something. We have yet to find a way to reach out in a partnership with fundraising. We ask, we come to the city all the time. Please make this and the city goes, OK, what have you done to help out? And unless we know what we have done to help out, they'll never end. So that's, I think that conversation is deeper. And I think with our art plan, if it goes through with your guidance and your experience, I think we can kind of start building a real good place for the future. It's not for us, because I'm't die personally. I said, my mortality is in front. It's for you and your kids. And the next generation of us, because there's a zillion walls here, man. Every wall is a gallery. So I appreciate that a lot, yes. A couple things. I can add some data. City is spending money on public health or something called that. The movie that would be a great example. Yes. And what did I do in the park? The plaque came to fruition because people on this committee gave their own money. City can probably afford it at least as well as some of us, we had a single public contribute and so on. Also, I did some looking around to try to find out what other cities are doing. I started looking around the country. Turns out to be very hard to find out what cities spend on public art. But I do have some data, mostly from San Diego, which I'm happy to pass around. It's tough to find what cities spend unless you can get to talk to somebody in the city and a lot of people don't call back or answer their email. But public art can be in various cities. You can't find it in the general fund ever. I looked at probably 20 general fund budget of different cities. It's in libraries. It's in sometimes sign-ins. It's in street banners. It's been a fixed part and so on. But we do need to get our arms around that, I think, to be effective and also look around and find out what arts organizations, and it's another vehicle for supporting by yours. You don't get any from National City from the shirt. So anyhow, I'll pass this around. It I compared National City to this that Imperial Beach Coronado, San Diego, Solana Beach and Ocean Sun. It is very hard, I found it very hard in California to find a city that had roughly the same demographic as National City and roughly the same population size. When you found the same demographic, they tended not to be in the urban area and some of the more farm and communities and so on. When you found the same size, they tended to be the suburbs that were planned. The plan cities versus a city that's been around since the 18th. Yeah, it was a large difference in that. You know, like they said, I work for two of best, and I know what's the future of this is. One of the things that I'll respond to, I'll panicked around that. I think it gives a base line. And with I think that which if you look at you can measure both per capita how much per capita business it extends on public arts. Sorry, we have to give a lot of stuff. Thank you for coming. Thank you. Before that more meeting, you guys. Now, is all this a T.O.D. funding or what? For the true list or. Right. I'm going to. He'll tell you where they were most cities get at the different resources. Obviously, the two of us that gets it a lot from the concert. Right. Because the grants that give away, opening up soon in Trulavista will be the Casa Casillas. So again that was a project that I started and I have artists and residents as well as I was looking for a place for artists in Crasman to sell their wares. I came from a small community and when art patron that funded art center left, we looked at getting the artists together and then sell their wares to the public and then the part of that went to keep the building operated and maintained and to promote other artists. So there's each community has different styles in different ways to to tap into the funding and where they'll have the line items. Some are using proceeds that can't mandate it. Some do mandate it. Some communities I know have mandated like in Denver, they mandate so much of the tax from the cannabis sales goes to the arts and culture of community. So some places are doing that. So there's different ways of people are looking at how to engage and not let it go away. Well that's good. That's good. That'd be a good investigation. Thank you. Because I'm also very, so, T.O.D. I've had a list of places that this various ways of city do it if anybody wants to work science. I think this would be something I would right here with me share with the commission and bring it to part of your planning. Is it you talk about planning and you talk about the desire of resources. If you have a, it it's usually easier to find a B. And then in the get you need to see which is your cultural or fundings, which you're trying to get to. Or if you have a one, you'll eventually find it too. Thank you very much. We're coming to say the staff comments. So again, just want to highlight what we see today. What we'd like to talk is that there's a lot of multiple generational activities going on within our Mac area. We're doing a lot with music and looking at that. There's a lot of beautiful art. It's being done. We are bringing back to the park.'ll be coming out shortly, and it's a way to get together. We're looking at how you're addressing events, which are always usually involves our community. I've had a meeting with Lucy and I understand arts a lot better, so I understand how we need to look at how that planning goes on a longer term basis for everybody, and I think we've benefit everybody. But it's going to take some education and problem with education. It takes time. And we all live in a society that usually very instant. So we just have to be patient and understand that we are looking. But there are some great opportunities and projects that are going on within the team at the WX Center. So I encourage you to keep an eye and ear up for that and know that the staff does care and you can't buy caring. So that's a very good thing from coming from an outside to hear and a lot of people that have the care. You just need to get the resources and get them all moving in the same direction and that just takes time. Thank you very, very much. Any comments from the membership? No, okay. Well, one suggestion, we learned a lot when we get together and so it might be a nice, some of the committees are belong to people when around and some at the end of the meeting and said here's what I'm doing, sort of a lot of times, good information, got passed around. So I would just suggest that would be the most dangerous for us to do. Yeah, whenever it thinks they're having a shift. Yeah, I'll do that. You've got shows going on, or I have got events going on. No, I think it's really important to go out and leave it to the security. You know, I want to congratulate you on your, on your award that will you know. And thank you families for coming. And thank you for the great Easter gift that you gave us. Okay, so do I hear a motion to adjourn? Our next meeting has Tuesday, July 22nd, put it on your calendar at 3 p.m. Okay, do I hear a motion to adjourn? There's been motion to adjourn seconds. I can't hold it for a little bit. Ah, yeah, yeah. Okay, thank you very much. It was a pleasure and good luck to you. And happy Mother's Day. You coming here? Stop it, everything.