 So good afternoon everybody, I know you're still munching on your lunch, but we're going to try to keep the agenda on schedule. My name is Stephen Wasser. I'm the president of the Lyric State Board, one of the people who've been meeting with the theater leader group, which I have to say would probably not exist except for John Langcourt, who has been the guiding force who has made us meet on a regular basis, and I think those meetings have been productive. As you probably already knew before you got here this morning and based on John Beck's presentation, Boston is a culturally rich place. I don't know if it's John who told me or someone else, but according to what I've been told or heard, we have more cultural events per capita than any other city in the United States. So I think part of today's, the purpose of today's meeting is not to figure out how we can get more cultural events, but how we can get a higher level and a broader level of participation within our community. So to that end, the mayor of Boston, Marty Walsh, appointed Julie Burroughs, who is our next speaker, as the chief of art and culture. You can correct me later if I'm wrong, but I think it's the first time the city has had a chief of art and culture. You have been warmly and enthusiastically welcomed by the cultural community of Boston, and even though we have such a broad level of such a large amount of culture, I think that we have a long way to go before we have exhausted the potential participation within the community. Julie Burroughs before, and she's been here now according to our lunch discussion about seven months, I feel like it's been longer. She has been very generous with her time with regard to the theater leaders group she came and met with us several months ago. So we've already had a meeting with her, and I know she's been on a very active listening tour of the Boston cultural scene. Before coming to Boston, she was the chief of something in Chicago, cultural planning, excuse me, cultural planning and produced a cultural plan for the city of Chicago. Somehow she finds time in her schedule to teach in Beijing, as well as at DePaul University. So she's quite busy, and we very much appreciate that she has come here today to share some of her understanding that she's been getting over the last few months of this particular community. Okay, we'll just kick it back under. So anyway, thank you very much, Julie Burroughs from the city of Boston. Thank you so much for inviting me to join you today to talk about Boston Creates. Some of this might be a little familiar to you. I hope that many of you have had a chance to participate in our planning process, but I won't take any of that for granted. I'll give you a little bit of background and catch you up with what we've been doing. So, as Stephen mentioned, I am new to Boston. I came here in December and began my job as chief of arts and culture reporting to Mayor Murray Walsh. I oversee the Arts and Culture Cabinet and run the Office of Arts and Culture, and that includes the Boston Cultural Council, hopefully we've given a grant to many of you, the Boston Art Commission, and we also oversee several other programs. We're still a new department. We're very much ramping up, staffing up and evaluating existing programs. And although I do have many predecessors who I am meeting, who have led similar functions over the years, it's true indeed that Boston has not had anybody in the role of arts commissioner in the last 20 years and never before as chief of arts and culture, which means I'm in the Mayor's Cabinet. This all started, probably very familiar to some of you, this all started a couple of years ago in 2013, during the mayoral primary, arts advocates began to ask all of the candidates, would they support the creation of a cultural plan for Boston? Would they commit to bringing back the role of arts commissioner to the city? Marty Walsh committed to doing so, to doing both early on and ultimately, as you know, with the successful candidate. His transition team held town hall meetings, again probably many of you participated in those, and produced an arts transition plan that greatly informs our early efforts. As to these 12 values that were articulated very early on in the new administration, I feel like it's important to share those with you. And of course in city hall there's a little bit of skepticism about the fun part, but the good news is I'm finding my colleagues to be very collegial, very open to collaboration and receptive to new ideas. And although my role was new and my department is for you, we separated from a larger office, it's very important to recognize that we are not starting from zero. Efforts to bring arts education back to the public schools began over six years ago, and through the partnership between DPS and investors, they've actually made very significant progress, especially in the lower grades and in middle school. There's a lot more work to be done at the high school level. And as you learned earlier this morning, there's lots and lots of data about arts and culture. This local community has been researched and studied at length and very deeply. So we've got great data to work with, and this is just a snapshot from a study called Culture Track from 2014, and this is just looking at the barriers and motivations of culturally active audiences. It's available online, very interesting, and it shows not only what Steven mentioned about having more events, but actually that people in Boston have heavy levels of participation. And I'm finding that the cultural community is ready to plan, ready to think about the arts as a tool for improving all aspects of city life. Funding for the plan was secured very early on from the Bar Foundation and the Claremont Family Foundation. And even before our process started, coalitions of arts organizations and artists, such as from this snapshot in the Claremont corridor and the Boston Cultural Change Network, these are groups of people who are deeply exploring the role that the arts can play in community development and overall well-being. And I'm finding that change is in the air, literally, over the Greenway. So many arts organizations in Boston are undergoing leadership transitions, and partners like the Greenway are undertaking large-scale and vicious public art projects like this one by Janet Ackerman that I think just a couple of years ago, people would have doubted that Boston was capable of carrying out. But despite very enviable cultural assets, Boston's municipal funding is the lowest per capita among major U.S. cities. And it's trending upwards. In the new administration, the city is committing to more funding for arts and culture, so our grant making has gone from $150,000 in FY14 to $300,000 in FY15 to $479,000 in FY16. So things are really moving in the right direction. And as you know, earlier this year, Mayor Walsh announced the launch of our cultural planning process, the first ever for the city of Boston. Our governing structure includes a 15-person steering committee that was formed over a year ago. It's half city staffers from a variety of departments and half arts leaders. And this is the group who very early on helped shape the request for proposals brought on the team of consultants and continues as a closely held advisory group for the process. We also formed a 60-person leadership council, a membership opened by nomination, and these are the people who function a little bit like a board of directors providing higher level thinking about implementation and stewardship in the long-range sustainability of the plan's recommendations. So we started our public process again with an open nomination for people to be on a community team. We formed 16 neighborhood-based teams, roughly equivalent to each neighborhood, and did this in six different languages to be sure that we reached all of Boston's diverse ethnic communities. And our team is large and multidisciplinary. The cultural planning group, who are a national consultancy that has done more cultural plans than any other firm in the world, they're the lead consultant. Wolf-Round is our research partner. Many of you probably know Denny Palmer-Wolf who's based in Cambridge. Mark Minnelli is doing our branding and design. Archipelago is leading up community engagement. Kalamant and Klein are doing PR and marketing. And of course we have a team of artists. It wouldn't be a cultural plan unless we involved artists in our process. And they're called the Department of Play. So the plan is called Boston Creates, and the name reflects a core concept of creative capital, which grew out of Wolf-Round's work evaluating the Dallas Arts and Learning Initiative, which is now called Thriving Minds. And the hypothesis in that instance is that a high-quality, equitable system of creative learning opportunities will measurably increase families and students' creative capital and contribute to the overall capacity of the city to invest in and support a thriving cultural ecology, a big, big, big idea. And the idea is that individuals with creative capital lead richly expressive lives, solve problems and participate in civic life. Parents and caregivers with creative capital are raising the next generation of innovators. Institutions with creative capital are both imaginative and relevant. Neighborhoods with creative capital forge, social cohesion out of diversity, and cities with high level of creative capital encourage, reward and integrate imaginative thinking into all aspects of community life. So this is the first time that the creative capital framework has actually been applied to a cultural planning process. This is really the first audience to get a glimpse of how the framework is shaping up into six key pillars that have emerged from our process. But I do want to caution that this is still a work in progress, and when all is said and done, you might change quite a bit. We're still working on translating the language of research into the vernacular every day. So this is just a very early glimpse of that. Okay, and so what does a successful cultural plan hope to accomplish for the city of Boston? We want to understand clear priorities, understand how we can leverage the arts to achieve our civic goals, empower tomorrow's, arts leaders, and foster neighborhood cohesion, articulate the role of city government and other partners, identify additional resources to the cultural sector, and incorporate arts and culture into city planning processes and municipal work. So notice, I didn't say create more programs, so I'm completely in agreement with your earlier discussion today. Our process includes original research. We're conducting a survey. I hope that all of you have taken it and spread the word to networks. It's structured in a way that by taking the survey, it actually helps you understand and realize what comprises your own personal creative capital. And as of this week, we're at about 2,500 responses when the survey is open until the end of the month, end of September. And once you take the survey, you actually get a real time glimpse of what everybody else is saying in their responses. So this is just the word cloud that gets produced when you hit submit. And so what else have we been doing? We've been very, very busy this summer. A public engagement started in June and wraps up at the end of September. We've taken a very deep dive into various networks via focus groups. You can read them out. I won't read them all out for you. Our publicly facing process kicked off in early June with a large town hall meeting, hopefully some of you were there. And we had about 500 attendees. And in this meeting we discussed big, big issues. What's your vision for a more culturally vibrant Boston? If the plan is a complete success, what does success look like? What do you think are the top two or three planning topics that need to be addressed by the Boston creates process? What should we be planning about? What are some big bold stretch goals for Boston's cultural life? We had a fantastic turnout and it really teed us up for a much more extensive community process that we've been rolling out through the rest of the summer. And that work has been undertaken primarily by 16 community teams. They're led by a pair of co-chairs, all volunteer. The pair of co-chairs formed a team of about 10 to 24 members, depending on the population of the area. And we gave them all kinds of training and support, but left it up to them to best figure out what were the questions and what were the methods that would best reach the people in their community. And we called it organized freedom. And people have been expressing their gratitude for the opportunity to be heard. This is a handwritten thank you note that I received after the town hall meeting. And a little bit more about what our neighborhood process looks like. So I mentioned our 16 neighborhood teams and a youth team. This is just a little bit of a glimpse of what was happening in each of them. So they roughly correspond to the neighborhoods. Charlestown, East Boston, Roslindale, Alston Brighton, on and on. We also held meetings in a variety of foreign languages, sometimes right at the meeting, being bilingual, and other times dedicated foreign language meetings. We also continued our work with focus groups in the month of July. Again, deep dive into networks and stakeholders, people from a variety of different sectors, not just arts and culture. We also had a presence at many, many events, further trying to extend our reach, not really asking people to come to meetings, but going to where the people are. We even had the flip charts out at the farmer's market. That's where everybody is in Roslindale on a Saturday morning. That's where our team chose to be. We had a big at the midway point of our public engagement process. We had a one day blitz of concurrent meetings in every single neighborhood. This was on August 1st. We even made it into the Boston Globe, which was very, very validating. So to date, we've had over 100 meetings. Some of them carried out by our 16 neighborhood teams. Some of them done under the auspices of a do-it-yourself conversation. So if you didn't feel like the schedule will fit your needs, you can actually convene a group of your own. We encouraged youth to be involved in the different community teams. You know what? Our own team. We don't feel that comfortable with the adults, so we want to have our own conversation. These are just a few glimpses from the youth teams. We also engaged in asset mapping. This is actually a map that's going to be on our website through the whole entire process. So until June of 2016, you can go here and drop a pin and tell us about where you create, where you participate in art, and what you envision for Boston in the future. And I wanted to tell you a little bit about how we've incorporated artists in our public engagement. This is Kate and Maria. They run an artist collective called the Department of Play. And of course, we wouldn't intrude on our values if we didn't incorporate artists in our process. So they conceived a way of leveraging our engagement and taking a little step further. So they were involved in training our community co-chair team captains. They took inspiration from the mapping process and then actually created artworks and went out to where the thing was that was on the map that people envision for the future and executed a performance art piece. And then fully documented that. And they've also devised a play exercise that we've primarily used with youth. They took the B of Boston Creates, made these interlocking blocks, and then engaged youth actually in a play exercise that helped them build and envision the future. And then again used this to populate the asset map and get people thinking about what does the future of Boston look like. Just another form of engaging people. They also issued an RFP and asked for other artists to be involved. So they ended up engaging three additional artists, kind of artist ethnographers, to help be embedded in the engagement process and then devise creative approaches to further reach people and further explore people in this visioning exercise. So one of the artists came up with bread making meetings where you actually would be making bread. And while you're engaged in one activity, you're talking about creative approaches to the future of Boston. There's also a photographer who's been attending public meetings. He's been to over 50 meetings and is documenting the process and we're discussing how to share that work. And yet another artist has taken all the written work from the flip charts and the post-it notes and is making a work of art that we're going to share with the public in a very creative way, which I don't want to give away. I don't want to spoil the surprise. But you'll hear about it when it happens. And she was inspired by people at a public meeting saying, well, we're doing this work. We're writing our flip charts. Is Judy Burroughs going to see this work? Is the mayor going to see what we're writing? And so she was very inspired by that question. There's literally taking that writing and we'll be expressing that in a very public way. We're continuing the end of this month with yet another round of focus groups starting to get a little bit further afield and exploring connections with other fields such as arts and healing network. Something that's so exciting about having such a long public process is ideas are starting to percolate and inspire other aspects of our engagement. So later this month we'll have a young adult town hall that was actually inspired by an early focus group with a group called City of Wake who are a network of young creative people very focused on social entrepreneurship. So the public process is not only yielding ideas, but it's also inspiring cohesion is exactly what it's been designed to do. So what does a successful process look like? It's one that will be driven by truly diverse participation and voices. It will be engagement that yields an authentic description of Boston's creative capital. It'll help engender greater civic leadership. We'll divide strategies that are realistic as well as having some stretch goals. And it'll be a strategy that's endorsed by our governance groups, endorsed by the public and adopted by the mayor. The timeline for the plan has us doing analysis and synthesis this fall and issuing a draft plan early next year. And engaging the public in feedback and then publishing a final plan in June of 2016. When we do fully expect to have pilot and implementation projects ready to announce at the time that we announced the final plan. So I know that this session was filled as feedback from the public process, but as you can see we are still in the thick of it. We will have a summary of the public process and top line findings available in about a month that we'll publicly share and then further explore in a town hall meeting at the end of October. So I invite you to join us at that meeting. We'll get it out of the way early in the day and then you can celebrate Halloween after. And finally, I just want to thank you so much for inviting me to share this information with you today. And the cultural plan, what we really hope to accomplish for Boston is increased creed capital, increased cultural equity, alignment of community cultural priorities. We know that every neighborhood is going to have differences, different opinions, different needs, but that there will be some common threads that unite all of them. We're trying to achieve alignment of public and private resources and increased recognition of Boston as a cultural leader. Thank you very much. So I don't know if we have a plan to have a Q&A session. Yes, Joan says yes. Great. I will take questions and discussion if you raise your hand. I'll recognize you. Okay, in the back. Yeah. Well, I have to say it's been an amazing opportunity to get a second crack at this. Really? And the public process is very, very different. It's much more decentralized here in Boston, kind of recognizing that neighborhood identity is so important and that the needs really are very different. And in the neighborhoods in Chicago, we had one community meeting in sort of in the decentralized, and here we've had a much more iterative public engagement process. We were able to engage artists in our process. So it's been a much more extensive public process. One of the other things that's really very different is having a leadership council named at the beginning of the process. It's something we didn't do in Chicago, and about a year afterwards, we're feeling that we needed a stewardship group to help with implementation and then engage an external partner to help us with that. But it was too little too late, I think. So having a leadership council on board from the beginning was another big change. Those are two of the biggest changes, I would say. Creator Boston. Right. No, this is a very good question that we've been mindful of from the beginning and didn't really have this issue in Chicago so much. Chicago's geography was so large that it really encompassed the majority of the ecosystem, the creative ecosystem, let's say. And it's very true that here in Boston, the geography, the political boundaries are different from what comprises the creative ecosystem. So we've been really mindful from this, from the beginning. So our leadership council actually has about a third of its members who are not Boston residents, which is very unusual for a leadership entity convened by the city. We deliberately never turned anyone away. Anyone who wanted to participate in any of the meetings, no matter where you live or work, was welcome to participate. And you might have missed, one of the focus groups, working groups, is called the inner core, inner core working group. And it was really the result of collaboration with the Metropolitan Area Planning Commissioner Council, I can't remember, MAPC. MAPC received a proposal from the City of Somerville saying, we'd like to create an arts and culture school kit. And that proposal evolved into a working group of 12 municipalities, Boston, I will fail to name them all. But it's Chelsea, Somerville, I think Malden just joined, maybe Medford, Rivier, Watertown, Brooklyn, I don't think Newton is involved. But so we're 11 municipalities meeting on a regular basis about a monthly basis with the support of the Metropolitan Planning Council to expand our capacity to incorporate arts and culture into municipal work. Not every municipality has an arts commissioner. A lot of times it's the planning director, sometimes it's a separate arts council. So it's a diverse group. And we're actually working together because something we really recognize is that the solutions and implementation of what we come up with in the cultural plan will have to go beyond Boston's borders. But my tools in the municipality stop at the borders. So how do you address that? Right? And you think by collaboration and maybe leveraging some tools that do go beyond borders. So for example, NEFA, New England Foundation for the Arts, has some programs, although they serve all of New England, they have certain programs that are sort of within the 495 highway. Some are specific to Boston, some are from different states. So it's a very unique situation for Boston, but we're trying to be as collaborative as possible and really leverage our solutions. And some of the things that might be included are, Summerville, for example, has come up with very innovative zoning to allow for makerspaces. Why should we reinvent the wheel on makerspace friendly zoning? Let's see if that's a template or a model for our other municipalities. Boston has an artist housing program. It's pretty small, but we have artist certification. Maybe we can make that artist certification reciprocal within all of our municipalities and have an artist housing program that goes as region wide. Because frankly, the city of Boston probably will never be able to produce enough affordable artist housing units within its boundaries. And the affordable tax credits are actually state programs. So there's layers and layers and layers of ways that we could collaborate on solutions that go beyond Boston borders. So maybe it's a strength that I'm from outside of Boston, and that I don't have any preconceived notions about what our neighbors, what they are or aren't capable of. Okay, let's go right here in front. Mass creative. Yeah. Yeah. Yeah. So, okay, your first question. The arts czar of the DPS is a lady named Myron Parker Brass. You know her? You know, Myron? She's on our cultural plan steering committee. So she's on our team. And I have joined the investors advisory board. So that's their key partner. Tommy Chang, you should know is knows how to play the violin, violin player. So a music guy and kind of a self described high school guy. And they've been working on a high school curriculum redesign all summer. So there's a lot of work to do in the Boston public schools. And I know that the requirement you're talking about, it actually is required to graduate from high school. You have at least one arts and culture credit. A lot of kids have trouble fulfilling that credit because the school actually doesn't offer the program. But what BPS has started to do is officially recognize out of school programs that can qualify and you can get your credit in a summer program or an after school program. That's really great. So we have a lot of work to do to improve the system to actually officially recognize all of the youth arts and culture programs that meet the requirements that kids can get their credit. So there's a lot of work to do in terms of that and to make it easier to collaborate. And I will say it's one of the big successes of the Chicago cultural plan was the resulting arts education plan. And this sort of system wide assessment of arts and culture offerings within the public schools and then led to actually their partner is called Ingenui. They're like investors and actually very much modeled on the partnership between BPS and investors. And it's resulted in multi-million dollar investments in Chicago. So the cultural plan here in Boston can be a platform to bring more support, more advocacy, more urgency to accelerate those efforts. Very optimistic that we can achieve a lot because of the cultural plan. That was the first question. Did I also answer the second question too? Oh, at Mass Cultural Council, well I've just actually joined the MCC policy advisory group. I work, I meet regularly with Matt. We have like a standing monthly meeting. So we're collaborating pretty deeply. I do not have a meeting tomorrow on my calendar with the MCC. So I wasn't invited to that meeting. But, you know, we can certainly reach out to Matt and see what's happening. Oh, okay. Uh-huh. Yep. Great. And then we're, thank you so much. In the back. How much. That's so nice of you. Right. Yeah. You know, I think that advocacy is huge. And letting the governor know how important the Massachusetts Cultural Council is. What? They're all laughing. Wait, do you work? Like step right into it. I didn't even know that. But anyway, yes. Right. It's a huge deal that the Mass Cultural Council, and by the way, not to say anything against my colleagues in Illinois, but the Mass Cultural Council is extremely well run, extremely organized. I am so impressed by what the Mass Cultural Council is doing. Really, very impressive. And it's fantastic that there was an increase this year and that we had the support that, you know, override the governor's veto. And it's great that we got a renewal of the Mass, the cultural facilities fund. But it's very important. Despite the increase in the budget, it's far below its peak. So money matters. We're going to be asking people, you know, the foundations to support arts and culture. We're going to be asking the mayor to continue to support. We'll be asking the BRA to consider different kinds of public benefits from development that will help us to implement the plan. So we could really use support through advocacy. But we could also really use help getting the word out. Our survey that has gone out to hopefully all of Boston, you know, we could really use help getting the word out and just showing up at meetings. It really helps us. I don't know. Check back with me in a couple of months that I might have more specific actions to be taken. Right now while we're in the public engagement is just to stay engaged and things. Yeah. One of our September focus groups is with the greater Boston Convention and Visitor Bureau and their board and leaders in tourism industry. Just anecdotally, I have not seen that the cultural assets of Boston are marketed in a way that I think they could be. I think there's a lot of room for growth. And I've seen cultural tourism marketing actually in Chicago be enormously successful and taking special cultural experiences and really fully marketing them. Not only to the people who come here already, but the people who might decide to come here because of what's going on. Whether it's in a very different tourism market here than in Chicago and Chicago, far less kind of per capita. They had just a lot more room for growth, especially from international tourism in Chicago and here they say that Boston really actually for the size of the city draws a far greater percentage of tourism, especially from overseas. It's a pretty different tourism market and we're still kind of diving into that. Although one of the results of the Chicago cultural plan was to do a cultural tourism strategy for Chicago, which now unfortunately is being complete. The whole tourism bureau in Chicago is being defunded because the state is broke, so that's a whole different title of this. We're going to start using mics for questions actually for the live stream. Maybe related to tourism. The last thing you said actually was to have Boston gain recognition as a cultural leader. My question is about the values that you showed. I applaud the cultural equity and creative capital agenda. None of those values, as I quickly scanned them, didn't leave it up very long, but spoke to some kind of external evaluation. There wasn't a statement of excellence or innovation or experimentation or notability. I just think to include something like that, some standard to hold ourselves to that is more, I don't want to say objective. There's imagination and innovation, terrific. And accountability. I know, I went a little fast enough. I just couldn't read fast enough. They're pretty good, but maybe there is something missing. If you want to get a Wikipedia article, you need to meet a test of notability. If we're going to be recognized as a cultural leader, how is this going to make us notable? What can we publicize that both helps us achieve the cultural capital goals and the recognition goals? But don't forget, these values are for cultural planning. They're not necessarily the articulated aspirations for the entire cultural community. So maybe that's what we're aiming towards is what are the aspirations of the entire cultural community. Which is different, right? Maybe we become the new work capital of the U.S., right? By premiering more new works than any other place. We could maybe even claim that right now. And then that is notable. And it could be that we're this incredible R&D lab for cultural product that gets then distributed globally. Part of what it's meant to do is to fill in behind it. Yep, yep. John? I'm wondering, I may have missed it, but is there a way that you have either gotten or could get feedback from this room, from the six theaters in terms of either our aspirations or needs or as a collection of theaters, maybe individually or aggregated in some way? Yeah. Before you continue, let me just answer that one. So we will be at the stage source theater expo and we'll be holding a session actually right before the expo starts. It's completely open. And I would really encourage you guys to come and attend or send someone from your company. We would love to have you. And that would be a formal way to be involved in a focus group that will happen. That would be terrific. It's on September 29th. I think it's one o'clock, something like that. But I can get, right, it's at the stage source theater expo and it's literally just right before their expo starts. And deliberately plan to take advantage of the fact that they were doing that expo. I think it's on September 29th. Yeah, it's on September 29th at the Cyclorama from noon to two. And also we've got 10 more minutes in this section. So I think you maybe had another partner question. Whether there was a way if we collaborated for us to look at our issues and needs and send them to you. Yeah, absolutely. You could do essentially a do-it-yourself conversation. And we have a toolkit and a framework and so you can discuss and then send us in the results of that discussion. Great. Thank you. Another thing we can do together that we know better than separately. Can the city of Boston fund a theater bus? A theater bus. To pick people up who don't have transportation and take them places for cultural, it doesn't have to be just theater. You know, actually I'd like you to know that the Strand Theater, which is operated by my staff, Fiddlehead Theater Company, I don't know if they're here, part of this group, Fiddlehead is actually running a trolley from Coffley Square to the Strand Theater for this whole season of shows. Because it is hard to get there, it's hard to park when you're there. So that's maybe an instructive pilot to take a look at. Our grant season is open right now. So if you guys want to submit a grant to the Boston Cultural Council, you would love to entertain. We have more money this year. The thing is, if you're not located in the city of Boston but your program takes place in the city of Boston, we can fund you. But if you're not located in the city of Boston, your program does not happen in the city of Boston, we can't fund you. So maybe some collaborations could happen because of that. The deadline is October 15th for that, by the way. So Julie, we know that there's not a lot of corporate headquarters here anymore, but there's obviously a lot of concentrations of corporate money in the city of Boston. The biotech, financial industries, we can go outside and count cranes and see all the investment going on on the waterfront from Fidelity. And so I'm just curious if you have had any success or if you've had any of these players raising their hands thus far, saying that they're interested in being a part of the cultural plan and if there's any way that we can work with you and help assist that effort in bringing more of those players to the table. Yeah, you'll see that one of our September focus groups, and these are happening 28th, 29th, 30th, so later this month. We do have a group of corporate philanthropists, corporate giver groups, invited to discuss what are their interests. I've met with a handful of corporate givers. I will say that, in my experience, they're much more inclined to support publicly-facing events versus kind of cultural plan and cultural policy. They're never going to give me money to re-grant to other people. And that's what I've found, but we're really eager to engage them and to discuss them. I personally think that one of the most valuable ways corporations can support arts and culture groups is by having their employees on boards of groups. And that's the kind of relationship that fosters giving to those groups. I don't know how many of you have actively sought board members from corporations or worked with the Arts and Business Council to get corporations to pay for their young, up-and-coming executives to go through the board training program and get placed with arts organizations. But corporate giving is all about relationships, and it's very transactional. So that's the reality. It's not newly philanthropic. It's much more about marketing. You actually offer access to very valuable demographics most of the time. So if you think of it in that transactional kind of way, it could be fruitful. Any other questions? This is a great discussion. Thank you so much.