We do the creative community around the state and the community. It's a staunch work that we value of the title code. So I'm personally very excited for all of you today because I have seen this work very powerful, transformative work. And I think that all of you, what you bring to the table here is quite significant. And I just know that you're going to have amazing experience, not even your decision to be here today underscores your commitment to help me the way forward towards an innovative, dynamic, and sustainable future for yourself, for the peers, and for our audience. So thank you all for creating your very busy schedule to be here today. It's a big commitment to give love a Saturday. So congratulations to all of you. I want to acknowledge Casey, and Stephanie, and Brea. So for all of the work they did to put this together, let's just volunteer to set up team of some participants who came early today, and Ryder, arts and illustration students. Of course, we thank Amrae and Art Cry for everything that they did to support the work of arts leaders, right? Let's give them a big hand. So there's a couple of thousands of us here today, right? It represents your own independent projects, and you represent large and small arts organizations. Some of you are artists, artists, administrators, marketers, fundraisers, producers.  So all of you are here today because you cared deeply about the arts. So we choose to assemble an open space today, right? How many of you have attended an open space in the middle of a best grade case, right? So for those of you who don't know open space, it's an internationally proven meeting format which creates unique opportunities for intentional action-oriented discussions among diverse groups of people, right? It was originated by a gentleman named Harrison Owen. There's a ton of information online. If you're inclined to learn a little bit more about it, there's what I call the open space world, and thank God for that comment. So Harrison Owen was a professional conference planner for 30 or 40 years, and what he realized was that the most interesting conversation would not happen during the conference itself. They were happening during the coffee break, they were happening in the hallways. They weren't happening during, quote, the actual conference. So he thought what would happen if we held a conference where we would hold a long conference break where it was completely self-directed and self-led by the people who cared to show up. So that's basically what open space is all about. You know, it's open space, it's a self-organizing discipline, sorry, it's a self-organizing practice of interdisciplinary and collective activity, right? Interdiscipline and collective activity which inherently leashes the creativity and leadership of every single person in this space. I've seen this work every week. It works with a group of 10 people, up to groups of 1,000 and more. So, and I also think that it really kind of brings out the best of people, you know? Which hopefully you'll all see as the day goes on. So today we're gonna take full advantage to share our ideas, to speak frankly and openly and honestly with each other and to explore the central question that we have over here. So let's dive in. Oh, I'll say one more thing. So, you know, as we talk about self-leadership, taking responsibility and organizing open space and what that means, I'm a huge fan of, and they have this great, they have many promises, but one of them that they say about our age or the people of our time is that we are people. So the great thing about coming together this way is that everybody here is in charge. So if you're unsure of something throughout the day, just ask the person next to you because they're in charge. If you wanna see something happen today and it's actually not happening, then it may happen because you're in charge. Everybody here is equally responsible and powerful. Do I really encourage you all to get the most out of your time here today? So, we'll do a little nuts and bolts. Let's review our schedule today. We have it up here on the board so you don't have to remember this, but I'm gonna run through it quickly so everybody kind of has an idea of what we're doing. We're assembling here until about 11.15. We're gonna create our agenda together during this time. Then we're gonna break out into our first session. We're gonna have four sessions throughout the day. Session one is 11.15 to 12.05. Each session is about 15 minutes long and we take 10 minutes in between. The next session is 12.15 to 1.05. Lunch is 1.15, 1.30. We can start to eat as soon as it's set up. It's actually not scheduled to be here until 1.30, but I'm hoping and going with the fact that it's been set up before the zero. That'll go until about two o'clock. Then we're gonna do our session number three at from two until 2.50. And then we have the fourth session from three o'clock to 3.50. And then we come back here for the closing circle from four to five o'clock. We're gonna share key discoveries, thoughts, and some action sessions and other things like that. If you lead a session, right, if you propose a topic, because see, there's our agenda for the day right now under the marketplace wall. Guarantee you in 20 minutes, you will not believe that we will get through some of that whole agenda. You know, there's absolutely nothing on the wall right now. But if you propose a topic for a breakout session, you do not have to be an expert on that topic. You only need to have energy around that. You need to have, you know, an interest in seeing something happen around that topic. But you don't have to be the answer, right? But if you propose a topic, you are in charge of leading that breakout session, okay? You're also in charge of making sure that notes are taken during that session. You don't have to take the notes. Maybe somebody else in your session, you know, decides to take them on the flip chart path, maybe somebody's taking them on an iPad or your laptop. You can take the notes however you want. But you then also agree that after your session, you'll come over to the newsroom, which is over here, and you'll transcribe your notes into the Google template, the dot template that's there. Because we want you all to be able to lead with a written transcript of every single discussion that's in place, okay? It's really important because that's how you can do your follow-up. That's also what makes this type of meeting different. We'll go to lots of conferences. Everybody has lots of ideas. Everybody has the best of intentions. You leave the conference, and a lot of times, you know, follow-up on what happened, on the great stuff that went on. Part of its capacity, right? Part of everybody's really busy, and we don't sometimes have the time to do it. But part of it is the tools. So we want to make sure, you know, if you guys have a written record at the end, and you know everybody who participated in the discussion, is that part of it? There are participant sign-up sheets at every breakout station.  Write legibly, print legibly, so we know who you are. So that's an important takeaway for you guys at the end of this. You'll be able to have those notes and act upon them. So that's the schedule for the day. Any questions about that? Great, and it's up there on the board, and you can ask it any time. So a little more about housekeeping. You know, tweet, keep your phones on, just turn the ringer off, right? So if you're checking the email, you know, this is not your conference, so do whatever you need to do, right? You can keep your phone on, just turn the ringer off. Bathrooms are out here, ladies and gentlemen, so the left bedroom is just a little further down. Got some beverages and food over here. You know, help yourself, take it to your breakout stations. So we have a couple of principles in open space, right?  So for me, that is in alignment with the Hopi prophecy, you know, that we are people we've been waiting for. So all of you here today are the right people. We inherently believe that, we know that to be true. It might sound, you know, as Wendy Lisco, one of our team members at Creative Jersey calls them Crunchy Granola, many of you probably know her, because she's a former officer at Dodge, but that's one of her favorite things that we would know, Crunchy Granola. But it's not, we really know that you are the right people here today. Whenever it happens, sorry, wherever it happens is the right place. So, you know, that's also about letting go of expectations, right? All of these, a lot of these are about letting go of expectations. Whenever it starts, it's the right time. So you might actually have a conversation that's not part of a breakout session. If it's a robust, meaningful conversation, keep going. You know, that's why you're here today. So it doesn't, even though this is a very dynamic, fluid way of meeting, it can be even more so, right? So go with your gut instinct on that. When it starts, you know, it starts, and when it's over, it's over, which is, you know, creative conversations and spark of innovation is not allowed yourself to be fully present throughout the day. And I think that, you know, these guiding principles will help you to do it. And also, you know, when it's over, if you have a conversation, if you have a breakout, and in 15 minutes, you've finished talking about everything you need to talk about. Get up and move to another breakout, right? You don't have to use the whole 50 minutes if it's not, if it's not needed. By the same token, in Maristown when we did this work, we had a group that came together in the morning. They were talking about civic activism and dealing with some of the legacies which are in the bar and things like that. That group stayed together for two, three, two, one. They did not, we could not kill them from the corner of the room. They were so engaged. Now, they all thought they were all gonna participate, all of these other conversations that you can use with them. They never moved from each other. And they have now, they have formed a team, they have done all of this amazing civic activism in Maristown. It's been phenomenal to see. So, you know, when it's over, it's over, meaning it wasn't over for them, but for other topics, it could be over in 10 minutes. Which also brings us to the law of two feet. So, the law of two feet is, you know, if you are sitting in a breakout and you are not contributing to or learning from what's going on, get up and move to another session, okay? So, for those of us that leave sessions, do not be insulted because I'm gonna get something. Right? Because we encourage you all to do that. You don't take it personally. And for you, be on power to get up and move. It's not a personal, you know, it's personal for you, because you need to get something out of it. There's nothing against the groups that might be sitting around you. That also brings us to the two animals, which is the bumblebee and the butterfly. And they're connected to the law of two feet. So, you know, the bumblebee, we think about what bumblebees do. They cross pollinate ideas. So, in open space, this is why you can actually sign up for more than one session at a time. Because you might get bumblebee.  And so, I was introduced to this, you know, way of thinking in open space. The butterfly, so, let me finish one thing with bumblebee.  And what you hear in one session, you might actually, you know, then offer up that information in another session if it's relevant, right? And that's how we can also begin to make connections. Because they, bumblebees, exist. And they're really important. Butterflies are also important. Butterflies look really pretty. For those people who are bumblebees, the butterflies can really maybe irritate the bumblebee. Because the butterflies hang out at the bar, they hang out at the pool, they look like they're not doing anything. They don't go to any sessions, right? They're having coffee or a cup of juice or whatever. But, you know, a bumblebee, a butterfly is the type of person who you might sit down and have a chance to encounter them. Because they have actually seen much of what is going on. They can have actually a chance. So, if you think about the caterpillar to the butterfly, the transformation that happens there, that's what butterflies actually do.  So, the last principle we have about here is be ready to be surprised. And that's because never before and never again. So, that's really a kind of special thing, you know? When you think about that. A lot of you know each other. A lot of you work together on an ongoing basis. But what's about to happen today will never again be created because of who you all are together here in this room, in this space of time. So, that's a very special thing. And it just helps to underscore to stay, you know, as present as you can in the day with each other, right? So, I think that's all of our, I think that's all of our construction that goes into the day. So now, you know, we're gonna dive in. We're gonna create our agenda. So, I'm gonna ask you, come up to the center of the room, write down the topic that you wanna discuss today. You're gonna ask you to also write down your name on here. You're gonna get to come into the center of the room. Do we have our mic working? No. I don't know. We won't use the mic right now. But I want you to announce your topic. So, because we don't have the mic, I wanna ask you all to keep your attention, you know, to what we're doing here.  So, you're gonna commit. And if you don't have a topic, that's fine. Everybody doesn't have a topic, right? Write down your topic, write down your name on the paper.  And then you're gonna come over to the marketplace and we have Julie and a couple of other, right, Trisha and, what's her other? Yes, Rita. And now, if you guys have topics, you can write topics down too, just because you're working in the marketplace. And they're gonna help you over there. So, we see our great little fabulous pre-tumbler that we did this morning. And we see that grid while we're posting. So, the turquoise post-its all represent the first time slot, right? The pink or the second and so on.   Because there are numbers, one through seven, on each of the colored post-its. And it lets you know where the break-out is going. Right? So, any questions about that? So, I'll just be picking up the coffee cups for the rest of the day. I'm serious. That's my role now. I'll pick up the coffee cups. And I just wish for you a really amazing day together with an intentional action or with a conversation. Bold, brave, courageous. Don't sense it yourself, right? Stephanie, just remind me. So, we've got some hashtags up here. And Stephanie's adding another. So, feel free to tweet about this. Feel free to take pictures, you know. Do what you do in the world of Twitter. And others. So, if you've already got it, so stand up and say your, okay, we're gonna have a light. Great, perfect timing, right? Great. Okay, so, you're gonna say your name. Here we go. Say your name and read your question. My name is Ashley Alvarez and my topic is social activism in the arts. Pretty much raising awareness about a certain topic or a certain activity that you wanna do. So, now you're gonna go over to Julie and she's gonna give you a time slot and help you post that. So, we had to have the projector on. So, now we see that's kind of got the writer logo because that's how we have the microphone working. So, here we go. In a chapter, my topic is young audience development not just attracting them but developing them into donors and long time ambassadors. Grace, can I get your name on there as well? Okay, Grace, Rita. So, yes, Rita Medina. My topic is motivating communities to support art, music or theater that is quote unquote different or new. We've got a couple more in the works here. Here we go, say your name. I was reminded months in the gallery I'm showing my artwork in about making art useful because we find it really hard for people to buy paintings off the wall and I really wrote that down. Making art useful, inspiring and community oriented. Usefulness as key, what do you think of feel about that? Great, thanks, Beatrice. Thanks so much. My topic for today is to create international exchanges between emerging arts leaders. Thank you. Yeah. So, all the same, right? All the same. All the same. Okay, here we go. Who's next? I'm Beth Planking. My topic is refueling your creativity. What do you do to refuel your creativity in hopes that we'll all be able to exchange. Grace? Refuel your creativity. Anyone else? And this is, and like boring men and all these four others. All right, you'll put your name on that. What's your name? Julia. Julia, put your name on that. Casey? Hi, I'm Casey. How can we integrate emerging arts leaders into succession planning in a way that is open and intentional? Collaboration, how, why, and when. Great, and what's your name? John Gordon. Great. Now, here's the other thing about ideas and topics. If you think of something later in the day, perhaps at lunchtime, and you want to post a topic, we could generate some more topics at lunchtime, right? So if we think about the first and second time slots now, we could then come back at lunch and spend the last 10 minutes of lunch generating some new topics and announcing them to the group. And then you guys can all look at the marketplace again after lunch to see if there's something else that might have popped up that you'll be interested in. So our marketplace team over there, why don't we just continue with the first and second sessions before moving on to session three? So, yeah, right? Because maybe you'll generate some new topics at lunch or maybe you'll want to continue with some of the conversations that happened in the morning sessions and be able to spend more time drilling down and maybe coming up with some strategies in the afternoon. And remember, you don't have to be an expert on the topic. You only need to have energy around seeing some kind of change in that area. I think it's warm in here. Is that just me? I feel like the heat's on. It was cold earlier. See, I'm old, so... I feel as if I'm younger. I'm warm. I'm warm. Okay. Right, so we'll think about our question again, right? So this is our central theme for the day. How can we, as emerging arts leaders, drive innovation and create sustainable opportunities for ourselves that will enable us to grow, to nurture vibrant relationships and to inspire our communities? So when you're thinking about your topics, they can stem from this central overriding theme. Thanks. My topic here is creatively revamping business structures using efficiency and innovation to build more robust institutions. Great. What's your name? Jason Colts. Great. Thanks, Jason. I didn't think I had a topic. I came up with reinventing ourselves and our arts to connect to the current climate slash vibe slash culture in our community. My name's Lynn. Yeah. You're the girl. My topic is pretty similar, but it's how do we change when change is hard in relation to audience development and in relation to artistic management? It's random. There's a frustration between us here. So just thinking, you know, I don't want you guys to feel like you're, to feel shy about this, right? Like what are the kinds of things that you are thinking about? You know, if you're preparing at some point in the next year or two to graduate with an arts administration degree, what are the issues that you guys are concerned about? Right? I mean, you have an opportunity here to talk about some broad concerns that you might have graduating with your peers and with people who are recent graduates and people who have graduated a long time ago. You know, how do we build a life in the arts? How do we put that together? How do we find the resources? How do we tap into a network? How do we support ourselves as we're trying to do this? You know, on HowlRound, which Casey had introduced me to and I know Stephanie is familiar with that and several others of you here. There's a blog that I didn't get to finish reading it, but it talks about working in the arts either for the love of it or for money. You know, like we always say you can make a killing, but it's hard to make a living. So maybe those are some things that you're thinking about. I don't want to sway you in any direction, but I just wrote that out. So I'm gonna second one. What projects can we do that require asking forgiveness instead of permission to better our communities? And, okay. Using technology can we learn from our peers and other industries, Casey Mills? Hi, I'm Katie Wanner, and my topic is in a society that's driven by instant gratification, how can we create and maintain engaged audiences? And sometimes in other communities when we've done this work, groups have merged, right? So again, I want to remind you of the self-directed intention of our meeting today. And you might have a couple of topics up there that might seem to be similar, or they might overlap. And the leaders of those topics can find each other and say, listen, I think we should merge. So I'm not saying you have to, I'm just putting it out there, but that's also a possibility, Danielle. How are we filling the needs of the communities through art? How are we finding out what the needs are? You can do more than one, but make sure that you have different time slots, right? Because you actually can't lead two sessions at the same time unless you merge them. And then the markers that we have here will all make sure that we've got, we put a couple of extra markers around at all of the easels. There's one at each easel, but when we're finished with these markers, we'll place them around. So you have a couple of markers at each. And remember, you've got your sign-in sheets at your easel, so everybody who comes, even the bumblebees and the butterflies, even if somebody's only there for 15 minutes, we want their name. My question is, can art cure cancer? What data markers do we need to make the case? There is Wi-Fi here. If anybody wanted to connect to it, is that possible or no? I can take that back. Come on. It's open, so there was a Wi-Fi and you can find it. No wires require a password. Artists meeting regularly to create and collaborate, so to enter the world together with the best energy. Make sure your name is on that. And then in just a couple of moments, we're gonna ask everybody to get up and do a little shopping, right? Because you're gonna start to look at these topics and decide on where you're gonna go. So if you just look over there, you can see all the blue post-its are the first session. All of the pink post-its over there are the second session and so on.  So I just remind all of you that sometimes in open space, we have a session where nobody goes because you vote with your feet in open space. You go to where you're interested. If you are running a session and nobody shows up, merge with another session, right? Go somewhere else. My second topic is educating the youth how to increase art programs in public schools and how to get the support to fund them. My name is Huzia Mama. What do we do to receive emotional support because our art demands are personal? These are great topics, everyone. So we've got one more, we're doing one more and then I think we're probably at about 11.05 maybe. I don't have my phone on me, but 10 after. Okay, so Marissa is gonna announce hers and then I'm gonna invite everyone to get up and take a look at where you're gonna go. The final thing that I'm gonna say is you then need to take your chair, right? To your session. So if you're leading a session and you don't like where your easel is, you can move it, right? So make this work for you guys. Can we create as emerging art leaders with leaders that are emerging in other sectors? Okay, and we've got another. It's never the end because if you continue to, you know, post as many tokens as you want. Marketing. Marketing. Okay, everyone, so thank you all for those amazing topics. Go ahead and take a look at where you're gonna go. My final thing is that we don't force you to end your conversation as you heard earlier, but I will give you a five-minute warning on this little, this great little app. So I'll go around and give you a five-minute warning and then I'll ring the bell again at the end of the session, but you can keep going if that's what you wanna do. Thanks, everyone. Here, we have one more. So let's just hear this announced as we're all shopping over here. Explode deleted, how do we fix this? And remember, we would love for you to just scribble your name directly on the sheets of where you think you're gonna go. Thanks, Rita. You guys were great. Let's thank Rita and Julie and Trisha for handling our marketplace. Thank you. Hi, how are you? How are you? Good, thanks. So nice to meet you. Hi, how are you? Good, how are you? I'm good, thanks. Thank you for coming. See you all. Bye, we have a really great time, I love you, I have a great time. Let's meet up. I love you. I need to touch that screen. So meet me. Can I call a phone? I need to call my friend. I need to call my friend. Call my friend. I need to call my friend. I need to come quickly. Okay, ladies and gentlemen, so it's 11.17. I want to help keep you on track here. If you're leading a session now, in session number one, I just want to encourage you to go to your area. You have to see if you're leading a session in session number one, you, on your post-it, it will have a number one through seven. And then you'll know where your breakout area is located. If you're confused, ask the person next to you. All right, all right, all right, I'm starting some on the floor. Start out here, and maybe bounce. You can go anywhere you want to. Sure. All right. Last one, we put up. Liberate it. All right. Get it here. Get it here. All right. We're going to take it out. So I think we're going to put this in the right, you know, by making your own decision. Awesome. Don't despair, the first breakout session I was in, nobody came for the first 15 minutes. The reading sections of notes, because I selected three different topics. Your problem, man. That was hard. But it's good. We're not allowed to get insulted if people get up and go. Right, and what is happening here? Are we streaming right now? Yes. This is the topic. Select it. All right. All right. I guess we should keep the number up for another session. Anything else? And I guess I'll look at the number. It's also there. Oh, okay, perfect. So, one, two, three, four, five, six, seven, eight, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, nine, All right. Step right up to the market. That's what we need. Can I get a guy like you? Sure. So you can go wherever it goes. But why did you guys select this one? It was the last one I wrote up and I just wrote the word marketing. What about it from you? Because that's probably a good place to start. Come join us. I wonder. I'll speak because I'm my own company. I'm a graphic designer and I'm a visual artist. I don't work for an organization. I have no mentor. I have no one representing me. And I'm not great at representing myself. How come? It's a hurdle. It's a hurdle. I'm not a self promoter. I need someone to promote me. I'm a good representative. I know that some of you work for organizations.  You guys have a massive presence that's built from a large organization. For me to walk in and say, hi, I'm a really good graphic designer. Just give me the work, man. Don't worry about it. I'm modern. I see where it is you do. And I get it. But there's a million of us. So it's getting over that emotional and personal hurdle of marketing. You're not a marketeer. Because you just said there's a million of us. What you really should have said, there's a million of us. This is what I do. But I'm the only one you want. Okay, so there's 12 graphic designers. What is it about you that makes you something special? Because I'm a great collaborator. And I'm going to listen to my editor. My goal is to serve. My soul is a serving soul. This is how I would market you. If you are going... I hope that this topic gets off on a weird... I'm just a facilitator, not the leader. Because other people might have other concerns. But here's how I would look at it. How would someone like Grounds for Sculpture find me? Let me get you first. So there's a hundred different graphic designers out there. So when you talked about collaboration, that's huge. Your ability to... You mentioned that you can get a sense of an organization. So there are artists out there that say, what do you do with the art my way, my style, etc. What you're doing is you have the ability to assimilate your own sort of artistic perspective. But within the needs of the institution. So you can look at their history and help them with their brand positioning. You can help them do something fresh and innovative. But staying with the core of who they are because as a communicator, not just an artist, you understand what they're about.  And then you're able to do that. Well, how? Look at my portfolio. This was a dance company I worked with. This was the goal. I can speak in the world of abstract. You can show me a photo and say, this is the feel of the season. And you know how to select the right colors and fonts and feel and energy and whatever for art direction that really states and matches that. That's your niche.  Like, no, I'm in charge. This is the way it's supposed to look. You know what? I don't think that is the right way to do it. I think it is collaboration. These people, your heart and soul is in your organization. I need to absorb the heart and soul of it. There's a political element to me. There's a lot of artists who have the egos, big egos and perspectives. And they're going to say, this is what I want. There are two columns I want my... Oh, yeah, believe me, I want this photo here and I want to use this. And then I have to be able to say simply and calmly, let me just tell you right now that's not where you want the photo and that's not the right photo for me. Right. That's the time for you to listen to me. And you know what you do is, so obviously you also have to, this is the hard part about being sort of a self-employed consultant. That's what I do.  I know what you're thinking. Let me take that. Let me sort of throw it around a little and I'll bring you a couple different and different places to go. Now, when that brochure is done and it comes back to the printer, they can say, see, I sort of directed that. I wanted to go down this path. Well, that's actually... But really what you did to sort of show them that you don't want a clip thing here on the side of the photo on the left because it's just, when you open it, it's gonna... Right. And so you give them three things. You do four at home, but you only show them the three because you don't want them to pick that or you only show them the two because you don't even want them to go near number three. Right. You just want them to see the two best ones. It's very... I've worked with organizations where it was very easy to sell on behalf of them. When I ran them or worked with them, I'm great. I'm a cheerleader. But when I have to showcase myself, I feel embarrassed. You know, I ran a theater company and everywhere I go, shameless self promoter, I had flyers on the tour. Then I was producing a show up from in New York because it was my show. So I felt like... That's how you felt. It's like, I can't tell people to come see how great my show is. I mean, I wasn't in it, but you know, I produced it and I wrote it. So how come? How come you were okay before? Because when it's an institution, it's different. So what you're saying is you kind of go and say, oh, you should get a bottle of New Jersey Bartender. Oh, I'd be the best. You'd be the best. You'd come up with their posters and their flyers, but if I said, what's your business card look like for yourself? I'd be like, well, it's hard to do my own because it's like... Like, oops, I don't have it on me.  Yeah, it's a self esteem thing.  You know, I'm the best record designer around here. So my way of doing it is I just let the work sort of speak for itself. I get it somehow to an organization. I do a lot. I over deliver it. I show how great I am. And then I let them hopefully amplify the conversation and refer and talk. But you got to think about a marketing plan of, okay, how many clients do you need a year? How do you get it to certain circles? Who is your clientele? That's another thing. You know, what projects are worth your time? Who are you going after?  Are they going to get you $200? Or are you trying to get a, you know, a Johnson & Johnson to give you $20,000 to do their annual report? Well, that's it. I really, it's like three chunky clients who have no problem writing checks. They don't even know who's writing the check. And they've got budgets. I don't like... I mean, the $200 poster for the great dance company will take more out of me than doing an annual report for J&J. And they're going to give you their style guide and this and that? Boom, it's done. And I'm going to follow it. I'm going to make it nicer than it could have been. Or it has been definitely better than it was in the past, because usually I'm showing them what it was. Okay? Yeah. Let me have it. And, you know, I'm very confident. I mean, I know that I'm good at what I do. It's who are the clients and what the gap is. Great. Let's connect to everyone and then we'll try to come up with some sort of thing. What is it? I'm here for... What do you do at the Center? I do a lot of brands, a lot of everything. I love that. Yeah. I do a lot of things. So, house management, I do publicity, I do press releases. And I do do some of the graphics work and I hope that the market is working. Do you do graphics too? She's a student. I know. But we're a pretty small crew. So what we struggle with is because we're a small crew, everybody's got their hands on everything. And so it's hard to get a unified parking plan. It's hard to motivate our manager to see that it's not unified. So I'm in a place where I'm trying to drop hints and say visually things are inconsistent enough to create a strong brand, I think. So you need a really high-end graphic designer who's looking for a client? Well, no, we have one. I'm kidding. We have one. We're trying to get features work here. We actually do have one, but we only use her for what the manager considers more important things than other things because of the budget. So that's why we do a lot of our own stuff internally. Well, you know what? I would say, as someone who thinks about organizational behavior, I think it's a terrible waste of time and inefficient to have 100 chickens running around trying to each make their own flyers. There's no unified look, no unified theme because it's not actually efficient or effective. And talking about budget, I'd rather have that one person working over time going for hours, but everything's going to be... Yeah, and then it comes in. Because they need to change it. It's the same look. What if you can't afford it? We can't afford having a full-time graphic designer person. Well, you know what? So one of the reasons, I think, that I've been successful in producing shows, so my fact is, when I was nine years old, I started my first theater company. You know, I've been doing some graphic shows. But I was always very entrepreneurial and I figured it out that by the time I was around 14, I was raising money, but I was building some strangers and buying chickens. And by doing that, I had to learn how to do everything. So I said, how do you write a person? He said, call me, pay for this, send me a sample and I changed what the words were. That's how I learned it. Oh, well, I don't have money to get someone to make costumes if I learned how to sew. Oh, I don't know how to write a budget. Oh, I got to excel, learned it. And one of the things I did was I mastered Illustrator and Photoshop. And back then, it was PageMaker and now it's in design. And I can do everything. I can set the piano and write out arrangements and I can get into, you know, a premiere and shoot an edit video and, you know, I just do everything. Creative. But the thing that I would say if someone was new at this business, doing anything, it's a learned how to design. Now, graphic design. Now, there's levels. People think, oh, with my iPhone I can take professional photos. Well, you know what? There's a definite caliber issue. And the same is true of graphic design.  Hi, Microsoft Word. You know, you can't. However, understanding that can get you to a point. And if you don't have the budget, you can sort of get to a point that you can say, okay, these are sort of what we're doing. And then you can be the designer who's ready to take you to that next level. So if you saw something that was, okay, this is what we did last year. Boom. You don't need a million hours to develop a whole new concept because you sort of see where they're going. It just needs to be college. But if you're asking a designer to come in and scratch and say, okay. Launch. Yeah. I mean, I work for this company. I do a lot with record. One of the things I do is the Rutgers Hall of Distinguished Alumni works here for eight years. They brought me in because they used to be this sort of rubber chicken dinner and terrible morning. And they brought me in to make it into the Oscars. I write this big open number with singers and dancers, complete comedy, parody number. And then I shoot that. It's video files. One of the biggest things was the branding, the marketing. And I sat down and said, we need a marketing retreat. All the communication people sat down. We spent, like, a seven-hour day. And we figure out based on this year's honorees, based on trend, trending design themes, what is everything? It's going to inform the flowers. It's going to inform the program. It's going to inform the postcards. It's going to take everything. The video, logo loops, everything. And that one day of doing that, you need to get your team together. Stop working. Get some pizza. Sit around at a table for five hours and talk about what is the look of this year? What is the theme of this year? What is the feel of this year? It's about efficiency. Because if you already know all that, then this woman who's only part-time knows, okay, I got to do these six things. It's prioritizing. And, like, say, looking at it as a whole, then breaking it up into what has to happen. Because if she can design, you know, some sort of lower third thing, then all you have to do is throw a photo in and then put that thing underneath it. That's the postcard that goes out six times. You just need to select six photos. Boom, boom, boom, boom. There you go.  So what is the sort of thing you could do for Rutgers? Because I need to show more for Rutgers, too. Well, I work for the Institute of Politics. Okay, I do work with the alumni relations. Alumni or relations. So they do, like, a big dinner. Oh, okay, we're getting so engaged here. Relationships. Yeah. Now the question is, we're starting talking about specific things related to our own work. Can those things just be shared? Yes. As sort of case study. Getting groups solidified. Yeah. And you signed in, like, here's your sign-in sheet. So you got to pass it around. You're putting your sign-in including yourself. Sure. All right. Yeah, I feel you're, I feel you're ready to move for some of the two examples. You want to take, like, five more minutes and then we'll stop and we'll just, maybe you can help me facilitate all this. And the other thing is working at large, small organizations that are, small businesses. I work a lot, do a lot of publications for small businesses, you know, hospital publications.    They don't know, not that they know it all, but they, when they started out, they had, I guess, you see, most entrepreneurs are not entrepreneurs. They're really small business owners. Well, they want to make money. She wants to make money, she's got a great idea. But she, but I'm saying, I don't want to be seen as she. But just say, Do you have anything to add? I feel bad. The, um, is, is, you know, no matter how you feel or that writer, let them create, let them do their thing. Instead of micromanaging, I think you find in marketing, there's a lot of micromanaging.  That's a lot. I do all my own Photoshop. But there's a problem with that, too. So, you know, if you delegate something, and you don't have a lot of time, money and energy resources, you have, um, you know, you, so you don't have a lot of resources, and you delegate out that project, and then it's completely wrong or not where you want to go. It might have been easier, and that's probably what the managing director was thinking. I should have just done it myself. Well, and I think that's what they're used to. They're used to doing it themselves. They've been expanding. I'm still trying to figure out where you are. They get stuck with their vision and the way they've been doing it for so long. So it's hard for them to let go of the control and say that, you know what, maybe somebody does know better than I do. To let somebody else give it a shot and see. I like the idea of bringing in the graphic designer to maybe at least collaborate on a unified look so that then we can do our own independent work, but still, you know. Having some sort of retreat is the best way to solve things. Whenever I have a project, I say, okay, we're going to just sit and talk for 20 hours and then everyone knows, but it's hard to get past the psychology with certain things that they're letting go. They're stubborn minded. You know, you be able to voice to a designer when you've been holding on to say, you probably know better than I do. I've been holding on to this. I'm going to turn this over to you for four hours. I had to hire a 3D designer to do this logo that they wanted to rotate and stuff. I don't have anything about it. I had to hire like a 3D animator to do it. This is for a logo project for NGIT that also they wanted it to be able to on their website to rotate. So I took that side of my realm. I found a really good animator, but I told him how long he thinks it's taking. He's like three hours, he's like three hours, because I was making money on it but I didn't want to spend him too much. So they could say to someone like me, I just spent four hours on it. That's it. And we got this much to pay you per hour, this much we can pay you. This way they don't feel out of control. So that we could still do our independent work or save money that way. But we have at least that you... I like the idea of doing it year by year because that would maybe make them feel a little less out of control. Let's try this this year, this vision, try to do everything this way. And I always line item on my estimates. If I go past this, I will contact you. If I go past this 30 hour estimate or 20 hour estimate... Do you charge by the hourly? I do because it's easier. I mean I could probably make a lot more money. When I do projects, I can't charge by the hourly. I don't even know my hourly wages. I always give way too much time to make mistakes, but I want them to be on a certain level. So I think that's a really good important point for marketing, is hourly or... If it was a project, I'd probably make a lot more money. You should. Because the problem with the hourly is... Let's say you're going to hire someone to do something that you don't know anything about. You're going to hire someone to build a garden in your backyard. And they're like, well, it depends. How big is the garden? We're going to have to check on your soil. We may have to... You have to look at your property? We have to go pick out plants I don't know. Like, what does this take? It's like, well, we did one house, and it took about 40 hours. It took us a week to build. Another one we did in a day, and it's like, oh, really? One we're working on for five months. I mean, I have no idea what that... But if I said, look, I just want to be able to have some herbs, tomatoes growing, you know. This is how big it is. Look, I'll give you $500. This is what it seems to me. But you might be able to get a lot more and you don't know. But you know what? I think if you set it up that way, and they say, we feel comfortable, and you feel comfortable, I think it could be a combination. I mean, as someone who is doing it hourly, but then, if there is more different projects... Do you buy the hour and feel okay? We pay our designer by the hour. I always charge by the project. I say, look, I'll make this video for you. It's going to be, you know, X dollars for demographic design projects. Look, it's going to be X something dollars. And I find it's better because they know. And I'm like, look, you get a couple revisions, we're going to work together, blah, blah, blah.  So you just set up an estimate. I wouldn't have to tell them hourly. I could say, I'm just going to take me 10 hours. So I'm going to bump it up to 15. And so I'm going to charge an X amount. And if I go over this budget amount, you know, then I'll let you know.  Yeah, we're a registered culture and a great position. A hard time person who would dedicate to hourly what he did. And what's your job again? The director's marketing. That's great. And then I have a free design that I'm interested in. So you're the source control. How do you, in terms of developing marketing strategy and sort of brand positioning, et cetera, communicate that to designers? Because that's what their challenge is. She's on the design side and she's not trying to... Trying to get our, we were small groups. We don't have a director of marketing. We don't have a manager and office manager. That's kind of it. And I'm coming kind of recently. And it's hard to get them to try and get a unified vision because they're handing out projects to interdisciplinary stage companies. They're handing out projects to interns, to myself, and the office manager's doing some visual stuff and some marketing stuff. So there's so many hands in it. And yet there's no unified vision. And it's hard to convince the manager to take time to try and create something like that. So... That's where I'm struggling. Yeah, I can understand that. I think it's very important to have a unified voice. It's very important to have one-point person, two-point, such a small organization where it is manageable to be the hub, the place to be someone else. Very important to have that special place that all the information provides. And I think the goals are, you know, if one would think that consistency and branding is... Yeah. Yeah. And that's the biggest thing we're struggling with right now is trying to just get a visually unified aesthetic look to a lot of our material. So you're not the graphic designer that really has helped you? Yes, but we contract her and this is what the manager's doing right now with this project. It's just for some of the bigger projects. So like, are you able to create templates for you so that you can take advantage of those and drop their information each? No, and that's the way he was suggesting.  I mean, it's not... It's not... You have a logo, I'm sure, whether or not it's a logo they can identify sort of like a color scheme, a font face, and at the very minimum you consistently realize those things and depending on how you're if you're talking about print, are you talking print collateral? Yeah, print collateral, flyers, postcards, websites, we're looking for a new person to sign our website currently too and so, yeah, it's a lot of things that I think have been done so independently for so long and it's hard to get them to sit down and bring it all together. It's a... I think it's a great thing to do. I'll try it. It's hard for them to not take offense though, I think, when I come up and say aesthetically, that's not my favorite. Can you give me a shot at it? That might not be the right thing to say because everybody thinks they're a marketer. Everybody thinks they're a marketer designer. What's the idea about what color they respond to? What color they respond to is so subjective. So it's not about that you don't like it. It's about test two different ones in the market. You do something that you think will work and then you use their own and you send it to two different groups and you see which one gets the better response and then you can say to them, we did test A, we did test B, test B is much more effective. Therefore I would recommend, hopefully test B is the one that you can test. You mean test to your marketplace? Do you test to your memberships, to your patrons? And how do you know what the response is from those pieces? Are you testing how many people open an e-blast?  Are you testing how many people scan the QR code? But how do you know which one they had? In other words, you can mark it. Some sort of return on investments. Go ahead. If you were sending a mailing to a thousand people and that mailing was to advertise your, I don't know why, a new season coming up and you were selling tickets family, discounted family tickets or something like that and you've got a list of a thousand people that you know are families who maybe have purchased tickets in the last five years so you do two separate campaigns. Just put your list on literally one and five hundred and one through one thousand. And so when they show up, you start getting phone calls and you see key code each day. When you send it to the mail house, you have it sprayed with, you have a way of tracking it back to the mailing list so that you know did they come in front of the first segment and you can even just spray it with A or B so that you know which one it came from and then you ask them to leave it in code. That's good. So at Grounds for Sculptures, for instance, you sound like a very strong person but from the get-go of that organization, probably had a lot really good leadership. When I was hired in 2009, there had never been a marketing department before. I built a marketing department on the ground up so everything that you see and print online, any collateral, any billboards, any radio stuff, any press. I don't really see much but I just have really been feeling about it. You know what's done a great job because I think the brand there and what's out there is fantastic. I've noticed it. And I didn't know that there wasn't a marketing department. There hadn't been part of the marketing department. So, I mean, I only know the building and I guess I've only been there one or two times but I can only surmise and be certain that there's really good looking stuff coming out of there. I mean, I'd like to think so. We certainly did when I came in, I did rebrands on multiple things. The logo that I inherited is a very tricky logo to work with but you can't change the logo of the organization when there's a lot of historical context with it. But from a reference, I understand why it is. The kerning is blown out. It's grounds for sculpture. It's three words long. It's a font that is big. So, if you want to do it on a brochure that's three and a half or four inches wide but would you let somebody flip it? That's not really my first choice. I mean, that's not staying true. Is there an alternate version? We have an alternate version. What I have to, I will, on the street side, for these grounds for sculpture that's like determined to size is determined by the size of the work. I've got a specific space to work with the grounds for sculpture but it's not, you know, whatever. It's just one example of a brand new challenge or something that I inherited that we can't go ahead and make it work. But it's not ideal as long as you are creating a new logo. Right. And we recently slowly changed our logo. So it still mostly looks the same with the elements to it. So just, yeah, slowly changed it to something fresher and newer. I don't know. That's a good question for the group. Is it better to sort of organically change or do you just say one day we're switching and we're going to go and you're going to put a lot of money behind it and energy and the new face and the new year. I don't think there is a better. I think it also depends on how much the organization is connected to the community and how successful it is at that moment. If it needs to be completely revamped and it needs some kind of where nobody's going to notice. Yeah, where nobody's going to notice that it's something new and exciting coming in rather than it phasing through and it's going under the radar. The community is already exposed to it and accepts this brand that maybe phasing in the new one but it's also great opportunities to engage your constituents if you're thinking about doing a rebrand you bring in potential funders you bring in potential patrons you bring in high dollar donors you bring in your members you bring in key members of the community and you say, hey, we're going to change your image you know, when you think of whatever what three things come to mind or hey, what colors do you see or hey, here's like three different things which one do you guys like that and you can create a whole social media thing about, like, guess which one we're going to say. And what about the guy who said I'll get you $10 million but see this thing I created in Word Arts and I'm going to please you with this. Yeah, it's no longer old school because the social media aspect is really large and the engaging people is easier to do in a way without having to put on a big spread dinner for people to come through you can pop it out there and let them vote. Do you want to switch to social media that seems like a good area you haven't talked about. We recently got to volunteer in because we've been mostly again, small so we drop in social media whenever we can mostly focus on Facebook try to connect to other places but what is growing in popularity that email blast I just delete a lot of that stuff you know what don't I delete I don't know I mean it's right in the headlines for that stuff it's really important. Yeah, whenever we try to get people interested in that from when we first get their information so we try to always say would you like to receive email blast to get promotion. I don't even think of the email blast as social media so I'm just trying to correspond where it touches the world of social media is when you put icons that can be shared on Facebook it's going to be tweeted do a building URL whatever like I don't see any email blast I mean maybe I'm wrong I don't know I see email blast is an electronic course. I think social media gets tied in with electronic but you're right they're very different. I mean I see social media as that kind of thing that just gets viral and grows unless your email blast has some insane like underground content that people started sharing because they felt like they were you know you know and whatever like and all of a sudden it was wildfire and it was shared opened 6000 times I don't know I mean again I could be having very narrow vision. That makes sense to me yeah. Do you find that grounds for sculpture is looking or needs ways to grow its constituency like bringing performing arts out on the grasses you do that you do performing arts out on the grasses and stuff and set up an event in that way yeah like that kind of thing do you have yeah you're programming I mean like I said I do a lot of freelance work for freelance work I call it but you know I'm their designer for a healthcare thing and you know she's always trying to figure out new ways to get new you know new subscribers your new ways to bump up our soon as an organization stops trying to find new ways to do that right right if you can't stay ahead of a curve there's a thousand other organizations snapping your heels to grab those constituents who are the people that you work with on your level do you work with like the founders I work with I report to the director and then my colleagues are the development director the director of operations the CFO director of artistic vision chief curator would you value work closely with director level sure so those are good people like at the director level but you know we're very it's not like I'm not feedback from our admissions staff also they're the people who are on the ground they're the people who are interacting with our customers most often I need to know when people come through the front gate how did they hear about this why are they here and if they say something cool or fun or that I want to pick up in marketing as a threat because I think that I've been a field to that one person that it's been a field to a large audience as a concept or campaign I want to know that so I mean everybody use everyone's important oh I understand I would just say curious what that level is you know what social media gets you guys what is it that you see on Facebook or Twitter or something that makes you click on it and want to read about it I mean that's how I heard about this Kim Kardashian's push yeah that's that's right that's the battle we're having is we're in this sort of rural area and there's older community versus the younger so not as many of them are following our social media outlets we're trying to grow our younger younger audience to sort of build with us grow with us but we're having trouble attracting the ones that really are big on social media right now but then that's not your audience and that's what you need to be spending well but we're afraid our current audience they're going to die so yeah so we're struggling with how to attract that younger group and whether the social media what we're doing is even effective at all so we've tried doing little things like you know setting out you give this code at the door you can get this promotion tonight or tomorrow or whatever so north west and what's your sort of what's your mission what's your programming well this is the other struggle this is what I was going to sort of bring to the table in the next session but the goals are really to do things that grow you as a person and so they really try to do things that are intelligent and drive conversation and enriching but we're in the last couple of years we can go to a bigger building and we're doing more and we're finding as people want musicals people want the big popular bands they will and so we're struggling with shows still trying to do creative theater or bring in sort of new do you make money from your big productions when you do sort of oh yes what does that mean it's the college campus so we share with the college there we're a professional theater company but we also work with the college with college students what's the season like do you do some popular stuff and then what's the we try to do a mix so there's two professional theater shows and they try to do a mix of things they're new works or usually older works we do some new works they have a women's playwright series what's the season we have a lot of events the big mainstay shows the big mainstay shows we're just closing death prep right now and they're going to do the lyre in the spring and then we're doing Christmas care so our winter show is always like a really big musical it is the money maker of the year the last year it cost too much to really make anybody out there so let me connect back to a couple of things market research so if they are buying those tickets to Christmas cow do you ask these people that are there right then and there why they're not coming back to the lyre and what it is or what's different about that experience I think you probably just I'm sorry my guess is that people just don't understand what I'm talking about because I don't know anything about it I've never seen your market materials I don't know what it is just hearing what you said people associate theater totally with those bigger productions you don't have to be a theater person I'm not a theater person but when I think of theater I'm not thinking of something like esoteric thing that's going to make me use my brain I'm going for like you know and that's what we're struggling with so you might want to consider re-branding the popular segment of what you do you know social justice social conscience the whole obama you know sort of like be the chain the sort of like grassroots progressive actually put your ass like that's a thing right there this is the time that you can capitalize on it so if you had your main stage productions and then you re-branded and hit like I I can't think of anything you know like be the change productions or your social conscience you know grand it as a way as something and literally call it these are kind of these performances that we'll get you to think these are performances that are to engage the community to give you better perspective to whatever I mean that my language is all very gory you need something that's much the appeals to the 20s and 30s who are actually looking for movements of signature and what I love about this appeal too is that you can tie in every performance has sort of a sponsor so there's a group that is going to you know the three huggers come on this night and this huggers come on that night and you know you're going to get 40 people each night you recognize that and X percentage of proceeds go to support these groups and you know your tagline is something you know the theater that you know theater that things for theater that act it takes actors with action you know something that really cops themselves and then you have a niche because oh everything is oh we went to the snog the peels or you know you know the old ladies go to but this is instead of being boring you're making it into your seat I like that that's good how do you do that visually I have a question that's kind of making me very vulnerable but as a graphic designer going out and promoting myself I mean how how useful is it for me to like approach an organization like grounds for sculpture just out of the blue just cold calling with a booklet or you know something in my case I have a graphic designer I have a stable of freelancers that I love that I can say do that thing that I that you know I like I don't have the time at this point so to bring new people on and train them and send them on the files so in the case of grounds for sculpture you know with me in the scene right now unless there's attrition it's a capacity it's a waste of your time this is the thing it's like how am I going to do this stupid mailing or something I would go out and look at institutions that you like what they're doing you think they're great but their materials suck and I'd go to the website and you go to their website and say here's a sample of what I would do yeah I do a lot of healthcare stuff I mean the other thing is that I think you were saying at the beginning or you were asking but you're not going to be promoting yourself not particularly now I mean I used to be young I was like 30 a creative person should never be really trying to market themselves not to say you're not going to but you have an ability to do stuff that I will never be able to do and give an idea and give it a visual treatment that conveys that information I would never be able to do that as successful as a graphic designer but I have strengths that you might not which is like the ugly dirty business side meeting with all those people and I'm like going this is what and I might tell you this is what you need to say to them you're too pure you know what I'm saying I'm not executive too so I had to like so do you think that instead you believe ours is successful we have a solid presence in the artistic community they don't have a media kit they don't have a website they don't have material they don't have a gallery you know artists on whether it's a musician or a visual artist or whatever it's another area you need to find who I like there are that's a good point I see things come through like UMDMJ that hospital up in New Brunswick and everybody gets that for sure they sit down it's like the oblong it's so much potential but you can't read any of the copies it means beautiful photography I'm just dumbfounded that that gets passed it's beautiful but it's just bad I don't know you didn't say anything do you have some thoughts just going back to the social media especially for our generation right now what we'd like to see is something new, something innovative something different especially with theater that's not as closely connected to us right now it's all Broadway stuff mainly because of we everyone's interested in that I actually have the money to market on a yeah exactly but by using a smaller organization and maybe recording it in a different way I'm going to get on YouTube or blasting on Instagram that's how things really get around and people are starting to get to know new and upcoming artists from our perspective anyway yeah that's the other thing I don't know why a lot of these places they're sort of afraid like you know for example we had a Broadway show recently and people were taking no this wasn't Broadway was it some theater man it might have been Broadway no it was city center I don't know where I was but it was some show and people were taking photos of themselves before the show and every artist was like put it away no no I'm thinking of myself if you took a photo in the theater it would be great I want to get it has become such a popularity thing well part of that is what's in the equity contract equity needs to change if they want to keep it to work they need to have more shows shows are going to happen that's been a struggle because the stage manager always approaches me to tell people to stop taking pictures of the set you should just tell them because it's in the designer's contract well then you should change it with the designer and say it has to change we just did it was not as successful as it could have been just the first time it was last year we just talked about it yesterday what is that? so if you go to the Oscars and you see everybody in front of the logo ball with the red carpet that logo ball is called the step in the red ball it gets up into it it's just behind you I gotcha so we just got one for you guys if you can get your actors to come out it goes like a free party for your high dollar people and get photos taken in front of the branding wall try your logo on it that gets tweeted out to social media people who are in the photo with the actor wow that's a great idea step in the red ball do you guys take photos encourage people at every exhibit you know at every statue to do some sort of social media they're like little like tweets this without climbing on it no no because well for a variety no but a lot of it's doing the fact that if I start putting signs in every sculpture take a photo it's no longer you have to keep a certain position too right for big events I just actually had some signs that I put around the park ladies and gentlemen if you're meeting a special thank you you're much better than me I have I have thank you so much that's great I don't know I wish my nephew was here he was an actor he would have been great definitely it's more just absorbing the professionals in the field what is your focus I'm a general emphasis I'm predominantly interested in music or dance but I want to go into festival production or tour management I'm really interested in the combination of multi-discipline events so it brings people in from different aspects it exposes them to our forms that they would naturally be exposed to so if they go in to see their favorite band and then they're also learning about a different cultural dance or seeing different sculptures or art that's a different culture that they're exposed to that resonates with them it's like a real it's like a community event like a place where there's lots of different things going on like even around the sculpture you've got sort of the little museum inside and I call it a museum I don't know, like the photographs yeah galleries oh you do? but I'm saying when you go in and get your ticket you can walk around and look at education galleries and memberships correct yes absolutely growing I mean I guess there's a it's very hard for me to know that with our current point of sale point of purchase method of collecting emissions if somebody's paying cash I have no way of knowing I can tell you how many members come through but they can't once left me in the beginning and then they're free all year long so I'm interested to know that statistic but not as interesting as I'm having to know the general member of the person when I've done surveys I do surveys a couple times a year it's always 16-70% our first time visitors you can't give them like a slash card or something we're working towards that I just actually put a local card reader thing into my budget for next year does that mean like someone just slides a card but they're not a member it would be like there's a couple of different ways you could do it but basically it would be like a credit card looking at things that I have grounds for and so if you for instance wanted to give them a gift for $50 to spend on grounds for sculpture we would close that card with $50 you would then give it to him and every time he came through he would swipe his card and deplete that amount it's one way of talking about it you can go to the website the new website is able to sell your mission potentially a discounted mission provided online so it's coming to the gates again we're capturing information because right now there's no real way to capture information can you figure out who's going to do the ticketing can you figure that out? talk to me, I started a company those I didn't want to get into companies out there it's called Bookticks actually I'm speaking on Tuesday to all the speech and theater association but it's basically a ticketmaster for small theaters high school drama clubs but it's all online ticketing sales thank you guys unfortunately our Altru which is our database and our point of purchase system has a ticketing feature we literally just our performing arts curator just put her first ticketed event on the website like yesterday so I don't know yet one of the things that I would recommend doing that is very simple if you can't get the magnetic readers going yet super simple is like the thing used to do with the library just print barcode stickers stick them on a card just zap them every time they come in and you can just buy a $4 USB reader and then every time they come you'll just put an Excel database back again yeah that's a great idea it costs you like $50 and you're done just getting the cards into their hands and getting them to bring it back with them every time and capturing your gift at the first time is it an annual membership or is it like membership is annual and they do the members are barcode I can track members but I get 150,000 people through the gate every year we save 2,000 with them and we get a $4.8 right so that's what the online pre-sale would do what about if a retreat thought about all this stuff what if you had some sort of fun admission touch screen pool thing where when you arrive you have to get your sculpture bad you can do it like you go up and there's a screen and you push a button and then out comes your tag for the day that you're going to walk around with and at the end you give it away my girlfriend I just went to Williamsburg going through the whole process they give you the same badge and you have to wear it while you're there but there's just collecting information what are you going to say I was going to order like a wristband I'm not going to have wristbands but it's like when you go at a great event here's a wristband but those rubber ones that people just wear and it'll have your logo on it so that's marketing but we need to get that we need their names and stuff so they can fill out like even a game of these three sculptures which are your favorite you'll like this path because if you go this way you'll see and so and so and it's sort of kid friendly so if you don't care then at the end you know if you didn't fill this out then you don't get the whatever podcast you're next time or if you don't even need that that would be fun and then you have to start when you get your back it's about 17 so we want to start an hour already second you need to get that data it must be insane it makes me insane well that's one of my biggest issues marketing school and stuff is that you have all these parents that you want to email them about next year and next year you have nothing right marketing right at the window so marketers just nightmare right yep but I like your idea go for it are we supposed to be in our next hour uh we're gonna take a seat we're gonna start to email yeah okay yeah yeah yeah yeah absolutely that was our point okay okay okay And I just want to remind everyone to make sure that you are all signing in, right? Make sure that you are choosing who your person is who will transcribe the notes during your discussion. Please make sure that you're using the participant's signing sheet and you're having everybody sign in. Sorry, Marissa. We're going to have you guys sign in. Let me just have you. Doctor? We just had you see you go. Oh, see you. Our doctor's license is 44. Okay. Turn around. Turn them on every time. Somebody is taking trouble. I'm going to find out who it is. I don't know who it is. He's in front of him. All right, so we're starting. All right. Yeah. This is the afterthought. All right. So I'm glad to mention how I wanted to do it. This is going to be a great subject. No, but the idea was, of it, was using technology to pull these ideas from other areas of the world. So for us, what is the idea for technology? What is the airline? What is it? I like this company. Yes. How do you present, it's an up-up story. Where do you find the best practices to start? In the marketing services, I'm just gonna leave it to you. So I'm glad to be able to do that. I'm just gonna leave it to you. I'm gonna leave this to you. So I'm gonna leave this to you. I'm gonna leave this to you. I'm just gonna leave it to you. I'm just gonna leave it to you. Okay, so I'm just gonna leave this to you. So how do we get that knowledge so that we can talk about the examples of that knowledge and work with it? I would take both but since the purpose is this, let's see if it could work and then or both are good. And what is this technology? I think it's surprising just to use technology. Just to use it. Right. It's like the quote that I had. Right. It is. I find that if you're not turning up the excitement. Yeah. It's actually there. It is there. People open the door and say, I'm ready for the party. Nobody cares. There's some pollutants going around by the wind. All right. I'm leaving. And then there are questions. Come on. But I think kind of that is also what you want to figure out. Flex. I get things a lot of people don't know how to do it. Right. It's interesting. Do you know about it? Do you know about it? Do you know about it? Do you know about it? Do you know about it? Do you know about it? Do you know about it? Do you know about it? Do you know about it? Do you know about it? Right. I don't post that. What do I do post? Okay. I don't think it's anything. I don't post in a couple of weeks. I know that's interesting too because it's like. There's a route. So you know, how you use it is a problem. You know, how do you use it as a part of your project? Well, I think that nobody should say that. And they're not speaking. And what do you try to do? That's really weird. And if they're not very smart, it's advancing. You talk to them. They're not speaking. They're not speaking. They're not speaking. They're not talking to you. They're not speaking. They're not speaking. They're not speaking. They're not speaking. They're not speaking. You talk to them, listen to them,你說 what are we going to do next? Everyone ovens? Hmm, yeah. You go to the Étude Gymnasium. And you say, what's that? And I enter. And you pass it to us. And you listen to them. You're going to bevation and that's it. I'm going to turn it through at the end. You're going to beエスター. Okay. What did you say was you're going to leave it there? We have a lot of people here, but that was actually something that we had to inform all of her friends. Oh, I see what you're saying. We can't say. Do you have a solution for people who are comfortable with what everybody's talking about? Do you have any ideas for marketing? I'm not sure. Marketing is something all these people have to say. We opened a restaurant where we've been doing it. Right after you, everybody's there. You open it? You open it?  Feel free to throw it up. Someone will spill it. We have a competition. A competition. What do you say? I'll give a hint. For those who don't know, I don't get that. I'm going to go on to Facebook, maybe I got a voice that doesn't have nobody else. If there's only 60 people, but you could be there, I don't think that's a response. Are you strategic to be partnered with? Like, are you partnering with them? We all are partnering with somebody because they're bringing something out to the equation. Then either they've got time, they've got money, they've got a production, they've got whatever. If you realize, but are you strategic and who you choose to collaborate with? Like, do they have an audience they can bring to it? Have they contracted it? Yes, we will send this information as a library to our people. Or we promise that we will sell at least 50% of our tickets or whatever it is. It's a great stuff to know to do in the first place. Why not like that? Yeah, like a workshop, like they're really using it. That's what I was talking about. First, you need to sign up and like this thing. Right. Like us. Yeah, but at least they're built. Is there a way you can make it to have a 12 pack? I know the company that I worked for this summer was an impromputer in D.C. And we were doing a show that was... There's almost storytelling. So I was an intern, so I reached out to a couple of new storytellers, which before that, I'd never even knew existed, because there were storytelling groups that were as an art form where they tell stories, create stories, and have group sessions, every so often, perform it daily. And so our reach out was just that. And we did, we collaborated.  And you have this artistic element that we want in our performances. So we reached out to them. We also reached out to expand to a completely different market that we should be able to, you know, enjoy and have. My part of it was a different kind of way. We did our collaboration with local coffee shops, so that we could work with them. We would ask them to name an item after a piece of our show because our show is pieces of different ways. So I was actually sending that product to it. And it was an interesting way to collaborate with them because then get these connections with these people. And I would take from the shops every different day to keep the relations going. And then eventually, you know, you know, kind of so that you could share a lot of things.  It gives you this different sense of community. And there are cards. And like, so that everybody can buy the drink or the coffee so that you get a discount from tickets and then you can see a production. So it was, I mean, it was more of a marketing tactic. But the collaboration with the coffee shops, it helped, like, for the staff of the coffee shop, we allowed them to come see the performance of the drink. Well, it's great because you're a building ambassador. So it's not okay. It's not okay. And they were the element of the line. Exactly. Right. The one coffee shop that I worked very closely with, she named, because one of our, the portion of our show is Mizzou Good Joe. So it's like a comic strip. You know, Mizzou got three little panels of comic strips that she named one of her drinks, Mizzou Good Joe, a Maricola. It was like soda and espresso. So that was a really interesting mix of something that sticks to your mind. And then you say, oh, well, what is, why is it Mizzou Good Joe? It was a mix of lighter. So the collaboration it was. It was different, but at the same time it was a foster disease. So it was an interesting aspect of that kind of collaboration because it's also fostering. I don't think I mentioned Mizzou Good Joe to myself. Why is it Mizzou Good Joe? Get good. But that's probably about how good it would be to be good. Get good at. My answer is so good that Maricola I don't know what's good. What is the other part of this? The other part is that the rocket science. Actually, I know the rocket science. But it's a neutral. We're not going to say anything. Yeah. I was going to say, I think that's fine. I'll go ahead and write. I'll go ahead and write. I'm not sure. I'll go ahead and write. All right. I'll go ahead and write. I don't think I mentioned Mizzou Good Joe to myself. I don't think I mentioned Mizzou Good Joe. You just gotta put in the time, sit in the hand and check, I'll have her in Photoshop. I feel comfortable with not using this, or at least understanding the language. I'm trying to give you some context. The fact is like there's an amazing thank you, and actually I'm trying to thank you. Well, in these days and years, we've been all of ourselves. We've been step by step. I'm just trying to give you some context. Over time, like we were talking before, just because you've been in a video conference, you know, that's what you have to do. Unless it makes sense, but I don't promote, yeah, remote meetings. So, I write a ton of stuff. My writing party is in Los Angeles. All of them. I have tons of meetings with my business partners. They have 300,000 customers. Oh, it's that great. We're on each night every night. It's just worth realizing that, you know, remote technology is great too. You don't have to fly someone in. It's virtual meetings. Best practices. And many best practices of others. It's easier to find it. We don't try to be there. But this is really focused on what I'm trying to do. I didn't try to do a lot. Relatively possible. Either a lot or a lot. I always get along with the beginning of the night. So I'm not even quite 18. So I'm trying to figure out whether it's in the best ways. That's your job. I have a lot of experience with me. I always do. I have a lot of work to do. We got people at the top to find the best ways. You can't just pull that one out of the bag and then expect that you can just carry it over. What are people investing in right now? I think we can only supply that to people. But I find that the people that are driving the most cars are the people that are driving the most cars. What do you mean by that? You can't be done with people who are coming from the green. You can't be done with people who are coming from the green. You can't be done with people who are coming from the green. Do you think you can make something that you could possibly sell to people? What are my favorite collaborations? Last night we had a gallery, and then it's a collaboration project.  We're still working on it. So, and then you, right now, we're working on it. So, we work together to become power resources. We make sure that we start in big theaters, build the farm, start to build a lot of new buildings, pick up the plastic, build the work. You know, we work together on it. We're doing a lot of new projects. You know, we're gonna help you. We're gonna help you. You know, our traffic is really good. We're gonna help you. We're gonna help you do it the other way. We're gonna help you build the shop. We're gonna help you build the shop. We are a special group of districts and we're still trying to figure out how to do it. We're initially a special group of districts which means we're responsible for the communication businesses in the city and then also for the information technology. I don't think that's an interesting question. I have been in the art studio for a little more than a year. So I think we're trying to figure out how to develop a resume. We have a lot of jobs and stuff. We have taxes and, you know, finance. We have legal contracts and all the stuff that we're doing. Agents and I have, we don't say, since we're not budgeting a life, we need a funding operation to get money from the government. There's an organization based in New Jersey. Well, the audience is part of a national organization of 32 chapters. They are, I think, the second and third largest chapter in the society. And their goal is to bring teaching artists into schools to do hands-on programs. That's why. Like, for instance, getting material. They do assembly programs so they do, like, if you're learning a lesson about what's going on in the store, they might come in and bring a theater program in about that. They've got all types of really, what they'll do, hands-on. Hand-in-hand. They can visualize how to do your own theater, how to write, whatever it is. The reason I mentioned it is they develop the program. And then here you go. And they identify, like, the five of them. The kids were just like, they didn't have pieces. They didn't have whatever. They just jumped a lot of money out of their private, private, other places. They had to bring the artists into these schools to do, like, mirror art. Just do hands-on stuff, just make them self-departure, self-expression and whatever. So, anyway, it's sort of, like, you're always touching them, seeing if they're going to, like, they become kind of like, like, a statement of artist. They're like, of course, like, they're also teaching them a lesson, or something like this, where they're touching us already, and you guys are there, and you know the community, and you're inside, and I'm sure you have some perspective. It'd be great to just start up the chair. It'd be great. The reason why I really need this topic is because another member of mine, I think it's Graham, who I had a conversation with, about, like, my role in this conversation, I haven't been a real active artist for anything since 2002. And over the past year, I've been one of the facilitators trying to push things, get publicity for stuff, make tools for things, but I think every, you know, person playing and creating work, whereas all my kids, like, household painting, and that kind of stuff, music, and all of these things. So while we're just looking from that, the idea of what is basically helping you is basically, is that we're a group, we have a group name, as an intricate part, as we all are, if I'm not creating what you'd like to do, I guess we're just getting started. That's the problem, I think. So that is the story of a truck operation, where I was finding sources of information, and I just had to think of that, and I had to figure it out. Oh, by the end of this, I don't think that you're able to figure out what is the right thing, although I think it was a code. Oh, I know, I had a bug theory, and I went and, uh, posted it in a project, and I thought, how many of you could use the code? So I had all this code, and I had to put information next to the art studio. I needed to convert this file, so I had to correct it. So then I said, if I do it, that would so inspire me to find this case, not to call it a case, I'd put that into 3D, but hopefully it's a new website. So now everything is lining up, there's no real jobs for us out there, we have a passion to do this, and we're going to try this, every small thing properly, take 12 steps, and you look like you all did, and we're going to have it on this production, and I'll come back, and you guys can see what's been going on for the last couple of years, and you guys can see a script, and I'm going to be able to take about multiple channels, to convert this file. Our area is pretty nice, so for people to, what you call a street kick, or whatever, to come in and sit down and watch a theater piece, it's really cool, and it really helps other people that don't understand, that all these talks, but you know, they're going to be awesome, and they're going to be doing a full layout, and you can see how it's going to work, and it's going to have to, customize it, so it's not lining up to, imagine seeing a 66-pound, and it'll open your, so you can, I mean, there's a feel, like, it's all about, it's all about, the one observation, that, that it's a really, really great, she'll come together to create something, and, and she'll come into it, we're back. I'm going to, now that I've been talking about it, I'm going to talk about, When I'm thinking about symphonies, I think about growing up, I remember when Metallica came up with the symphony, S&M, right? When I'm like, I'm like, that introduced me to the symphony orchestra, and then from that, I'm like, whoa, what else do I like? I like being so open and then I go out to Vienna and I'm walking around and I go to the symphony museum and I'm passionate about it. Because of Metallica. So where do you have that? For example, we have a friend of mine that's working on a hip-hop song. I'm like, what's the meaning of that? To say like, for example, I'm learning hip-hop, hip-hop, hip-chorus, and we mock up the central billboard. And I think I'll end with how we progress from that.  So we do education shows. Did you ever try to learn how to do hip-hop? They already taught me how to do hip-hop. I did. I think that's awesome. And about the transition sheet, too. But they're learning how to do hip-hop. They're learning how to play violin. But then I have another question for you. So why do you say that you have a need to progress? And if I could talk to you. Also, if you were trying to learn how to do hip-hop, did you ever try to learn how to do hip-hop? Do you have to try to learn how to do hip-hop? Should our certifications hire an IT person before they hire an IT person? Literary manager? Which is more important, right?  And a lot of my music, I'm a student from a different school. I love my school, you know, classical. I love a lot of early hip-hop. Same thing. I don't know why I want to know what it came from these two reasons. I don't know how you get used to it. Maybe that's because of the way they came around. Two of my kids, I worked in North Philly. Most of the smoothies I had were to be by myself. And we were outtagged of everything. But I would use that and show them where you went to take it. And then, you know, you could start to find all that which you might. Go over because it was real easy to take that side and turn it into this. You know, do you show them examples of that? And then I used to bring people from the community that were doing it. People that they looked up to me. And they'd be like, it's like, where did you make your living? And you started to say that you don't have to use this method. And they'd also, you know, show them the good and the bad in the company, either or. But you got to relate to them on a small level. And there it was. That's what you did. And they had more acceptance. Because they know that you understand what you're doing. You're not trying to do this. Oh, that's not right. That's how you do it. I remember how you were talking about taking classical music on my amplifier. And I love classical music. I'm all about it. My little sister. I remember 10 years ago. You met Chellis? Yeah. So it was just like two Chellis who take music like upon a ranger. And they can write a suggestion to thank Chellis. And I wish she was still to choose. She was like, this is so true. She was like, yes. And then you put that in your life today. I think you say something about it. They were like, no. That was fine. Oh, so I remember how you were talking to Chellis. And you were not like, what did Chellis do? So I think it was like taking that record. And Chellis, depending on like the level of the music.  You're right. You're right. You're right. You're right. You're right. You're right. You're right. You're right. You're right. You're right. You're right. You're right. Yeah. But that level is not changing. All right. Are they cracking? Are they? Yeah. I'm pretty thrilled. I'm pretty. All right. Very well. No. It's fine. It's fine, right? Shall we move on to the next slide? Okay. Dance or at the end of this Q & A? and she's stick by the screen and it's really interesting how each of us has been in America. And what I find is that it's really accepted for the first time in history. So it's like, it's a great experience to drink. It's one of the things that we're talking about in separate streets. That's emergency service. How do we get an identity? Well that's it, I'm done. No facts. Everyone's still in fact. I know you said that. By getting orders from those towns. We're done, right? We have a scene. You get those orders. You get those orders. It's only an hour. It's a last stop. With the stormy case, I don't have an order from America. It's a big reputation. I don't know, I don't know, I don't know, for a speech. I'm not because it's like a hybrid of everything. So we want to get involved in it because it's new, it's fresh, and there's a little to no ego in it. We're very welcome to be with you. Because, you know, we want to target your crowd at the same time, and we want to bring it to a minimum.  But my whole experience, like the years, you know, organizations have been trying to do that. But what they do is that, you know, they're bringing artists from the outside. But they don't even support artists that are here. Okay, they're bringing these artists to a new level. What about the artists that are out here? They're not involved in this. Yes, you know, and that's why I like to work. Some of the kids, it's beautiful, whatever's done by them, but nobody cares because no one was involved from here. And clearly, you go bringing people in work together, especially with a town like this. It's like trend is coming out as huge. And economic, social need across the board. And people are free to come back. So you bring people in here, you let the artists in. So when I took over the gallery, I knew you were here to help me. I think this might be my initials together. You know, I'm going to have to step back and bring this to a new level when I don't want to be here. And then I got less than half of that. Because my intention was to get people to somewhere else. Got these shows every month on time. You know, put your art in that niche, that adventure. I don't know anybody else who's going to do it. So I remember that you were in the gallery, that's what I got. So you have to bring this energy back to these artists. But I still think you're creating a different way. Yeah, yes, yes. You're not creating art, but you're creating something. You're working out together. Yeah, it's very rigorous. It's very rigorous. OK, as far as like I actually, you know, as far as the canvas, like my canvas is a lot broader. But you have to put yourself behind it. But I was at a point where I already established myself. So it wasn't that big a deal. Because this was bigger than anything that I physically made. Like this is something that has affected a lot of people. So you have to kind of, you know, understand that.  People get you big, but you don't have to do that. So, and in doing that, you open up so many opportunities as far as you can. So is it helpful? And in that, like I always say, art is almost like an example. It's like, you know, you focus on one muscle the whole time. You go from strong to strong.  So it is like this is working, like we're doing this. We're working muscles we never thought we'd have. And everything is becoming more balanced. Because you're meeting people who are just strong in their respective ways.  Anybody see that show? And you're out. We are dying for audio aggressive. So how does the audience, depending on how you take an audience, and there's so much attention to it, to the subject, that's all it needs to be in music. And there's so, from the medical extract, the phylogeoids, and airplanes, it's this really funky thing. And it was just a shock to talk about the many people who showed photos. That's the simplest thing to do in a show. They've got a photo to talk about. I'm all about what it was. The ticket photo would come. Photo would come. It's interesting to be able to read. And everyone should be starting to throw up on that. If you're not starting to return the phone. There's many people who might not know about that. I don't want to laugh. You need to do that. Yeah. The Wayne's brothers seem to be shocked. Everybody knows you can't be sorry. Okay. That's what he started creating. And it was intense. Hey, we're doing a concert. You're still mad. Hold up. Give me a high five. It's exactly the two of us. That's why we're here. Don't do that. It's my dad. What? That's that's like. That's like. It's like. It's. Okay. After the show. After you got a phone call.  It was great meeting you, and I know that two months ago we met. No, it was better. Two months ago you were at this play, and you did another one, and it was sort of the same for me. And also, you're in the White's playing, and it really is between, you know, British history, and this is what we're playing, and you're sort of sort of spending time with the guys on the line. Yeah, it's a good experience. It takes a lot of work, so if you can have some sort of week, we collaborate with one of the great guys. So a really high signal, like you've done a couple of... What is your... It's usually every month in Amsterdam, and it's a lot of work.  So we were trying so hard to get people to know us, because if we don't have a big, big heart community, I'm just going to come and come. But we even tried to get people from the outside to bring us. We heard, like, outside musicians and visual artists, and it's been so hard for us to know visual artists and visual recordings. Yeah, definitely. Thank you so much. We prepared with the hands up to try to promote sustainability. We don't have to go take a minute. That's just where we're at. It's all good. It's amazing. It's all good. It's all good. It's all good. And then you know that it's really... It's all good. So again, we have obviously the word out. We've only had a staff for five. Everybody had, like, three hours. So we started with coffee houses. But the one thing that happened was the coffee house became so successful. You know, people wanted to just focus.   What are we going to do? Yeah, and that was a problem. And eventually, you know, it fell through because we just got to a place where we don't have any time to be out at the magazine. So we had to make the magazine done. So it all happened. And we're proud of what we did. We're proud to have X and B, and we're not much of a similar... We're not much of a similar... We're not much of a similar... We're not much of a similar... We're not much of a similar... But we don't ask about the titles. No one knows about them. We're not much of a similar... I think it's really great to have people who are usually the people that have money in the bank. Wait, wait, so the shares cost a million dollars? Yeah. You can follow a lot of content in the bank. I don't think so. I don't think so. I don't think so. Well, we're taking a lot. Right. So we may have to accept it up and we'll be buying the shares over an hour and we'll rate that. Oh! Well, I should donate. You know, what we do is we say, look at this thing. It's so big. We don't need to. Look at this. It's fine. It's just an idea.  Yes, we can accept it. Like, how many times have we sat in committee meetings?  Oh, wait. You guys just started. Yeah. It's fine. Do it. It's fine. Hey, you're going to do one of the ruffles and feathers, but I think they're going to get not hurt you. That's my problem. It's like, I don't worry about it because I'm not afraid of it. It's just a lot of money. I'm wondering if I can show it to somebody else. It just gives you these little bits of something to dial on and talk about. Okay. Well, we wouldn't be talking if I didn't get you on, right? So, here we go. That's actually the problem. No. Yeah. So many gates, right? Going back to my friend, I'm from New York. He painted a record shop that's down the track. So, I had originally told the owner that I was going to paint it, right? And he was like, well, I want to see what you want to paint first, blah, blah, blah. I don't want to have time to sit here and try to explain it. It's not this one. This is the situation where he's got a choice. One of his tenants told him that as this guy was painting, he was taking pictures of him and sending it to him.  So, I get a phone call from this guy Monday morning. Yeah. So, he gets a call. He's like, I was like, I already know. I already know. I knew it was just going to happen just from the tone of his painting. I already knew it was going to happen. So, I go down there and he was like, what is this on my gate? I was like, look, this is the side. I was like, okay, I'll adopt when I get permission. She got permission. She's in the right way. I understand. You got two options here. I can take it and paint over the whole thing. It's just silver spray paint. What are you going to let it run? I was like, because that artist is from an area that, you know, that I'm not from. The reputation I had here as a bear. He's going to bring that attention here to your Photoshop, which is pretty much pretty much an animal. He sounds like he's the only one that has a mom's Photoshop. I was like, the rookie panelist's son is very good. I have approached the same owner seven years prior to see if I could paint that. I was going to do a similar image of my fillet. But the TV was different back then. So, I was like, you're the only person that's related to your business. No one else has it. I was like, I'm being short. Because I can paint. And I was like, you can let it go and ride the wave or I will come down. And just paint over it, but you're not getting it or something. If you want something up, then you got it. So he's like, you know what, we can leave it. But if you were here talking for like two hours. But it was cool because now, you know, we established a relationship. I go by there all the time and see what's up to me. You know, now he likes it. But because I told him what's going to happen. I was like, this is all planned. It's not just something where if you just put that picture, it's like there's a plan. Everybody down here is broken. Downtown is broken. Just like he said. It was like a lot of everything. The heart is broken. So we brought ABC members there the following day. See what's happening. So you just enjoy it. Because it's not the cause of you. Hi. I'm Anna Schaffner. I'm from the Carolyn Dwarf Bay. We do a lot of collaborations. We're basically actually Carolyn likes to work on the live music. So we have a lot of composers to do music for us. And in the past few years, we've actually had a couple of different choreographers come to work on the company. Doug Elgin is one of his pieces last year. Who he is. A well-known choreographer. And this is actually in a couple weeks. Peter Chu is a hip-hop choreographer out of Las Vegas. He does dance and he's been in commercials. So he's going to come set a brand new work on our company that he's choreographing like in process. Actually, I think it's starting next week. So we do collaborations. Now it's artistic work. We're always open by the way to new collaborations. We're always open by the way. You can do your hip-hop and pop music, graffiti and dance. We'll come and do it absolutely. Collaborating. We're talking about how interesting we dance. There's a lot to never know. Now they have Facebook. Thanks to you for working last week. You can make a Hollywood movie. So in my school, because it's just really cool. I like that you clarify you know. You know my stuff. And it's just you have that athletic ability which is really cool. I realized that they're different in ballet. Thank you. No, it's about time. People come in and they... For dancers. Cool, that's why we actually made dancers. But not the... The athletic ability is if you dance, bring in your music and dance. If you do something with nature. You can get two minutes and you can teach your director or marketing director. Oh, it was going to be a positive feedback. You can take part in any kind of challenge. Whatever you're doing. I can't believe you're telling me. I haven't heard anything like this. It's funny. It's funny. And you know... It's funny. It's funny. It's funny. It's funny. It's funny. It's funny. It's funny. It's funny. It's funny. It's funny. It's funny. It's funny. It's funny. Grace... Grace. Grace. Grace. Grace. Grace. Grace. Grace. Oh, come on! Grace. Grace. Yeah, we try to mix it up, but you know, when we do Doug's piece, which is called Narcoleptic Lovers, which is, um, Narcoleptic Lovers, yes, it's the name of the piece there. Um, yeah, it's very funny, um, and there's a lot of hip-hop music, there's some Conner in there. I mean, things that people can't really, but we usually mix that up with our more traditional stuff, so that people are like, they might come for that, but then they get to see the other pieces, which is, um, so diversity, and then also, like, we would say, having the accessibility to the art, so people don't, like, be able to go and see it, how it would help, but, you know, just, like, post-theater or do, all of it. Yeah, I'll be, I'll be, I'll be taking it, I'll be taking it, I'll be taking it, I'll be taking it, I'll be taking it, I'll be taking it. Yeah, Bolst is currently trying to make it more of a collective than it is a theater company, because they want to, they want to do music, they want to do dance, they want to do a lot of of different stuff, so they're in the middle of changing it, and making it more of a collective. Oh, yeah. Different works and, like, collaborating with different artists, so it's not just, oh, we're just going to present theater works to see what they want to do. So, like, the name for the Symphony means, that's up, so, Symphony has a whole, yeah, so, I'm going to be in charge of my team, and I haven't made the last piece. The smaller truth that you've wrapped up, is the recipe that you're going to have, and it's going to come out in all of this game. The first Friday of January, serves the main meaning of it. So, we're going to have the intranet, and that's how I'm going to do it. Like, I can't cut it into three, so, I'm going to have to do that, because, of course, I'm just going to talk about it. That's better. I'm going to talk about something, where you guys have been in crowns, and you go with your crown, and you will pay for it. So, that will be tongue-in. Basically, it's an existing event. Just put this right there. I'll try to do something. Celebration. Hopefully, we've got five more minutes. No, I think it might be a collaboration. No, it's not 15 days. Good. I have 52 days. I'm going to try to talk to you. Personally. You're right. That actually goes really well on my mind. I was like, what happened? I don't know what happened. I thought, Jake, what happened? What's that? Yes. Yes, he met my board member. Yes. He cares a lot. He cares a lot. He's 21. I don't even know what that's about. So, we got so many. Anyway, so, yes. We do a lot of collaboration. Thanks. We collaborate with Ants Troops. We collaborate with Musicians. We collaborate with Native Artists from your arts and specialty programs. You were there, came there. In the car. In the car. You know, we do a variety of collaborations. I've collaborated with several of the styles. To Rick Hinton, the 11th Army Program, The Garden, The Beaton, The Park, and stuff like that. We can mix the emotions about it. Yeah, we do all sorts of collaborations. Either because there are communities that we want to reach that we don't know how to reach in the arts, or because we want to go to the audience, or because we're not musicians, or because, you know, whatever. We have a venue. We have a great place. Right. So, we're having a great people too. Definitely. You know, I don't know that there's like, and I could be totally wrong with that, I don't know that there's an established trajectory like the follow-up steps. For me, I do that, you know, in the case of the Isles partnership, and I'm not actually the person who makes partnerships, I'm saying, I'm the director of marketing, so, for me, I'm the only reflection there. I know there's underserved use about three seconds away. I know we've got this conversation. That is on the other side. I know we've got this conversation. I know we've got this conversation. I'm getting a chance in the car and it's amazing and curious, and also just connects yourself and the earth, and like, you know where your food comes from. It's such a good thing, and we've got this whole art work, so, I don't know how to run a garden program, but that's what Isles does. They're three seconds down the street, so, let me follow up. I actually have to be at a Don Dream workshop that we were at, and I had been, like, thinking about, I don't have a chance. I end up sitting at a table, and that's when we'll have a chance. I'm the film director at Isles. I'm like, come on, are you kidding me? So, it just started through conversations. I brought her in, and that's how that thing went. You know, then we did a brief gap where there's some stuff that had been changed and stuff that we had to face for sure. We identified what the need is for the female choreographer to come and do the choreography inspired by a small group of people in the park, and I think that's about like an annual event where they do, you know, they just, you know, they go out to the park. Yeah, we participated in it, actually. We do poetry, we do storytelling, you know, I would love to see more, like, hip-hop, more on theater. I'm a performer, but I think that we need to talk. I'm going to answer five hours. You know, I'm not a dealer. I don't know. The problem is, you're not really going to power down here.  She feels like she sinced right on the wall, right on the wall. And we had a little break for a couple of hours, party. Yeah, and who does it, and then all of the people themselves are like, are we going to say that the diversity of people is a factor that just has been on my system. So for the purposes of this talk, I'm going to be turning the, the, the, the spot out the present things. I think, I think the one you think of would be structure upon the, the use of the, the scrap metal to then collect the information that you've just sat on for a year. And then it, just, that would be too significant because of my things. And then there's two things that you can argue about. Budgeting is very awesome. And then huge figures, and everything. You can set up a council or something like that. What it really means is that you need a place also that has been for a long time. So, that's a present thing. That is perfect. And it's also transportation. Ample parking. And, um, for the day out there. Visiting needs to come in. People are, it's designed for people to come in.  So that he's from the good stuff. And so I think the ferry would go over to the battleship. Stop there. It's going to be like to the ferry. And then it would go over to the bridge. So it gets really fast. So you've got all the points over there. Yeah. So, right, the word choice. That's a standard use of the word. For the body. Right. So, for the last time. Yeah. And it's almost like part of the edge of the word. It's clear sign. Where are you? I don't know. Can we switch? I'm sorry. We're generous. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. We're going to switch now.  Yeah, Mr. So, I'm going to go up with the other person. This is the next question. Anybody know what the answer is?  Wait, I'm not able to interpret what you're saying. But yeah, I'm just sitting here. I'm going to go up and break some of the order. I thought about this and I'm not going to answer it. This is how physicality works. So, that's number three. And then also, I was a factor right there. That's the answer. I'll be doing that. I'll be doing that. But I like times when it's a bit archer. That's why I wouldn't do the ones that have hard and advanced. Oh! That's the thing? You have missionory block probably right there. It's a mission to pray to God. I can't read what I'm saying. Right. So, in this one chart there you have the grid fields. And you have this horse ball card. Oh the board card right there. And the horse ball here. And then you have what I would like. I was like, yeah, it's very, very, very nice to be using them in this theater, and then I've walked through it, I'm going to integrate, she's going to see this very scenic view of Barda, and she's going to talk to Barda. Here is the bigger building, where they actually have restaurants, right? So this is where Barda is going to be. It's also part of your... Oh, okay, it's a lot of beers and stuff. I thought that was perhaps for school. Yes. Yeah, pretty much like, maybe like a sliver of perhaps for school, which was actually in Trenton, downtown. What's good for, as we've been taking off my CHF in my TDA at Trenton Downtown Association, what's good for downtown Trenton is what's good for everything around it. The more things that are going wrong, the more people put around the better it's going to be. If you look at the history of downtown Trenton, any time that it was moved to, it was when we had neighborhoods that were active. What we have now is a problem that group one, we have all these major corporations that are housed there. Their entire structure is semi-flawed because it has this huge overhead of having to maintain giant areas of the community and all of this infrastructure is part of it. Whereas in the city, we have the bell built and it's still bell. We had it in Titan, we had 3,000 people that were working there. We accommodated 2,000 people, we found some infrastructure in Trenton actually there, that we have all of the infrastructure and services in part of that. Wow. That's awesome. It's very funny. Big team bank. Big team bank. It's been live streaming. Has it been looking at my foot the whole time? No, it is not. No, it was positioned to be a little bit higher. I'm just trying to give the viewers at home a sense of what the room is like on the large scale. And I hope I'm not making anybody seasick in the process. Oh, that was nice. Yeah. Nice. Sorry. You're good. I'm just gonna... Sorry. Sorry. And then we'll all see each other in the lead. Let us be those leavers. I'm afraid knowing that nothing changes without chance. And that changing change, though often seemingly dangerous, is the only way for us to advance. We stand in doubt asking, what good is proposing change if it isn't attainable? How valuable are our steps toward progress? If that progression isn't sustainable? If it isn't born within a vision of tomorrow and formed to fit an ever-changing mold that will be continually broken and reborn to build the promises we make to those behind us? If it isn't evident to everyone that it is our choices, not the statements or promises we make that define us? We stand under the curved archable question mark, seeking understanding, asking, what good are the promises of those in power? Or of those they serve each day without people who care enough and are prepared to not just remind us but hold us to what we say? We stand in demanding of change that is going to be made then made real. Make it stretch from the bottom of River Street to the shops at Riverside from Columbus Park to Spade Park from Railroad Avenue to Spring Valley because though our addresses may vary, our basic needs and rights remain the same.  Knowing that, we stand in the footsteps of Washington on the shoulders of Oratoc. In the shadow of Nellie Kay Parker wondering what the future holds for those who hold the future in the palm of their hands, how do we serve them? How do we accept their votes of confidence in us and then prove that we deserve them? We do this by standing, by standing firm, by standing together. So enjoy the third session. I have to head out, but I wanted to say thank you very much. This is great to have you here. This was a really great opportunity and I'm so glad you're here. Great, yes. Oh, you're on stage. I'm sorry. I'm sorry. Oh, you're on stage. I'm sorry. I'm sorry. I'm sorry. No, I don't want to. I'm sorry. I'm sorry. I'm sorry. Do you have extra the ones to sign your name on? Yes. Look at those. Oh, that's what they were. Cool. Thank you. I'm probably going to head out just so I can. Okay. Of course. Of course. Of course. Of course. Of course. Of course. Of course. Of course. Of course. It's before I die. It feels okay. That should be exciting. Yeah, that's fine. Okay. Great. Yes. There's a document here, do you want to take it or what's it actually for you? Oh, yeah, that can get passed, yeah, thank you. I feel like there's kind of like a, I don't know if it's through the, like, there's me, which is doing my chambers. It doesn't have to, I lost my, um, I want to say chambers. How about like an American one? Okay. Educators? Yeah, definitely. You know how I think you may be able to get to those? I don't know if it would be American leaders necessarily, but I went to the American Legion last night because apparently they sell pizza every Friday as the American Legion. But the policemen and like firemen are, I feel like there's like this old boy network between like soldiers and like the fire department and the police department. I feel like there's a police officer's environment at the American Legion like hang out and have pizza. So, I mean like, what about, um, different numbers of policemen? Okay, so you get political leaders? Yeah. How are we constantly, um, political politicians and staff? In the public sector, if you look at, uh, like non-profit or public managers, like government manager. Government employees or government workers? Yeah, government, and then I, I mean, I don't know if non-profit would be a separate category or a separate category. But a lot of them still want to be together because it's all public service. What other groups would it be good for us to talk to that have struggles? I'm like, what barriers are we facing right now that if we had somebody to talk to in that specific sector, could we ever come? Well, what's your barrier? I mean, yes, I guess that's a question. So, what is something that we want to do now? I'm sorry, what's an example of something that we want to do to help enable this? And Trenton, for example, actually, government workers addresses having art in government buildings, having our program being specifically in government buildings. That's been, like, especially state government buildings since so many are in Trenton. I guess it's you, right? I got to know somebody right now because of the art in the DMV, and something like that. Yeah, and there's already been a lot of responses. Oh, I know. Maybe young lawyers. She's a one-man... What about young parents? I think we need to encourage audiences. Yeah, we should. Who are you? Who is in line for you? What do you keep thinking about? We had the enemies, and then there was the brawling. And I mentioned this with young architects, a group of planners, and community developers. And now it's all online. We have a little bit of creative placement. So, what can you describe more of the events? Sure, so we had three people basically on a panel answering questions about it, and telling us about how they made the creative placement happen. And then we had, like, an arms-readable expert. And then we had, like, a leader. So it's really nice to have that. It was really a peaceful never-talk-about. So we had, you know, definitely several events and other things. Gina and I were looking forward to doing that with you. Um, what are your stories? I don't know, I don't know anything else to tell you. I don't know anything else to tell you. But it's about debates. One thing about debates is that we have a lot of non-executive connections. We have actual debates where we're going on 501c3 status for LOC, like heated debates. So they're going to be meeting debate. They're going to say young environmentalists, as I say, online. They're going to work hard. So how can we incorporate green and red? Young environmentalists. I hear a lot of that. I did. I have a lot of your debates. I hear a lot of your comments. Also, maybe we can have mentoring across sector. Yeah. I think as arts leaders, if we're approaching these groups, we have to meet them where they're at. So what we need to meet them is that when we get time, that's a constant pattern of mind when we open to new ideas. Because if you schedule time in your day and they are busy with other things, then they really don't want to have any conflict. So you have to try and have an opportunity that they are going to be relaxed and have their own money. Because I think that a lot of arts initiatives... If you can measure, if you can have a list of all the positive things that are to be found, and this is a factual benefit to your organization, you can understand that in fact of how they're going to benefit, then it's a benefit that you present the mutual benefit. Because if they don't know how they're going to benefit, then they have no point in talking to you. This is like our favorite group. So what you feel ready for is you found a national arts organization, a science program, and then you ask them, I don't know what part of the program is, part of the program is the thesis that they can provide. Like, it will be their job to research, like, why this art is important. And then you can use the book, they find you. And you can always just serve in them. I think everybody needs an example. Yeah.  Like, that is a state-of-the-art effort to take space between, you know, emerging arts leaders and say the health field, and say it's a health and arts work in healthcare in this way. But it's not just we're discussing it, but we're going in into anything together. Yeah. Yeah. Any other groups that are missing on the SNR? I guess chambers need to take questions. Chambers need to go in. That's what that is. Okay. Okay. Anyone said I'm missing? Yeah. Yeah. I think people in, what do you call it, people who vote for a trade book, like emerging leaders and bookmakers, I think those people don't get out. They might either only do their own art, or they don't get out of their space to go on an arts festival. Not too much for that maybe. They don't really have overtakes. So I think maybe finding a way to incorporate arts into schedules is going really well. Like, for example, if everybody's, like, in a hairdressing, having like, arts maybe in a salon or something. But with that, then you would look at, I mean, you have to, you have to tell your friends, if you had a hairdresser or something, you would say, hey, we're having this hair recruitment that's coming up. Do you want to submit a hairstyle? Yes. Yeah. And that's, you know, rating a friend. Yeah. Yeah. So you have your hair. It's interesting. Yeah. I think you're, I think, curious. You've looked down inside. Yeah. What can you do that gives you, that doesn't interest you or your activity? And then how can I, you know, work with you? Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. On some level, that really was a whole lot of stuff. Yeah. What was I do to that? Yeah. Yeah. Yeah. Yeah. Yeah. Retribution, of course. Yeah. Yeah. Because every organization needs right people to help out. If there's a way to make, I mean you would want to come in and say, say there's like a nutritionist or a new nutritionist, have these preventives.  So, like, you would think that, you know, say, how can this deal with food, you're doing it right, and maybe there's a way on the bridge, what's the bridge between my arms if you are a person? Yeah, great. So, I'd rather choose, if it has to be, something relevant to them. Oh, cool. I'd rather choose one. That's two new ways of doing it.  You said you can't have a couple of people here. I have a little to make, you know, how'd you find out how you- I think it starts with the individual group, both an artist and something else, like you look down that list that we can say, okay, I am an artist and I am a non-profit leader, therefore I believe that if we had this event, I would be like, hey, you guys should be able to do this. And this way you can be called or this is how you do it. And if you had individuals who had, well, you said, like, like, friends, like, any other art group, right? One amazing forum that has taught us some of this together is called Arkwoods and I don't know if you've been on that particular site, but it's basically, it's great site product for the arts community, but it can definitely be bridged to other sectors. And maybe expand arts with some other sectors. And what that's about is, say, I am a rapper, I can say, like, I am open to creating a customized piece for someone. If they give me a customized piece of visual art or with someone from another sector, I can say, you know, I am good at business plans.  If you don't provide me with whatever services I might need, say, marketing, you can provide me with classes. Maybe you wrote this on exchange. Yeah. Because if you've got people who are emergency, they're starting to break into things. But I can afford, I want to train my clients. Right. Yeah. It's kind of going along with that. You could have, not necessarily an exactly how to explain it, but say you're working at an arts organization. You could work with the Chamber of Commerce to create a special event for their group at your event. And it would still provide cross-marketing, but also networking at the event. It's almost like chaperoning. Chaperoning. I like joining a parenting. So maybe more parenting classes. So I have a lot of sad parenting friends. And then you could even incorporate an art setting. Educators and local businesses that have a family or child focus in some way. Maybe offer some sort of cross-discount. Come to our event is an excellent outcome. Or if you have an event. Say school is having a parent-kindergarten. Maybe they want to talk to the parent. However, they know they're going to hear what he said. We're going to offer an activity for the kids to do arts in the room. So these parents can talk to the teachers. You can get your job done. We're going to work with the kids on arts. That way you provide the benefit to them. It's a joy to have a kid there. But they've got nowhere else to be. So it would be a good thing. And then that way change the burden off the school. Always trying to find a way to do that. That's why I can't go to any of the schools. I can't go to any of the schools. I can't go to any of the schools