Lux presents Hollywood. The Lux Radio Theatre brings you Mary Martin and Dick Powell in MyGalSouth. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. From a little Indiana town on the banks of the Warbash, two brothers once went forth to conquer the world. The Younger wrote some of America's greatest novels. The Older wrote some of her best-loved songs. The name of the novel, as you all know, Theodore Dreiser. The name of the songwriter you may never have heard, but most of you will always remember on the banks of the Warbash. It was written by Theodore's brother, Paul, who changed one letter of the family name and was known as Paul Dreiser.  From that story, 20th Century Fox made the motion picture called MyGalSouth, and tonight we bring it to you, with Mary Martin as South and Dick Powell as Paul Dreiser. It's a brave story of a young man who met life with a smile on his lips and a song in his heart and let the future take care of itself. Tonight you'll hear those songs sung by Mary Martin and Dick Powell, songs like on the banks of the Warbash and MyGalSouth. Cunes like these are the best answer I know to some of the letters we've been getting in the past few months, letters such as this one from Baltimore. A woman writes, I haven't missed a luxe radio theater performance in four years. I've been buying luxe toilet soap longer than that, so perhaps I have a right to make a request. You haven't had a play with songs in it for many weeks. What better time could there be than now? Maybe the songs will match the ones we women sing after using your product. I try to send you a little thank you note at least once each year. So thanks again for your program and for luxe toilet soap. I hope the lady likes our answer tonight as we raise the curtain for drama, song and gaiety on the first act of MyGalSouth, starring Mary Martin as Sally and Dick Powell as Paul. In the gay nineties, all America, from Florida girl to barkie, was singing and dancing to the catchy melodies of a small town boy from Indiana. His name was Paul Dresser, and his career was as gay and extravagant as the period he set to music. Well, perhaps not always gay, but it was the time, for example, when he was picked up on the road just outside of Jonesville, Illinois, picked up unconscious, wearing a suit of tar and feathers. Come on, Sonny, put your arm up here. Now, let's see if we can get the rest of that tar off. This may sing a little, Sonny. Are you awake? Yes, yes, I'm awake, all right. How did I get here? What town is this? No town. We're five miles from Jonesville. Seems you were run off in a rail or something, remember? Oh, yeah. We found you in a ditch. At first we thought you were a turkey. Did you find me? No, it was one of the Indians. Indians? In Illinois? That's right. His name is McGuire. An Indian name of... I guess I'm not awake yet. Sure you are. We're Colonel Truckee's Kickapoo Indian extravagant. Oh, a medicine show. Mm-hmm. Kickapoo Indian remedies. Guaranteed that you're practically anything. May, how is he coming along? He'll be all right, Colonel. Well, well, let's see what emerged from under that tar. Welcome, my boy. I'm Colonel Truckee. Well, you're looking much improved. What do you use to take the tar off, May? Your cough medicine. You don't say. Perhaps we'd better sell it as a spot remover. Young man, what occasion did this tiff between you and the population of Yonder Jonesville? Well, I, uh, I was working for a man who was selling gold jewelry. I played the banjo to attract crowds. Well, you obviously attracted them, but your music must have been quite horrible. It wasn't my music. The gold jewelry turned out to be brass. Brass, eh? Sounds like you were working for Corbin. I was. Well, any town that Corbin's worked is a desert for three months after us. I think we'll root our little extravaganza around Jonesville. Thanks for the tip, young man. By the way, I presume you're now footloose and fancy-free, eh? What?  Oh! Of course. Provided, of course, that you can play better than I think you can. You play the piano, too. Just the way that you hear me, that's all. Ah, good. Well, spend a few days getting on your feet and we'll talk about it. May give him a pint or two and he'll be elixir. Guaranteed to bring the flesh of health to cheeks pale and warm. I think some hot soup would be better. Miss Collins, are you inferring to a stranger that our products have appeared? All I'm saying is he's got to be strong before he drinks any of your charms. Miss Collins, if nature had not endowed you so lushly with charms pleasing to male spectators, I would discharge you on the spot. Hey, John Oltenon, you want to taste this medicine now? We just made up a whole batch. Ah, let me see, McGuire. Joe says it's the best tip. Uh-huh. Who concocted this vile concoction? I did. Joe says you've deviated from the prescription, McGuire. Put in 20 pounds more sugar and perhaps a gallon or two of peppermint. I'll take it. That's as mature as the Colonel's making now. For rheumatism, we move off the sugar. Enough with the king of blue Indian waters. Now just sit down over there and count your scalp.  No. And why not? Because from generation to generation they've handed down the secret of this spiceless cure which I have now bottled under the name of Kickapoo Indian remedy for the benefit of the white race as well. There you have nature's own remedy of herbs and roots with which the American Indian has always cured the ills of his loved ones. Excuse not for the Kickapoo remedy. I'll take it out there. I'm ready. Well, May, how do I look? Another new suit. Yeah, how do you like it? Not bad, huh? But you bought three new suits last month. Oh, but those others were just things to wear. This came from Chicago. I always wanted a tech suit. Hey, it's got a big city cut, all right. Yeah, I just sent my measurements and the money that came back like this. From now on, those gents are my tailors. Mm-hmm. I like the best, too. Yes. Say, you don't think it's too loud, do you? Green and red? No, it's fine. Well, I sort of like it myself. Say, did you catch my act last night? I watch you every night. Well, don't miss me tonight. I'm going to try out a new specialty. You'll be great. I'm glad you came with us, Paul. Also glad. Well, thanks. You've been swell to me, May. I'll bet you know why, too, don't you? Sure. You like my act. Mm. Hey, President, you're almost done. Ready and waiting, McGuire. Ready and waiting. Say, May. May, we got the carry straight tonight. Did you get a line on those two in the boogie? No. Who are they? I don't know. Some girl in a fuller. She's a looker all right. I bet she don't come from around these parts. Go on, Paul. Quick. Yeah. Say, if this stunt goes over, I'm going to hit the cover for a raise. You've got a fat dentist getting it. Go on. Well, if I don't, I'll start my own show. All you need is an Indian and a couple of recipes. That's a specialty, May. Oh, Indian President, peace for Honey Papa. Thanks, you, for your kindness and attention. Thanks, then, chief. Gotcha. And now, while Chief Honey Papa and his brothers pass among you with the supply of this original kick-a-boo Indian remedy, you will be entertained by Mr. Paul Dresser, who has just closed the season of brilliant piano recitals in the great city of Chicago. Mr. Dresser, good evening, folks. Good evening. Good evening to you one and all. And our folks, rather than anything heavy, I thought I'd play something in a lighter vein. Tonight, a little composition of my own is yet untitled. With your kind attention. Come on, Sally. We'd better drive on. Well, not yet. I want to listen a minute, Fred. To Mr. Paul Dresser, the brilliant pianist from Chicago? I don't seem to remember Mr. Dresser building Chicago when we were there, do you? Well, we never played the stockyard. Oh, Fred, that's not funny. Come on, Sally. You've got an early rehearsal tomorrow. Just a minute. You know, that's a catchy tune, Fred. Maybe we did make him in Chicago. Not if he wore that, too. Just the same. We could use a tune like that in the show. Oh, thank you. And now, ladies and gentlemen, as an encore, I will present a stocking piano nowadays. Ladies and gentlemen, before your very eyes, you're going to see a feat which has never before been performed by musicians. At one and the same time, I'm going to play the same tune as the duet on two pianos. Whisk your time, musicians. You were right, Sally. I'm glad we stayed. I wouldn't have missed this for anything. It's awesome to laugh at him, Fred. How can you help it? They ought to move those children out of the first row. He's going to fly off of that, too. That's funny back there. Oh, Fred, I shouldn't have done that. Be true. Get out of the way, please. Oh, Fred, he's coming back. You better drive on. Oh, don't be silly. Who started that laughing? Was it you? Well, yes, it was. I'm sorry. Really? I didn't mean to... If you don't like my act, how about getting out of here? No, just a minute. Say, who do you think you are? Go on. Get out of here. I told you I was sorry. I apologize. That doesn't fix anything. Well, I'm afraid there's nothing more I can do. I told you what you could do. Get out of here. Now listen, you. Let him alone, Fred. I offered my apology, Mr. Dresser. But if you haven't manners enough to accept it, then I'm sorry for you. Listen, you're the one who's in the wrong. Not me. I was up there. As a matter of fact, I liked your act. It was a funny act I ever called. Funny? You think it was supposed to be? It wasn't me? Well, nobody else thought so. Nobody laughed when you started it. But those two pianos in that suit, what could you expect? Well, what's wrong with the suit? Well, I suppose it's all right if you can stand the noise. Here, here. This is the sort of thing I don't permit, Dresser. Get back on the stage. Wave along. Now listen, these people. Never mind. Get back on the stage. Oh, come on, please. Now, if you folks will just move along, we'll get on with our show. I'm sorry. I guess I lost my temper, too. Will you do me a favor? Will you give Mr. Dresser something for me? Fred, let me have two tickets for tomorrow night. I'd like him to be our guest. Oh, you folks in the profession, too. We're trying out Miss Elliott's new show at the Buffalo. There you are. Either to get the tickets, will you? Certainly. And here. Here's one of our posters. You might put it up in some likely spot. Good night. Night, folks. Good night. Hmm. Buffalo Theatre. Sally Elliott in Bells of Broadway. I'm the coast of the town in my Paris car.   Our latest gibles and spines. I'm the type that good-fine parties. And these are done for soon. I'm the coast of the town, but I hope you settle down for someone, maybe you. If you're at your love and laughter while you're young and free, come along with me. Come along with me. A marigold, a sterling goat, a happy goat, a thousand goats, or a million days.   Why? Glowing. Oh, meowing on the gay white way. It's always fighting that the night turns blue. And every little miss, the likes of us from this is on the way. We went down there to break all you did during the host. Anybody you'd think you'd never been in a theater before? Well, that's right, Mae. That was my first time. Huh? Mae, I've got to get out of here. What for? Oh, I can't spend my whole life in a medicine show. I thought it was great stuff until tonight, sitting up there on that red wagon playing a piano. It was wonderful. And then tonight we saw a real show. All of a sudden it hit me how cheap it is. It's like the suit I'm wearing. Yesterday I thought that was wonderful, too. But it is one. Oh, no, it isn't. It's a hick suit. It's loud and cheap, just like the show. Oh, I've got a lot to learn, Mae. And I'll never learn it in these tank towns. I'm going to New York. I'll go with you, Paul. No, I'd better go by myself. Paul, you can't just walk out on me. You've been awfully good to me, Mae. You got me a job when I needed it.  But I've got to go on alone now. I know what it is. It's that girl. No, it isn't. But nobody's going to laugh at me, not her or anybody. Someday I'll write a song and she'll come begging to sing it. And then I'll do a little laughing myself. Excuse me. Can you tell me where Broadway is? Broadway in what, mister? I don't know. I'm a stranger in New York. Did you have to tell me? It's over that way. Thanks. Hey, wait. What's that tune you're whistling? What's it to you? Go on. Whistle it again. Look, I sell newspapers. I'm a businessman. I ain't got time to entertain farmers. Go on. Whistle now. Here. Here, I'll give you a dime. All right. So now I'm a professional. Go on. Whistle it. Well, that's it. That's my song. Where did you hear it? What should I know? Lots of guys are whistling it. Well, how can they? I wrote it. It's mine. Hooray.  Where is Tin Panelli? 28th Street. Tell them I sent you. My name's B. Tolbert. I tell you, it's my song. I wrote it. Look, I didn't publish the song. I only wish I did. I don't own the rights. I've got the rights. I wrote it. Somebody stole it from me. I know. Every time there's a hit tune, 50 guys claim they wrote it. This song was written by Sally Elliott. It's the best tune in a new show. Sally Elliott? Well, that proves that she heard me play it.  She's too big a star for that. Oh, she is, is she? Oh, here, take a look at this. Can you read music? Can I read music? Well, can you? No. Well, get somebody who can. This is the song the way I wrote it. The same as they're doing it now. Sally Elliott heard me play it when she was in Buffalo with a show. Come to think about it, that tune wasn't in the original score. They added it when they brought the show into New York. Say, maybe you've got something. Hey, Harry, come in here, Harry. Yeah, I was. Harry, what would you say if I said to you that Sally Elliott didn't write, come tell me, and that this guy did?  Come on, hurry up. Wait a minute, Mr. Holly. Hey, where's Miss Elliott's dressing room? Third door. Thanks. Now, just a minute. I want to make one thing clear. The music is mine, but I didn't write those words they're using. Now, look, don't start the weekend.  Sure I am. That's the boy. Come in. Hey, Miss Elliott, my name's Holly. Holly and Collins Music Publisher. How do you do? This is Paul. Of course. This is Mr. Dresser, isn't it? Yes, Mr. Dresser. Well, I'm certainly glad to see you. Yes, I'll bet you are. People are usually glad to see the people they steal songs from. No, no, no, no. I didn't steal your song, Mr. Dresser. Well, it didn't give it to you, did I? Now, let me handle this. The whole thing would be worked out. I doubt that very much. Get out, please. Oh, no. This is my dressing room. Get out. Keep calm, Miss Elliott. You expect me to be calm when he walks in here and calls me a thief?  Get out. Get out. Now, wait, wait. Let's all talk this thing over like devil. I've had all of this, gentlemen, that I can stand. What's the matter in here? Fred, will you tell this carnival talc that I didn't steal his song? Now, look here, Havlin. If he's going to take that attitude, we'll sue him. I don't think that'll be necessary, Mr. Dresser. You and Miss Elliott have a great talent for irritating each other. Suppose you approach her now without breathing fire. If you just quit stealing my songs I won't approach her at all. That's where you're wrong. The song isn't stolen. We admit it's yours. You admit it's yours? Yes, we admit. We've never published a song. We've been looking all over for you, trying to get your permission. Right now, we don't want it. Oh, yes, you do, dear. Well, you'd have to talk to me about that, Havlin. I have exclusive rights to Mr. Dresser's words. But not to Miss Elliott. She wrote the words. You can have the words back. I'm going to write my own words. Oh, you are. Ha. What do you mean, ha? Ha. You have a few minutes, Miss Elliott. Fred, the song is out of the kill. How's it tonight? No, Sally. It's out. Wait, wait. The song is a good song. It's a hit. It's going over because of the music. Ha, ha, ha, ha. Well, it is. You're the music is great. But you're unknown and it means a lot to an unknown to have a big style like Sally. Elliott introduced the song. Made her wrong. You could do things the way you want. Right? Well, I guess so, yeah. Once I get started I won't need her or anybody. Fred, listen. So all settled, Sally. You own the words. Dresser owns the music. Is that the idea, Mr. Holly? It's a deal. Good. So Sally meets your new partner, Paul Dresser. The same as you own the music. My partner. All right. Tell him to go back home, Fred. To send his royalty to the kicker for an Indian song. Ha, ha, ha, ha. You're nothing to just a vital fancy. For all the world and all the gods you know. Between mankind and the sickle, still I love you. Come tell me what's your name. Tell me what you're asking. Yes or no? By the stars, the brightness, time to light it all. I swear that I love you. While I'm in the wind, it's red, it's never light it all. I don't know, I don't know. In the memory of a precious past love. In sunshine, rain, or winter, ice, it's long to go. I'm ending my devotion to the last love. What more can I say to you? When I take my arm to go to see her. When I tell you my name of love. Of the people that I belong to. For all the world and all the gods you know. You're nothing to just a vital fancy. For all the human and the sickle, still I love you. Come tell me what's your answer. After a brief intermission, Mr. DeMille presents Mary Martin and Dick Powell in Act 2 of My Gal South. And now, greetings to Libby Collins, our Hollywood reporter. Have you seen any of our favorite stars lately, Libby? No, I haven't, Mr. Kennedy. I saw John Fontaine recently. He's wearing a uniform. And do you know, standing without seeing her look in a made-to-order gown, she looked even lovelier in that uniform. What was it, Libby? Red Cross? No. So John has a right to wear that, too. She's wearing a massive aid uniform. She puts in hours of beauty at the hospital every day, you know. And that's hard work, Libby. Yes, but such rewarding work, John says. And busy as she is, she's just a beautiful example. And still depends, he says, on her daily luck-safe compatibility. Well, that makes us feel proud. See, John has very fair, delicate skin. And he says daily luck-safe compatibility is a wonderful beauty. Libby, won't you describe her active-latter skin? Well, he says it's like an active-latter facial. He just moves the lux-toilet-soaked-latter well in. Rinse it with warm water, then cold, and pat with a towel to dry. He likes the creaminess of the lux-soaked-latter. So does it mean there's skin feeling so smooth? That creamy-latter is active, too, Libby. You can be sure it removes stale cosmetics and every trace of dust and dirt. Yeah. One look at don't find pain, Mr. Kennedy, and I'm sure every woman would want to cry for a complexion care. There's a real beauty kit, Libby, for women everywhere. Why not try lux-toilet-soaked-latter facials for 30 days? Use this fine fragrant white soap regularly, as nine out of ten famous screen stars do. Then check up by looking in your mirror. It's a safe bet you'll be delighted with the new complexion loveliness you see there. Now, our producer, Mr. DeMille. That's two of my gal, Sal, starring Mary Martin as Sally and Dick Powell as Paul Dressa. Paul Dressa is a success, and a success to Paul means a dashing young man in flashy clothes who sleeps late and drinks early and is never on time for appointments. She's late for an appointment now at a surprise party that Fred is giving for Sally Elliott. Surprise! Surprise! Thank you. I... Fred, what is this? It is my birthday, isn't it? Oh, I hope not. You may not know it, Sally, but this is a great occasion. Do you see that cake? One candle in it. Well, one year ago tonight, I became your producer. Also, your devoted slave.  Oh, everyone's a darling. Shall I cut the cake? Well, wait if you can. We're not all here yet. Who else is coming? Sally, hold on to your temper. I invited Paul Dressa. Oh. How nice.  No reason why you should go around glaring at each other. Oh, I have no objection. Just that I despise him. Sally, we need good music, and he can write it. Of course he may not have time to drop in on us. I hear he's personally closing every bar in Cabaret in New York. He has the heat of the limelight has made him a little thirsty. But he's young and still growing. He has his head, especially. Sally, the way I feel tonight, I can forgive anybody anything. Oh, Fred. By the way, that candle isn't just to celebrate our first year together. It's a sort of a pale imitation of the bonfire in my heart. Now, that's a second pretty suit for you in one minute. Wait until you hear the third. If you give the right answer, it'll call for a much bigger cake.  Hello, everybody. Oh, Mr. Dressa has arrived. I suppose we can begin now. How are you, Fred? Sorry to be late. I was playing the piano with Tony Paster. They wouldn't let me break away. I'd like you folks to be a good friend of mine. Miss Elliot, this is Mr. Sullivan. John L. Sullivan. Hello, John. Hello, Sally Miller. Oh, you know each other? Very well. The only time I was ever knocked out of my life was the first time I heard Sally sing. Well, follow me, Bako. Let's sit down, get to drinking. Sure, John, sure. Fred, it was nice of you to ask me here tonight. Say, what's the cake for? Somebody's birthday? Oh, I guess not, with only one candle. Oh, I get it. Say, this is nice. What is nice? Hey, John L, look at that cake that's celebrating my first song hit. Hmm, come tell me. That's a great song. World's champion songwriter, this boy. World's champion. Oh, he's a great booster of mine, old John L. He thinks I'm pretty good. Well, those are you, don't you? What?  Why, you've taken New York by storm. Oh, New York isn't so difficult for a fellow who can play the piano and doesn't mind buying a few drinks. And just think, you've done it all on one song. So, telling where you'll go as you ever write another song. It's already written. I wrote it the other night in a bar down on Front Street. I'll play it for you. Where you going, Bako? I'll play my new song. You are? Quiet, everybody, no talking. Dress has written another hit. You're going to play it for us. Quiet, sir. Quiet. Oh, Miss Elliot, I, uh, I wrote the words to this one myself. I've got a copy here. Let the woven sing along with me, will you? Right. Not at all. Here you are, as I dream that you would be.  Although I know that we're on Earth And I love you much too well. It's, uh, it's a very lovely song. I do like it. You know something? When I hear you sing, I can't remember I was ever married to you. I feel a little bit that way about you. And I hear your music. In that case, I suggest we be friends from now on. All right. A truth. Well, that isn't what I meant, but we can talk it over on the way home. No, I came here with Fred. I'll be going home with him, too. You're going home with me. I don't think so. When you're ready, just let me know. Thanks for bringing me home, Mr. Dresser. That's all right. Too bad Fred was called away from the party. He might have saved you the trouble. No trouble. Anyway, that message he got was a fake. I sent it. Oh. Good night. I'll see you in. Oh, that would be necessary. Oh, this is a nice hotel. I'd like to see the inside. If you're referring to the inside of my suite, I'll give a party sometime and have you over. Oh, don't go to all that fuss. I can see it now. I'm sorry. Good night. Not yet. Driver, through the park. Yes. You take a lot of liberties, Mr. Dresser. I know it. I'm going to take one now. Oh, no. Oh, yes. It'll be one too many. I warn you. We'll cancel all the others. This is the only important one. Sally. No, listen. Stop. Do I get slapped? I haven't decided. You haven't the strength. You know, Sally, they tell me that a lot of people start out hating each other and end up this way. Do they, Paul? This one's for come tell me. This is for lies again. This is for here you are. And your guest of honor still isn't here. Oh, you belong. Pat, did you send someone to Paul? He wasn't there. Yeah. I guess he was held up some day. I know where he is. So do both of you. Why do we fool ourselves? Since society took him up, he ain't got any time for common play like us. Oh, anyone as successful as Paul is bound to be lionized. And Paul likes fun. What about you, Sally? Don't you like fun?  You always hear of them burning their genius away in an attic. But you see them burning in the brightest places in town. Paul's been working very hard. But he has a wonderful new melody, and he's writing the words. It's an idea about his home on the banks of the warbed. A farm song. Who cares about farms? Who ever heard of the warbed? Hey, hey, if the tune's any good, we could change it to the Hudson. Fine, Charles. Well, the guest of honor is here. And I think we're going to need some more chairs. Sorry to be late, Sal. Oh, Mariana, I'd like you to know Miss Elliot. Sally, this is the Countess Rofini. Oh, how do you do, Miss Elliot? I've enjoyed your performances of very much. Yes. I've heard a great deal about you as true, Catherine. I'm not quite sure what you mean. I am not a professional. Oh, aren't you? Well, uh, now look, suppose we just get a cup of chairs here. We'll move the cake to a bigger table. I was just leaving. No, Sally, don't. I know you've been waiting, and I thought... You've had your last cake for me. The next one you'll get in the face. No, sir. And for the candles, you can burn them at your wake. Good night. I'm very striking. It's a pleasure to make clothes for someone with a figure like yours, Mr. Dressa. Looks rather good, I think. Come in. Hello. Well, Sally, this is a surprise. Are you busy? No, no, just trying on a few new suits.  Are those the new ones over there? That's right. Well, I suppose you do get a better price than you ordered them by the dozen. I believe that takes care of everything, Mr. Dressa. I'll take the other one to the shop and get it back here in plenty of time for you to pack. Thanks, Jansen. I hope you have a very pleasant voyage, Mr. Dressa. Goodbye, madame. I didn't know you were going away. Well, uh, well, I had told you if we'd been speaking. How long will you be gone? Just a little while. I thought I'd run down to Cuba. That'd be nice. What about the song, Paul? The war-based song. You were going to put it in the show, remember? Oh, Sally, I can't work around here anymore. I need a change. On the boat, there won't be anything to do, and we'll have plenty of time just to work. Oh, look, Sal, will you excuse me while I jump in the tub? Well, I think I'd better run along. I don't go. I won't be able to do that. See who that is. Will you, Sal? Who is it? Well, Mr. Dressa. May I see him, please? He's busy right now. Oh, but I have a message for him. From the contest of our team. Oh. I'll give it to him. Or no, I'll address. It is confidential. Well, I'm his confidential secretary. It is nothing for me. Well, the message is this. The contest will meet Mr. Dressa on the boat, not at her own. Oh, she will, will she? Yes. You will be sure you will not forget. Never. Not if I live to be knighted. Go to Cuba, Ray. Go to Cuba with a countess in 12 suits. Where the suit is? I'll fix his 12 new suits. I'll fix them for him. If he wears these pants on the boat, they'll arrest him. 11 new suits. 10 new suits. I'll show her. Where's Mr. Dressa? Where is she? Well, Mr. Dressa, she's done gone out. Good. Where does she keep her clothes? Well, Mr. Dressa. In here, huh? Good. I'll show her. Mr. Dressa, what are you doing? I'll show her.  Why, Mr. Dressa?  But I didn't do any more to her than she did to me. Did you hear me? What about this, Miss Elliot? Your Honor, do you think I'd go into a man's apartment and cut his clothes to pieces? Why, of course I don't, Miss Elliot. Oh, my. Let's have it quiet. Miss Elliot, I'm going to find him guilty of willful destruction of property. What do you think the sentence ought to be? Well, I don't think he should be hung. I'll hang him if you say the word, Miss Elliot. Well? I just can't think of anything now. Could I let you know later? Of course, of course. I'll hold him till you make up your mind. I suppose it's useless to remind you that I have certain rights. Young man, that attitude will get you nowhere. First thing you ought to do is apologize. All right, I will. Miss Elliot. Dear Miss Elliot, my boat is almost ready to sail.  Yes. Just so that I'm not one day off of your sentence. No. Give him six weeks, Dad. Oh. We pause now for station identification. This is the Columbia Broadcasting System. In just a few minutes, Mary Martin and Dick Powell will return in act three of My Gal Sal. And now, let's listen in on a very feminine conversation. Isn't Helen attractive? Yes, he always looks so frank. Right out of a bonbon.  Wonder how she does it. Well, when a girl gets a compliment like that from one of her own sex, it means something. So let's ask Helen, how does she manage always to have that band box look? I just take a tip from the screen size.  I guess every woman knows that her skin is really fresh and smooth all over, while she's sure to look dainty and fresh, too. And that creamy luxe soap lather always leaves my skin suitably smooth and sweet, makes me sure of daintyness. That's because luxe toilet soap's rich creamy lather is active. It carries away the day's dust and grime in a twinkly, leaves skin flower fresh, smooth and soft as satin. Screen stars say they love luxe toilet soaps costly perfume, too. The delicate clinging fragrance it leaves on the skin. Why not let their fine white beauty soap give you daily assurance of exquisite daintyness?  It's very inexpensive. Luxe toilet soap costs but a few cents. And because it's hard milled, each smooth white take lasts and lasts. Here's a suggestion. Get a supply of Hollywood beauty soap. Luxe toilet soap tomorrow. Now, Mr. DeMille returns to the microphone. Don't forget you have a backstage appointment with our stars right after the play. But now here's the curtain going up on the third act of my gal, Sal, starring Mary Martin and Dick Powell. The bold, poor dresser had planned to take the Cuba. He's on the high seas, while poor languishes in the city jail. But a pardon is now on its way in the person of a burly police officer. All right, Mr. Dresser, you're out. You mean I can go? Yeah. I said you had fixed it with a judge this morning. Huh. That's nice of her. After the boat sailed, huh? You didn't say anything about a boat. Oh, never mind. Thanks, officer. Just a minute, Mr. Dresser. We're going along with you. Where? To your hotel. The judge will give me orders to keep you locked up in your room. What? Why? You get food and drinks, but the judge said you don't come out and you write something called the banks of the Warbash. Oh, well, all right. You win, so does she. The banks of the Warbash Warbash When my Indiana home said, wave the corn deer In the distant gloom The warm night's clear and cool Oftentimes my thoughts seem to seem to tile-drove Where I first received my lessons Made a fool of the face It seems so incomplete See, all right. I'm out $10. Uh-huh. Well, that's thanks for keeping me from going to Cuba. You don't need to thank me. I did that in self-defense. This is the sort of thing men get women when they have a guilty conscience. What have you been up to now? Nothing. Why? I saw the countess out front tonight. So did I. As a matter of fact, she asked me to go to a party tonight. Where? Well, I'm here. It's all over with the countess, then? Finish. What are you trying for? A duchess? No, there won't be any more countesses, or duchesses, or even queens. Just you, Sally. Ah, I'd like to believe that. I wish I could. You can. I want you to marry me, Sally. Marry you? Well? Friend Paul. From the show causes? No, Saturday night. Then we'll have all day standing for a honeymoon. Oh. A whole day. What more could a girl ask? M.B.B.Roshmore. And this is M.Garnier. We represent Count Rossini. Count Rossini? I didn't know there was a count. There is usually a count. There is a countess? Well, what do you do? Lawyers? No, we are second. Second? You mean like Count Rossini demands such a section? I guess you do mean that. Now listen, if the count is worried about the countess, you can tell him to quit worrying. My friendship with her is a thing of the past. The count tends to make certain of it. I trust these weapons will meet with your satisfaction. But those are... Well, they're... They're... They're pistols. Now listen, I don't know anything about pistols. Then perhaps you would prefer rapier? Oh, no. There's nothing to fight about. The count thinks otherwise. He is waiting for you now. Will you come with us or shall I inform the count that he has challenged the count? Now listen, you're not going to inform the count anything. I'll inform him myself. Come on. This way, Monsieur. Just get this through your head. If there's going to be any fighting, it'll be with fists. And after I knock the count's block off, I'll take you on. In here, Monsieur. Ha ha ha ha ha! I'll say what is all this... Good evening, Paul. Well, Mariano, what's going on? Before you are king, Cherry, we are going to fill you with champagne. Champagne? Ha ha ha ha! You must know by now that no one can turn down an invitation of mine. But the count, your husband... Oh, here's it. It's over. Trying to cure his gout. Oh! You will forgive my deception, Monsieur. Ha ha ha ha! Very funny. Very funny. Next corner, driver. Yes, sir. You are not still hungry with me, Paul? Of course not. But I won't be accepting any more invitation. Sorry. Oh. That can mean only one thing. That's right. I'm getting married Saturday to Sally Elliot. Well, what is the tragic about that? Are you going to stop living? I think everybody should be married. I am. My marriage is going to be a little different. It's going to be complete. Permanent. Permanent? That's a long time. I hope so. My condolences, darling. Thanks. Good night, Mariana. That was the nicest duel I ever fought.   Well, I hope. You're leaving, Paul. Or is it morning? Sally. I've been waiting for you. So I could give back your neck. Sally, wait a minute. It won't take that long. I can tell you what I think of you in ten seconds.   Sally! Sally, this isn't what it looks like at all. Sally! What was it you said you were doing Saturday? Funny eye. I can't seem to remember. Sally Elliot goes on tour. Sally Elliot breaks record in Chicago. A new record was set by Sally Elliot last week in San Francisco. Dear Sally, I've written at least ten letters and torn them up. I want to tell you. Oh, what's the use? You might as well know the truth. Paul, what's wrong? Isn't the song Sally?  Well, it's a good song. What's the matter with the people? Nothing. They just know a bad tune when they hear it. I don't see what you're crying about. What if I don't turn out a hit tune every time? Yet wise to yourself, Paul. You need Sally Elliot, whether you know it or not. You've needed her from the time you wrote your first song. Suppose you leave my personal life to me. I would if it wasn't interfering with my business. You were a valuable property once, but you haven't been worth a hoot since she left. No, listen, it's just a temporary slump, that's all. I've been working, Pat. I've been working hard. Look, you see this stuff? I've got ten songs here. I'll have it up for a whole show. You mean a show with ten flops in it? What's this one over here? No, not that one. That's one of... What is it? Oh, forget that one. Wait a minute. I thought I liked this title, Paul. My gal fell. I said to forget that one. It's no good. All the way out here just to see you, Sally. I've got some pretty good numbers. A fellow by the name of Hastings wrote them. Now, look. I don't feel like hearing sounds tonight. And neither do I. It's strictly business. Here, look them over, will you? Pat, Sally isn't interested right now. My gal fell. How's that for a title? Pretty good, huh? My gal fell. That's great for your Sally. The words fit you like a glove. You've just got to hear this one. You're pretty anxious.  Me?  Yes. But I got it hot from the Composer's Quill. Who did write it? Oh, a Southern composer. From the South. A fellow named Fletcher. I thought you said Hastings. Yeah, sure. Fletcher Hastings. A Hastings Fletcher. Something like that. He's a friend of Harry's. Fred, listen. They call her Frivolous Sal. It's a curious sort of a gal. With a heart that was mellow and all-round and fellow. It was my gal's sal. You see? You see what I mean? Fred, this might be something for the show at that. Sure. Sure. It's great sal. Think of it. My gal's sal. Sung by Sally Elliott. Everything is over. And I'm feeling bad. I lost the best pal that I ever had. But a fortnight then she was here. Seems like she's gone. Oh, how nice. Thanks for getting the number for me. Say, let me mind you. The author's in town. That means he's in your dressing room. Yes. He was too nervous to come out. I'll go in and see him. This one is, uh, such a hasty one, isn't it? No, no. I had it all wrong. It's pitch. Uh, one good month's drama. I'm wanting to speak to him. All right. Hello, Sal. What does this mean? What are you doing in San Francisco? Pat told me you were going to sing my number. Your number? I couldn't stay away. You did it beautifully, Sally. So you wrote it. I'd known that. I wouldn't have sung a note of it. It would have stuck in my tongue. Why? Why did you beg for the number if you didn't want it? It's a sad part. They told me some long story about somebody writing it in the middle of a coffin field. Oh, that was Pat playing Cupid. You get out of here and take that, that cake with you. Oh, the cake. Oh, that's for you. I brought it all the way to New York. It's a little stale, but the sentiment's still fresh. So are you. Get out. Oh, no, no. Get out or I'll break this cake right over your head. You just try it. Hey! Hey! I warned you. Oh, come here. Let me go. You can come 3,000 miles just to get cake in my face. There's only one language you understand, and I speak it. Hey, if you can't leave, I'll... No, no, you won't. You won't have the strength. Prevalous foul. A very peculiar sort of gal. With a heart that was mellow. And all round good fellow. Was my heart old and pale?  By the way, Mary, this is your first curtain call here. Yes, it is, Mr. DeMille.  I was just wondering, C.B., whether you knew Paul Vesterback in your Broadway days. Yes, I used to meet him around Broadway from time to time, Dick. He was writing those great songs when I was going from one manager's office to another, looking for a job as an actor.  Going back for a play, Mary? It's a musical film, Mr. DeMille, and still in the talking stage, yet. But I'd like to go back to this stage for a while before making another picture. Speaking of pictures, that's a beautiful musical number. You and Dick sing together in paramount star-sangled rhythm. Thank you, C.B. or Mary. One of us should say something about his performance in star-sangled rhythm. You said that. Oh, my appearing in that picture was just a gag. It didn't matter to me. Dick, on the level. How about that? Well, truthfully, C.B., I don't know an actor in Hollywood, not even Gary Cooper, but have given a better performance in the role of Cecil B. DeMille. Oh, I... I've got a much better part than that for Gary Cooper. We completed arrangements today for Gary to star in my next picture, the story of Dr. Wassell. You may remember Dr. Wassell as the humble country doctor who was cited in a fireside chat by President Roosevelt for the evacuation of nine wounded American sailors from Java during the Jap invasion.  I'll tell you about another performance you can be proud of, Mr. DeMille. The way Lux soap helps to keep one's complexion just right. You know, I wouldn't be without it myself. I've used it for years. You're in good company, Mary. Lux soap is a good old American custom. Now, let me tell you about next week's play. I think I've heard something about that at home. I imagine. It's a drama with a thriller minute. The Paramount screen hit, This Gun for Hire.  When I tell you that our stars will be Joan Blondell, Alan Ladd, and Laird Krieger. This... This Gun for Hire is the story of a gangster and the girl he holds as a hostage when the law closes in. It's a picture that made Alan Ladd a star overnight. And next Monday night, he'll play this great part for us with Joan Blondell as the girl. Alan Ladd and Laird Krieger are really fine performers, C.B. Richard, just wait until you get home. Oh, yes, yes, yes. I like Joan Blondell, too. Yeah, well enough to marry her. Good night. Good night. We'll have a non-sour from you two. Our sponsors, the makers of Lux Toilets Oaks, join me in inviting you to be with us again next Monday night. When the Lux Radio Theatre presents Alan Ladd, Joan Blondell, and Laird Krieger in This Gun for Hire. This is Cecil B. DeMille saying good night to you from Hollywood.  Our music was directed by Louis Silver. And this is your announcer, John M. Kennedy, reminding you to tune in next Monday night to hear Joan Blondell, Alan Ladd, and Laird Krieger in This Gun for Hire. You wouldn't know my husband now. That's what Mrs. L.T. of New Jersey writes. My husband was always tired and low in resistance. He wasn't getting enough vitamins and minerals. So he started taking vins. And now he's like a different man. If you are vitamin deficient, guess that VIMS feeling. VIMS, the new vitamin mineral tablet, give you the sixth vitamin formula doctors endorse. Three important minerals also. Remember, VI for vitamin, double MS for minerals. VIMS. This is the Columbia Broadcasting System.


Well, uh, the questions are getting lined up over there. Let's open up the vaults. Yeah, so first top secret is the... What is it? It's the Cutie Pico. No, it's the Cutie Pie, RP2040. Boy, it was like... I couldn't fit this in single-sided, of course. It's just, there's no way to fit it, but I did fit it in a double-sided board. The RP2040 in flash and crystal on the bottom, and on the top, USBC. Two buttons, because it needs one for bootloading and one for resetting. Stem EQT connector and all the pads you expect. It's cast-related, even though I don't know how much sense that makes, but I wanted to stay consistent.  The cast-alitions don't show up in this rendering, but I think that could be cool. One thing I did is the Stem EQT connector is a separate I-squared C-port than the one that's broken out. So you actually get 10 pins, 12 pins, not 10. So bonus two pins. All right, next up. Next up, this is just a weird idea.  It's kind of the same size as the Zero. And I'm like, well, what happens if I just put the Pico on a Zero? Right? So it can like maybe use shields and like, or it could use Raspberry Pi bonnets and hats and stuff. So I kind of routed all the pins around. And like, I think it might work. Just not a lot of space left over and I had to get rid of one mounting hole.  And I thought it'd be cool to try to do selective, or sorry, selective surface belt soldering because it comes cast-related. All right. And then this was a bonus. Yeah, this was the Pico Zero schematic. And then this was something else you were working on. No. So those two things, this and the previous thing, that's the Feather RP2040. So people were like, they wanted to get started with this chip. And I'm like, well, I don't have one. So I said, hey, here's a design that I know works. It's the Feather. This is another revision B. It's all tested. And is this the schematic that you released with that? Oh, no, sorry, that is the zero. Yeah. I can barely see this one. No, I know. I put this and this in the same folder. And then this is the latest option. Sorry. You know what? All the schematics look the same now. So sorry, this is the Feather. So the Feather we're going to release, but I also published the board files and schematic up on GitHub. Just search for RP2040 and our GitHub repo. And you can make the Feather if you want. You can get chips. But I thought this would be a good work point for people making their own designs. You can import this into CAD-CAD. You can use an Eagle CAD as is. Take away everything you don't want. Keep the basics and then design your own board off of it. All right. And that's top secret. Back in the vault with you.


the water budget works is CWD sets their retail rate I'm sorry their wholesale rate and as a consumer of theirs we buy their water then go through our budget process and any additions or subtractions we want to make to the budget result in the proposed retail rate increase so as Jesse noted it's roughly $17 to the typical homeowner in terms of normal consumption which I think I see that as a good note it is evident 10 million plus of utilities were only increasing by $16 for the average property owner absolutely alright any other questions for two quick questions for you just to fresh off the LDR discussion you said we have 90 miles of roads that you need to maintain how many of those roads how much of that is paved and how much is gravel the only gravel we have is down behind National Guard Avenue down behind the airport and there's a couple of I'll air quote the word roads in Queen City Park that are more like kind of driveways that are of questionable surface material I wouldn't call them paved and I wouldn't call them gravel and then down off Bartlett Bay there's a little 100 foot section of something 90 miles 100 feet probably 89 and a half of those are paved the second question is capacity living in a rural area I know dirt roads and I also know capacity placed on stormwater and sewer what is our limits from the hydraulic standpoint no from accepting more wastewater Paul Connor and I have taken various you know looks at this over the years to support Planning Commission you know growth related discussions and depending upon what metric you choose to use they all point to somewhere between 25 and 50 years of existing wastewater capacity and the metrics you could use are use hysteria as your factor so use your historical growth rate in houses for example or use your historical growth rate in your wastewater throughput or use projected you know so there's four or five different modifiers that we have looked at over the years from the wastewater standpoint and they all point to again a couple to a few dozen plus years of the current airport parkway and Bartlett Bay wastewater plant again those are simply assets that the airport parkway plant as I mentioned in 2012 was upgraded that means that about 2035 it will need another age-related upgrade wastewater plants are very harsh environments the light fixtures the chairs they don't last as long so every 20 plus years you're doing an age-related upgrade at that point you're spending 15-20 million dollars adding hydraulic capacity on top of that is maybe a few more million it's kind of the tail of the dog so if the city found itself in 2035 or the next round in 2055 if they needed a hydraulic capacity upgrade you're already in for a penny with your age-related upgrade you could spend another 15% and build into a hydraulic additional hydraulic capacity so I don't see sewer both as we currently exist or as it could be funded as a limiting factor and I'm glad Joe's here from the water standpoint when I'll get the numbers wrong Joe so help me out here but when IBM was in full swing CWD was pumping out 12 and a half 13 million gallons of water a day they're maybe now doing I don't know 9 or 10 million gallons so CWD certainly has a wholesale capacity to provide us or anyone else in the county with whatever growth we would anticipate and I'm sure they've made other system-wide improvements that would say that whatever that 13 was they can now do X more and I see Joe has turned his camera on if we want to turn to him quickly for that question Joe we're your voices all contorted you sound like a little toy a wind-up toy no that's no better write it down and put it up Joe maybe type into the chat box can I ask you a question while he types in the chat box just to clarify what you were saying earlier Justin you said upgrades need to happen in 2035 give or take what you're saying is that at the growth that South Braille Engineering is experiencing now at the current rate of growth we wouldn't have to do anything prior to 2035 not based on any of the work that Paul Conner and I have done over the years and even if we did we're already spending 20 million dollars you would spend 23 if you wanted to add another 300,000 gallons of hydraulic capacity as an example so when is our next upgrade so they roughly they roughly occur every 20 to 30 years unless you are up against 80% of your design capacity in which the state requires you to initiate the upgrade process but so again that's 2035, 2040 will probably be the next time our parkway gets a substantial investment Bartlett Bay is much sooner than that Bartlett Bay which was last upgraded in 1999 somewhere in about at about 2025, 2026 will receive its next age related upgrade that's the 20 million dollars you're talking about correct so if that needed to have greater hydraulics yep we've already we have provisions for that and keep in mind the Bartlett Bay serves a different part of town a lot of the LDR related discussions are served by the airport parkway plant not the Bartlett Bay plant which predominantly serves Route 7 and below Spear Street right but that's in that dense core where people are also talking about you know four and five story apartment buildings that the state requires you when your initiated upgrade the state requires you to do a build out analysis per year zoning regulation so our design team worked with Paul Conner and said under current zoning what's the maximum amount of units that could be built in the next 20 years and then we plug that number in and we see do we or do we not need and our analysis shows a Bartlett Bay we do not need more hydraulic capacity however we may very well choose to add some just because we're already spending all that money you don't want to do it off cycle it's best to do it with an upgrade so Joe was saying we have 20 mgd plant capacity I'm assuming that's million gallons per day yep look at that with 9.5 mgd current usage south brellington would want to keep track of local tank storage which would be the limiting factor in the future especially the high one and we've done we've done the same exact thing with a dorset tank and we've determined that through similar growth it's kind of the same numbers 20 plus years of capacity in the existing dorset tank the Shelburne road quarter could see some more compact urban housing development over the next 10 years I mean the Farrell project didn't launch next to the Joe Larkins replacement of the Larkin apartments right where the palace nine is that was supposed to be a four or five story apartment building block that you know was behind those two columns that goes down to the lake where his cousin or whatever a family and relation lives on the and then you have the Bartlett Brook apartments I think it is that that's within the last five years right that was a large block as well so there is there is areas there are areas that could be redeveloped were developed from scratch that would then send more load to Bartlett but that's the next one to get updated so the timing on that is probably ideal alright any other questions Tom no alright well thank you very much and again good luck enjoy your next um challenge I guess thank you sometimes it's a challenge just not working for a while for some I'm looking forward to that challenge okay well yeah thank you Dustin thanks Tom thank you very much great next Ana is here her presentation was not included in your packet for today but is on the website so if you want to look at it and zoom in just go to the website you can see it there I can't get to the website on this thing because I have to finish you hold on Sakurana well just follow along it's okay I don't need to it's going to be on the screen I don't need to see it so your voice is a little garbled maybe it's maybe it's our um is that better yes okay so just switching microphones um so good evening for the record a lot of landscape community development director um and I'm pleased to be presenting the budget for community development for the city and it's not advancing hang on one sec see okay super slow there we go alright community development is one FDE that's me um and tonight I'll be presenting on the city center community development as well as some general fund items um talking about some emerging issues um and giving you a little bit of a fly 2022 spotlight I think you're probably all up to speed on all of the issues related um to community development so uh so in terms of uh FY23 um for city center all of the expenditures in FY23 focus on pre-construction so bringing um a series of projects towards construction that are within the city center to district um these projects are all mainly focused around trans transportation so getting people between places um generally alternative um bike pedestrian infrastructure in terms of garden street additional roadway infrastructure um even the park project is actually um a bicycle pedestrian connection between the park it really connects the city center with um neighborhoods to the south um and the school um various school facilities um so the other major um city center activity for FY23 will be boat preparation and um just getting projects to the point where we understand what they will cost um and then um as a council you'll need to decide um which ones are are um to bring forward either in November or March or November and March of next year and that's really those that will be our last scheduled boats um that will uh put the approval for these projects um in a good timeline to incur debt prior to the um end of the term during which the city can incur debt for the city center to district um so those will be that'll be um a big big effort next year. In terms of expenditures and it looks I'm not sure but it looks like um some of this might be falling off the screen uh but revenues are primarily to financing highway impact fees and then a small portion will be grant funded um that's primarily Willister Road streetscape and the I-89 pedestrian bicycle bridge and then in terms of expenses as I said earlier um most of it will be on engineering and design and then I'm sorry I'm most of it will be on construction um with a small portion or a smaller portion on engineering design um although a lot of the effort um from the city side will be on the engineering and design and bringing projects forward to construction . And so as you can see um distributed between projects garden street um we're going to work very hard to bring that one to construction um and then Williston Road east west crossing and city center park connection um will be bringing them up at least to a level to where they can go to vote and get funded um if not pass that towards um ready to construction and to go out to bid excuse me do all of these need to have um a bonding vote so garden street is halfway approved um uh at the voter level um to be uh bonded uh so that would the southern section and the connector section of garden street and then the intersection at white street and Midas um and then the state still needs to get voted on Williston Road streets we have federal funding but we'll still need a vote for tip district funding um similarly um the east west crossing and the city center park connection okay thank you but we yeah you're welcome we a lot of correct me if I'm wrong but we we could bundle those votes it could be one vote on correct that's right yeah I assumed it was I just needed to be reminded of how yes it's it's it'll be it'll I think part of it is for some of these we don't really know how much they'll cost so once we get an opinion once we um advancing generation sufficiently to receive an opinion of cost um that will make them uh much better candidates to discuss with the voters um and the council obviously um and um and to bring those questions forward so um in terms of debt management which is the other side of the city center expenditures um we this FY23 budget includes a general fund transfer to the CIP reserve of 860 thousand dollars that's the same it's keeps it level as to what it's been and what it had been built up to um and then our debt service um is 990 thousand um that is for the only debt that that is is servicing at the moment is 180 market street um and in the future there'll be a small portion of ballaston road streets gate that we anticipate would need to be funded um with this reserve fund as well um and then um we've received or we will be receiving um 471 315 dollars in tiff district increment estimated um and then um uh that will be servicing um 344 thousand in um tiff district fund debt service um and then a part of that will go back sort of backfill on expenses that we have uh paid for debt service from prior years um and which also happened this year so this year we had a surplus and that went back to prior years um and I believe next year we will be accumulating a small amount uh so then um sorry yes I don't know who's controlling this alana can you go back one yes this makes sense to you guys because this took me alana had to walk me through this probably four times before this concept made sense to me of what the city debt services versus the tiff district debt service do you understand why we do we want to spend a minute on that or not really well we sure sir go ahead do the that you did with um jesse that's what I understand so add that up and you add it to the 860 and that more than covers the 990 right right so the so um over eight years the city has been contributing to a city share of cost scip reserve fund um initially we knew that we would need funding um to match the grant revenues for market street and so that fund was established and then as the tip district was approved um the fund was expanded to be to um to match the tip district um financing where tip district financing didn't cover 100% of the cost so for example um 180 market street only 30% of some parts of the building and 10% of city hall is covered by tissue financing so the rest of it is funded through a bond bond proceeds and the reserve fund over years has been built up so that those um the bond debt service is funded through the reserve fund and this is separate and kept separate from the tip district um financing so everything that's coded is coded either the city side or the tip district financing side um and so reserve funds only fund debt service um for funds that are used to to pay for things that the city share needs to pay for and then tip increment only services debt for tip district financing proceeds so if it's a tip district bond those proceeds are paid for the tip side of cost and then tip increment can only pay off the debt related to um the tip district bond from which those proceeds came if that makes sense so both of these these are both special funds um they're both special revenue funds uh and so over time um the revenue coming in is different from the revenue um I'm sorry the revenue that's coming in is different from the expenditure um and so what that does is it helps to keep the tax rate steady in terms of the city share of cost and it also on the tip district cost it helps um it ensures that even though we start out um receiving very little increment over time because it's a special fund um when we have the tip increment we're able to pay for expenses debt service essentially that happened in prior years so we're not um we're not um the tip increment over time um at the end of the time life of the tip district will be matching up you know this is how much increment we needed to service the debt this is how much increment we have um and it's not accounted for on a yearly basis but over the life of the tip district so smooth it out and summary point I guess for me is the this combination of city project and TIF project in the same building area was a very ingenious way to build our TIF district it makes our TIF district much healthier over the life of the TIF and as the TIF expires um so it's I guess in summary very good makes us very fiscally healthy as a TIF district thanks Alana thank you uh so in terms of the general fund um the recreation center is on the general fund side uh and the um if you look at the capital improvement program or if you've had a chance to look at it um there is one page that's dedicated to the recreation center and so what it does is it preserve the flexibility to either move forward with the existing site uh with the um with uh veterans memorial park um to take that to a vote and to develop the construction documents uh and that would be funded through through future debt proceeds um or to explore a new site and so that's a conversation that um still to be had and so the budget um sort of preserves that that option one thing that it does that's new is it sets aside $75,000 um into a reserve fund similar to what um what has been happening with city center so that that those funds build up over time so that the first few years of debt payments are not as high as they would be otherwise um and if you're haven't ever taken out bonds from the bond bank um a good thing to know is that you you repay the bond bank in even principal payments generally we have some more flexibility with the tips and strike but generally because the principal payments are even unlike a mortgage um your first payment that you pay back is always the highest and then decreases over time so by establishing reserve fund we're able to sort of shave down those earlier years by putting money in the in the reserve fund earlier in anticipation of um future debt payments those first payments are not as painful in terms of the tax rate so is the anticipation that will um continue on an annual basis to put $75,000 in this fund uh the the yeah so the reserve fund would still need to be established by the council uh so it doesn't actually exist yet um but the reserve fund uh would need to have a higher um a higher a higher annual contribution the idea is that it would similarly to um to 180 market street is that it would build up to top up over time okay and I believe it was up to I'm not sure with the new the new the amount of funds that the ascent now um I'm not sure what it is today because I believe when we did that calculation I can't remember if we had the new the new I think it it came out about to Jesse I'm not sure if you remember two and five eighth cents I believe is what we built it up to the so maybe it was with the new rate it probably was with the new assessment I apologize I could pull it up I could have it up on this um I'm sorry that's fine we haven't even established this reserve fund and voted on this so I don't expect you to have all the answers okay at this point so and then very small items um continuing the public art gallery which is at 180 market street there's the small honorarium that is continued in the budget for the curator and then the the citywide art initiative which is initiative that's been funded in the CIP but the public art committee has not had an opportunity to act on and will be this year putting out a call to artists for a piece of art that's not related to a city center project so everything they have worked with the council to commission to date has been related to a city center project and so and so this allows them to work for work towards art being located either in parks or in other public areas public buildings throughout the city other public spaces and then and that's been funded at a $5,000 level for next year so emerging issues are things to think about for next year not in the budget necessarily one of which would be ARPA funding so there's ARPA funds that are unallocated and some discussions around what might be potential projects so one thing that the Economic Development Committee has been discussing a lot has been data and resources and information and I think you've been discussing that a lot tonight how much does development cost and what types of development what does development bring to the community and one of some analysis that the city has talked about in the past and especially as we move towards updating the comprehensive plan is a Minnecozy style analysis of land and development to understand on a square foot basis or per acre basis how much different types of development cost the city in terms of roads water sewer other types of infrastructure versus how much they cost so things like that or even just building up the types of information that we have available for businesses that might be looking to locate or expand in South Burlington other ideas might be small business public realm support expanding grants or creating grants for businesses to improve signage outdoor seating outdoor seating or create outdoor seating and then the public art committee has expressed an interest in and this is something they're undertaking this year beginning is to inventory public arts resources and towards it with an eye towards building a cultural plan to understand how to foster develop and support arts in South Burlington you know what type of what type of an interest does this community have in arts is it production performing consuming all three so there's a lot of there's a lot we know that there's a lot of resources but the committee doesn't know you know what their needs are or and is sure there are other resources that we're completely unaware of and then we know that arts are an industry that was hit by COVID especially performing arts so that could be an area to look at small business support as well and then you know perennially we're always watching to see what the legislature does with TIF we know it has fans and it also has people who are not a huge fan of TIF and there's always room for improvement so TIF is so complicated and every town has different needs so we just need to watch and make sure that as the legislation and the rules evolve they continue to protect the way that our TIF has been growing developing so believe oh and then what happened I think you're all aware but you know it's nice to say my baby opened we received a raised grant this year and that actually I was just looking at the capital improvement program it doesn't really reflect it but it actually has a number lower than our estimate that we put into the grant so it's still in the ballpark and we also received a 30,000 ACCD marketing and tourism grant which is much less significant but in terms of moving our downtown towards what people have talked about for years and years is pretty significant so thank you I can see you in the picture I see Alana in the picture of all the people behind I see Helen I see me that was my anniversary thank you very much for coming I was having a family reunion so you know all worked out any questions for Alana Alana how are we spending the 30,000 on marketing and tourism how is that going to be spent so I'm meeting with Holly tomorrow to find out but our estimate is that from talking to different professionals that work I'm going to close this from talking to different professionals that work in the festival arena we think that it's going to cost more than that so I think we had discussed using ARPA funds to match that and then we'll probably be raising some money but mainly we'd like to use it in three main areas judging from our grant application and that would be infrastructure when I say infrastructure I mean stuff that we'll own like lights and then rental of other equipment like tents for example and then marketing and some support in order to sort of assemble everything so that is a holiday event a holiday market fest on Market Street okay any other questions Tom nope you know Burlington had an outdoor Christmas market at their new park during the shopping season I think it was pretty successful it was like an outdoor craft fair a little not tents but some sort of structures that people were selling was that down on Pine Street no it was right back in the BCA building at the park and it was busy there were a lot of people just feasting on this stuff jewelry you know crafts things like that so could I thank you Alana make one kind of broader budget comment so you've heard now presentations from all the staff for whom you will be hearing presentations we'll have our public hearing at the next meeting this will be your budget once it's voted so if there are things that council would like us to think about adding or adjusting any line items you want us to think about it would be helpful if you could shoot us emails about that in advance so we can bring you final numbers that could reflect that we can give you some options it would just limit our scary potential of having to do math on the fly so if you have ideas that you would like us to discuss you can of course still discuss them on January 10th and approve the budget on the 18th that's just fine but wanted to put that out there if there are things you want to see adjusted does the ARPA discussion have to occur before we finalize our budget or is that sort of another budgeting process that doesn't go to the voters so if you approve the budget as presented you will be allocating some ARPA dollars to those things but anything not specifically called out and included in that budget will be a different process about longer term ARPA funding I would suggest and Andrew is leading this up but that happened pretty closely following the budget process especially about affordable housing because we'll need a pretty long run away to get some of those projects underway anticipate second meeting in February pardon me? second meeting in February is the current thought to have that kind of kick off that discussion alright great Tom so the one thing that's on my mind and I'm not looking for a response tonight but for the January 10th meeting the remarks made by Dono's title but firefighter Natilio regarding the additional position they were calling for some of the morale concerns I'd like to better understand where the administration is on that and if that will be factored into an option for the budget and what that position would how it might lighten the load on our overtaxed emergency response professionals I know I have raised the issue of money for climate change activities I mean we don't know what they are the committee is meeting but um we're supposed to have a report you know by June and then we start the next fiscal year and if there's no money set aside to do anything then it's a report that sits on the shelf for a year because there's no funding unless there's grants I mean I guess you can always go after some grants but make us to think about that or consider even if it's a small amount of money okay anyone else okay thank you thank you so there's Megan okay so we're moving on to item 11 this is the town meeting TV's annual presentation and Megan O'Rourke is the channel director of channel 17 can you hear me yeah great I'm a little horse tonight well I'm a human but I'm a little voice little horse hopefully I'm coming across loud enough thank you all for agreeing to put me on the agenda today my name is Megan O'Rourke and I am the channel director at town meeting television we are here you have a memo I think it's probably an eight page memo that was put before you that is our FY21 report that's what we did in FY21 with the funds that we shepherd our FY22 budget and our FY23 request I just lay that out because there's a lot of different FYs in this report so we're here to ask for the municipal support the 21,000 that we have been asking from South Burlington over the last few years as you all know the majority of the work that town meeting TV does is funded by cable subscribers and we leverage those dollars to provide municipal coverage to the city and to the city and to the city and to the town meetings live streaming media education community outreach online distribution and archiving those cable dollars are going down and we have been working under the umbrella of CCTV to find different ways to continue to fund and add their contribution and that municipal contribution covers general operating you'll see also that we were asked to put forth an estimate for adding coverage and we can discuss that it's for you all to discuss but this is on page two this additional estimate for planning commission coverage that is a round figure around $15,900 to cover those additional meetings I think some highlights on the report of course are coming back and working with your team South Burlington is a unique thing for our team we couldn't do it without Butterfield Travis Washington the folks who are on our team who have worked with your people to learn the system there and make it work so that we can continue to live stream archive your meetings so that that returning from the remote world and then being able to balance all of these changes is a big highlight for us as well we are working with the legislature to ask for funds with the Vermont access network and I think at the very bottom you'll see that that is a request that you may begin to hear about in this upcoming session a $900,000 request to be distributed to the 25 access centers around the state as a way of supporting this essential work that we all do with our municipal partners and our community partners and so I'll leave it there I'll try to keep it short because I know that you have had a long night budget presentations I did get to watch Justin present and Lana present and hopefully this is much less complicated but I am open to any questions that you have so are there any questions Tom has raised oh Tom has raised his hand okay can you hear me Megan again thank you two questions I'll call them together please to answer them or not the first one is I fully support what you all do so I completely support your ask from the city of South Burlington but as I look at the chart and municipal contributions that proportionally population wise everybody is paying their fair share but for our lovely friends in the city of Burlington so to me why are they only paying 25-2 when we are paying 21 when I look at the population weight of Essex, Essex Junction, Williston and Wienewski those all seem proportionally based whereas Burlington seems under assessed or under contributing I understand the funding has been going down because people have been cutting the cords and that Comcast or previously Adelphia used to pay a lot more because they had a fee of the services I know this is a national question but I know I've had some conversations and as wearing my state's legislative pat I'd like to see the content deliverers of our infrastructure our coaxial cables our fiber optics throughout the Netflix, the Disney Pluses, the HBOs they should be contributing to these local access channels I know that's something that I'm willing to put my state legislative cap behind but if you have any thoughts on federal legislation what might be happening at a national level to get those content providers to be able to fund these local services that you shepherd and steward so well two questions feel free to answer one or neither so the first one is a little easy for me Burlington actually does pay more on the municipal chart you're just going to see their municipal contribution but they actually pay two extra bills for various coverage similar to what I'm asking here so there's two parts of that Burlington does pay more two and I think we've had this conversation as well with Winooski and Jesse Baker is familiar with this conversation the way that the cable subscriber money has been divvied up by the trustees is based on subscriber counts not population counts so it's not the population of the city that we divvy up this money on it's the population of subscribers in those communities so it gets a little wonky that's why you'll see Burlington has six meetings so Burlington has five all the other municipalities at one point the trustees said the baseline coverage is three meetings per community regardless of how many cable subscribers so for example Winooski only has you know X number of cable subscribers they're going to get three meetings regardless of the cable subscribers in Williston or Essex Junction who also get three meetings so this is a formula that goes back goes back a ways and is related again to that cable subscriber dollar similar on the federal legislation and I'm not going to go into this in great detail because this is not my wheelhouse but what I would love to do is pair you up with somebody from the Vermont Access Network Thomas and have you discuss with them why and why we cannot look at levying taxes or fees on streaming services it's been tried in various municipalities there are places that are doing it on a local level so without a big change in the FCC that's not something we're going to hit our star to at this point it makes it sounds like and it makes a lot of sense but I would be happy to pair you up you know Lauren Glenn Davidian is leading the charge as CCTV's executive director in a lot of that policy work so you're on the right yeah you got it thanks correct yeah and that was you know this year there was the 10 year telecommunications plan that the state undertook and you know speaks favorably of the work of peg access but doesn't yet put forth a plan for how to fund that and that's why we're you know we're looking at this first $900,000 support and then you're absolutely right we need to continue to figure out how to fund this in an equitable way yeah and I'll just say there are different ways that communities have cut this you know there's Burlington lots of a set fee and says here's the money and you're going to plan to do this many and that's the money that we get to be able to have to pay staff to be able to do that or there's the option of billing on a per meeting basis which some communities opt to do is they're going to add one or two meetings in a year at Jesse Baker you may be for really worth that when you ski you know we would like another you know we'd like three more meetings and then we bill on a per meeting basis we prefer to do it this way so that we can hire folks I mean as you know having folks who can understand your system come in work it work with you stream it is that's that's what we're doing at this point with self Burlington so we prefer to we prefer to have the set amount and make sure that we're getting you the coverage that you need that it's to really I don't know I think you said you didn't want a discussion tonight but you're open to just hearing sentiment I will say in my years on this council I fully support us starting to take record and broadcast the planning commission meeting if the Essex council is going to have a meeting that's going to be the second largest city in the great state of Vermont and the people care about our planning decisions and I think we need to get the public access to it so I as one counselor on this body fully support us finding the money to have those meetings broadcasted and covered by CCTV no it's it's that the 21 the 21,000 that we're asking for that municipal support is general operating support we think of it as it's operating revenue towards streaming airing marketing distribution and archiving of content it as I said 86% of town meeting TVs budget is cable revenue that goes towards some of that goes towards municipal meeting coverage so it's these when they're sort of these baskets or apples and oranges when we unit cost so what it takes to run a meeting is about $665 per meeting from soup to nuts specifically the cable subscribers I would say not Comcast but yes correct right and thank you all and thank you all for your patience if the agreement some might be more philosophical nature that we might have a broader discussion on that might be rejected I have a basket over here in that category and a basket over here in this category and I can present it as a package or as a line item I could do it whatever day you want well I think we we're not going to get everything done next Monday on the LDR but it would be a start for maybe it's the larger issues and the technical ones I mean we have to go through all of it I suppose so we're not we as staff are not asking you to draft zoning language I think what would be helpful is if you had in either of those buckets if you had things that you would like to bring to the council and get some head nods of yes we'd like to see technical language on these things then we can go back and provide that draft we don't I mean if you have written things math that you would like to propose absolutely but we're not expecting you necessarily to craft your own zoning rights so either buckets would love the ideas and then if the council says yes this idea is a good one then we'll move forward and draft it that makes sense yeah just I think that will move the conversation along so and if you have the buckets filled already it would be good to have it in the you know sent in the packet so what's the what's the deadline on that one Thursday tomorrow well you said you had them all well I got them all up here I know the end of the day on Thursday and you know if there's some other ones that's fun some will come up some will come up just from thinking about what we heard right and reading through some of the stuff I'm curious to get some of the reports people okay great so that's just you got that Tom I don't know if you have any thoughts I mean I know you have thoughts but or you shared some of them alright so there's no other business motion to adjourn so moved second all in favor okay so next Monday at 6 30 right yeah is that right 6 30 okay 50% chance thank you all