and CEO, Mario Garcia Durham. Good morning, everyone. And welcome to this special moment when we come together a bit so that we can look at what we've accomplished over the past four days and to bid each other a successful new year ahead. Once again, I want to thank all of our terrific sponsors, as I told one of them this morning. We at APEP don't take one thing for granted, so we're deeply appreciative. I want to thank our more than 100 volunteers. Can I have applause for them? These are all students. They're fantastic. They are real. You know, I used to have worries about the next generation of administrators and arts leaders. I know more worries. They are fantastic. I also want to thank the production crew behind the scene. You may think that all of these guys come in. Just drop it. These guys have been with us for at least two years, and they're a great production crew. Can you give a round of applause for them? So I also want to thank, again, the superb leadership and guidance we received from the 2015 conference committee led by Rachel Cohen, Kathy Edwards, and Daniel Bernard Romain. Can we have applause for them? And if any of the members of the, you know, we have a larger body of the conference committee that guides us through the year. If any of the members of the conference committee are here, other members, can you please stand? Let's see. Very good. All right. Well, let's pretend there's one. Alicia Adams. Let's get her to the other.  All right. And now I want to thank and acknowledge this. I'm so blessed. This team, I have to yell at them to come be acknowledged.  The APEP team, you all know the difficulties you've had making this wonderful conference come together. They have been saints. They have been so hardworking. Words can't express. I hope you're feeling my gratitude.  They don't want to stand, but I'm making them stand. So I wanted to mention Rebecca Celesta, please stand. Emily Travis, please stand. Hold your applause. I know. Send out happy, happy thoughts at each name. Kalen Saylor, please stand. Margaret Stevens, please stand. Melinda Lambert, please stand. Scott Stoner, please stand. Gil Gonzalez, I hope you made it in the room. Jenny Thomas, Sue Noseworthy, Laura Benson, Judy Moore, Megan Redman, Mallory Baum, Mia DiStefano, and Nicola Turner. These are the all-star saints that made all of this happen for you. And since this is a time of acknowledgment, I also wanted to thank some other folks that come and help us and assist with us. Katie and Caitlyn, Jeremy Dunn, Adam and Christy Kisick, the photographers, Nancy Rutherford, who was sitting up in the front, the entire conference helping out members of the info. Carol Miller, our wonderful press and publicity person. Suzanne Roach, who comes and helps us each year in our headquarters. Alicia Anstead, wonderful editor of Inside Arts, an all-around huge supporter. This is something you don't hear of. Phil and Diane, can you please stand? The reason our staff is applauding is because when our websites went completely down, we called in Phil Seaman, who is a savior extraordinaire, and he came in and brought everything up and with joy and happiness and humor and no issues. And his lovely wife, Diane, comes and volunteers at the conference every year. So please give them a round of applause. And then finally, Craig, are you in the room? Craig? Craig? OK, so as you all know, this is my other much, much, much, much better half, Craig, who is here as a volunteer, kind of forced volunteer here. And anyway, he's the one that I go home to. And when I'm like, oh my god, what do I do? And he's like, get back to work. So anyway, thank you, Craig. Thank you so much. Pardon me? Yes, I would like for you to please give a round of applause. Thank you, Baraka. Thank you so much. And do we have both of them here today? No. So please give a round of applause to our wonderful, anyone else? You always say, who do we forget? Are we anyone else? All right, let me know if there's anyone else out here to acknowledge. Thank you, I love acknowledging. All right, so let me turn my page here. So at this time, it is my great honor and privilege to introduce our keynote speaker. Angelique Quijote's music is rooted in both traditional and contemporary music of Benin. It is her inquisitiveness and love for other genres of music that have led her to international fame. She sings in four languages, and having met her and spoken with her on the phone, she probably speaks a dozen. She has achieved success as a solo musician in her early career, but her career really took off when she joined the European Jazz Funk African Fusion Band, Peely Peely, as a lead singer in the mid-1980s. She has since garnered much well-deserved recognition and has a large devoted community of international fans. She has worked with many of the world's finest musicians, including Joss Stone, Peter Gabriel, and Ziggy Marley. But, and another reason we invited her here, she's not just a performer. She is a committed hero to humanitarian work and aid. In 2002, Angelique Quijote was appointed as Goodwill Ambassador by UNICEF and used her voice and her influence to reach people worldwide to discuss some of the major issues affecting the people of Africa, including the spread of HIV-AIDS, poverty and hunger, and conflict and war in such difficult spots as Darfur. Ms. Quijote has started her own foundation, the Batonga Foundation, to help and support education for young girls in Africa. So again, I am humbled to have the opportunity to introduce such an incredible person and artist. Please welcome Angelique Quijote. Hello, thank you. Happy New Year to everybody. 2015 started like 10 days ago. Well, it's going fast. And the song I just sang is a welcoming song. I want to welcome and thank everybody here for coming today to listen to what I have to say and for what you do. Because as an artist, we need each other, right? That's how it works.  I am the person I am today because my parents were exceptional.  And you don't want to hear any of it. My mom and dad used to say that I start singing before I start speaking. And as long as I can recall, I always was surrounded with music. My mom in the late in the 60s, before I was born, had a theater group. She has passion for theater. And she decided that she's going to have a theater group. And she's going to write the piece, do the costume, do the lightning, everything. She was just in my extra on every kind of way. So when I was six years old, a young girl in the theater group that used to sing one song at the middle of it was sick. So my mom said to me, OK, you're always telling me, when am I going to sing? When am I going to go on stage? Now it's your turn. I'm not going.  She dragged me up from under the costumes, put the coat on me, and I said, Mom, what are you doing? She said, you're going on stage? I said, no, I'm not. She said, yes, you're going. No, I'm not. And then she shoveled me on that stage. And the reaction of the public was exactly like that, because I arrived completely in panic, total panic. There's no light in the room, only one spotlight. And I was in the middle of that spotlight, couldn't see anybody. I'm like, well, nobody's seeing me. They're having fun. So I started singing. And at six years old, I sang this song. And I rushed out of the stage as soon as I was done. My mom was on the wing of the stage, looking at me like that.  She just did this. I'm like, do you like it? She said, have a show to run. We talk later. And later on, she told me that I did great. So that was the beginning. And then I think I get hooked on that point to the music. And I will continue doing music till today. The role of music in my life is something that started with the storytelling of my culture. To know who I am, I ask questions. I relentlessly go back to the elderly people, asking them, why this? Why not that? In our African societies, music is a daily life thing. It's the only thing really that bonds people together. Distances don't mean anything anymore. People will come miles away to come and spend that moment. Because that's the moment where we recall. That's the moment where we get together and we ask, how are we doing before cellular phone comes in? That's a discussion we're going to have later on. And being on stage to sing a traditional song for me was not performing. It was just doing what I love to do, what everybody do. And I moved to Europe. And I start hearing the concept of concert here. And people pay and come and listen to music. What? In Africa, nobody pays. Everybody come and sing and dance at the same time. So when I started basically doing that on stage, it was not really well perceived. When I was growing up in Africa, I was called prostitute among all the names.  But when teenagers kick in, everybody like, look at that one. I'm like, all right. But I keep on doing it and singing it. And I'm lucky again to say that my mom and dad, their love for music and art in general, have exposed me to the world. I discovered the world basically through music. And I discover also slavery through music. Because one day I saw my brother playing the guitar and trying to wear an Afro wig. He was born bald and he's still bald today. Never have any hair. So I went to him and I go, do you need to put the wig to play the guitar? And then he looked at me and said, I want to look like him. I said, by the way, who's that guy? He's African, right? It was Jimmy Hendricks with the huge Afro axis, whatever, with the snake on the back.  You're African, for real. And I went to my brother and I said, well, why is he singing in language I never heard before? My brother was tuning his guitar and said, are you going to stop one day asking questions? I'm like, if you answer me, let you play the guitar.  I was nine years old. I looked at him and said, what did you say? How can you be an African-American at the same time?  I said, what is a slave? What is a descendant? He's like, I'm playing my guitar, go ask your grandma. You tell me, go ask grandma, I go. So I rushed to my grandma, say, grandma, what is slave? What is descending? What is African-American? I start asking question and she goes, take a deep breath and give me a minute. I say, OK, so what it is. And she starts telling me the story of slavery. I'm like, up here is not working fine. Because I was raised in a household where my mom and dad always used to say to us, a human being is not a matter of color. You have to give every single human being on the planet the benefits of the doubt.  Because that has nothing to do with that. Our ultimate weapon is our brain. So here I am with the story of slavery told to me by my grandmother. I couldn't put it together. I'm like, ah, this is not true. Then I turned 15. And I saw one day we were smuggling to the Nigerian TV because we had TV way after Nigeria. So we have to go on top of the roof and try to somebody up there. No, left, no, right. No, no, no, no, just right there. Don't move. So we all would gather on TV and talk. So that day for the first time, I heard Winnie Mandela on TV talking about Nelson Mandela. So two things just collided in my life, I'm lying. I look around to my mom and dad and say, you guys have been lying to me all along. How can you tell me to give the benefits of the doubt? If I don't know what is going on, something happened to me, I won't be able to understand it. And I was so mad that day that my only reaction was to go through music. All the time, music is always the only thing that really grounded me and gave me the answers to questions or even to the unbearable thing that happens to us. And I wrote a song called, as an accord, which means the day will come. My first draft was hateful and I've never written anything like that ever again in my life. And I came out with the song and I started singing the song to my father. And my father said, well, I understand how you feel. I understand the anger. I understand everything you want to express. But not under my roof, no violence, no hate. I never taught you that. It's not going to work. As an artist, you have to be the person that builds bridges, that have the key that open doors that are closed to open the conversation and always reach out to people. Music has nothing to do with hate. It's as long as you don't understand that, you will not sing and you're not going to write a song. You have to go back and write this song. Put your fear and your anger into something positive. What do I tell you every day?  Use it. So I went back and we write the song. From the hateful song, kill everybody else that hated me, to the day will come when no one will hurt anyone that we all are going to realize that we are one human family. And that song is on my album, I, U, T, and Today. So if that song is also a reminder for me in the world we live in today, because we just judge too much, I left my country in 1983 because of the communist dictatorship. Suddenly the freedom of speech was gone. In the heartbeat, in 1972, the music we used to listen to on the radio was gone. No more Jim Hendrix, no more other Beatles, no more no music at all. But every morning is, and every day during the whole day you hear, ready for the revolution, the fight continues. And I'm like, what is going on here?   Once you lose it, you understand what I'm talking about because you don't even trust your father anymore.  You don't trust your brothers anymore. Everybody becomes suspicious. And I arrive in the West, in France, and then I have to find myself fighting critics that used to tell me that I'm not African enough, that my music is not African, like everything I grew up with, the music I've listened to, from Beethoven back all the way down to Jim Hendrix and the classical, and the traditional music in my country doesn't mean anything because I'm African, I am entitled to do a pure African music. I say, what is pure? Am I pure, what should I do when I'm pure music? I mean, traditional music, African traditional music is in your classical music. African music is in your rock and roll. African music is in your jazz.  Every breath you take, if you listen to music, you love music, you cannot deny that Africa is there rhythmically, melodically, in many different ways. So, I said to me, myself, what am I gonna do as an artist? My journey has been to build bridges. And I call myself a serial collaborator because the music that have been brought to me by all different artists, they don't speak my language, they didn't even know they were a little girl in Africa that loved James Brown. I used to tell my mother, when I grow up, I'm gonna be James Brown. And she goes, no, you won't. And I say, watch me, I will be James Brown. And then puberty kicking, I'm like, I guess you have a point, mom, can't be James Brown. But musically, I'm still, I think I'm a little bit of James Brown in me because the way I move and the way I do my things. So I did, in 1997, I decided after all that story that I told you before, I decided at that point in Benin, when I was growing up, that one day I'm gonna travel and follow the route of slavery through music. And I started a trilogy of album that started in 1998. I came to America to write with American writers. Then I went to Brazil and write with Brazilian. I went to Salvador de Bahia, I went to Rio, I went to Sao Paulo. I went to different part of Brazil. And then I went to the Caribbean. So I did a trilogy of album. The first one was called OREMI, was done in America. The second one was called Black Hover Soul. And the third one was called OYAYA because I needed to make that journey. And I realized during that trilogy that I can find my own roots back. Brazil is really vivid there. Here in New Orleans remind me smell-wise and rhythm-wise my country and my continent. And after that trilogy I decided that I'm gonna take a step back and go back to my country. And to bring traditional percussion player to America. And put them in a studio. And then we record around them. Tony Visconti was the producer of that album. When I told him about the idea, he was looking at me like, are you crazy? I've done this in the 60s. I don't know how I'm gonna do that. I say, you better make it happen. And I hate studio make it really comfortable for me. So we were an electric lady in New York and he put carpets everywhere and then we came in and then the Beninist percussion player brought so many range of percussion that he has never seen. So what is this? I said, don't talk, just listen. I said, how are we gonna write the music? I said, no, we in Africa, we don't read music. Not all of us. Most of the people don't read music. Just let us play. Just listen, please, give it a chance. And we start rehearsing and then I can see him transforming song after song. And we get to the studio. It was party time, basically. They would take this drum out and he would go, what is this one? This is the kalabash in the water. They'd do that. And it's just endless. My country is known for the rhythm. We have more drums than anywhere else I've known. I mean, the south is different, the center is different, the east is different. It just like crazy. So that's when I decided that I'm gonna bring all the artists to my world to see how they can relate to it. That's when I did the album Jinjin with Alicia Keys, Peter Gabriel, and Ziggy Morley. There's one rhythm from my family, from my village called Gu Bahon, and every time I try to put that rhythm in anything but reggae, never. So that's the roots of reggae. The only thing that worked in that rhythm of mine is to take the kalabash out and then I have my own funk. It works. That pattern, that kalabash is just like, hmm. But then people go, how are we gonna dance that? Don't worry about it, just move. Don't think about it. Don't think about the one, just get going. Just move along and then you're gonna be okay. So, for me, music is life. Music is about everything. And I put myself always in danger and challenging myself because I don't wanna be a boring artist. I don't wanna get bored. Music is too beautiful to get bored. So, I get into a new endeavor. We flip glass.  Here comes something that I didn't know. But I know because I already did the Ravel Bolero cover. But it's a piece written based on the language of my ancestor in Yoruba. And Philip transcribed it phonetically. Let me see if I remember the first prophet. He goes, hmm. That's just one part of it. It's 20 minute green light. I'm like, yeah, I'm gonna do it. Come on, bring it. Music is a language we all have to learn. And it makes you feel absolutely empowered. Music have brought me to travel around the world. And there's one thing that have failed is this global village we are trying to create. Music is more available today, more than ever. But instead of opening up the people's horizon, making them inclusive, all of us inclusive, everybody living their own bubble. Because with your cell phone, you can create your own world. And you can ostracize the music you never listen to because you don't want to. Or because you just think that this one is better for you. We are losing the perspective of the richness of music that is out there that we can grasp and listen to. And one of the things that really make me want to travel around the world to sing is to bring people to realize that their comfort zone have to be questioned all the time in order for them to be a citizen of the world. We cannot create a global village if culture is not global. That's where performing arts center coming togetherness. You have the power for your performing arts centers to create this global village on a scale of a performing arts center. Because with that come from all around the world, you allow them in that space to listen, to participate, to question themselves and to empower them. It takes both of us for this journey to be a pleasant one. Only through arts that we can show the politician that this global village can be a reality because we don't judge. Our agenda is clear. Bring people to realize who they are. Give them the strength and the power that they need to take lead in their own life. And for them to pass on that, that you have allowed them during the show to take with them and to go home. And I wanna thank you all for coming tonight and continue doing what you do because that's where the future lies in our hands of people that love arts in many different ways and in our courage in this really difficult time to continue doing it with our guts, our heart, with truth and light for every single human being that comes to any performing arts center not to feel at odd but feel at home. Thank you. Thank you very much. Thank you so much. Thank you. Thank you so much. Thank you, thank you. Thank you. Thank you so much. Thank you, thank you. First, there's not something more that I like to have conversations because I don't know it all. I don't have that pretension. I like questions and I like to move forward. I always think that tomorrow can be better than yesterday, that we have the power to transform our future. So the floor is open for questions. Please, don't feel shy, go ahead, shoot out. Good morning Angelique, thank you very much. You're welcome.  I thought everybody know that. But I'm wondering as an artist and an activist today whether you are able to speak us freely back home and whether there are times where you find yourself having to censor what you say. Well, I learned one thing when I come to America is you have to stand for something or you fall for everything. And I learned since I was a child through the empowerment of my parents that if you don't speak up, nobody listen. That the person that talks truth doesn't have friends. I'll give you an example. I was in Benin, I just came back Sunday just for the airport. And I visited a program of UNICEF called the School of Second Chances because a lot of kids drop out of school from 10 to 17. How do we get them back to the regular school or how do we give them a job for them to participate in the economy of the country? And that school is mixed. So I walk into the classroom out of the 23 kids with only six girls. So I turn around to the mayor and I say, how come we have so few girls? And he told me that it's very hard to enroll the girls because if the mother don't understand what we are trying to do they won't bring them in. And that also some of them are already married off. So I spoke to the children, I spoke to the girls and the boys in the classroom where I told them that when I was going to school in this country there were not such a thing as a second chance school. So we are realizing step by step in Africa that the regular school can be really a hostile environment for the kids that cannot follow. So we have to have an alternative. Now what I want to say to those boys and girls here is that they have the chance to take a lead in their own life. That I want them to help me stop child marriage. That child marriage is what in this class make the girls not be here. Those subjects are not easy to talk about, but I do. And I said that if the girls of this country or all over Africa don't go to school we cannot achieve democracy and no peace. And I turn around to the teacher and say, please don't get them pregnant. Because the problem also is in school because we're talking about teenagers. So as I was talking about child marriage there was a young girl in front and then I can see her body just sink into the chair and I realized that she is going through that hard time. And I looked at her and I said, if any one of you in this room is facing this situation, speak up. We're going to help. We're going to go sit and talk to your parent. Don't be alone. Don't think that talking about it, they are ashamed to talk about it. I say it's not your fault.  So this freedom of speech in Africa, I keep it. And I will tell you how it is and I don't care. Thanks for the question though. Hello Angelique. Hello Evalique. Thank you very much for being here and enriching our hearts. I just wanted to acknowledge, you spoke about the performing arts centers and of course how important they are but I want to acknowledge of course the agents, the managers and the presenters all over the world because they have a job so important for the togetherness of people and publics. Absolutely. I mean, it's true. Me, I'm a lucky artist, I have two managers, sorry. If somebody is jealous, that's your problem, deal with it. Because I'm special, I need two. You know what I mean? And they take great care of me and they are very complimentary and I just have a new agent too that we start working and the process of, I mean one of the things that I try to explain back home because when I was in Pini in the minister of culture called me because I received two awards from Africa, best female artists from West Africa and best performer, whatever it is from Africa. I don't, I've seen so many awards, sorry, but I cannot remember all of them. And the minister of culture is asking me to help build a place where we can do concert, what is called a performing arts center, a proper one, not the one where you hit the drum, it just goes everywhere, nothing happened. And I said to him, before you build a performing arts center don't we have to form people for management and agents? Because every time I come to play in Africa, it's just a headache. I mean my manager can tell you that. How many emails you send to people for them to understand what it means to have a stage plot? I even went there and played once and I have to bring all the music. I have to buy them and bring it. There are no drums, no amp. So we have so much to do before we build a place. The performing arts center is just the jewelry. But before the diamond is fine, you find it wrong. And to get there you need every different part of what it demands to be there. As an artist, my manager cannot be an agent. We need to rely on presenters and agents to be able to do our job properly. To also have good relationship with presenter and local promoters. Because I've seen the difference between a local promoter that cares and the one that don't care. The promoter that cares when you arrive, everything you ask for is there.  And you want to come back to those places. Because an artist, when we tour, there's a lot of stress. We are tired sometimes. And just the fact that you arrive at the performing arts center, the welcoming is amazing. Your dressing room is ready. The sound is great. Suddenly, all of those tiredness that you have goes away. Because you know you're going to have, you are in an environment where as an artist, you have to love and care for. And then you can give more than what you have. Every time my doctors always tell me, Angelique, give 75%. I say, I don't know how to do that. When I'm somewhere, I don't know how to do 75%. I don't even know how to do 100%. I can do 150% and 200%. That's it. Hi, Angelique. I'm from San Francisco.  You didn't mention your book. You're free to tell everybody about your fabulous book. But you know, the thing I most, one of the major things I'm struck by in listening to you talk is that you talked about the gifts that your parents gave you and the strength of the family. And I believe that the crisis in American education comes in large part because schools cannot replace parents. So I asked you what, if there is an answer that you can see about how, what we do with the kids who don't have the gifts of a family such as you had. Well, I think that one thing that is really, really different from the African society to the Western society is that solidarity is still very much strong and rooted in Africa. That when a child is born to a family, not only the mother and father have the responsibility to raise that child, but the whole family at large and the whole country, the whole street, the whole community. In the Western world, when I arrive in Paris, one thing that really shocked me is the disconnection that people have with themselves. They don't want to be involved in somebody else's life. They can see a child suffering. They don't want to bother at all. So parents have a role to play with raising the kids. But when you don't have parents, what else do we offer our kids in this country? Not much. So the question we should ask ourselves in America is how do we want our society, what to be and what legacy we want to leave for the next generation? We are so focused every day to work relentlessly. I mean parents have three, four jobs to make end meets. Education costs so much money in this country if you don't reach your out of it. We have divided America into clans. These people live here, these people live there. We don't live together. That's why the word togetherness ring a bell in me. If we live together, we care together for the one we love. America can transform in a heartbeat because I know I've been here long enough to know the determination of American people when they want to do something. Only that or the sky is the limit. We give ourselves a hundred and more, I don't know how many percent because we are determined to make a better life for ourselves. If we are able to do that individually, why don't we replicate that in the society? Why can we create schools that are based in inclusiveness of the children despite the skin color, the language to speak? And if they can learn at the same pace as the others, why can we have another program for those kids to do that? We are doing that in Africa. It's amazing for me to come to America, those rich countries, and see how much resources you have to put kids to school and how it's wasted because of politics. It's just crazy. So how do we as civil society play a role in it? When a government is dysfunctional, we have the responsibility of stepping in and do what we have to do. It's not only by voting that you do that, it's by helping in your home, in your neighborhood, in your city, and globally. Oh, my book, you want me to talk about my book? Yeah, yeah, yeah. Well, guess what? I asked my managers to find me a deal to write a cookbook, and I ended up writing a book that took me three years. I know how to write a song. I don't know anything about writing a book, but it was a great experience because when I went to HarperCollins, they asked me to write a book because the journey of my life can be empowering for other people. So that's where I started doing it, and it was not easy, and it's also helped me to come to a closure when I lost my father in 2008. All those great moments I spent with my father, and I didn't take enough time with him when he was still alive, and it's something that I was struggling with. Now, after I wrote that book, I'm a little bit at peace. It's called Spirit-Wising My Life, My Music, and you can find it in Amazon. I don't know. I don't even know where my books are sold. That is an artist for you because you don't care about those. That's why you have managers there. Come on, man. I can't think at all. Good morning. Good morning. Thank you for all that you do and who you are. Thank you so much. So over just in my short period of time of working in arts and culture, there's a conversation or a consistent dialogue about presenters and institutions and organizations wanting to connect with more what's called experimental genres until they become more mainstream or talents or local acts and people in different communities. And there's always this, we want to bring someone in or we want to work with them or we want to invest in development of this programming or this particular area, but it's not fundable or we're not sure if we could sustain if we do that. What would you say or what would be your advice or inspiration regarding individuals that work within these structures that we are these systems, these funded systems or needing to be funded systems about uncovering and working together collaboratively to sustain these creative middle markets that need development but also are the backbone of the mainstream industry? Well, you have said it. Last phrase said it all. I'll give you the example of the rite of passage in Africa. My story, the story of my ancestors that have been told to me by elderly people. And that is something that keep going. I'll give it to my child and so on and so forth. The music of the traditional musician in my country from the north to south, the east to west of my country has always been available for me because they're always used to tell me in order for these music to survive, you youngster have to take care of it. We have known it. We pass it on to you. And I think as presenters, agents performing at center, it will make you more successful for you to reach out of the bubble to those unconventional artists because you need to revive the music you do. You do the same thing all the time. It becomes boring. You have a role of educating the public too. So if you bring something interesting, it demand more work than the name that is already known all over the place. You have to have, find a different way of doing the marketing of the one that are not known. Bring something different to it. Tell the people you come, this is what you're going to see, tease them, challenge them to come out of the comfort zone nicely. If you just wait for people to come, they won't come. And if you don't renew, you don't give that right of passage to young artists, new unconventional one, you're going to run into a war one day because there is nothing interesting that people are going to want to come and see. I'm who I am today because when I start singing and being in, every time people have the opportunity to have me to do the opening act, I'm like, who they? I'm right there. I keep on doing the same. Every time any one, any artist want to do my opening act, sometimes they tell me last minute when I come to the theater, I'm like, go ahead, please, sit there, play. Or I go to university and you have all those kids going, I sing too, we are the choir, come and sing a song with me, during the sound check they come and I bring them in. If I'm able to do it, no one can tell me sitting here that it's not possible. Just one quick one. My name is Antoinette and I have a cartoon character that I created, jazz woman to the rescue. Jazz woman to the rescue. And inside of helping the arts, I would love to appeal to everyone, especially to get old instruments that are in your closet, that are sitting here collecting dust, get them in good shape, and play it forward to a disenfranchised child. If we can consider to do that with our consciousness globally, we can help to, as well as help the schools, if you don't have an instrument, call the schools and ask them, do you have an art and music program? We live for that once a week. If you do not, we can write local politicians and have them to put it back. We pay our taxes for the refinement of our children. They are taking the refinement of our children away and we as an arts community cannot allow it to be. So thank you for being here today.  My palms are all sweaty. Have a good day. Thank you so much. That's the truth. Let's do it together. Ladies and gentlemen, please show your appreciation. It is fantastic. And Angelique, we're going to put all the information about your book on an alert to all of our members. So don't worry about that. Didn't I tell you I don't know how to do that? You see, he comes to my rescue. You're going to get all the information more than you want it. And thank you so much for coming this morning. And thanks for doing what you do. Thanks for being who you are. Don't forget what you came here to do. What makes you come to Performing Arts Center is for you to be the bridge builders to give chances to young artists, to elderly artists, no age in music, no language, no race in music. It's one language. It's one humanity. Let's embrace it. And continue it. Thanks. All right, folks, thank you very, very much. I now declare this conference over. Have a great year.


This 2013 Chevy Avalanche LT Black Diamond Edition is stock number 12419Z. We are here at Summit Automotive in Fond du Lac, Wisconsin. Your new and used truck headquarters. This 2013 Chevy Avalanche LT has the 5.3 liter V8 engine. This truck has been fully-safetyed and inspected by our service shop for the State of Wisconsin inspection process. It has a fresh oil and filter change. All the fluids have been checked and topped off. And this truck is 100% ready to go. Silver Ice Metallic is the color we're going to go inside all the way around. Start it up, take a look under the hood on this truck. And we shoot all of our videos in 1080p. 60 frames per second. So if you have HD capabilities on your computer, tablet, smartphone or television I highly recommend turning them on right now. Because it is your best way to check out the quality condition and options of the truck before seeing it in person. And if you like the video on how we do stuff here at Summit Auto in the upper right hand part of the screen is a link to subscribe to our YouTube channel. Click that and then click the bell notifications. You'll get updates every time we do videos here at Summit Automotive. This one comes with the 20 inch painted alloy rims. And it has Bridgestone Duler HL tires. These are 275, 55R20s. And these tires have right around I'd say 50 to 60% of the tread left on them. I do apologize for the construction noises going on in the background. We are in the process of building our brand new Jeep facility. So just got to bear with it for a little bit longer. Front bumper is in excellent shape. No major dents, dings or cracks in that. And it does have the factory fog lights. Headlight lenses are nice and clear. And you do get the chrome trimmed grille. The hood is in a very nice shape as well. I didn't see any major dents or dings on there. And the passenger side front fender is in nice shape as well. Passenger side rim no major scuffs or scrapes on that. And as you go down this side of the truck take note of how clean the body is. How reflective and mirror like that paint is. We take these HD videos so if you are far away or even if you're close by and just cannot make the trip down but you're still interested in purchasing the vehicle you can see the truck, hear the truck and have confidence in the vehicle that you're looking at before you even get here. So that when you do get here there's absolutely no surprises and you can make a smart and informed buying decision from wherever you're at. And if this video helps you make that decision let your salesman know that you saw the video. It helped you out and that Brett sent you. Back tires have just as much tread as the front tires. It does have the cargo boxes on the side with a lot of storage room in there. That's pretty cool coming around to the back rear bumpers in nice shape. I didn't see any major dents, dings or scuffs on that. It does have the backup parking sensors. Full towing package which includes a receiver hitch and seven pin wiring. The tailgate is in very nice shape as well. And it does have the factory hard plank tonneau cover. Comes with a bed mat and the bed itself is in really nice clean condition. Tailgate shuts nice and solidly and as you come around the driver's side just as nice as that passenger's side. No major dents or dings on the box. And for full disclosure this back rim is in nice shape as well. Driver's side doors all look really good. And it does come with the factory running boards. This one does have the power mirrors with the built in directional signals. You get the chrome trim on the back.  No rips or tears on these seats. Both of these seats are power and heated. Factory floor mats, auto headlamps, turned dial four wheel drive, tilt steering wheel, power windows, power locks and power mirrors. And there are your heated seat buttons. It does have the power fold in mirrors. And you can see that both sides are working nicely. I was like showing both sides so you can see that. We'll hop inside and turn the ignition on. Check out the radio and the miles and everything that this truck has to offer on the interior. You can see that this one has 69,840 miles and the steering cluster is very nice and clean. It comes with the leather wrapped steering wheel. That's in really nice condition as well. Bluetooth and audio controls on the right, cruise controls on the left. This one does come with the six speed automatic transmission with the optional tap shift. You get your CD player there, AM, FM and Sirius XM radio capabilities. It does have an AUX jack, connects to your Bluetooth cell phone, dual climate controls, power pedals, parking sensors and stability control right there. I always like showing these dashes because these dashes have been known to, especially when they're black like this, known to crack. But this one is an absolutely perfect condition. Wood grain trim on the dash and doors and the passenger side floor mat and seat are in excellent shape as well. The headliner is in really nice condition on this truck and you do get map lights up there on star capabilities in the mirror. And I believe this one has the backup mirror. I believe the truck's got to be running for that to work. So we'll check that out in just a second. We'll take a quick look at the back seats. Start it up and then take a look under the hood. Back seats are just as clean as the front seats. No rips or tears back here. It does have the latch child safety system. These seats fold up and then the backrests fold down nice and flat. You can remove that back piece to make your bed longer and that rear window does come out. It does have rear defrost as well. This truck has side curtain airbags. The back carpeting and floor mats are very clean. It does have rear audio controls. Child safety locks on the back doors and the bottoms of the doors all look really good on this truck. Like I said, we'll start it up. Take a quick look under the hood. Starts right up. No check engine lights or anything like that. And there is your backup camera that is working nicely. I would personally like to thank you for checking out the video today. And hopefully from this HD video you will have been able to verify the quality and condition of this truck all the way around inside and out. Under the hood we have the 5.3 liter V8 engine. Engine bay is very clean. Runs very smooth. Once again this truck has been fully safe and inspected by our service shop for the state of Wisconsin inspection process. It has a fresh oil and filter change. All the fluids have been checked and topped off. And this truck is 100% ready to go. There is your emissions sticker. Really nice ride. Hard to find avalanches. They're getting harder to find each and every day. And to see more pictures of this truck or one of our other 450 new and used cars, trucks, SUVs, minivans, Wranglers, half tons, three quarter tons, one tons. We got to go to the website right there www.summitauto.com. Full pictures and descriptions of every single vehicle from two locations all at summitauto.com. And if you'd like to check out more HD videos you can go to youtube.com.com. Remember to like, subscribe and share on this video and all the videos that you see there. Click the bell notifications. You'll get updates on the videos we do each and every day here at Summit Automotive. In fact in a second you will see a link to subscribe to our YouTube channel in the upper left. There's a link to more avalanche videos like this one in the upper right. A link to this vehicle on our website in the lower left. And a link to one of our latest YouTube videos in the lower right. Click those, check us out. We're super excited to help you with this Ultra Clean 2013 Chevy Avalanche Crew Cab Short Box LT Black Diamond Edition in Silver Ice Metallic. Thanks again for checking out the video. Remember to like, subscribe and share.


Hi everyone, Joe for jazby's casebreaks.com coming at you with a two-team random number block randomizer for impeccable soccer picker team two Just our usual number block Breaks, you know zero gets any and all redemptions blah blah blah, but just for two teams man city and Tottenham big Thanks to these folks right here for getting into it. The break itself will be in a separate video So look out for that six and two eight times your names and numbers one two eighth and final time SKS down to Eastwood Thanks again for the food yesterday Eastwood six and two eight times for the numbers one two Two two there's two three four five six seven and Eight eighth and final time after eight. We got four down to eight All right, so SKS with four Eric with seven Chris with five Jared with two Rick with nine will with one Sean with six Joe with zero, so you'll get any and all redemptions for these two teams right here Right man. See and Tottenham including one of one redemptions will you'll still get live one of ones? I'll be interesting Victor with three and Eastwood with eight. Let's sort this by number right here And when in a separate video will be the break itself Joe for jazby's casebreaks.com. We'll see you for that one


Global climate change has become a serious issue in recent years, with its effects expected to worsen in the future. Scientific studies in the Mediterranean region have shown that annual precipitation levels are remaining relatively stable, while mean annual temperatures are increasing significantly. This could lead to drastic reductions in water availability, particularly in areas such as Greece's popular summer tourist destinations, where populations are already struggling to meet their needs. To address these issues, it is important to develop strategies for adapting to and mitigating the effects of climate change. This article was authored by Athymia Stathie, Aristides Castrides, and Demetrius Maronides.


Item Number SCP-863 Object Class Safe Special Containment Procedures SCP-863-1 is to be contained in a 2 meter by 2 meter enclosure and provided with nutrition as detailed in nutritional chart 86311. Due to its low risk of breaching containment, SCP-863-1 is to be kept under guard by one member of security. In the event of limb loss, SCP-863-1 is to be provided with a replacement from a similarly proportioned crab. SCP-863-2 is to be contained in a 6 meter by 6 meter enclosure and provided with nutrition as detailed in nutritional chart 86321. SCP-863-2 is to be kept under guard by two members of security. In the event of limb loss, SCP-863-2 is to be provided with a suitable replacement. SCP-863-3 is to be contained in a 10 meter by 10 meter enclosure and provided with nutrition via robotic arm as detailed in nutritional chart 86331. SCP-863-3 is to be kept under guard by six members of security at all times. No personnel are to enter SCP-863-3's containment enclosure. In the event of limb loss, SCP-863-3 is to be provided with a cadaver as replacement. Any specimens of SCP-863 found in the wild are to be destroyed. Description. SCP-863 is a species of crab commonly found in areas of SCP-863 specimens when first born, measure roughly 3 centimeters in height and 1 gram in weight, but are capable of growing up to sizes of data expunged. When fully grown, specimens superficially resemble the Japanese spider crab. Specimens of SCP-863 are born without limbs and undergo a process in which they utilize the limbs of other organisms or even whole organisms in lieu of their own. From birth, SCP-863 move themselves across the ground by sliding, using several tendrils attached to their limb joints. When specimens of SCP-863 locate a suitably sized limb or organism, they will puncture it using their tendrils, which will then retract and slot the organism or limb into the limb joint. Using a series of electrical pulses, SCP-863 will then manipulate the limb or organism's nervous system. This process is not perfect and the utilized limb or organism will typically twitch or jerk periodically. Specimens of SCP-863 are highly territorial and larger specimens can cause severe injuries or death when provoked. Groups of SCP-863 have been observed to, on occasion, actively hunt for other organisms to remove limbs from. Larger specimens will simply utilize these organisms' whole cell, as their limbs would not be suitable for specimens of that size. Specimen log SCP-863-1 Right arm Pinsir from Carpillius convexus Left arm Pinsir from Ranina Ranina Legs Four from Ciliopagus Two from Ranina Ranina SCP-863-2 Right arm Awaiting replacement Left arm Human hand taken from a cadaver Legs Two hooves from a mountain goat Three legs from a dog And one arm from a bear SCP-863-3 Right arm A human cadaver Left arm Life signs normal Sea containment breach 863-3-1 Legs Six legs Taken from human cadavers Lesson complete If you missed the previous orientation Go watch SCP-862 Rats Right now Or for the complete course Watch this playlist


you indicate that the that you anticipate distribution activities to take place primarily between 9 and 5 p.m. is that pretty set in stone set in stone and we definitely will not be going on outside of those range but we also don't anticipate to be operating from 9 to 5 all the time so thank you any other questions before I move on to the public hearing okay thanks for that this is a public hearing tonight I'm going to go ahead and open the public hearing I don't have any cards on this item and if you want to speak and I see somebody doing it great if you'll just step up to the microphone give your name first and you have three minutes well I don't need three minutes my name is Andrew Cameron I'm a local Santa Rosa resident live in the JC neighborhood I've had the pleasure of meeting the soda extract gentlemen for quite some time now we're very mature they're very thoughtful and engaging that's about all I have to say about them it's it's been quite impressive to watch them go through this process very patiently and diligently I have no association with it at all I'm just a local renewable energy developer in full support of soda extracts being approved thank you thank you anyone else wishing to speak yeah three minutes yes good afternoon council and staff thank you very much my name is Michael Sinatra I'm vice president with Vantro insurance brokerage I'm one of the two producers in our van can division which specifically specializes in cannabis insurance and I wanted to say that both Travis and Malcolm have reached out to me and they are working with me to make sure that they are in full compliance with all insurance that's needed for this project and they're working with me on establishing that so they're very responsible and want to be responsible citizens I highly request that you approve the project thank you thank you anyone else wishing to speak on this item not seeing anyone rise I'll go ahead and close the public hearing and bring it back to commission any other questions of the applicants any other questions yeah commissioner Carter yeah first of all I wanted to say that this use in this location seemed to be very well-suited and I anticipated it was this type of area that the ordinance anticipated putting these types of uses in I also noticed that the the general operation there as a number of tenants and it's pretty busy during the day and I just wanted some assurance that the landlord has been in contact with the neighboring businesses and the support is generally there for both the new activity and the increased security programs that'll be present thank you any response to that in terms of having contacted the neighboring businesses yes I can answer to that great so yes we've been in contact with the landlord all of the businesses around us are very happy with the situation we've had a number of the auto mechanic in one of the next buildings over to the east they're very excited about having cannabis use business on site to hopefully decrease the level of activity around there at night as well as the other businesses directly in the building next to us fire safety supply Kiwi glass and the carpet upholstery company are all very excited to have us there as well and as we are not anticipating to be increasing significantly the load of traffic to the site I hope hope that answers the concern it does thank you any other questions of the applicant while he's up there any other questions of staff okay so let's bring it back to the commission and if someone would like to read the resolution for purposes of discussion I'll move a resolution of the planning commission of the city of Santa Rosa making findings and determinations and approving a conditional use permit for commercial cannabis manufacturing level 2 volatile located at 468 Yolanda suite 203 building 200 APN number 044 091-066 file number CUP 18-167 and way for the reading and do I have a second I'll second okay so that was moved by Commissioner Duggan seconded by Vice-Chair weeks commissioner Duggan would you like to start yeah as mentioned by Commissioner Carter I think it's this kind of use in this location is a good match I'm I'm impressed by the fact that all three founders are chemical engineers my father-in-law is a chemical engineer and I know how thorough and thoughtful and careful he is with all things and I think that's a great match with somebody who's going to be doing this kind of manufacturing so I can make all the required findings and I'm in support of the project I also can make all the required findings and we'll be supporting this project I agree with my fellow commissioners this is a the ideal location for this use and it looks like it's going to be a great great use for that facility I don't have any further comments but I think the use is appropriate and I can make the findings great vice-chair weeks I will be supporting the project and as previously stated the location is good I appreciate the outreach you've done both to the neighbors as well as the other businesses good luck commissioner Pearson I'm not I don't have a huge amount to add I think the project narrative was was comprehensive which I always like to see I think in particular the fact that the applicant is incorporated as a benefit corporation will have an effect on on the way the business is run it is sorry a California specific corporate entity that will require them to take into account all the stakeholders that may be affected by the business in light of that I think that when we see something like this and when we get public feedback that that is negative we did get public comments that were against this project I think those are completely understandable I think when you've got residential uses abutting an industrial use it doesn't matter how appropriate the zoning may be there is there is a tension there and I think especially when it comes to the the word volatile and volatile processing I think a lot of people's hackles get raised I think the applicant has benefited greatly from the other items we've seen of volatile processing the study session that staff put on I think you know as this still relatively new legal industry matures we're gonna see people maybe get more comfortable with it especially if the industry does things like public outreach being a good neighbor and addressing the concerns as as the industry matures I think my fellow commissioners are absolutely right I think we've seen it with other projects that the complaints part of the complaints from the public were that general quality of life stuff completely unrelated to cannabis entirely related to trespassing homelessness issues kind of low level property crime I think having a business like this in that area with 24-hour surveillance with people on site 24 hours a day can have you know maybe paradoxically the effect of making that area safer I mean if people are out if eyes are on it it becomes a lot harder to break into empty cars and climb over fences and so so with all that I think it's a it's a good project I think it the zoning is it's appropriate for the zoning district I can make all the necessary findings nothing further to add I can make all the required findings will be in support of the project and I also can make the required findings and have nothing further to add so with that resolution was moved by Commissioner Duggan seconded by vice chair weeks and your votes please and that passes with seven eyes and I believe that concludes that item why don't we take just a few minutes break before we move on to the next okay so I'm gonna go ahead and call the meeting back to order and we're going to move on to item 10.2 which is the Grenville Road Homes it is an ex parte disclosure Commissioner Carter anything to disclose only that I visited the site okay I visited the site and I have nothing further to disclose I also visited the site and have nothing further to disclose I visited the site and have nothing further to disclose I also visited the site and have nothing further to disclose I visited the site nothing further to disclose and I also visited the site and have nothing further to disclose and with that again Christiane Tumian senior planner will give the staff presentation thank you chair Cisco this item is Grenville Road Homes small lot subdivision the the project proposes to subdivide a one acre parcel until 12 residential small lots construct 12 attached single family homes which will include three attached accessory dwelling units the required actions will be to rezone from our 20 which is a rural residential zoning district to our 318 which is a multifamily zoning district it will require a conditional use permit for a small lot subdivision and also a tentative parcel map as far as the project history on July 11th 2018 a pre-application neighborhood meeting was held on December 20th 2018 applicants submitted the project application on April 1st of this year at staff determined the application was complete and on mace at the time of writing this staff report preparing this presentation this project is tentatively scheduled for preliminary design review before the designer view board on May 16th this is an aerial view of the project site it's located north of Grenville Road between Marlowe and Ridley Avenue outlined in blue the site is currently developed with a single-family home north of the project the zoning is our 40 single family residents and it's developed with a farmhouse and orchard south it's zoned r16 and a plan development zoning district for the development of single family detached and single-family attached units east the project is zoned our our 20 and is it developed with a private meeting facility known as the redwood forest friends and meeting house and west the zoning is our 20 developed with a single-family dwelling and here we see a general plan and zoning map that shows that the parcels a general plan designation is medium residential the zoning is our our 20 the project as proposed will provide 12 a single-family attached units and three with three attached ad use providing a diverse housing type and price range the project is consistent with the general plan designation of medium density residential in that the designation allows a residential density of 8 to 18 dwelling units per acre and the project proposes single-family attached unit type at 12 units per acre and while the general plan requires residential development at midpoint or higher of the density range it allows exceptions where topography parcel configuration heritage trees historic preservation or utility constraints make the midpoint impossible to achieve and while the midpoint density for this parcel is 13 dwelling units per acre the proposed project density of 12 units per acre allows for the construction of a diverse housing type while also accommodating for fire emergency access along the newly created elson drive elson way and other along with other utility constraints that come with building single-family attached units here is the proposed tentative map elson way is anticipated to be a future through street and the city engineering department has required that it be stubbed so that it could be expanded in the future or extended in the future this is a site plan it's a little bit easier to read but you can see the single-family attached units on the lots the attached ad use there are two on the corner and one on the center center cluster of single-family attached units you can see it's attached to the side of I can't really lot lot 9 these are some colored elevations of the proposed three-story single-family attached units the elevation at the top shows what it would look like with the attached ad you on lot 7 and 8 I think the elevation below is elevation showing the units without an attached accessory dwelling unit this is a rear elevation of that same unit with the attached accessory dwelling unit one with the proposed fencing and one without the project qualifies for a class 32 exemption per section 15332 infill development projects the project also qualifies for a seco exemption pursuant to section 15183 I for which no additional environmental reviews required when rezoning for general plan consistency as of writing this staff report and preparing this presentation staff received two comments from neighboring property owners one to the east and one to the west the one to the west or to the east is a redwood forest friends meeting house and they have concerns with any potential noise from the future inhabitants of the proposed project they also had concerns about the status of sidewalks along the frontage of the subject property and concerns with any potential overflow parking onto their property the existing ambient noise from gernville road is actually louder than the anticipated anticipated noise from 12 single family attached dwelling units the project proposes to incorporate a wooden sound fence to antenna attenuate noise in the rear yards of future residents closest to gernville road as far as sidewalks a gernville road will be dedicated and improved as a boulevard along the entire frontage with with public sidewalks and the proposed project provides sufficient parking per per unit as required by the code so staff doesn't anticipate any potential parking issues the second neighbor to the west as a single family resident and he was concerned with how the proposed fence would be constructed and where it would be constructed and how that would impact his property and his dog the project will have a fence separating the private rear yards of future residents and this neighbor and the fence will be built 100% on the developer's property with that the planning and economic development department recommends that the planning commission recommended the council approval of a request to rezone to the r318 zoning district approve a conditional use permit for a small lot subdivision and approve the gernville road homes tentative map and staff is available for questions and the applicant is also applicant representative is also available any questions of staff right now so what the applicant like to give a presentation you have to go up we have a new method here so thank you honorable commissioners this seems rather strange I'm supposed to be down and you're supposed to be up down at me it's strange for us to I'm very free land this property has been in my family for about 70 years and it's actually I grew up in that house it used to be a little house on a little backcountry road a mile out of town and of course I was looking at new homes in Santa Rosa today and it took me several miles to get to the edge of town so the Santa Rosa has changed and grown I'm fifth generation Sonoma County I graduated Santa Rosa High School and Sonoma Sonoma State SRJC owned a real estate office here on 4th Street what I'm really saying is I'm a local guy but in that some time around 97 I decided I wanted to do more than I had done you might recognize some projects I did here before because I built subdivisions one was saddle saddle brook up in Larkfield and other one was Royal Oaks on West Steel Lane that almost backs up to this project I've always thought that my projects were a step above other builders and other developers and it's not that it's that we put a little lot of thought into what people want I have a background in real estate sales and marketing and it gave me that feel and we've tried to incorporate that into this subdivision and I went out of town to gain a lot of experience on trying to get more dense projects the most popular one was the condominiums a candlestick point where this kind of a little backwood Santa Rosa boy found himself meeting with the likes of our present governor and Willie Brown and all those two people putting together a project that other people couldn't get together in 10 years my architect on that project happened to be the architect for the tallest building in the world at the time that was Taipei 101 you know it was really heady stuff for like to say a backwood Santa Rosa boy who graduated Monroe Elementary School so I brought that kind of energy back into this project we've been working on this project specifically trying to develop the land planet architecture for over a year and a half now and it was about getting something that we thought would be very well accepted by the millennials young families but still affordable for them and it ended up with these small lots and the design that we have my father I can still remember farming on the back land because he loved his vegetables when he wasn't fly fishing and and traveling his name was Elson therein comes the name for the project and if you have any other questions of me I'd be glad to answer them but my engineer Dennis rather popular guy here in town can really do the engineering questions is there anything I could answer right now anything you want to ask right now or wait till after the public hearing okay great we'll go ahead and have the public hearing we may need you to come back up after that and answer questions thank you commissioners okay okay so this is a public hearing tonight I'm gonna head and open the public hearing I don't have any cards on this item anyone wishes to speak they can head to one of the microphones and I'm not seeing anyone move so I'm gonna go ahead and close the public hearing and bring it back to the Commission commissioners any questions of the applicant commissioner Peterson I think this one's pretty straightforward just a clarification for me in the development advisory committee the construction hours we're looking at page three here no construction is occurring on Sunday is that correct okay and I had a question about the defense on the east side I know there's a question from the public regarding whether it would extend the length of the property line or just the portion that that bordered the redwood friends property can you tell me a little bit about them you do have to go back up I'm sorry we won't be able to hear you some of us need the exercise it'll be a six-foot fence minimum the whole length and then for those parts of it it'll be solid of course wood and then for the parts of it that are near Gernville Road and need some sound attenuation that will be eight feet and that's to block the Gernville Road noise I think the the request from the public was eight feet the entire length is that something you've considered is that a possibility well we'd rather not I'm thinking of the new residents there and when you put an eight-foot fence in your backyard they're not big backyards and it starts to feel like a barrier has more to do with the texture and feel than it does the height of the fence or any possible cost so so aesthetically I think that that wouldn't be the best for the residents but if it's the will of the commission it's something we could live with all right thank you any other vice chair weeks actually I have a question of staff yeah any other questions of the applicant before we have him sit down yeah vice chair mr. Duggan yeah just this is related to the same comment from the the neighboring parcel and they asked about like passive heating and cooling and and how much attic insulation and it is that going to be factored into your your building we did respond to I guess to our planner Christine a that will of course meet all of our title 24 requirements being that it's a tall their taller buildings they will get that natural ventilation that grew up without there and we didn't really need anything I mean I grew up there and you just open the window so I hadn't thought of anything more than that but the houses will have windows east and west that'll flow the ventilation I think that'll be more than adequate I kind of like the design thank you any other questions of the applicant okay so vice chair we have a question of staff in calculating the density it appears that ad use are not taken into consideration and I just wanted to clarify that that's right ad use are not counted towards the density and then the other question is you talk about Elson way eventually going through do you have any idea where that is in the calendar we have a representative Gabe Osborne here from engineering who could be able to answer that question good evening chair assistant Cisco and members of the Commission I will actually ask Chris today to navigate to I believe a third slide that shows vicinity map it may be a little easier to have a visual when we talk about circulation what we're looking at is there was a overall circulation plan that was generated as part of the Revello subdivision which is very similar to the proposal today it's a bit west which would be left on that map closer to Marlowe Road adjacent to the pawn shop and the circulation anytime you have properties that have direct connections on arterials which Guerneville Road is the intent is to circulate them away from those direct connections and get them through a signalized intersection in this particular situation that would be Ridley Avenue so we also have the Marlowe Commons development that is actually on the northwest corner of the Marlowe and Guerneville intersection that was approved approximately a year ago and is going through construction drawings now that development will be proposing an intersection on Marlowe Road that is approximately 700 feet from Guerneville to the north so we're looking at an alignment of west to east connection that likely will fall in the rectangular parcel that's just to the north of this site now as far as when that goes that will likely be development driven so it will be the responsibility of that property owner through the development proposal to build that connection point and that will work its way to to Riley Avenue so that's why we have two stub streets in both the Revello development and this to eventually with future development of that area give the individuals living in that area a safe route of travel through a signalized intersection to get out to Guerneville Road any other questions of staff sorry Commissioner Carter I'm sorry tell me your name again I'm embarrassed I do apologize my name is Gabe Osborne I'm the deputy director of development services there Osborne thank you is it the city's practice to for instance to complete the sidewalks on Guerneville Road to wait for the development of all the properties along that frontage to add the sidewalks or is there ever an instance where we would consider extending the sidewalks I look at the two recent residential developments and see the propensity or the possibility for improved pedestrian connections to the commercial properties to the west excellent question under normal circumstances the development of the sidewalk is the property owners responsibility it's the requirement under the city code there are certain circumstances were to benefit overall pedestrian circulation the city can cover that cost through a capital project and in this particular situation there is an overlapping project for that side of Guerneville Road the timing has been unknown we've been working with the development about how we can coordinate we don't want to remove what they put in to build what we need to build our vice versa and then there's right-of-way dedication discussions that are happening along with that so the most common situation is to see that sidewalk development driven but there are situations safe routes to schools and other situations where we can actually focus through capital projects to close those connection points thank you any other questions of staff okay not seeing any so with that would somebody like to read the first resolution which is the rezoning resolution for purposes of discussion and what we'll do is go ahead and discuss the whole project and figure out how we fix it as we go but we'll start with the resolution for rezoning I move the resolution of the Planning Commission of the city of Santa Rosa recommending to City Council rezoning of property located at 1665 Guerneville Road assessors parcel number 036-101-010 to the R-3-18 multifamily residential zoning district file number PRJ 18-089 and wave for the reading and I'll second okay so that was moved by Commissioner Peterson seconded by Commissioner Duggan Commissioner Peterson why don't you start this one sure I think that from visiting the site and seeing the other sort of similar development that the name escapes me now right right down the street I think that this area is is in transition I think you know we've seen other proposed developments up there and I know a lot more density is is going to be coming that way and I think because we're in a sort of transition time it's a little strange for the the neighbouring residents but I think with the grocery store with restaurants other services around there I think it's an appropriate area to to improve density and get these types of developments out there where I think the design is well thought out I think the addition of the ADUs is a great add-on for for the homeowners the you know the stub street what may come down the road I think is a little bit up in the air but in terms of the overall project I think what we're seeing from the public that lives there is is not so much in opposition to the project but from what I could tell from the public correspondence is a desire for sort of good neighbours I think that you know with construction not being on Sunday I think hopefully the the congregation that's right there will continue to be able to worship in silence I think once the units go in I mean it's it's a different story but my experience living in Santa Rosa is that not a whole lot people are out and about it you know 10 or 11 a.m. on a Sunday but on this specific issue of the the fence I think the applicant's response was was very useful I think it you know you don't want the the backyard to feel like a prison yard that you can escape especially with a small lot I think you know maybe ideally it would be higher but I'm not prepared to condition the project on an increased fence height although I'm open to hearing from my my fellow commissioners before I make a final decision on that specific issue but overall I think the the rezoning is appropriate for the area and while we haven't moved the other resolutions I think the conditional use permit and tentative map are also appropriate and I could make all the necessary findings I agree with a lot of what commissioner Peterson said this is an area that's in transition the development just down the street from it like he pointed out very similar in size and structures to what's going on here the 80s are great addition either for supplemental income or for multi-generational housing and I think it fits the area well there are there are some issues that the surrounding residents have but I don't think that would prevent me from being able to support the project because I can make other records of findings okay vice-chair weeks I'm also supportive of the project I think it's an excellent location a lot of services around there and I like having the ad use would have liked it to see a little more dense but nevertheless I think it's appropriate for that piece of property I'm also in support of the project I can make all the necessary findings and I don't have very much else to add to what my fellow commissioners have said I also can make all the required findings and we'll be supporting this project I appreciate the diverse housing type with the with the attached single family homes and I think this is a great location for it and commissioner Carter I also can make the necessary findings to support the project and I do believe that as my fellow commissioners have pointed out that this is an emerging neighborhood where this type of housing is appropriate and I also can make the findings definitely appreciate the ad use since you've been here forever and own that property I'm sure you'll continue to be a good neighbor and I appreciate the fact that that you'll do that I remember when we did the general plan amendment to increase the density on this corner I think it's a very appropriate corner to have increased density and it is a little you know it's a transitional time so it's a little bumpy but hopefully there will be more interest in continuing development and getting those connections made so again thanks to staff for clarifying how we're going to ultimately create the vision that we want for that corner of the section of town so I'm also can make the findings and I'm for the project so without the rezoning resolution think Patty was moved by Commissioner Peterson seconded by Commissioner Duggan and your votes please next we have our additional use permit resolution would like to move that I'll move the resolution of the Planning Commission of the City of Santa Rosa making findings and determinations and approving a conditional use permit for Gernvill Road Homes a 12 parcel small lot subdivision located at 1665 Gernvill Road assessors parcel number 036-101-010 file number PRJ 18-089 and wave further reading and all second that was also moved by Commissioner Peterson seconded by Commissioner Duggan any other comments or discussion on the conditional use permit okay your votes please and that passes with seven eyes and last but not least the tentative map I'll move the resolution of the Planning Commission of the City of Santa Rosa approving the Gernvill Road Homes tentative map located at 1665 Gernvill Road assessors parcel number 1 3 6-101-010 file number PRJ 18-089 and wave further reading all second okay again moved by Commissioner Peterson seconded by Commissioner Duggan any other discussion on that not seeing any your votes please and that passes with seven eyes and I believe that concludes our business for May no we have one more meeting in May so we'll adjourn to our next meeting in May