The minutes from our March 3rd are here, I have looked over them, I see no additions or corrections. I ask if anyone else does. Seeing none, I ask for a motion to approve please. Make a motion to approve. Motion. Second. All those in favor? Well done, thank you. Alright, then we're down to... Can we welcome Clive? Clive, welcome. You were here last time but you're officially today. We're glad to have you. I'm somewhat anonymous now. All that. So official. Crisp and ready. Thank you, sir. Welcome aboard. Thank you. Alright, then. Phase 1 application, Lady Lyric Sculpture. I see that that is in here. Who will take up that conversation? Christian Adair is here. Good morning. You guys may remember we talked about this before. It's the piece that's at the Lyric already. Christian, do you want to come over here and tell us a little bit about your hopes and dreams? Okay, I can bring us up to speed with what it was, just a reminder. We have a new sculpture outside the Lyric. It was in a partnership, a kind of a competition. We engaged in UK, which has helped us save a lot of money and get us exactly what we want. Mr. Bibbs was a part of that process where students had to create some designs that would fit into the space of the Lyric that represented what we are about, the mission of the Lyric. And these students over several months, about an eight month period, they came up with these designs and models and myself and the staff would go review them. And then we made a selection and then we asked if she could make a few changes as a UK student. And she made these changes and it is beautiful. It was going to be a temporary piece. However, the community seemed to have loved it and appreciated it. It's a 15 foot sculpture made out of rolled metal. Is that right? Rolled metal? Mild steel. I said metal. Mild steel. And it has kente pattern on it. It represents women, for one. In particular, it comes, the design was inspired through Spain and the Moors people, which is history is African American or African. And so it fit into what we do since it's an art piece. And it represents a community that supports the Lyric a lot. And now we want to permanently install it, which requires a few more changes to the actual physical base there. And you may have it in front of you. I'm not sure. But we have to pour new concrete and rebar and get down a little bit deeper below the frost line. And we're going to add lights to it. So when you draw by it, the lights are going to be on the inside of the sculpture that's going to illuminate it and make it even more beautiful. It's going to shoot straight up in the air. And I think it's a piece that the East End deserves. It's a piece that the community deserves. I know that we have sculptures of women downtown, but this one in particular is more culturally inclusive in our opinion. And again, the Lyric is about love, diversity, inclusion, and art. I think it was a very unique process in the sense we paid the young lady $5,000 for the piece, which would normally cost uppers over $20,000, maybe even more now. So we've got an art piece that's amazing for a very low cost student that's going to be able to use that on her resume and here on out that she can show an actual art piece. So I think that collaboration is great. The collaboration with you all, if you're able to fund the installation of this piece, shows how these different institutions and entities and people can work together. And I think it becomes a model for other places that want to do something similar, where we involved the University of Kentucky and Lexington and all of you to this piece. Do I need to go into any details on what I sent recently? We can have questions if anybody has questions. I have a question about the budget. So the proposed budget says $4,000 and the amount requested $4,500, but the total budget at the end is $6,000. Which one is right? Okay, I re-sent everything because the person that was going to originally do it kind of pulled out, and then another person pulled out. And so the most recent what I sent, the total is $5,939.99. It's $3,500 for the pouring the slab, $1,960 for the interior, $3,000 for the installation electric, and $196 for the plaque that was going to go on the wall to explain exactly what it is and what it means. And then there's the materials, $283 for some materials. So the final cost was $5,939.99, and I can re-send that if necessary. And that's what you're requesting? Yes. Okay, thank you. Yes. So your application just needed to be updated, is that what you mean? And this sheet is the one that has your correct? I believe so. Okay, all right. It's got the number of easements in here. So you are requesting $5,939.99? Yes. Okay. $3,999.99. Yes, and 99 cents. And this holds for, you know, they said they would hold it for three months on this price. Again, the costs are going up really quickly, and I thought it would be much easier to get that quote. I'm not going to kid you. I've had three different people come in to do it, and they all kept changing their mind as well. So what is the piece currently on? It's on a concrete slab that's above ground. It was provided, Lexar's provided that for us. And to be permanent, it needed to be below frost line. Gotcha. And that's the big thing. So then we're going to remove the old one, and then we'll put it in there. So you've got to kind of start from scratch with the installation part. Yes, yes. It's got to be removed, and it's going to only take about a day. That's the good thing about it. So it's going to be removed and laid to the side. And it's not very heavy. It looks really heavy, but I think it was four or five people that actually picked it up and put it up there. And it was a very safe process, but yeah. And so she's going to be in the same spot? The exact same spot. There's a glass wall there where you can, when you go up the stairs, you can see the back of it with the kente pattern that matches the actual kente pattern that is on the existing wall there. Mr. Farmer, I think you're a part of the Lyric being re-established and all that. So that colorful wall with all the kente patterns, so it matches. It just goes perfect. I don't think we could have found another piece that would highlight that small space. Yes. Well, and honestly, I mean, this is such a great price for that piece. It's really good. And so I feel like this is sort of a, all the planets have aligned for this to live there permanently. It did. It did. And just a second. The pad that is on those was used for the horse mania. Okay. So that was one of the reasons why the board had to meet with them because of the safety of the pad. So yeah. Other comments or questions? I think we're looking for a motion for funding then please. Are we going to, did we score this already? We scored the sculpture itself. Yes, that's right. I was going to say this one. We didn't need to score it. Because this is a permanent installation. Any other questions? I make a motion to approve funding for permanent installation of this sculpture for $5,939. Motion? And a second? A second. A second. All those in favor? Aye. Opposed, like sign. Well done. Congratulations. Thank you. You guys are about the arts. I have to take this moment real quick to invite you to Diversity Festival. May 23rd, you know, arts and food brings all cultures together. This event will have over 45 entertainers representing different cultures through dance, through music, through song, through, it's an amazing, it's the year seven. Lex Arts will be there setting up an arts village. Global Lex will be setting up the Global Lex village to interact so you can actually speak to the artists when they lead the stage. We also have a children's space and we're going to even have battle acts out there, throwing axes out there, but it's a great event. Bring your chair, bring your family, invite people from out of town to come and just sit back and indulge. And if you're familiar with Epcot Center, basically it's Epcot Center in the middle of downtown Lexington in front of the courthouses. So it's a great day to just come out and hang out and listen to some music that you may have never seen before or heard. But these groups that perform there, again, I love the word love because it's so real. Everyone that comes there, because it's arts, entertainment and food and some beer, it's a great day to engage and ask questions because that's what it's about, is asking questions and uplifting the arts because that, again, that's what brings us all together. So I want to invite everyone, you personally, to come down and enjoy that day. And will you just tell people where the footprint of that is? It's in front of Robert F. Stevens Courthouse. It's going to take up both spaces in front of there, so from Short Street, Bar Street, Limestone, not Main Street, but all that area in there, if you're familiar with a lot of the festivals that will be there, will have two stages. One will be dance, the other one will be live performances. And again, we're constantly, it's a constant movement of entertainment all day long. So each group performs for 10 or 15 minutes and then we move to the next one and move to the next one. So if you blink, you may miss a culture that you are not familiar with. But again, when they leave the stage, you get to actually go up and engage with them and that's part of the agreement with all the performers. And meanwhile, you can try some food that you may have not tried before. And so it's a great, again, it's a great event that pulls everyone together. Can you tell everybody the date and time again? May 23rd, we will kick off with the marching band and they'll march around at 12 o'clock sharp and then on the stage we'll have dignitaries there to kind of welcome people and then we'll start with our first performance. But again, it lasts until 7, we'll be wrapping up and we get out of there pretty quickly. So again, if you blink, you may miss some. And all the performers are from Lexington. It represents us. So it's diverse city. And we started out on leadership Lexington. It was a group of us that founded it over seven years in 2019. And now the lyric keeps it going. And so that's part of our outreach into the community to keep arts alive, you know, to keep us all engaged. So, you know, the question is, thank you for that moment of advertising. Well done. Well pitched, by the way. We appreciate that. I can tell how proud you are. That's great. Thanks. Bye. All right. The next item then is discussion about public art projects on private property. I know this is a conversation we began. I'm not sure what the follow-up is here right now, though. Well, we get a lot of requests that is people just want to do something on the side of their building. Somebody wants to just do some art like that. And I know that you, CARB, took up that more often than we've been, than that's been posed to us. So I just wanted to make sure that we are all clear on hearing that, hearing those and getting requests for those. We don't fund them, but we can discuss them and we can approve them and keep sort of a unified, but I was, I wanted to make sure that everybody was in agreement on that. We're not being inundated with them, but I do get questions about them. And so if someone wants guidance or if they want approval, then we are happy to hear about it. Well, Nathan, you can back me up here, but we, on you, CARB, we only saw and approved pieces on public, on private, public property. No private. No private. Okay. We, especially Nathan, served as an excellent resource. We have many members of you, CARB, who served as a resource for private enterprises for, you know, things, just advice on sealants and stuff like that. And, you know, with Prohibition and some other mural projects, we were actively involved in helping them find locations and if they were on private, public property, we definitely helped, you know, that through the process. But as far as the sculpture artwork on private property coming before us to approve it, it's within our... No, I'm not asking that we, that we would never say to someone, you can't do that. But I'm mindful of everyone's time and so we, we aren't, like I said, we aren't inundated with them, but people have requested, can I come and just talk to this group about... I think it would be very good. Actually, Nathan, at the end of our meetings, share other things that he was involved with that had nothing to do with UCARB, but with public art. Well, we're sort of offering a place for them to come. I think having a space here at Public Art Commission for us to share, you know, things that are happening, it gives us a better sense, and for the community to share, it gives us a better sense of public art throughout the city and that makes, it puts better context around the work that we're doing. And so, yeah, I think that, you know, there are times that certain city commissions might have a interest in private endeavors and that might be like the Unlearned Fear and Hate sculpture also had to go through the Courthouse Area Design Review Board because of the protections of that square. And then didn't necessarily need to go through this body, but, or UCARB, but it does need to go through other, other design review. And then, likewise, some of the projects that we're going to be talking about today, the interest of, like, Corridors Commission, a piece that might live on private property but is visible from a corridor would also be of interest there. So, you know, there is some overlap and definitely giving some space for those to be discussed here, but not necessarily we would be approving it, but we would be aware of it and can provide insight. I like, you know, I like the idea. I'm not trying to micromanage people's own property and things like that, but I do very much like the idea that we could be a resource for people before they hit a snag or, you know, run amok with something. And for many reasons we need to know what's going on because even, like, with Gatton Park, all the public art that's going there, a lot of times people think that we've approved it or we've had anything to do with it. Yeah. That's true. It is. It's important to know where to draw the line. I am proposing that perhaps at some point if people are looking at the master plan that we have a small addition in the master plan that addresses this, that, you know, again, it's not something that you have to seek approval or you can't do it, but that we are a resource. And I just think to invite the public to include us in that conversation is helpful. And this keeps coming up in my job. As you guys know, I'm new in this position. And so it keeps sort of coming up a little bit. It's not like we're, you know, overrun with it. But I am tentatively offering people advice. And then I realize a couple of times I've said if you would like to come to the commission. But, again, I needed to ask you guys if that's okay with everyone because it isn't really. And I guess if it went crazy and we were in here for three hours each time or something, it would be different. But I don't think it'll be that big of a problem. But I'd like for us to have that as an open door if that's acceptable. I think his term was context. I think that's a great idea, too, because, again, when you are an experienced artist, you get those phone calls. And I got many of those phone calls. And they usually want you to help them to understand how you coordinate such a thing and how you raise money for such a thing. Particularly they had, I don't know if you all are familiar with the Dorothy Project. And that was in the neighborhood. And that's where there was a turkey walking around during COVID. And everyone started to adopt to this turkey because he was just wandering in their neighborhood. And then after a short period of time, something got out of it and killed it. So it became this symbol of that COVID time. And they wanted to commemorate Dorothy in their neighborhood. And I made a whole layout for them and everything. And of course, they're like, oh, God, that's way too high. So then they went back and they attracted a couple of different artists. And they've actually gotten a little memorial done for Dorothy. Oh, yeah. I saw the arboretum. Oh, my. Oh, it is. Yeah. We did come and visit all of our houses during COVID. Yeah. But I actually got a chance to meet with those guys a couple of times. And it happened. Oh, that's great. So it's interesting. Yeah. It's interesting that this has come up again. Animals are so cool. Okay. Well, that's great. I'm glad you guys are open to that. So I will be able to now sort if someone called me about it, I will invite them to come. Please. With their project ideas. That's a great idea. Turn the way around. All right. Then I see next up the Breeders' Cup subcommittee update. Yes. Please. We've had a really great meeting for Breeders' Cup. Do you want to say a little bit about Maybe let's let Nathan on it. He's the one that came to the table. Yeah. I'm happy to. Yeah. Thank you, everyone who joined that meeting. So this was briefly discussed in our last public art commission meeting. Just an idea that looking back to the 2015, the first Breeders' Cup in Lexington, there was a partnership where corridors commission had come to LexArts and had asked if we might be able to activate some of the main vehicular arteries in Lexington with public art, kind of dress up the city, highlight local artists for that event. We were able to, at that time, install about ten sculptures, some were along Newtown Pike and some were along Versailles Road. There were actually a couple other locations as well. I looked back through my notes and we had some pieces at the Isaac Murphy Garden. And so through that process, we did an 18-month installation for a price tag at that time of about $75,000, or at $75,000. That did have one site-specific commission within it and we were able to, that was only meant to be there temporarily. It ended up being acquired and is now at the BCTC campus. Two more pieces that were on Versailles Road were also acquired by a council member through that process, so there were some permanents that came out of that experience. One in front of the Global Lex by Kipto Torres and one in front of the Women's Hope Center by Dan Dutton. And so, just looking at what we had done that time, knowing that Breeders' Cup is coming again in the fall and offered an opportunity for us to discuss doing something. I know our purview is two years, so that's what you see here and what we discussed in the subcommittee meeting was a two-year installation of ten pieces. And this would be a local call for art across the state of Kentucky, but we can prioritize locality. We have identified, or can identify, locations based on investment from this interest in this body as well as the corridors commission. And so what we're looking at is maybe a match contribution from public art commission and corridors to achieve this two-year installation so that it fits within public art commission purview of being two years. Can you just mention the fact that the reason this is temporary is that these are going to be leased? Yes. These are a leased opportunity, which keeps the cost down. It was similar to what we did in 2015 and also had done on Southland Drive. We know that sometimes there are, again, some longer-term outcomes that can come from these, and we're building one into the model here in that I love the committee's conversation that we actually build in a public engagement component where the public gets to vote, go explore the pieces, vote, and make a People's Choice Award, which we would look at doing a purchase of that piece. And we can set a cap. We had talked about maybe a cap of up to $25,000, whether it's a set price or a cap up to. I would encourage that these artists are allowed to sell their pieces during that exhibition. That's always an incentive for them to participate. And so they can set their own prices, but we could set aside a certain amount of money and say the People's Choice, we would like to acquire for permanent acquisition that would be part of the city's collection. So this is, again, we have past precedent of doing this. I feel confident we can do it within the budget that's presented here. I am currently quoting concrete. As Christian said, all material costs are on the rise, so I am getting new quotes for the elements that I've set forth, but I feel confident we can achieve this for the budget. As you know, I've been worried about the budget on this. I feel like it's a little small for the potential of the type of work that we would get, but I do like your overall budget. But I would like for us to discuss this with the idea that if prices soar, or if there is a piece that perhaps comes to our attention that would be more that we are open to additional funds. Does that work? I think it does. I think you could even indulge the conversation of adding a contingency in here, an amount for contingency just to make sure things do get done. Is that technically padded by $20,000 or something, like add that as a contingency officially by a vote? Yeah. I mean, we're talking about $50,000 in artist fees, up to $25,000 for the purchase award, and then maybe you used $20,000, I think that's a good number, as contingency to make sure everything does happen. I mean, if it's just something we're thinking and talking about right now. I don't want to muddy the waters for the artists as to what their, I mean, I think going in they need to know what the potential is. All right. I don't, I mean, perhaps I have muddied the waters already, but I'm just saying I think it's, we have a choice, I think, of maybe upping it, what we pay the artists at this juncture, and then it's clear this is what the artists get paid for the piece. Or the contingency worries me just because I wouldn't want an artist in the creation to gamble on the fact that they may get more money. You know what I mean? So I feel like I'd like to make that super clear. I want to trust that you're, I guess what I'm concerned about is the quality of the work that we will have, that we will be choosing a permanent piece from, is $25,000 going to be enough for that to be? Gary might be able to attest to this. Yeah, I have a couple of questions about that. First of all, where's the location? Where is this actually? So we will need to identify that. And I liked your comment about the landscaping that William had mentioned that the, do you want to talk about that? Sure, sure, yeah. So we discussed in the subcommittee that it can not only be the sculpture, the art piece itself, but also the context around it, and maybe we beautify that area. And then even if the sculpture at one time is no longer there, that beautification would still remain with a tree or something like that. Can you hear me? Barely hear you. Okay, gotcha. Yep, because how it lays out is what determines the kind of pieces you're going to get, okay? So if you give me, for instance, like the pad that the horse is on, that's expectations of how far you can go, how big, how wide, or whatever the possibilities are. So we have to first determine the size of the pad, where are they going, and what's the surroundings of the location. So then you see the possibilities of what artists can do. Yes, and so the pads we actually have pre-engineered, and it was the same pads that we used on this same project in 2015. They were also utilized on Southland Drive. So we do know artists will respond to, as you're saying, a size of pedestal, and that involves two different options for them. One is a three foot by three foot by three foot cube. It weighs 4,000 pounds, and we can set it pretty much in any site that we determine. The second pad is ten inches tall and is five foot by five foot. It weighs a similar amount, but a little bit less, about 3,500 pounds. So that gives them a low center of gravity, a base to come off of. And I think we do need to set a maximum height, because we're going to have to simultaneously, to achieve this in the timeline we've established, we would define the call, define the vision for it. And then while we've put this call out, looking for existing or proposed works from local artists, we would be seeking sites. And Corridors Commission has, in their purview, beautification efforts that involve plantings, some along Newtown Pike, they might be looking to activate some new spaces that we would learn about. And then we would look to potentially work with them to interlace these pieces in and amongst those planning sections. And so we will have to go to the state for permissions if they're within a certain right of way of the roadway, and they likely will be. But we've worked through that process before, and we'll be able to figure out line of sight issues. And if it's near an intersection, somebody would need to be able to see past it. So there's a couple things. But Newtown Pike has a lot of width, that city right of way that leads to the legacy trail. So that provides some opportunities that we've activated in the past. And then there's a number of key locations along Versailles that, again, I think the subcommittee can continue to explore with corridors that would be high traffic areas for the Breeders' Cup event and look at finding those key opportunities. Would the piece, let's say the incentive for the permanent purchase. Would that piece necessarily have to stay where it is, or we would move it? There is a possibility that it would need to be moved. I mean, it could either stay if it's on city property and all the things. And likely, we're going to stay within city right of way, but outside of the state mandated zone. But yeah, I think that all those things should be on the table. Part of this proposal is that LexArts would break down the exhibit at the end. And so that would mean bringing the crane back out, having the artist deinstall the pieces that are going away, and then we'd move the concrete. So during that process, we could reposition at that time. I have a question about the leasing agreement. What does that entail? So the artist, again, we would probably lean on the lease agreement that we used on Southland Drive. So that would have a defined period. The artist comes and helps oversee their installation. They'd have to deliver the piece to the site. We would make sure that it's secured to the pedestal properly. And then at that point, it's insured and maintained by LexArts. We would monitor it for the two-month installation, just like if it were in our gallery. And then at the end of the exhibit, they would have to come back and retreat their artwork. What do artists get? So they get $5,000 as a lease of their artwork to deliver it and remove it at the end. And they can sell it at their specified price if somebody were to express interest. And that doesn't include any installation costs? No, the $5,000 is them bringing the piece and getting it set on the pedestal. Okay, thank you. When the pedestal arrives, we provide that. Okay, thank you. That takes a crane. Just to clarify, these aren't pieces that will be made for the site necessarily? They could be, but it would be an artist that already has created these. And then, Nathan, so you said you've not confirmed the materials and pedestals yet. You're still pricing that out? I have. I'm working off of numbers from 2020, when the last time I commissioned these pedestals. But I did increase them to accommodate where I think it will land. I put in a call yesterday. You kind of doubled it by 80%. Yeah. Yeah. No, really. They are. Yeah. The last time we were able to produce these, they were about $600 for those size pedestals. And that was pretty much at cost. You saw the concrete cost in the other proposal was $3,500 poured on site. These are precast at Old Castle Concrete, and they're brought in on a semi-truck when we move them with a crane. They're easy to place and remove. But our staff will be out there making sure, A, that the right pieces are ordered, they're oriented correctly, leveled, and that the installation, physical installation, happens. And what was the artist's stipend in 2020? It was $2,500. Doubled that, too? We've doubled that as well, yeah. The guidance we got from some of our local artists that were doing these in other markets was $100 a month at that time. Okay. So we've went up. We've doubled that at this point. So everything's doubled. Okay. All right. So, Nathan, if the lease term is two years for the $5,000, what if somebody wants to buy it? It would then turn over to the owner after the two years? Correct. Okay. Yeah. They would need to come and retrieve it from that site or arrange delivery. And you have, what's the sizes again? Do you have variable sizes for pedestals? We have two predetermined sizes. And it looked like in 2015 we had produced a third one that was custom to a piece. But I would like to stay with these standard sizes if we can, because it saves the production line. Once they build a mold, they can crank out one a day on these pedestals. Yeah, because that becomes an objective that you need to really be curious about. Because when you have a restricted base, then as a restricted piece, a certain size that an artist can deal with. So that means it's either going to be a vertical piece or it's going to be a horizontal piece, you see. So if you restrict people down to one size, then that's what it's going to be. It's going to be a vertical. All the pieces are going to be vertical. But if you have a variation, then you may have some horizontal pieces, you see. So I'm just always curious about the restrictions of what calls for an artwork. Because then that lets the artist know, well, I can't do this, I can't do that. So I must do this, you see. Now that you mention that, I'm remembering another. You remember the installation we called Reclamation, where we worked with grad students from UK and the surrounding states? There was a larger piece that sat on three points of the floorboards. Absolutely. They actually got around that by using a triangular system of these bases being placed in certain locations. I guess we'd be open to that, but that's costs that we'd have to consider. What I would do in this situation is have an open call to some works with some height restrictions and see what you get. And then try to make the bases work for those pieces. In the state permissions, we were talking through that. So if we can standardize it and set a max height- Absolutely. Through the state process, get these approved. And if there's an anomaly, then maybe we approach that secondarily. But at least we get the batch approval. And we might need to pick out, if we want to go with ten locations, we might need to pick out 12 or 15. Prioritize those, submit them all to the state, and see what comes back. Because there might be one or two that say, no, this is creating too much of an obstacle to see around. Yeah. Will you talk a little bit about your LSP and your project management and that sort of thing? Absolutely. So I'm proposing that LexArts runs this as we have other programs in the past. And we definitely have the expertise and staff to execute this. We will be leaning on some professional service companies, most notably the creation of the concrete, the artists themselves, the crane work. Which, again, that price continues to go up with gas prices. But I did crane work recently, and these are accurate to the quotes. We would look at doing, I broke out the curating. Last time we had actually hired, when we did Southland Drive, Becky Alley was on staff. We had brought her on staff to help with this project. So she was curating within LexArts. So we might do something similar there. I do want to put some marketing effort into this, whether it's the plaques on the pieces, like maybe a brochure, we want to push that community engagement. This could be a great chance for us to engage with Breeders' Cup Festival, that that might be the duration of time that we're looking at getting people to vote and come out and interact with this. And that's the other thing, is identifying that piece up front that's going to be purchased by the commission, so that the length of the exhibit, we'd already have that notified. And that the rest of the pieces we know are open to the private market to purchase if they'd like to, or council members, if they're interested. And then we, of course, need insurance, both for liability and protection of the artwork. And this is for a two-year period. I do think this is an accurate quote. And then project management. I was talking with Celeste about this. LexArts is the official local arts agency for the city of Lexington. And we provide services and raise funds and give those out. But we are currently, the funds we're getting from the city are a direct pass through. Coming from the city and going out through general operating support grants for other institutions. There's not actually any operating support coming to LexArts in this current instance. There has been in the past with a purchase of service. And so we have to assign a certain amount for each project and things we're doing to cover the overhead of the organization. As well as in this case, it's not just staff sitting in a room coming up with plans and reports. But we're out on site physically installing these things and even doing the crane rigging and things. So this is very hands on. And so I've broken each of these elements out. If we want to break it out further, we could easily assign $5,000 in installation on the front end and $5,000 for de-installation on the tail end. But I just wanted to package all the pieces here that we would be providing to the project directly from LexArts staff. So I'm happy to go into more detail if you'd like. Would you, because you mentioned this at the beginning, but I always need to hear things twice. Could you mention the part about this being a partnership with Corridors? Because they're going to take some of that financial burden. Yes. So Council Member Lynch, who serves on both this committee and Corridors, has expressed interest in bringing this to the April 16th Corridors meeting. So I'll be attending that as well to provide this overview. And with a joint partnership investment from Public Art Commission and Corridors, coming together we'll be able to achieve this. It also helps fit the needs that this body's, the funds coming from Public Art Commission need to go to specific line items to fit the purview for the funding. And so I've oriented all of the funds to artist stipends, both at the front end, the 50,000, and then whatever that purchase award would be. So you'd have a little more request because you're acquiring that piece at the end. But the other thing I was thinking too is the pedestals. These are tangible objects that really create an asset that if Corridors wanted to maybe some of your funds be directed directly towards that $10,000, $11,000 line item, we could reactivate these in the future. This is something that could be looked at as a capital expenditure that we then, maybe midway through this exhibit, we say, what do we want to do with these next? That maybe there's an opportunity to keep this going with another initiative two years from now. Is there a place to put these? We have a area, and we'd have to go through the city to ask. But yes, the Masterson Station Park, we have a significant amount of concrete being stored there. They're so excited when we bring things down here. But they can use them too. I'm being sarcastic. I'm going to start. Maybe if that's okay, I might have that conversation now with someone out there and just see if they have sufficient space because I think it's a great idea, but I always worry about two things, things being damaged, things disappearing when they're in storage. So we would want to have some kind of secure storage for these because this is a big investment. These concrete pieces are a big investment. They will be hard to damage and hard to remove. They're hard to lose track of. You would be surprised. But I had always offered that if they ever had a use for, like the horse mania pads and things, please use them. But they're there, so like the Lyric was able to borrow one. So they do get utilized here and there. We have, as of ultimate backstop, I've offered these to the artists in the past. Again, they're easy for us to move with a crane, but once it gets somewhere, it's going to be there for a while. So individual artists that are sculptors sometimes love to have this at their studio in their front yard or something, so we can find places for them, but I encourage us to think about keeping these as an inventory and just go ahead and actively program them because once they're there, we can go ahead and line up a new exhibit. Halfway through this installation, go ahead and start the process again if we want to. So the ownership of these is what? Of the- Yeah, the actual legal ownership of these is the city's property? Yeah, if the city is buying them, then I would encourage us to keep them in an inventory. That's what I was going to say. If we were going to designate these as city property, then we can't sew them about, and we would need to find one spot for them and inventory them. So the options here, but we can talk through the exact budget allocations, but corridors from our experience in the past can pay for the services and things that we're providing, the professional services that we've outlined here. But as far as this body, you'd be paying artist fees, purchase award, or physical items. Okay. After the corridors meeting, would we be able to come up with a pretty close estimate to the entire cost of everything? Yeah. I'm working on the detailed quotes from the outside services right now. So that's the only wild card, and they're not big line items. They would slightly adjust, but not very much. Okay. Yeah, that sounds great. I could have that within a week. This is really great, Nathan. I appreciate all this. This is a really good breakdown. And this kind of goes to a broader subject, which is if we're starting to purchase works in a city work, then we're starting an art collection. Okay. And I don't know if we have archives about Lexington's arts collection. Okay. And I think we need to be greater in concern about that, because anything that we keep purchasing, if it's not really an artist's work, then we need to be concerned about what our collection is trying to be. Okay. So I know we don't really have an area that says we are the archive people of the collection of art in Lexington, but we need to establish that. There is an archive. Everything is documented. Okay. But the city owns. Okay. As far as the artists and the artwork. Yeah. Okay. There's a map and all of those things. Oh, gosh, yes. Yeah, we're keeping tabs on everything. Well, I think we need to be more concerned about the future of what our collection is going to be. I agree. Yeah, the big picture of that. Gary, I get that. The big picture of what we've bought. Absolutely. The overall collection of the city looks like. And it goes hand-in-hand with this project. Yeah. Do we want to take action on any funding amounts today, or do we have just conversation today? I think this is just the update. We still need to go to the Corridors Commission. Would we be willing to pledge our commitment if they come to the table at the 16th meeting, meaning we can put it contingent upon their joining the cause? Because what that allows us to do is stay to this timeline. Sure. That part is pretty imperative to pulling it off. I feel 100% confident that we are pledging that. So, I mean, should we vote that? All members are in agreement? Pleasure of the commission. What? The pleasure of the commission. No. If we all agree. Because you're not asking for a dollar figure today, you're asking for a commitment. Yeah. Okay. So, can we say that everyone in favor of this moving forward in partnership with the Corridors Commission? Is that what you're looking for, Nathan? Yeah. Okay. Everyone say aye. Aye. Any nays? Well done. All right. Then what was the conversation point about maximum height? Is that something you'll work out? I might. Yeah. So, for maximum height, I know we can go back to what we did on Southland Drive and the guidance that we put into the 2015 call for arc. Because, again, we used the same pads and pedestals at that time. But maybe we should get together and consult. Gary, if you won't mind chatting with us on that, thinking about what is the most appropriate in this scale of space. I mean, we know that each space is going to be different. But if we can standardize that. I mean, we're talking 10, maybe 12 feet off the pedestal is probably the max that we would want to go without getting too much. Does that sound right to you, Gary, the scale of 12 feet? Lady Lyric is 12 to 15 feet. I always call it head tilting. If it's not head tilting, then it's not tall enough. I love that. That's great. Yeah. You got the head. That's a good measure. But the other thing, too, I'm curious about what gets the most traffic of these pieces. Is it walk-by traffic or drive-by traffic? These would be drive-by. That's a good question. I think it depends on the location. And, you know, Versailles Road is going to get a lot of vehicular traffic. But we do have pedestrians that walk, you know, city bus routes and things that are there. There's a lot of apartments. There's the library is an interesting location that would get a lot of people walking up to it. So I think you have the opportunity of both. You know, we've already gotten Alexander Drive. So if you guys go down through Alexander Drive, those are University of Kentucky student works there. I've seen those. I didn't know that. Nathan, I think as we explore potential site locations, you know, you mentioned marketing and that you'd like to do a plaque. So if we're going to encourage people to walk up to these, you know, these sculptures, that we need to make sure that we're positioning them somewhere that they're safe, that we're not encouraging pedestrians to walk down to the street or something like that. I think that'll be important. All right. So you're comfortable. You're in a good spot. Anything else on that, anyone? Is there anything on Gainesway Park Project subcommittee update? Is that going to be me? You're doing real well. Sorry. Roseanne, do you want to speak about that? Ed's not here. It was kind of the three of us. Yeah. So we went out to the site last week and we explored different locations that we thought would be perfect for artwork, and we kind of focused in on there's a stone amphitheater, and we were thinking maybe above that that that would be a nice location, and then we picked out a couple of other locations as well. Actually, I have some pictures on my phone that were pretty bad, and I meant to add those to our images today, but what I can do is email that to everybody, and everybody can just kind of be looking at that because there's a lot going on out there, and it was kind of torn up a little bit. Yeah, it was a little bit torn up out at Gainesway. They're doing some work. But anyway, I'm so sorry I can't illustrate what you're talking about, but I will. I'll send the images. And they planted a lot of trees since we were out there the last time, so it's changed a lot. The playground's fully done now. But anyway, we did pick out maybe three locations that we thought would be really great. And then, Celeste, you can talk about the process that we talked about for the artwork. What do you mean? The process of the RP process. Yeah, I guess we'll do the RFP. We'll put out a call for artists, and we'll have a little packet of the places that we've located. We'll get some good ideas that come back, and then we'll do sort of the normal process that we did before. We'll narrow it down and then take people out there. We'll have some money that we will put towards them to do more fully fleshed-out proposals and select one. What's the status of the community involvement that they were going to put at the center? Well, we can get all those surveys back from Mason. And then there's a group that we met with out there that works with kids out there, and we were thinking one other additional thing we'd like to do out there is I think, Roseanne, you pointed out that there is some really sad-looking utility boxes out there. I mean, they look awful, and they're very visible and buried in the middle of everything. So we would like to put these utility boxes in the next wrap go-round. So part of what's interesting out there is there's a trail that kind of meanders through the whole thing, and then there's a big pond, and then there's a huge bridge, and then there's a playground. And there's just so many big assets out there already that it's hard to not want to put something everywhere. I'm not kidding. I mean, we were really sort of like we need something at the entrance. You know, they need something in this flat place. We need something along this trail. So the utility boxes will help that so that when you're walking through this whole park, you're going to see something cool, something cool, something cool. But I think for our uses here, what we really want is to have a, I forget what we refer to it as, but sort of a big wow factor piece out there that the kids utilizing that area will grow up knowing and loving. When you come back to visit that park, you remember this piece. I mean, we really had this conversation about how meaningful this piece could be to that park and that community. Look at that turkey getting loose over there. We can always play with that. That would be so heartwarming. So it was real inspiring. I mean, we were between the energy of the kids that we observed their art project that they're working on out there, but we did think that these kids were so animated doing this art project with Alice Hilton who did the asphalt art project. With that, we thought some of the wraps could be designed by those kids, and we could do some of the wraps out there. But for the big piece, there's a lot to think about, you know, families and children and sports and the school and that sort of thing. So the artists have plenty of material to think about, and that will be the process that we'll go through for that. And we're ready to, we're getting very much ready to get ready to launch that. I think we're finally ready to pull the trigger on the Gaines Way project. Excellent. Have we engaged with the high school there? They have a fantastic arts program in Pigs Creek. They really do, yeah. So there might be an opportunity to engage their high school art classes and some of that? Councilmember Beasley's aide has done this survey with her. He has helped distribute that, and they came up with that together. And there's going to be tons of input from that community. They have them at the community center. But then also I feel like we can add to that, too. We should try to maybe distribute some of those and get some of those responses, too. And I think there will be some really good input for the artists to use to be inspired to do a piece. I love the idea of them doing the utility box wraps, wrapping their baby. I think the kids, they did two huge murals when we were out there, I mean movable murals, but they did two big pieces. It's a large space, but there are berms everywhere. So it's not like there's one place you can go and see everything. It's like there's all these little surprising little hills. I think the place that it was just me and Ed and Roseanne, but I think the piece that we liked the best was the little amphitheater. There's a little tiny strange amphitheater there, and then there's a little promontory behind it. Yeah, there's a little promontory. And so we thought it would be great. It would be such a photo op. You could sit with your family, and then there's the piece right behind you. It's already a sculpture stand. It's kind of a sculpture stand there. But I got to say, as we walked around, we realized that it would be fun to see something as you go on the trail. It would kind of come upon something. Then there's another promontory that's a little bit, and we thought, oh, this would also be a great place. So there is no shortage of really good ideas out there. So we might want to do another time in which we all go out there. Now that the weather's better, it's really quite pleasant to go out there and take a look around. And maybe we could home in on something with everybody's input. But I think we're ready to start to sculpt a RFP and get going on a call for artists. Wonderful. More than one. All right. Any other thoughts there? Excellent discussion. Field trip was good. We'll do it again. All right. Is there any new business to come before us? Anyone? I have one thing I wanted to bring up. Gary, and I've been talking about the Senior Center. And the Senior Center, if you all remember Mary Beth McCormick came to us with needed help with figuring out how to do a piece at the Senior Center. It's memorializing one of their wonderful, there you are, Mason. I didn't even see you back there. There you are. Hey, before I start this, can you tell us a little bit on the update of your survey? So I'm going out to the community center today for a hundred and something. And they have a bunch of copies. So I'm thinking as the kids go through their food line, I'll just hand them that survey as well. Okay. Fantastic. We have a few responses, but I think it's just going to be consistent reminding the public that, hey, the survey's out here. And then I'm going to have a bigger response. Do you have an estimate of the responses that you've gotten already? About ten responses right now. Okay. A lot of it was like requesting more lighting for the park. Okay. Okay. But you'll be sharing that with us in a future meeting, the survey results? Yeah, absolutely. I mean, if you need a presentation on it, I'd be glad to do that. Yeah, that would be great. That would be wonderful. Thank you. You're welcome. Just reach out to me. Yes, thanks a lot. I didn't even see Mason back there. Okay. So I'm sorry. Back to this. So Gary and I talked about, because you did a piece at the senior center, correct? You have your piece out there. So Gary would be, I think, very helpful to them to guide them and help work with them on this project. But I stumbled over the fact of the appropriateness of that since he's on the arts commission, the public art commission. So I wanted to discuss the possibility that Gary would meet with them or talk to them about a piece. And like what you were just describing earlier, you didn't end up doing the piece, but you helped the people figure it out about the turkey. Yes. And the city did not fund that piece. That was a donor's money. Right. So I was contacted directly. Right. But the city had to accept the gift. So here's another situation where they called on me and this committee would accept the design, but I've been asked. But then again, I understand, too, if they come and ask for funding, that completely alleviates me because that's a conflict of interest. This is what I'm wondering. This is an interesting point because you could recuse yourself. Obviously you wouldn't be voting for the piece. Right. Absolutely. But I am wondering if they chose you. They have very low budget, and I'm not sure it's a project that you would be able to actually do. But I wondered if it would be appropriate for you to consult with them. Perhaps it could be a student project. Perhaps it could be something like that, that you could help consult for them to find them a person that is within their budget. Yeah, either way. Because I haven't gotten really specifics. I've just been asked. Right. But when I was looking through the master plan and stuff, I realized this is another thing that we don't really have. We haven't addressed that. So personally, I don't have a problem with you helping them and looking into it with them, and perhaps consulting with them about doing a student work through your classes at UK, but. I think that's a valid option. I think a lot of times, trying to figure out what somebody wants out of it at the end. What's the intention of the piece? What's their hope to have of scale? Those kind of things. And if they have a small pot of money, helping them know, OK, well, if we were to achieve your dreams for this piece, this is maybe where a budget would be appropriate to achieve that. And then thinking about different community partners that might come together to help achieve that. Because rather than say, OK, we only have x amount, but we'd love to have this thing, there's a gap in between. And there's always a way to get there. But sometimes we might need to bring more people to the table to be part of it. Well, since they reached out to you, I was just thinking. I mean, I'm willing to hear anyone's argument against that. But I wanted you to just feel comfortable, as a member of the commission, to go ahead and talk to them about it. And keep us posted. And we hope that they can do so. I mean, same thing with Nathan. Nathan may end up being a go-to for them as well. So I feel like this is a small town. And there's only a few artists and art consultants and people to help. So I think it's hard for us to say that, as commission members, we can't. But it certainly wouldn't be something if you ended up doing a piece for them that you couldn't vote on the funding for it. OK. I mean, is that appropriate? OK. And I do understand conflict of interest. Oh, I know, I know. And I felt like you were in a tough position. Right. You got me. I was sort of like, how do I help Gary with this? Absolutely. Yeah. So that's when I emailed you and said, I'm still thinking, Gary. I'm still trying to figure this out. So anyway, that's just the conclusion I've come to. And again, this may be something that we want to revisit in the master plan to make it more clear. And like you said earlier, we're talking about educating the community about how these things work. Everyone has an idea, but they don't know how it works. And any time you say outdoor, that's completely something different than something that you're going to install indoors. And it gets into a lot of different other ramifications. So people have to be educated. Yes, and they've really struggled with their call for artists and all that. So I appreciate you being able to help them with that. And you too. OK. I think that's everything. I was going to ask that motion to adjourn is always in order. I'm always the one that makes the motions. Any other comments, questions? We are adjourned. Thank you. All right, thank you. I'm so sorry. I do. I'm so sorry. I've wasted all my tears, wasted all those years. Nothing had the chance to be good. Nothing ever could, yeah. Oh, well. I'll keep holding on. I'll keep holding on. I'll keep holding on. I'll keep holding on. I'm so tired. All right. All right. Well, I've wasted all my tears, wasted all of those years. And nothing had the chance to be good. Nothing ever could. Oh, well. Oh. I'll keep holding on. I'll keep holding on. I'll keep holding on. I'll keep holding on. Holding, holding, holding on. I said, oh, well. That's all I have to say. It's all I have to say. It's all I have to say. Well, baby. Somebody told me, boy, everything she wants is everything she sees. I guess I must have loved you, because I said you were the perfect girl for me. Oh, baby. And now I'm six months older. And everything you want and everything you see is out of reach, not good enough. I don't know what the hell you want from me. Oh. Uh-huh. Uh-huh. Oh. Oh. Uh-huh. Uh-huh. Do, do, do. La, la, la, la, la. Uh-huh. Oh. Oh. Uh-huh. Uh-huh. Do, do, do. La, la, la, la, la. Somebody tell me. Oh. Won't you tell me. Why I work so hard for you. Good money. Work to get money. Oh. Some people work for a living. Some people work for fun. Girl, I just work for you. They told me marriage was authentic. Well, you show me you can take. You got some giving to do. And now you're telling me that you're having my baby. I'm telling you I'm not. I'm telling you I'm not. I'm telling you I'm not. I'm telling you I'm not. Baby, I'll tell you that I'm happy if you want me to. But one step further and my back will break. If my best isn't good enough, then, hey, I cannot be good enough for two. I can't work any harder than I do. Somebody tell me, why I work so hard for you. Why do I do the things I do? I tell you if I can do. My God, I don't even think about it. I don't even think about it. I don't even think about it. My God, I don't even think that I love you. Won't you take me? Give you money, won't you give you money? Give you money, won't you give you money? Give you money, won't you give you money? Give you money, won't you give you money? I've got to settle for a ball like me when all I can see was the end of your week. All the things we signed and the things you bought ain't gonna keep us together. It's just a matter of time. My situation never changes. Walking in and out of that door like a stranger. But with wages, I give you all you say you want. And all I could see was the end of the week. All the things we signed and the things we bought ain't gonna keep us together. Girl, it's just a matter of time. Just a matter of time. Somebody tell me Somebody Why I work so hard for you Won't you give you money? Somebody tell me Why I work so hard for you Won't you give you money? Somebody tell me Won't you tell me Why I do the things that I do? When Black Friday comes I stand down by the door And catch the gray men When they die from the 4P floor. When Black Friday comes I collect everything I own And before my friends find out And before my friends find out I'll be on the roll. When Black Friday falls You know it's got to be Don't let it fall on me. When Black Friday comes I fly down to Bus Wellbrook Gonna strike all the big red words From my little black book. Gonna do just what I please Gonna wear no socks and shoes With nothing to do But feed all the kangaroos. When Black Friday comes I'll be on that hill You know I will. When Black Friday comes I'm gonna dig myself a hole Gonna lay down in it Till I satisfy my soul. When Black Friday comes I'm gonna dig myself a hole Gonna lay down in it Till I satisfy my soul. Don't let the world pass by me The archbishop don't sanctify me And if he don't come across I'm gonna let it roll. When Black Friday comes I'm gonna stick my cane I guess I'll change my name. When Black Friday comes I'm gonna dig myself a hole Gonna lay down in it Till I satisfy my soul. Wake up, today's gonna be a good day Wake up, really gonna rise in time Step to me, get something good, something for you. You're driving me mad Making me crazy for your love Thought I heard the telephone ringing It must be my imagination Thought I heard a knocking on the door I guess it was wishful thinking When I close my eyes I can see your face Feel you touching me Oh darling, don't you know I need to find a real way To make you see That I'm crazy for your love Out of my head for you My mind just can't believe What you're making my body do I'm delirious over you And I just can't get enough You're driving me mad Making me crazy for your love When I close my eyes I can see your face Feel you touching me Oh darling, don't you know I need to find a real way To make you see That I'm crazy for your love That I'm crazy for your love Out of my head for you You're driving me mad Making me crazy for your love You're driving me mad Making me crazy Making me crazy for your love Making me crazy for your love Making me crazy Making me crazy for your love Baby, tomorrow's so far away There's something I just have to say I don't think I could hide What I'm feeling inside Another day Knowing I love you And I, I'm getting too close again I don't want to see it end If I tell you to lie Would you turn off the lights Walk away Knowing I love you I'm gonna take you by surprise And make you realize, Amanda I'm gonna tell you right away I can't wait another day, Amanda I'm gonna say it like a man And make you understand, Amanda I love you And I feel like today's the day I'm looking for the words to say Do you wanna be free Are you ready for me To feel this way I don't wanna lose you It may be too soon, I know A feeling takes so long to grow If I tell you today Will you turn your way And let me go I don't wanna lose you Oh, oh, oh, oh, oh, oh Oh, oh, oh, oh, oh, oh Oh, oh, oh, oh, oh, oh Oh, oh, oh, oh, oh, oh Oh, oh, oh, oh, oh, oh I'm gonna take you by surprise And make you realize, Amanda I'm gonna tell you right away I can't wait another day, Amanda I'm gonna say it like a man And make you understand, Amanda Oh, girl You and I I know that we can't wait And I swear, I swear it's never like us Tomorrow may be today You, you and I, girl We could share the night together It's now or never And tomorrow may be today Oh, oh, oh, oh, oh, oh Feeling the way I do I don't wanna wait my whole life through To say I'm in love with you I'm in love with you Now, I don't know I don't know I don't know where I'm gonna go when the volcano blows Let me say it now I don't know I don't know I don't know where I'm gonna go when the volcano blows Ground, she's moving under me Tidal waves out on the sea Sulfur smoke up in the sky Pretty soon we'll learn to fly Let me hear you now I don't know I don't know I don't know where I'm gonna go when the volcano blows Now, my girl quickly said to me Man, you better watch your feet Lava come down soft and hot You better love me now or love me not Let me say it now I don't know I don't know I don't know where I'm gonna go when the volcano blows Mr. Utley No time to count what I'm worth Cause I just left the planet Earth Where I go I hope there's rum Not to worry, mine soon come Now, I don't know I don't know I don't know where I'm gonna go when the volcano blows One more now I don't know I don't know I don't know where I'm gonna go when the volcano blows But I don't want to land in New York City I don't want to land in Mexico No, no, no I don't want to land on no three mile island I don't want to see my skin not glow No, no, no I don't want to land in Comanche Sky Park Or in Nashville, Tennessee No, no, no I don't want to land in no San Juan airport Or the Yukon territories No, no, no I don't want to land no No, no, no Hey y'all, it's your Vice Mayor Dan Wu I am so excited to announce the second wave of medical debt relief here in Lexington We are wiping out 5.6 million dollars of unpaid debt for over 3,200 Chey County residents So if you receive this letter in the mail from Undue Medical Debt saying that your debt has been acquired and canceled this letter is indeed real as is your medical debt relief In 2024, I proposed a million dollars towards medical debt relief in Fayette County and the Urban County Council approved it unanimously We are now working with Undue Medical Debt a national non-profit to wipe out tens of millions of dollars of debt right here in Lexington To date, we have relieved over 18 million dollars of debt for nearly 10,000 Fayette County residents So file away your letters as evidence of your medical debt relief and we will continue to work to connect impacted families with resources and education in order to break the cycle of unpaid medical debt Congratulations to all who have received this relief and know that we are not done yet The work continues and there may be more waves of relief to come Take care Thank you And in love's rage There's another page The fighting is worth the love they say One love feeds the fire One heart bears desire One love gives the fire One heart bears desire One love gives the fire One love gives the fire One heart bears desire One love who's crying now Two hearts born to everyone Who'll be the lonely one One love who's crying now Only soft in your tears you can cry Until the heartache is over And now you can say Your love will never die Oh, oh, oh Oh, oh, oh One love feeds the fire One heart bears desire One love who's crying now Two hearts born to everyone Who'll be the lonely one One love who's crying now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  . . . .  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . And I, I want to share all my love with you, no one else will do. And your eyes, your eyes, your eyes, they tell me how much you care. Oh yes, you will always be my endless love. Two hearts, two hearts that beat as one. Our lives have just begun. Forever, I'll hold you close in my arms. I can't resist your charms. And love, oh love, I'll be a fool for you, I'm sure. You know I don't mind, oh you know I don't mind loving you. You mean the world to me. Oh, I know, I know, I found in you, my endless love. Oh, oh, oh, oh, oh, oh, oh. Oh, and love, oh love, I'll be a fool for you, I'm sure. You know I don't mind. Oh, you know I don't mind. Yes, you'll be the only one. Cause no one can deny, this love I have is mine. And I'll give it all to you, my love, my love, my love, my endless love. Well, there's my easy chair. I'm just sitting there. I've spent a lot of time thinking of this perfect love I know is yours and mine. And oh, how I love that old picture on the wall of you and me and the kids. My most favorite times in life I've spent right here where we live. There's no place like home. There's no place like home. It just hit me as I was leaving. There's no place like home. From the bedroom I smell perfume, my favorite kind you wore. And it brings back memories of all those nights behind our bedroom door. And the saddest thing I think I've ever seen was my closet all cleaned out. It's sad to think that one must leave cause we can't work things out. There's no place like home. There's no place like home. It just hit me as I was leaving. There's no place like home. So baby say that I can stay for just a day or so. Then maybe I can change your mind and I won't have to go. Just look into these baby blues and tell me it's okay. I love that smile, it drives me wild. No love won't die today. There's no place like home. There's no place like home. When I think of those East End lights, muggy nights, curtains drawn in the little room downstairs. Bring it down a lot, you really should have been there. Sitting like a princess perched in her electric chair. And this one more beer and I don't care anymore. We've all gone crazy lately. My friends out there rolling round the basement floor. Someone saved my life tonight, sugar baby. Almost had your hopes in me, didn't you dear? You nearly had me roped and tied. All about hypnotized, sweet freedom whispered in my ear. You're a butterfly and butterflies are free to fly. Fly away, fly away, bye bye. I never realized the passing hours of evening showers and sick news hanging in my darkest dreams. I'm strangled by your haunted social scenes. Just a pawn I played by a dominating queen. It's four o'clock in the morning, damn it, listen to me good. I'm sleeping with myself tonight. Saving time, thank God my music's still alive. Someone saved my life tonight, sugar baby. Almost had your hopes in me, didn't you dear? You nearly had me roped and tied. All about hypnotized, sweet freedom whispered in my ear. You're a butterfly and butterflies are free to fly. Fly away, fly away, bye bye. Fly away, fly away, bye bye. And I would have walked head on into the deep end of the river. Clinging to your stocks and bonds, paying your HP demands forever. Coming in the morning with a truck to take me home. Someone saved my life tonight. Someone saved my life tonight, sugar baby. Almost had your hopes in me, didn't you dear? You nearly had me roped and tied. All about hypnotized, sweet freedom whispered in my ear. You're a butterfly and butterflies are free to fly. Fly away, fly away, bye bye. Fly away, fly away, bye bye. Fly away, fly away, bye bye. Someone saved my life tonight. Someone saved my life tonight. Daniel yw'n ymdrech ar ein fflwm. Rwy'n gweld y ffyrdd yn eich gilydd. Mae'r byd yn fyny. Rwy'n gweld Daniel yn ymdrech i'w farw. Mae'n edrych fel Daniel. Mae'n rhaid i gyd fod y ffyrdd yn fy ogledd. Mae'n dweud ei fod yn hyfryd, ond dydw i ddim wedi bod. Mae'n dweud ei fod yn y lle cyntaf, ond dydw i ddim wedi gweld. Mae'n dweud ei fod yn ddigon. Rwy'n misio'r Daniel. Rwy'n misio'r Daniel. Daniel, my brother, you are older than me. Do you still feel the pain of the scars that won't heal? Your eyes have died, but you see more than I. Daniel, you're the star in the path of the sky. Daniel, my brother, you are older than me. Do you still feel the pain of the scars that won't heal? Your eyes have died, but you see more than I. Daniel, you're the star in the path of the sky. Daniel is driving tonight on a plane. Rwy'n gallu gweld y llun ffyrdd yn mynd i'r Sbaen. Rwy'n gallu gweld Daniel yn dweud adroddiad. Mae'n dweud ei fod fel Daniel. Mae'n dweud ei fod fel Daniel. Mae'n dweud ei fod fel Daniel. Mae'n dweud ei fod fel llun yn fy mwyn. Yn ystod y blynyddoedd, mae'r llun yn mynd i'r Sbaen. Mae'r llun yn fy mwyn. Mae'r llun yn fy mwyn. Mae'r llun yn fy mwyn. Mae'r llun yn fy mwyn. Mae'r llun yn fy mwyn. Mae'n dweud ei fod fel Daniel. Daniel y mywahanaethwr. Mae'n dweud ei fod fel Daniel. Mae'n dweud ei fod fel Daniel. Rhyw ffordd gwell, draid ar darn a inmates. Mae'n llwyr iawn. Pan fyddwch chi'n fflwyno'n un. Ac os oedd gen i'r arian, eisiau i chi fynd ymlaen. Ac os oedd gen i'r arian, eisiau i chi fynd ymlaen ..dan fyddwch chi arnau yn sbarduno am 것으로. Cadwch mor flynyddoedd. allai fy mod eisiau eu eisiau, Yn y blynyddoedd, Felly, agorwch eich ogledd. Byddwn yn dod yn ôl yn ddiweddar. Dyma'r rheswm. Gadewch i'r bobl. Ac os oeddwn yn cael y dydd, Byddwn yn eich eisiau'n y blynyddoedd. Yn eisiau eisiau. Byddem ein hunain na byddwn yn y blynyddoedd. Fe'i gosodwch ŵan yn y gwrs enghraifft. Awturdodd y ddydd y gilydd. Mae'n iawn i chi. Dychmygu'r gwaith. Yna gall y dydd i hyd yn oed. Dylid yn lyfio'r heddlu. Cilio'r cam. Roeddwn i'n meddwl bod y celf yn rhywbeth rydw i ddim yn gallu ei wneud. Doeddwn i ddim yn gwybod y gallwn i'w teimlo ychydig. Ond mae'r ychwanegiad hwn mewn gwahanol rhan o'n holl gofn i chi yw mwy na reakción i'w cyfathrebu. Mae'n ffasiwn perffaith. Ac nid ydw i'n cael ei wneud. Y ffordd rydych chi'n edrych, yr ffordd rydych chi'n llau, yr ffordd rydych chi'n cael, gyda'r holl beth rydych chi'n ei wneud. Nid yw peth am ychydig. Neu dioddwch rhaid i mi wneud rhywbeth. Y ffordd rydych chi'n cilio, y ffordd rydych chi'n crio, y ffordd rydych chi'n mynd pan edrych chi. Nid yw beth am ychydig. A dioddwch wneud rhywbeth i mi. Yn fy bywyd, rydw i'n cael fy nghaerdydd o ddwylo'r gwaith gwych. Nid yw beth am fy nghaerdydd. Yn yr un peth, rydw i'n mynd i mewn i'r ffyrdd. Ac, byddwch yn ddiddorol iawn. Felly, pam ydw i'n ymdrechu? Yn yr un peth, rydw i'n mynd i'r ffyrdd. Yn yr un peth, rydw i'n mynd i'r ffyrdd. Yn yr un peth, rydw i'n mynd i'r ffyrdd. Mae'r ffordd rydw i'n edrych. Mae'r ffordd rydw i'n laud. Mae'r ffordd rydw i'n caru. Yn yr un peth, nie? Nid yw'n un nyw am eich bod. Arweiniwch i mi, dim ond. Mae'r ffordd rydw i'n ôl. Mae'r ffordd rydw i'n crio. Mae'r ffordd rydw i'n mynd wrth ddechrau. Nawr, dim unwynt. Dim unwynt. A'r swyddfa i mi. Rydw i'n cofio eich ystyriedau, eich tatw, eich pob meddwl. Eich swyddfa, eich llyfrau. Ac mae'r gilydd yn mynd ymlaen, ymlaen, ymlaen. Yn y lle rydych chi'n edrych, yn y lle rydych chi'n ysgrifennu, yn y lle rydych chi'n cael eich holl bethau, dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Yn y lle rydych chi'n boblio, yn y lle rydych chi'n awgrymu. cases yno. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dyma comoliau ar gerddaskau, dyma berjadau. Dyma technegau ar gerddskau, dyma berjadau. O'r ffordd rydych chi'n siarad, o'r ffordd rydych chi'n dysgu. Ar gyfer hyn, rwy'n credu eich bod. Dyma dim unwynt am eich bod. Dyma dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod.  Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unweynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Dim unwynt am eich bod. Welcome back to Lexington Now. Woodland Christian Church has opened the Oaks at Woodland. The new development provides affordable housing for seniors. I often find myself being asked, how can we see this effort replicated throughout our community? And the truth is, it's a remarkably complicated answer. Because it really takes a village. And it doesn't just take a wide variety of partners, it takes those partners thinking outside of the box and doing things in unexpected ways. To do my best to summarize the answer to how projects like this happen and how we can see more of them, I'd say this. When people act in unexpected ways, the places we create can turn into things we could have never imagined. Every affordable housing project, as a couple of our speakers have said, is different. And this one is really exceptional. It's creative. And I want to just say to Reverend Christy Jo, thank you. Thank you for the vision that the church had when this came along and for all the good that you have done to make it work. And the seniors who live here, I think we need one more. Don't tell too many people. If I understand, 37 of the 38 are full. And that is something to be thankful for. And it really is a community, isn't it? And so these are people who need this. And we know that in Lexington our senior population is 25% of our population, 25%. And there are many of those folks who need this kind of housing. And so I know that the congregation and the disciples of Christ are very thankful for the restoration, for the new community surrounding you. And our city is just very proud to be part of this partnership. I look back there at Charlie Lanter. Oh, my gosh. This is such a huge focus that Commissioner Lanter has every day with Rick McQuaidy and the work that everyone does. So just a little bit about what the city has done. You know we did invest $4.2 million in this project from our affordable housing funds. And there's really a lot to talk about when we think about in 2014, just really 11 years ago, we created our affordable housing fund. We did not have one before that. So affordable housing was whether it could get in the budget or, you know, what the council would decide, what the mayor would decide. And so since 2014, and I was very proud to be on that council that approved the new affordable housing fund, and our city has allocated over $60 million. And that has leveraged, okay, this is the big part, it has leveraged $490 million from our private sector. And this is for the development and preservation of 3,826 units. We are hoping, fingers crossed, Charlie, by the end of this year we'll be at 4,000. I think we're within reach. Yeah, he's shaking his head yes. So finally, I want to challenge you because this project shows us we can do things differently. If you are a member of a faith congregation and you have a little space next to your church, your synagogue, your temple, wherever it is, go to your governing board and your pastor and ask them to take a look at this model. Because think about all the babies we can grow across the city, right, Christy Jo? And it is such a wonderful possibility for Lexington. I'd really like to see some others grow. And so you can be the catalyst with your faith community. So let's go do it. Welcome Randy with this week's Adoptable Pets. Hey everyone, welcome to this week's Lexington Fayette County Adoptable Pets from LexTV and the Lexington Humane Society. Look at Chrissy. She is a red female, approximately six years old. Looks like a shepherd mix. Mature size is large. Does well in apartments and also with children. And take a look at Chulo. Tan and white in color. A male, approximate age is one year old. Looks like a Sharpay or Lab mix. Mature size is large. Does well with other dogs in apartments and children. And look at Crash posing for you. Tan and white in color. Female, approximate age six years old. Looks like an Australian cattle dog and shepherd mix. Mature size is medium. Does well in apartments and also does well with children. Thanks for watching these adorable and handsome pets. Available at LexingtonHumaneSociety.org from LexTV and the Lexington Humane Society. Basel Tuchon has this weekend's events. Hi there. I'm Basel Tuchon at Global Lex. And here are some upcoming events this weekend in Lexington and Fayette County for April 3rd and April 4th. Please note, events that require registration may sell out or fill up in advance. Be sure to confirm by visiting lexingtonky.gov forward slash calendar. On Friday, April 3rd at 4 p.m. bring the whole family to the Dunbar Community Center for a community egg hunt. This evening is fun, food, and fellowship. We'll feature a balloon artist, face painting, a bounce house, music, and so much more. Then, on Saturday, April 4th, head to McConnell Springs starting at 10 a.m. for Story Walk. This fun, self-guided reading experience will feature a walk in the park, This fun, self-guided reading experience will feature laminated pages from a children's book posted along the trail for you and your family to explore at your own pace. Also happening at 10 a.m. is Junior Naturalist at Skelly Landing. Kids in grades K-5 will learn all about Kentucky's fish and mussels through interactive activities. This is an outdoor event, so please wear close-toe shoes and dress for the elements. Registration is required. If you're interested in our local waterways, join us in Raven Run's Natural Sanctuary on Saturday, April 4th at 10 a.m. for the Kentucky Watershed Wash Sampler Training. This free workshop will include training on habitat and biological assessment so you can help monitor water quality in streams across the state. Participants must complete introductory online training before attending the workshop. More information is available online. And finally, at 10.30 a.m., Heisel Farm Park will host an atlasal throwing demonstration. Join outdoor program staff to learn about the ancient hunting tool and an opportunity to throw the spears yourself. That's a look at what we have going on in Lexington and Fayette County this weekend. Find out about more events and the links to register by visiting lexingtonky.gov forward slash calendar. I'm Vasil, and that's just some of the things going on this weekend in Lexington and Fayette County. You may need to pre-register for some of these events For more events and more information, be sure to visit lexingtonky.gov and click the calendar tab at the top. Thanks for watching, and we'll see you next week. Vasil also has our preview of meeting coverage for the week. Hi there, I'm Vasil Tushan at Global Lex, and here's our current live meeting schedule this week, March 30th for LexTV. Remember, you can watch all our live meetings coverage on LexTV channel 185 and always online at lexingtonky.gov. It's a very light meeting week in Fayette County, and Council is under recess this week. But on Thursday morning, April 2nd, watch the Planning Commission Subdivision Subcommittee meeting at 830. And following, later in the afternoon, watch our live coverage of the Planning Commission Zoning Subcommittee at 130. That's our current live meeting schedule for LexTV for the week of March 30th. Watch all our live meeting coverage on LexTV channel 185 or always online at lexingtonky.gov. And click the LexTV tab at the top. I'm Vasil, and we'll see you next time. That's all for now, but as always, you can keep up with us on social media, check out the latest traffic updates on X at LexRex, or catch our live traffic cams on lexingtonky.gov. For all of us at LexTV, I'm Neil Noah, and that's it for now. Thanks for watching. You. Oh, you. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. You. 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