Non-profit business plan

1. DMN BOARD OF DIRECTORS
Presented To
DIRECTOR
Presented By
Grant Funding
Proposal
Prepared by Jana M. Gough, MBA
JUNE 2022

2. Executive Summary
was formed in March 2020, at the beginning of the pandemic
shutdowns. The disruption the pandemic caused to the global music industry has
been phenomenal. Live music has dropped by 77% since the beginning of the
COVID-19 pandemic. The music scene in Dallas has been no exception. Local
artists, already struggling before the pandemic, have found it extremely difficult to
find work and make a living. Seeing the effect of lockdowns on local musicians,
and others within the Dallas
music scene came together to think of a solution.
The team wanted to ensure that Dallas musicians still had a chance to play and that
audiences could still enjoy live music during this uncertain time. They sourced a
tech team and started to recruit local musicians that they could feature on live
streams. We began to see how we could make a larger, more positive impact on the
Dallas music community during these early months.
DMN has continued to support local artists, including band development, music
arranging, production and recording, film, promotion, and exposure to industry
networking. In June 2020, DMN became a 501(c)(3) nonprofit organization to help
Dallas artists reach their full potential by creating performance, recording, digital
media creation, streaming, promotion, and collaboration opportunities. We have a
vision of bringing the vast music culture of Dallas to the world and elevating Dallas
as a major music industry city. In February 2022, DMN had reached over 590,072
live stream views in 12 months on Facebook and YouTube alone.
In addition to social media live streams, DMN films are available on TV streaming
devices on-demand on Two-Stage TV, independent music, and film channels
available in over 100 countries on Apple TV, Roku TV, Amazon Fire TV, Android TV,
and internet TV. Our media is also on the Two-Stage TV app for Android and Apple
phones.
Since its inception, DMN has featured over 464 musicians across a broad spectrum
of genres, cultures, and ethnicities, increasing their reach and driving more
followers to their social media pages to increase their sustainability. We realize that
not every artist will sign a major deal. Our goal is to help emerging artists at every
level. Some artists have gained exceptional success, including a 16-year-old African
American musician who Disney signed for 'High School Musical; The Series' on
Disney Plus. Another young musician was signed to Sony Latin Music, and an artist
received a golden ticket on the current American Idol 2022. Others have used their

3. digital assets to obtain coveted festival spots and gigs. This shows the immense
help that DMN provides to independent artists. DMN has become a hub for local
artists to expand and develop their careers.
DMN aims to enrich and diversify the local music scene. This is done by ensuring
independent artists receive the marketing they need to succeed. Audiences from
the local area will have access to smaller, more unique musicians.
DMN is able to break down the barriers to accessing our music as we provide an
array of free TV content streaming outlets, online performances, interviews, and
other events. Most of our productions are easily accessed online by the local
community free of charge. This promotes inclusivity within the local music
industry. After the pandemic, many individuals found that accessing live music was
difficult due to the cost. The free online events help to break down that barrier.
Because many are still uncomfortable with attending live music events due to
COVID, all shows, interviews, and other events are streamed online via YouTube,
Facebook, Instagram, Apple TV, and other platforms. This also eliminates the need
for people to travel as gas prices continue to increase.
DMN will be launching new programs from October 2022 to September 2023. One
of these programs will be the development of the Podcast,
which will include audio tracks repurposed by the sound team that have been
previously filmed. We will then organize interviews with artists to be featured on
the podcast. We estimate each episode will be 30 minutes long and include three
songs, with the artist interview preceding the songs.
Artists are selected by diverse individuals, including two females, three males, three
African Americans, and two Caucasians. This further demonstrates our
commitment to equity, diversity, and inclusion.
Market
The Movie and Production Industry
Over the five years leading to 2021, the Movie and Video Production industry have
experienced difficulties in a changing operating environment. Though the industry
has benefited from steady demand for entertainment during the current period;
however, it is also contending with disruption to its traditional distribution
channels. As a result of this challenge, the industry has restructured its business
model as studios have increasingly prioritized blockbusters and relied on foreign
distribution and digital channels to generate revenue. Meanwhile, competition
between the major studios that control the bulk of the industry has strengthened
over the past five years, heightened by numerous high-profile acquisitions and

4. bidding wars for creative properties. Overall, industry revenue declined at an
annualized rate of 9.7% over the past five years to reach $17.8BN; however, this
includes an expected rise of 6.4% in 2021, as the unfavorable economic conditions
caused by the COVID-19 (coronavirus) pandemic begin to reverse as the economy
and theaters reopen in the year.
The Internet Publishing and Broadcasting Industry
The Internet Publishing and Broadcasting industry comprise companies and
individuals that offer nonphysical products, such as news, music, and video (not
including search engines) to customers using internet-connected devices.
The industry is heavily reliant on consumers' access to the internet and internet-
connected devices. While broadband internet availability is approaching saturation,
mobile devices have exploded in popularity, supporting industry growth. IBISWorld
observed that the number of mobile internet connections in the United States
increased an annualized 2.6% over the five years to 2021.
In 2020, industry revenue was actually supported by COVID-19 (coronavirus) as
advertisers were less likely to spend money on traditional ad methods with the
economy largely closed. Total advertising spending declined 5.4% in 2020; however,
as active users for industry operators increased, the majority of remaining ad
spending was directed toward industry operators. Twitter, for example,
experienced an increase of 26.0% in users during the first quarter of 2020
compared with the year prior. The industry has provided new opportunities to
entrepreneurs; as a result, the number of industry operators is expected to
increase an annualized 4.7% over the next five years. Furthermore, employment is
expected to rise an annualized 7.1% to 310,330 workers during the same period.
Profit is anticipated to remain elevated despite high wage costs, offset by falling
purchase and marketing expenses. Industry profit, measured as earnings before
interest and taxes, is expected to comprise 23.1% of revenue in 2021, rising
marginally from coronavirus levels in 2020 as price competition is reduced.
The Motion Picture and Theatrical Equipment Rental Industry
The Motion Picture and Theatrical Equipment Rental industry rents equipment to
producers of filmed entertainment and live performances. The majority of the
industry's rentals are camera, sound, and lighting equipment. Lighting
equipment rentals include stage lights, effects lights, and butterfly and flag or scrim
kits. Sound equipment rentals include microphones, speakers, public address
systems, and soundboards. Over the five years, the industry has experienced
stagnation as strong performance early during the current period was followed by

5. the COVID-19, an induced shock in 2020. Over the past five years, industry revenue
is expected to stagnate at $2.2 billion, including projected growth of 3.5% in 2021
alone.
Public Benefit
gives aspiring musicians an outlet for creating their music
and showing the world what they have to offer. DNM creates a unique and
meaningful experience for both the musician and audience by providing easily
accessible to the intended audience. We meaningfully engage the community by
partnering with Dallas-based artists and organizations. and help promote a suitable
arts ecosystem.
Financial Expectations
Potential Grants
DMN is currently exploring numerous grants for various agencies. This business plan's appendix
includes a comprehensive list of these grants.
Execution
Marketing & Sales
Marketing Plan
utilizes social media and Google Ads for our marketing
initiatives. Online marketing has proven to be very effective in reaching our current
audiences and developing new audiences. We also have plans in place to develop
our current marketing strategy to expand our audiences. We are in the process of
hiring a full-time W-2 Development and Communications Director to help us with
this. We envision hiring this new specialist to help us immensely with our future
marketing and development plans.
Our current marketing efforts have proven to be very successful. Below are the
statistics of our social media marketing activities over the past 12 months:
• Facebook Page Reach: 391,411
• Facebook Ad Reach 422,266
• Facebook Ad Impressions: 924,272
• Instagram Page Reach: 76,022
• YouTube Google Ad Impressions: 1.73M

6. • YouTube Google Ad Interactions: 109K
• Average YouTube Google Ad CPV 0.02
• YouTube Google Ad Interactions 109K
• Average YouTube Google Ad CPV 0.02
• Facebook live stream views 241,342
Total Social Media Video plays in the last 12 months 590,072 (this does not include
TV streaming Device plays via Two-Stage TV.)
Our plans include adding traditional forms of marketing with magazine and
newspaper articles to create awareness of the organization and the artists we
support. In addition, we will begin ads driving more viewers to our website.
Operations
Our Services
We offer numerous services to musical artists to begin and Furter their careers.
Some of our services are not for profit, while others are for profit.
Our not-for-profit services include:
• Production of Free videos to help artists
• Content video production
• Arrangement and production of music for artists
• Artist coaching
Our for-profit services include:
• Renting of our in-house film Crew (Exploratory)
• Equipment rental (Exploratory)
We will also offer services such as crews experienced in film, lighting, sound, and
streaming. We also have equipment that can be sold and equipment that the crew
can rent and use while working with artists.
Camera Gear Rental:
• Canon XA45 - 3 cameras w/ cases
• Power cords - 3
• Batteries - 6
• Battery charger - 1
• Camera remotes - 2

7. • Tripods –3
*Camera rental does not include memory cards, delivery, or pickup.
Other gear to be rented:
• Broadcast Quality Cameras and accessories
• Staging
• Pipe and Drape
• Stage lighting
• LED-Wall
• Sound system
• 4K Switcher and large screen monitor
• Communications System
• Lighting gear
• Microphones
• Mic Cords
• Resolume Software (drives LED Wall)
• Six lav mics (for recording interviews)
Crew Options:
• Lighting Designer
• Gaffer
• Camera Crew
• Sound Engineers
• Streaming Engineer
• Show Director
• Video Director
• Video Switcher
• Music Producer
• Director of Photography
• Technical Director
• Stage Support
• Projection Mapper
• Photographer
Some of the gear is owned by DMN, while other gear can be rented and used by
the crew when working with artists.
Additional Options
• House Band
• Entertainment Booking
• Master of Ceremonies
• Film Editing
• Graphic Designer

8. • Gear Delivery/Pickup
Additional gear owned and can be rented out:
• 4K Switcher and large screen monitor
• Communications System
• Lighting gear
• Microphones
• Mic Cords
• Resolume Software (drives LED Wall)
• Six lav mics (for recording interviews)
Locations & Facilities
is a Nonprofit located in Dallas, Texas.
Milestones & Metrics
Key Milestones
DMN currently has three ongoing main millstones:
1. To execute our current programs and develop a new ongoing podcast show
with a launch date of June 7, 2022.
2. To reach more audiences through our marketing and communication
strategies.
3. To grow the current team at to assist us with our future
development plans.
Key metrics
Since all of our shows and marketing are online., we utilize analytics for the social
media sites to measure the success of our marketing; for instance, views or online
streams on each of our live events are recorded to help us decipher how successful
each show was. Our goal for each show is 80,000 - 120,000 views. Should the
number of views fall outside this, the team evaluates accordingly. We are projected
to reach streams of over 1 million in the next 12 months with the programs that are
currently in the editing process.
Another way in which we monitor our success is through the opportunities of each
of the artists. For instance, if one artist is gaining opportunities outside of
such as invitations to festivals, outside performances, signed
record deals, professional collaborations or connections made, etc., we see this as

9. successful. utilizes this information and artist and viewer
feedback to help us understand how we, as an organization, are performing.

10. Target Market
DNM has two different target markets. The first target market is musicians of all
ages and genres, and the second is those who support these musicians. These are
individuals with skills to support musical artists such as filmmakers, designers,
visualists, audio engineers, lighting designers, gaffers, grips, directors, producers,
arrangers, studio musicians, songwriters, make-up artists, and more.
Market Size & Segments
The Video Production Industry
Licensing fees from TV broadcasters and streaming services have also grown
exponentially previous five years, amounting to a growing 22.5% of industry
revenue in 2021. At-home entertainment is growing relative to the box office as the
quality of consumer video devices has improved, and on-demand access to video
content has expanded. This segment accounts for a majority of domestic revenue
overall. Demand from this segment significantly increased in 2021, in line with many
new streaming service launches and the pandemic, and is expected to remain high
this year.
Below is a breakdown of the market segmentation:

11. The Internet Publishing and Broadcasting Industry
The Internet Publishing and Broadcasting industry is responsible for a wide array of
products, some of which can be difficult to differentiate. However, most industry
revenue can be broken down into advertising and subscriptions, while intellectual
property licensing provides a relatively small portion of revenue.
Ad-driven content
The majority of industry operators deliver content to consumers at no cost. These
websites use the sale of advertising space as their primary revenue stream. The sale
of advertising space accounts for an estimated 52.7% of industry revenue. Online
advertising takes many forms. In the context of internet publishing, the most
common forms include the banner ad (block of space usually adjacent to content);
the in-text ad (where certain words are automatically linked to a sponsoring
website); the interstitial ad (which occupies the entire browser, usually for a certain
period); the pop-up and pop-under ads (which open new windows containing
advertising either in front of or behind the active browser window); and the
wallpaper ad (which takes over the background of the hosting page). A new ad that
is growing in popularity among advertisers and ad-selling platforms is the video ad,
similar to a commercial shown on TV. The common trait among all advertisements
is that they take advantage of the internet's most basic tool, the clickable hypertext
link. Users are encouraged to click the ad to be brought to where they might buy
something or at least learn more about the product or service being advertised. The
two main metrics in determining advertising costs are cost per click (CPC, where
advertisers are only charged when an ad is clicked on) and cost per impression
(CPM, where advertisers are charged based on the number of views an ad receives).
Alphabet Inc. reported increases in CPMs amid the COVID-19 (coronavirus)
pandemic, ultimately leading to significantly rising revenue for the company in
2020 and 2021 despite poor macroeconomic conditions.

12. Popular companies that garner revenue from advertisements include Facebook Inc.,
Google LLC, YouTube LLC, Verizon Media Inc., and numerous others. Large
operators that have been able to collect and analyze user data have been the most
successful in generating ad revenue. These companies can more effectively target
particular users as requested by advertisers. Targeting enables advertisers to focus
their ad dollars on users who are more likely to buy their product. This segment is
expected to grow over the years to 2025 due to the proliferation of websites that
publish their content and the ongoing transition to internet advertising that many
companies are making.
Paid content
Paid content accounts for 37.8% of industry revenue and consists of digital media
requiring a user to pay for access. Some operators, particularly old-media
newspapers that have experienced revenue decline, have embraced the paywall to
secure revenue. The New York Times, The Wall Street Journal, and Financial Times
are all newspapers that offer limited or no access without a paid subscription.
However, these companies fall outside the scope of the industry as they do not
solely publish on the internet. The paywall strategy is less popular among internet-
only operators. However, some operators, including Spotify AB and Pandora, offer
multiple options to users, including a free service and an ad-free premium service.
The most crucial distinction in this category is whether the paid content is offered
a la carte or by subscription. A la carte refers to content being purchased
individually; the most popular implementation of this is Apple Inc.'s iTunes Store,
where users can purchase one song or one album. However, growing in popularity
among consumers are subscription services, which generally offer unlimited access
to a library of content for a specified period in exchange for payment. Netflix Inc. is
an example of a provider of this sort of service. They currently represent 12.7% of
revenue in 2021 as more nice audio-visual services were launched. Over the years
to 2026, this segment's revenue share is expected to expand with overall industry
growth.
Intellectual property licensing
The Internet Publishing and Broadcasting industry generates an estimated 1.2% of
total revenue from the licensing of rights to use intellectual property. Generally,
these licensing requests are between two companies in this industry and cover
technologies that internet publishers want to obtain without the threat of a lawsuit.
Other sources of revenue, including hosting services and specialty content,
account for the remaining portion of revenue.
Below is a breakdown of the market segmentation:

13. The Motion Picture and Theatrical Equipment Rental Industry
The Motion Picture and Theatrical Equipment Rental industry's revenue
distribution from its different product segments tends to be reasonably stable. The
relative prices and quantities of rental products demanded tend to remain similar
over time.
Moreover, demand fluctuations for the industry tend to affect all product segments
symmetrically, meaning that they alter overall industry revenue but not the
distribution of revenue from various product lines. As a result, the COVID-19
(coronavirus) pandemic has negatively affected industry revenue but has not
significantly altered the share of revenue derived from individual product lines.
Cameras and related equipment
The Motion Picture and Theatrical Equipment Rental industry primarily serves the
film and TV market. As a result, the rental of cameras and related equipment
account for the industry's largest service segment. Cameras rented in this segment
vary widely, from small handheld video recorders to mounted studio cameras
designed to feed into a broadcast control room. Cameras are often rented with
related grip equipment, such as tripods or dollies. Different camera lenses, which
are also expensive, are usually rented for different cinematographic needs. Due to
the high price tag of professional video cameras, independent film and TV
producers frequently rent equipment to tailor it to specific project requirements. In
addition, even larger production companies with well-equipped studios rent
equipment for on-location filming. In 2021, this service segment accounted for
38.3% of industry revenue.
Sound and lighting equipment

14. Sound and lighting equipment rental is the industry's second-largest service
segment. Products within this segment are rented to both video producers and live
productions. Like camera rentals, sound and lighting equipment is often rented to
small production companies and on-location filming by more established studios.
In addition, live performances, notably when slated for short runs, often find it
cost-effective to rent sound and lighting equipment rather than undertake the
significant upfront cost of purchasing it. Concert venues and musical artists are
also frequent clients of this product segment, as musical performances frequently
require specialized lighting and sound equipment. Products rented within this
segment include stage lights, lighting effects, microphones, public address systems,
and related control boards. In 2021, the segment accounted for 31.7% of industry
revenue.
Below is a graph depicting the market segmentation:
Demographics
Below is a breakdown of the race/ethnicity of our audience:

15. Market Trends
Projected Performance
The Video Production Industry
The Video Production industry is projected to continue experiencing overall
revenue growth over the next five years. Industry revenue is anticipated to
accelerate, rising at an annualized rate of 2.3% to an estimated $20BN. The
economy and industry are expected to recover from the worst of the COVID-19
pandemic, with per capita disposable income expected to increase.
Below is a graph depicting the growth rate from 2021 to 2026:
Internet Publishing and Broadcasting Industry
Black/African/African-American Hispanic/Latino
White Arab//Arab-American/Middle-Eastern

16. Over the years to 2026, Internet Publishing and Broadcasting industry revenue is
projected to grow at an annualized rate of 7.6% to $278BN. During the outlook
period, internet traffic volume, measured by the amount of information transmitted
per year, is forecast to grow at 19.9% as the number of internet connections
increases and people spend more time on the internet. Further, advertising dollars
will likely continue to migrate to the internet and expand as total advertising
spending recovers from COVID-19 (coronavirus) lows. In addition, industry profit is
projected to increase over the coming years as start-ups begin to mature and
generate positive cash flow, and larger companies continue to gain strength and
generate higher profit.
Below is a graph depicting the growth rate from 2021 to 2026:
Motion Picture and Theatrical Equipment Rental industry
The Motion Picture and Theatrical Equipment Rental industry is expected to
recover from the adverse effects of the COVID-19 (coronavirus) pandemic over the
years to 2026.

17. Key External Drivers
Per capita disposable income: Fluctuations in per capita disposable income affect
consumer spending on offerings in the Musical Groups and Artists industry. When
household disposable income is high, consumers have more discretionary power to
purchase nonessential items, such as concert tickets. Per disposable capita income
declined in 2021 and is expected to increase throughout 2022, with an anticipated
growth of 1.69% by 2027.
Federal funding for creative arts: Government funding is essential for sizeable
cultural music organizations, such as orchestras and choirs. A higher level of public
funds directed toward performances typically translates to the presence of higher
caliber musicians and increases potential ticket and merchandise sales.
Internet Traffic Volume: As internet traffic volume increases, the popularity and
overall time spent on the internet also increase, making internet-based advertising
more appealing. However, as content has become more bandwidth-intensive,
internet traffic has become less reliable as a surrogate for advertising volume.
Nonetheless, this industry benefits from increasing internet users and traffic.
Internet traffic volume increased in 2021, representing a potential opportunity for
the industry.
Total Advertising Expenditure: Total advertising expenditure represents the sum
of measured US advertising expenditure and an estimate of unobserved US
advertising expenditure, such as direct mail, sales promotions, catalogs, and
business publications. Advertising is the primary method of generating revenue for
internet publishers. When advertisers increase their budgets, internet publishers
generally benefit, mainly because this industry captures a significant share of new

18. advertising money. Total advertising expenditure rose in 2021; however, the
subdued growth and renewed demand for non-internet ads in 2022 poses a
potential threat to industry operators.
Number of Mobile Connections: The number of people accessing the internet via
mobile connections has proliferated. Mobile platforms have presented another way
for content publishers and broadcasters to sell advertising space, subscription-
based content or games and apps for a fee. The number of mobile internet
connections is expected to increase in 2022.
Number of Broadband Connections: The number of people accessing the internet
via broadband connection has grown rapidly over the past five years. It is projected
to continue expanding over the coming years. As more people access the internet,
traffic volume increases, promoting ad spending and industry growth. In 2021, the
number of broadband connections increased.
Competition
Competitive Landscape
Concentration in this industry is high. Local competitors similar to DMN include:
• Boarded Up Music
• DXT Media
• The Branded Media
Company
Overview
is a nonprofit organization founded in March 2020 during the
COVID-19 pandemic shutdowns. What started as an idea to support artists via live
streams quickly grew into a mission to create a more significant impact on the
North Texas Music Industry.
On June 30, 2020, became a nonprofit 501(c)(3) organization
supporting musical artists in various ways, including fully produced concert videos,
filmed interviews, audio recordings, band creation, promotion, music production,
and arranging. In addition, we create collaboration opportunities for artists,

19. instrumentalists, and skilled professionals. Since then, artists have been utilizing
the assets we create to further their careers in unexpected and exciting ways.
Since its inception, DMN has received $961,833 in direct support.
Mission Statement
Dallas Music Network's mission is to identify emerging musical artists and
accelerate their success by connecting them to a network of support,
opportunities, and resources for performance, recording, digital media, streaming,
and collaboration.
Our Vision
DMN envisions a thriving North Texas music community that supports and is supported by a
robust network of talent within the music and film industry.
Ownership and Structure
is a 501c nonprofit directed by
Team
Management team
Beverly is a co-founder and the Executive Director for
Beverly is a singer-songwriter and has been a lifelong supporter and
champion of fellow musicians. She is a repeated multi-genre finalist in global
songwriter contests. Her passion for independent artists and filmmakers led her to
create two-Stage TV. Beverly is also an independent documentary film producer.
For the position of Executive Director. Beverly previously served in the medical
device industry for over 20 years, training surgeons in over 50 countries in LASIK
and therapeutic surgical techniques. She held several management positions,
including Manager of Surgeon Education, and eventually served as Global Head,
Device Safety Operations for Alcon-Novartis.
is the Chairman of the Board. He
previously served as an employee of Trinity Industries, Inc. for thirty years. The
Board of Directors has appointed him as Vice President and Chief Legal Officer. He
was later elected by the Board of Directors as a Senior Vice President of the
company, retaining his role as Chief Legal Officer.

20. graduated cum laude from South Texas College of Law. He was a published
member and Comments Editor of South Texas Law Journal and the recipient of two
Bancroft- Whitney/Lawyers Cooperative Publishing Company awards for
excellence in legal studies. Before law school, he received his BA degree from the
University of Texas at Austin, and after that attended the Graduate School of
Business Management at the University of Dallas.
is the Chief of Artist Development for
He is a professional musician, multi-instrumentalist, and music producer
who has worked with numerous A-list artists, including Erykah Badu and Bobby
Brown. toured with Grammy-nominated Eric Roberson from 2011
to 2019 and was the Music Director/Main Keys for the Super Bowl XLV event
performance with Bobby Valentino (2011). He was also the Music Director/Main
Keys for House of Blues Underground Dallas, Texas (2010- 2011). Marcus has
performed with and produced numerous Dallas bands, including
keyboardist/Producer with Cleon Edwards & Hungry Jaxx (2013- 2017). He was also
a keyboardist for Medicine Man Revival (2014-Present) and a keyboardist/Producer
with Shy Speaks (2015-Present)
Additional Artist - Work Experience:
• Erykah Badu
• Glenn Lewis
• Carl Thomas
• Dave Hollister
• Jodeci
• J Holiday
• Bobby Brown
• Case
• Montell Jordan
• Bun B
• Ray J
• RL of Next
• Dwele
• Algebra Bassett
• Jaguar Wright
DMN will also be hiring another W-2 employee to fill the Development and
Communications Director role in the coming year.

21. Key Artistic Leaders
Erik Barnes: Erik Barnes has a formal education in music, and this began when he
started playing piano at a young age. He has since received degrees from Yale
University (BA), Washington State University (MA), and doctoral studies at the
University of North Texas. He was both a teaching fellow and a part-time faculty
member. Erik has numerous past experiences as a live performer in cities across
the US, including San Francisco, Los Angeles, Portland, Seattle, Minneapolis,
Phoenix, San Antonio, Chicago, New York, Boston, Buffalo, Tampa, and Atlanta.
Aside from performing, Erik also works in arrangement, composition, and found
engineering.
Carlos Guedes: Carlos is an internationally renowned author, recording artist, and
music producer. He has opened for A-list artists, including Ray Charles, Dave
Brubeck, and others. Carlos plays a custom-made electro-acoustic harp
incorporating a bass line with his left hand. He is the creator of a new music genre.
He presents a powerful live act combining a unique blend of Contemporary
Latin Jazz with Afro-Caribbean and Brazilian Rhythms.
Diversity Statement
is on a mission to help musical artists reach their full
potential. We value the tapestry of sound created by every shape, size, gender, and
color of humanity. Not only do we believe that diversity makes music better, we
believe that diversity makes us better. From our board to our leadership, to the
artists and audiences we serve, diversity and inclusion are not just a belief; it's who
we are. With the extensive reach of our programs, is in a
unique position to champion music makers from diverse backgrounds. We take this
responsibility seriously. We are deliberate in our process of artist selection to
ensure equity, inclusion, and diversity of race, age, economic background, and
gender identity. As a diverse group of music makers and lovers, this is an organic
core value and a natural part of our internal compass.

22. Appendix
Potential Grant List

23. Grantmaker Maximum Amo Minimum Amount
AEGON Transamerica
Foundation
Amount not
listed
Bank of America Charitable
Foundation
$ 50,000
Harry W. Bass, Jr. Foundation $ 100,000
BlueScope Foundation $ 15,000
Hal and Diane Brierley
Foundation
$ 250,000
The Chilton Foundation $ 200,000
Clampitt Foundation $ 15,000
Comcast NBCUniversal: Project
Innovation
Amount not
listed
Comerica Charitable Giving
Sponsorship Program
Amount not
listed
The Joe M. and Doris R. Dealey
Family Foundation
$ 150,000 $ 350
The Decherd Foundation $ 133,000 $ 1,000
Dermody Properties Foundation $ 3,000 $ 500
The Dorsey & Whitney
Foundation
$ 100,000 $ 1,000
Employees Community Fund of
Boeing
Amount not
listed
The Bryant and Nancy Hanley
Foundation
$ 1,000 $ 50,000
Robert Tucker Hayes Foundation $ 15,000 $ 500
Hegi Family Foundation $ 43,000 $ 100
The Deena Jo Heide-Diesslin
Foundation
$ 125,000 $ 500
Hersh Foundation $ 100,000 $ 100
Hoblitzelle Foundation $ 500,000 $ 1,000 $70K Avg
The Hoglund Foundation $ 250,000 $ 1,000
IMA Foundation Amount not
listed
<$10,000
Avg
Mary Potishman Lard Trust $ 125,000 $ 250,000
Eugene McDermott Foundation $ 500,000 $ 1,000
The Moody Foundation $ 1,500,000 $ 5,000 $ 4
The Muse Family Foundation $ 100,000 $ 1,000
National Life Group Foundation Amount not
listed
<$1,000
National Endowment for the Arts $ 100,000 $ 10,000
Alvin and Lucy Owsley
Foundation
$ 200 $ 160,000
The Sarah and Ross Perot, Jr.
Foundation
$ 500 $ 100,000
PNC Foundation Amount not
listed

24. Regions Community Engagement
Program
Amount not
listed
The Rosewood Foundation $ 2,500 $ 10,000
James A. and Mayme H.
Rowland Foundation
$ 3,500 $ 15,000
Schneider Foundation $ 100 $ 25,000
Harold Simmons Foundation $ 5,000 $ 20,000
Dr. Bob and Jean Smith
Foundation
$ 1,000 $ 525,000
Textron Charitable Contributions
Program
Amount not
listed
Truist Community Grants Amount not
listed
Truist Foundation Amount not
listed
The United Family Community
Donation Program and United
Supermarkets Foundation
Amount not
listed
The VF Foundation $ 5,000 $ 25,000
Weil, Gotshal and Manges
Foundation
$ 100 $ 200,000
Weyerhaeuser Giving Fund Amount not
listed