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September 23, 2025 27 mins

The Live Music Fund is about to launch applications for its third round of funding. Hear what's changed with the fund over the years, and what will be new with this next iteration.

The post What’s going on with the Live Music Fund? appeared first on KUT & KUTX Studios -- Podcasts.

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Episode Transcript

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Miles Bloxson (00:01):
I am Miles Bloxson

Elizabeth McQueen (00:02):
And I'm Elizabeth McQueen.
And this is Pause Play thepodcast about live music, why
it matters and what comes next.

Miles Bloxson (00:14):
This season we've been looking at the future of music in Austin.
We've explored the future ofstreaming and AI and music.
We even talked about what South bySouthwest might look like moving forward.

Elizabeth McQueen (00:25):
And in this episode we are gonna look at the.
Future of the Live Music Fund

Miles Bloxson (00:30):
The Live Music Fund is something that we
have in Austin that is unique.
It's a way for musicians, independentpromoters and venues who work
in commercial music to accessgrants through the city of Austin.

Elizabeth McQueen (00:41):
It's funded by the hotel occupancy tax, and
if you wanna know more about.
The specifics of how that funding works.
You can listen to our last episodewhere we tell the story of how the
framework of the first version ofthe live music fund came together.
And please don't make us explainfunding mechanisms again.

Miles Bloxson (00:59):
And this episode we're going to look at what the third
version of the fund will look like.

Elizabeth McQueen (01:04):
Yeah, the first round of funding went out in 2023.
The second in 2024 and soon applicationswill be open for the third round.

Miles Bloxson (01:12):
Each year the fund has worked a little differently and this year
the city is doing yet another iteration.

Elizabeth McQueen (01:18):
And Miles, I have been doing a lot of research on this and I have
to tell you, it's a lot to keep track of.
So I asked Erica to helpus work through it all.

Erica Shamaly (01:27):
Erica Shamaly and the Division Manager for Music
and Entertainment within theAustin Arts Culture, Music and
Entertainment, newly-formed department

Elizabeth McQueen (01:37):
Now Miles, we've talked to Erica before on this podcast, and she
used to introduce herself differently.

Miles Bloxson (01:43):
Yeah, I remember she said she worked for the music and
Entertainment Division of the City ofAustin's Economic Development Department.
Right.
Yeah.
But now she works for adifferent division, Austin
Arts, Culture and Entertainment.

Elizabeth McQueen (01:55):
Yeah.
Or ACME for short.
It's a new department that bringstogether all the arts divisions
at the city under one roof.
And Erica told me aboutwhy ACME was formed.

Erica Shamaly (02:05):
Austin's always been very dedicated to our
creative community to music.
To entertainment, film, and to thearts and more just because of that.
You kind of see it all over severaldepartments, you know, a focus there.
So you, you saw it in Parks andRecreation, the development services
department, uh, and economicdevelopment department and the
libraries, you name it, it's all over.

(02:27):
So community has been saying foryears, we would love to see all of that
under one roof so that we can bettercollaborate and that there's just.
You know, more fluidprocesses between everybody.
And so finally, after a long time, it tooka while in the vision of our leadership
at the City of Austin to say, you know,that's a great idea and it's time.

(02:48):
It is finally time.
And so we have this newly formeddepartment with an umbrella for.
All of those elements of arts,music, entertainment, film, anything,
cultural centers, museums all underone umbrella so that we can better
work together, collaborate, and mostimportantly, serve our community
with the things they love the most.

Elizabeth McQueen (03:08):
So more streamlined services, more collaboration,
everybody kind of talking to eachother rather than being in different
departments all over the city.
Exactly.

Erica Shamaly (03:17):
Exactly.
So now people will know, who do I go to?
You go to one place.
Uh, it used to be that you wouldget, you know, kind of like,
okay, oh, actually that's not us.
You're gonna have to go into this onedivision of this other department.
So now we finally have that all under one.
Place one intake, you know, to come andtalk to us about what may be needed.
And it also does give us theopportunity to create new processes,

(03:40):
new ways of working together, becausethat are dependent, not on several
departments, but dependent on just us.

Elizabeth McQueen (03:46):
And you guys are gonna figuring out how it all work.
Right?
Mm-hmm.
And we are here to talk aboutthe Live Music Fund So has that
delayed the release of the livemusic fund application process?
'cause I know last year it startedin May and it was done in June.
So is that part of the reason whyapplications haven't been released yet?
Correct.

Erica Shamaly (04:06):
We are launching everything all at once.
The formation of Acme happenedin February, 2025, so we're
like month four and a half, youknow, almost five months in.
And at the same time, it was reallyimportant for our new director,
director, Angela Meads, to get to knowthe community and listen to everybody.
Listen to the folks who most havebeen requesting this and why.

(04:28):
And so it's kind of hard just to kind of.
Keep on going As, as everything waswhen it's not at all that anymore.
Uh, there was a lot of listeningand, uh, learning that had
to happen across the board.

Elizabeth McQueen (04:39):
And do you know when live music fund applications will go live?

Erica Shamaly (04:43):
Yeah.
So we're working very hard right now.
We're all coordinating, finishingup some key things so that we can
start, you know, building it all out.
So we anticipate October, you'regonna see kind of a, uh, you know.
One application, not just for thelive music fund, for the Creative
Space Assistance Program, for theElevate Program, the Nexus program,
and the Heritage Preservation grant.

Elizabeth McQueen (05:03):
Whoa.
So is it gonna be likea common application?
Like there will

Erica Shamaly (05:07):
be a first step that will be okay.
And then based on those initial, youknow, answers that that will then kind of,
you know, route yet to the right place.

Miles Bloxson (05:15):
So like a lot of the applications will go live at
the same time, but the first stepof the application process will be
filling out this common intake form.

Elizabeth McQueen (05:24):
Yeah.
And based on that intake form,you'll be assigned one or more
eligibility verification forms,and once you get verified, then
you'll get access to an application.

Miles Bloxson (05:33):
Well, that's different from how things were before.
What about the grant amounts?
That's changing too, right?

Elizabeth McQueen (05:39):
Yeah, and actually the amount of the live music fund
grants is something that's changedwith every new application cycle.

Miles Bloxson (05:46):
Oh yeah.
And during the first year, there werelike five and $10,000 grants, right?

Elizabeth McQueen (05:50):
Yeah.
They had $3.5 million in thefund, and only musicians and
independent promoters could apply.
No venues were eligible.

Miles Bloxson (05:58):
So how many people applied that first year?

Elizabeth McQueen (06:01):
According to the City of Austin's website, 660 people applied.

Miles Bloxson (06:06):
And how many people actually got grants?

Elizabeth McQueen (06:08):
368.

Miles Bloxson (06:09):
Hmm.
But in round two, the
grants were bigger, right?

Elizabeth McQueen (06:12):
Yeah.
In round two, the grants for artistsand independent promoters went from
five and 10,000 to 15 and 30,000.

Miles Bloxson (06:20):
Whoa.
That's a big jump.
Did they still have $3.5million to give out?

Elizabeth McQueen (06:25):
Yeah, they also added another million dollars to the
fund and made it available to venues.
Venues could apply for 30or $60,000 grants, depending
on their operating budgets,

Miles Bloxson (06:35):
So venues could finally access the Live Music Fund But it seems
like fewer musicians got grants last year.
Yeah.

Elizabeth McQueen (06:42):
In 2024, the live music fund had over a thousand
applications, but only 137 applicantsgot grants and 17 of those were venues.

Miles Bloxson (06:51):
So going from over 368 recipients to 137, that's a huge drop.
And really if you take out the venues,only 120 musicians and independent
promoters actually got grants.
I remember people being pretty upset whenthe 2024 funding announcements came out.
It wasn't good.

Elizabeth McQueen (07:11):
Oh yeah.
People were.
Mad.
Andrew Weber talked to Tameca Jonesfor a story he did for KUT and
she captured this feeling that youand I saw a lot on social media.

Tameca Jones (07:22):
I, I just knew that I was in there.
I just knew it, it just, it,it devastated me honestly.
I, it devastated me.
You know?
I was like going a publicist.
I was gonna get some new photos.
I was going to, um, make some more musicand, and pay the people who helped me
make music a, a, a fair, a fair rate.

(07:43):
When, when I did mytaxes, I met poverty line.

Elizabeth McQueen (07:46):
I mean, a lot of musicians were frustrated in
the same way that Tameca described.

Miles Bloxson (07:50):
Why did they change the grant amounts to
be so much larger in 2024?

Elizabeth McQueen (07:55):
Well, I asked Erica
what led to those larger grants in 2024,

Erica Shamaly (08:01):
So this was an ongoing discussion with our
music commission to discuss.
How did it go?
Was that effective?
And what can we do goingforward to be impactful?
Because you must remember when the Livemusic fund was first formed in 2019,
the goal was to be a fund that wouldtransform the music industry in Austin.
Not just be a grant program,but be a program that truly.

(08:26):
Helps to fill the gaps in Austinwhen it comes to all the many
elements that need to happen fora successful music ecosystem.
And so what we learned was isthat with the smaller grants,
it's a lot more administration.

Miles Bloxson (08:41):
So what does that mean?
Administration?

Elizabeth McQueen (08:43):
Okay, so the city of Austin has an agreement
with the Long Center to administerall ACME funding programs.
So the city provides the programguidelines and the long center
then processes the grantsaccording to the city's guidelines.

Miles Bloxson (08:56):
Why do they do it that way?

Elizabeth McQueen (08:58):
Well, I asked Erica about that.

Erica Shamaly (09:00):
We have a third party administrator, and the reason why we did
that back in 2023, and this wasn't justabout the economic development department
or any of the divisions, it was about.
The purchasing department withinthe City of Austin and being
able to handle that many grantagreements that are handled frankly
differently than say, a procurement.
Um, the city is, has a procurementprocess with lots of rules and

(09:23):
policies in place, and so some ofthe feedback we had gotten from.
Before the, even the live music fundwas implemented was it takes too long.
It takes so long to get a checkfrom the city and it, it does
because it's a, let's say, longprocess that is there on purpose.
It's about taxpayer money.
It needs to have all ofthese things in place.

(09:43):
And so you're kind of trying to fita grant program into a procurement
process, and the two quite aren'tthe same, especially when it comes
to the mission and the reasonfor the funds and the intent.
You know, procurements are about.
You know, getting several bids and findingthe best cost, and there's a lot of
other elements, but grants are different.
There's a whole suite of reasonswhy you score a certain way, and so

(10:06):
by being able to find more capacitywith a third party was crucial.
And this was a big, huge push fromcommunities to have a third party.
And even mentioning the Long Centerbefore this was even decided.
So we did go through a procurement processin order to find the right third party
and the long center came up on top.

(10:26):
You know, in terms of all of the capacityand things that were needed to kind
of like almost mirror what a city canprovide in terms of enough accounting
staff, enough staff, and, uh, oversight,uh, that the city would deem acceptable
so that we could do that type ofmonitoring that is required of such a.
You know, a large contract,and we do this with several
third parties across the city.

(10:48):
There's just not enoughcity staff to do it all.
And so if we wanna get this moneyout there efficiently and within a
reasonable time period, you know,once you know the applications launch
and you know, all of those processeswe're doing a lot better than it used
to be when it was all done in house.

Elizabeth McQueen (11:03):
So the city pays the Long Center like a very specific hourly
rate to perform tasks like reviewing,eligibility or making payments.
And fewer grant recipients meansfewer administrative costs.
Plus, Erica told me that with as manyrecipients as they had in 2023, it was
hard to give people more big picture help.

Erica Shamaly (11:22):
It didn't give us enough time to do the work of
that transformational part, whichis, you know, that professional
development, the assistance, um,it's not just about getting money
out there and just go for it.
It's truly about how do you spend themoney and what is the most effective
ways to invest this money in your career.

Miles Bloxson (11:43):
So, lemme make sure I understand this correctly, Elizabeth.
So bigger grant amounts meant fewerpeople receiving grants, which meant.
That the city was spending less onadministration costs and also means that
the city staff was able to spend more timehelping individual grantees and that's
why they increased those grant amounts.

Elizabeth McQueen: That's part of the reason (12:02):
undefined
Erica told me that the city also uppedthose grant awards to make sure that
the grantees had access to more moneyto do the things they needed to do.
It

Erica Shamaly (12:11):
It's not just about live shows, it's about recording, it's about
producing, it's about all the marketing,social media, and then the content
that goes along with making music.
It's about paying your musicians.
It's a long process thatcan be extremely expensive.
And so when you're having thesesmaller, you know, investments, you

(12:32):
can just do one little part of it.

Miles Bloxson (12:34):
Didn't people know these bigger grants were coming
and that it would mean fewerpeople actually would get them?

Elizabeth McQueen (12:40):
Well, Miles, you know how much I love to
watch music commission meetings?

Miles Bloxson (12:43):
Oh, yes.
I know Elizabeth McQueen

Elizabeth McQueen (12:46):
And I watched a lot, and the city was very above
board about this funding increase.
They announced it as early as February,2024 at a music commission meeting.
But you know, I personallylove watching music commission
meetings, but most people don't.
So I'm not sure if everyone knew thata lot fewer people would be getting
grants in 2024 than did in 2023.

Miles Bloxson (13:08):
Yeah.
Music commission meetings arean acquired taste, shall I say.

Elizabeth McQueen (13:12):
Yes.
They're my taste.

Miles Bloxson (13:15):
So the grant amounts last year were much bigger now we
know why, but were there any otherchanges that happened last year?

Elizabeth McQueen (13:23):
Yeah, last year the city also changed how artists
could spend the award money in 2023.
It was based on future projects.

Erica Shamaly (13:31):
And that was based on how the other grants had
always been and what we learned.
That doesn't work for the music industrybecause things change all the time.
And so they can use the funds onany eligible expense that's very,
you know, specifically outlinedin the guidelines, but at their
discretion of what they wanna do.
And then as long as they promoteit and market it to visitors.

(13:55):
Potential convention delegates andaudiences, local audiences alike, which
that's what we do in the industry.
In music, we do thatanyway, it's just built in.
And so as long as everything you're doingand it can even be recording a record
and you're in the studio and you're like,I'm, you know, recording my next record.
I mean, how many, you know,artists have you seen do that
to promote what they're doing?

(14:16):
Well, that promotes Austin thatpromotes the live music fund, and
so we have requirements around that.
And so we wanted to make it asflexible as possible so that.
It.
We get back to the point of thelive music fund originally, which is
this transformative fund, you know,for the industry here in Austin.

Miles Bloxson (14:32):
So it used to be that you got a grant for a specific project,
and now the way people can spendthis money is way more open-ended.
Yeah.
Hmm.
And they're changing the grantamounts again in 2025, right?

Elizabeth McQueen (14:45):
Yeah.
Here's Erica.

Erica Shamaly (14:46):
So for 2025, we're just gonna try to find a middle ground.
So instead of 30, it'll be 20.
And then we will also do a $5,000 grant.

Elizabeth McQueen (14:55):
And is there a delineation in 2025
between the $5,000 grants?
Those are for emerging artists, andthen 20 is for more established?
Is that how it goes?
Or it's

Erica Shamaly (15:04):
really just a difference of what's needed.
Okay.
And you know, it's hard to dictate who'san emerging artist and what that, how
to define that, because you could be amusician and go to a different instrument
or a different genre, you know, have.
Way through your career andcould be, feel like you're an
emerging artist all over again.
And so we didn't wanna be the definersof what's emerging, what isn't.

(15:24):
It's really about what's needed.
And also having a more simpleapplication for those $5,000 grants.
So we worked with, very closely withthe music commission and kind of also
adjusted our scoring around, you know,music industry accomplishments that was,
you know, they really wanted to see that.
Um.
And so what we'll do is for those$20,000 grants, it will have that

(15:47):
music industry accomplishments scoringcategory along with others, you know.
But for the 5,000, that verytop scoring for music industry
accomplishments won't happen.
It'll just be scoring for the rest of it.

Miles Bloxson (15:58):
So this year, musicians and independent promoters will be able to
apply for $20,000 grants or $5,000 grants.

Elizabeth McQueen (16:06):
And the $20,000 grants will cover a two year period.
So if you get a $20,000 grant thisyear, you can't apply next year.
But the $5,000 grantswill be for one year.

Miles Bloxson (16:16):
And what about the venues?
How much can they apply for?

Elizabeth McQueen (16:19):
Well, venues with budgets of over $60,000 can
apply for $70,000 grants, and thosegrants are for a one year term.
And Miles, one thing we haven'thad a chance to mention is that
the city has more money to workwith this year and next year.

Miles Bloxson (16:35):
Why is that?

Elizabeth McQueen (16:36):
Well, like we said, because of Acme, the rollout
of the live music fund was delayed,and it was delayed past the end of
the city of Austin's fiscal year.
So the fiscal year for 2025 is gonna endon September 30th, but the live music
fund applications won't go live until.
October.
So in fiscal year 2025, thecity had $4.8 million budgeted

(16:59):
for the live music Fund awards.
They've decided to take that money anddivide it in half, and then they're
gonna put one half of that award moneyand add it to the award money for fiscal
year 2026, and they're gonna take theother half and they're gonna add that
to the award money for fiscal year 27.
So the live music fund is gonnabe giving away around $7 million

(17:20):
total during this next round.
And the round after that.

Miles Bloxson (17:23):
Oh, wow.
So these grant awards will be smallerthis year than last, and the amount
of money to give away will be larger.
So there will definitely be moremusicians and independent promoters
getting awards moving forward.
Right.

Elizabeth McQueen (17:37):
Yeah.
At least for the next couple of years.
But you know, the demand for thelive music fund has been really high.
Like I said, last year there were over athousand applications and the total amount
that people applied for was $29 million.
So a lot of people want grants,but there's just not enough money
for everyone who applies to get.

(17:58):
But Erica did say that the city islooking at ways to grow the live
music fund in a more sustainable way.

Erica Shamaly (18:04):
One thing I think that ACME is going to do is look at
ways we can raise more funds thataren't just focused on hot like
the Ho, you know, these taxes and.
So that's one of our next steps ofour strategic process is establishing
those pro those ways that wecan do that, which is possible.
You know, it's just like a friendsof a park type of situation

(18:28):
that happens throughout cities.
In our city.
We don't have anythinglike that, but for Acme.
But we could.
And so next steps will be setting up theinfrastructure for people to donate to
a cause so we can potentially raise moremoney for more grants for all of this.
And I think that's something Austin needs.
Uh, we haven't been the best when itcomes to like traditional philanthropy.

(18:52):
We are a tech city innovation andwe are earners, uh, but we're coming
to a place where it's impossibleto earn enough money to do what it.
Takes and costs to survive as either a,a creative space, a venue, a theater,
or even as a musician to pay your rent.
And so we need the support of all ofthese wonderful companies that are here,

(19:15):
of our population, of our residents.
And so we're going to facilitate a processso that can happen, which is exciting.

Miles Bloxson (19:24):
And she mentions scoring.
What's that all about?

Elizabeth McQueen (19:27):
Well, coming up after the break, I'll tell you all about it.

Miles Bloxson (19:34):
Welcome back to Pause.
Play the podcast about live music,why it matters, and what comes next.
In this episode, we're talkingabout the future of the live music
fund, and Elizabeth, you weregoing to tell me about scoring.

Elizabeth McQueen (19:46):
Ah, yes.
Scoring.
So the City of Austin uses a scoringrubric for the Live Music Fund
You can see the 2024 scoringrubrics, along with all the
questions from the applicationsand the eligibility requirements
on the City of Austin's website.

Miles Bloxson (20:01):
And what kinds of things did they score for in 2024?

Elizabeth McQueen (20:04):
So in 2024, the scoring for musicians and independent
promoters looked like this.
You got up to 35 points if you couldprove you had limited access to resources.
So things like whether applicants hadaccess to healthcare, whether a language
other than English was spoken in thehousehold, and what kind of access
applicants had to traditional banking.
Among other things, you could getup to 30 points for proving what

(20:28):
they called local economic impact.
So proving you were spending moneyon local musicians or venues, or.
Austin-based businesses, you gotup to 20 points for planning and
outreach that included a tourism andmarketing budget, as well as proving
how your projects amplified Austin'sdiverse arts and culture sector.
You could get up to 30 points for provingthat you had made projects open and

(20:50):
accessible to the public, people withdisabilities, and people who spoke a
language other than English, and yougot 15 points if you had not received
funding during the 2023 Live Music Fund

Miles Bloxson (21:01):
Could people see their scores last year?
Like if they applied and didn't getchosen, were they given their scores?

Elizabeth McQueen (21:07):
Erica told me people weren't just given their
scores, but if they requested it, theycould get the scores and have a city
staff member walk them through them.
Hmm.

Miles Bloxson (21:16):
And Erica was saying that they're adding a scoring category
called music industry accomplishments.

Elizabeth McQueen (21:21):
Yeah.
A lot of established musicians feltlike the last round didn't take the
work that they'd been doing and thecareers that they had built into account.
So in this new rubricfor the $20,000 grants.
Music industry accomplishmentsaccount for up to 25 points.
These are things like awards, playingshows where 300 people or more attended

(21:41):
download numbers, touring and radio play.
Artist development willaccount for up to 25 points.
So this is like career training,participating in music programs,
volunteering at benefitconcerts, things like that.
And applicants do get more pointsin this category if they have
limited access to resources.
Applicants can get up to 25 pointsfor Austin music economy development.

(22:04):
So hiring and paying Austin musiciansand creatives using Austin spaces and
collaborating with other local musicians.
And then applicants can getup to 25 points for cultural
tourism, marketing, and outreach.
So things like marketing toaudiences outside of Austin, making
projects accessible to the publicand to audiences with disabilities.
Now, as of the recording ofthis podcast, this rubric

(22:26):
hasn't been officially adopted.
But it looks like it's pretty close.
What about for the $5,000 grants?
For the $5,000 grants?
They won't have the musicindustry accomplishments piece.
They'll be scored on artist development,Austin music economy development, and
cultural tourism, marketing and outreach.
And one thing to know is that so farthey've changed the criteria every

(22:48):
year, but Erica told me this time thecriteria will be in place a bit longer.

Erica Shamaly (22:53):
So we're, we've gathered data from the first year.
We've gathered data from the secondyear, and we'll do the same thing
again, uh, for this next cycle.
And what's interesting about this nextcycle is that these guidelines that
we're forming as one Acme, there'sone set of guidelines that will
cover all the different programs, isthat it will be in place for longer.

(23:13):
You know, so we really, truly havesome time to see how it's doing.
So the plan is to go back and doa big update every three years
when we've been doing it annually,you know, this whole time.

Miles Bloxson (23:25):
Okay?
So this new scoring criteria is gonnabe in place for like three years.

Elizabeth McQueen (23:30):
Well, Erica told me that's the plan, unless
something goes really sideways

Miles Bloxson (23:34):
and the long center is doing this scoring.
But isn't it kind of subjective?

Elizabeth McQueen (23:39):
I had that question for Erica because I applied for arts funding
before and I had to like go in front ofa panel and it did seem very subjective,
but Erica told me that the live musicfund scoring isn't really that way.

Erica Shamaly (23:52):
There isn't any subjectivity whatsoever.
There's a set of guidelines,there's some scoring criteria.
We asked a question if an applicantanswers, you know, selects a,
something pops up that says.
Upload your documentationto evidence, your answer.
And so it's like that foreach of our multiple choice.
And so their job is just to golook at the documentation to
see if evidence is the answer.

(24:14):
And if they don't know, if theycan't tell, they, they create a
list and say, okay, city of Austin,let's go through these things.
And you're.
The final call of, if this meets whatyou intended in the program guidelines
for the other programs, there's panels,outside panels that do different
processes, and those are the types ofprocesses that have been around for
years for both the cultural arts programsand the Heritage Preservation grant.

Miles Bloxson (24:38):
So, okay.
A lot of things are changing this year.
First of all, there's going to be a commonintake form for all arts funding that
will direct people to the grants they'reeligible for, and then people have to
fill out an eligibility verificationform, and if they are verified, then
they can apply for the Live Music Fund

Elizabeth McQueen (24:56):
Yeah, and the amount of money in the live music fund
will be around $7 million this year.
The amount of money people canapply for is also different.
This year.
People can apply for $5,000 grants.
Those are for a term of one year.
People can also apply for $20,000 grants.
Those are for a two year term, andvenues can apply for grants of $70,000.
Those grants have a one year term.

Miles Bloxson (25:17):
The Long Center is still going to score and administer
the grants, but the scoring rubricis going to be different this year.
One thing they're considering that theyhaven't in the past is music industry
accomplishments for the $20,000 grants,

Elizabeth McQueen (25:31):
and this scoring rubric is probably gonna stay the
same for the next three years.

Miles Bloxson (25:35):
So when will all of this happen?

Elizabeth McQueen (25:38):
Well, it looks like the intake forums will go live
sometime in September or October.
There's actually gonna be four grants onthis intake forum, elevate, which is a
cultural arts grant, the Live Music Fund,the Creative Space Assistance Program,
and the Heritage Preservation Grant.
The actual applications should openon October 21st, and then those

(25:58):
eligibility forms will close December1st, and then the application
deadline will be December 11th.

Miles Bloxson (26:04):
Okay, so that's a lot of changes.
What can people do next?

Elizabeth McQueen (26:08):
Well be on the lookout for the announcement that
those intake forms are going live, andwhen they do go live, the city's gonna
release info about workshops to helppeople who are interested in applying.
We'll post a link to the city's livemusic fund webpage in the show notes.
Also, the Museum of Human Achievementhas grant writing hangouts.
For a lot of city funded grants,including the Live Music Fund There are

(26:29):
these coworking events where people canhelp each other with grant writing, and
listeners can find a link to learn moreabout those in the show notes as well.
Well,

Miles Bloxson (26:37):
it's going to be interesting to see what this round
of the live music fund is like.

Elizabeth McQueen (26:42):
Yeah.
I have a feeling we'll betalking about it in the next.

Miles Bloxson (26:46):
In the next episode, we're going to talk about the
future of housing for musicians.
And to do that, we're going totake a look at a place that has
been housing musicians for decades.
The Metropolis Apartments Pauses.
Play is a production ofKUT and KUTX studios.
It's hosted in, produced by me,Elizabeth McQueen, and me Mileson

(27:07):
Engineering and editing help fromJake Pearlman and Renee Chavez.
Additional productionhelp from Jake Griff.
Stephanie Federico is our digital editor.
Michael Manasi is our multimedia editor.
Our theme song was created bythe talented Jerron Marshall.
Other

Elizabeth McQueen (27:23):
music provided by the talented Jack Anderson and a PM Cosplay
is a listener supported production ofKUT and KTX studios in Austin, Texas.

Miles Bloxson (27:32):
You can support our work by becoming a sustaining
member@supportthispodcast.org.
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