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(jazz music)

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>>Going as far back as 
Thomas Jefferson times,

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Charlottesville has long 
been a place of music, art,

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and innovation.

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Today, we not only 
encourage entrepreneurship

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and creativity, we celebrate it.

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Join us as we catch 
up with Paul Beyer,

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the man behind the Tom 
Tom Founders Festival.

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Come on.

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(instrumental music)

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>>It's just an exciting 
time to be in the city

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and see all the culture and the 
energy of this little jewel.

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>>Why is it called Tom Tom?

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>>Well, it's Tom Tom because 
it's about Thomas Jefferson.

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>>Okay.

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>>Ultimately, that's 
where we got the name.

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We want him to have 
like a whimsical play

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on Thomas Jefferson 
without being stuffy

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and powdered wigs is 
a lot of this town

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can be about Mr. Jefferson.

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Just kind of a tip of the hat.

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But it's about creativity.

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It's about specifically like 
cross-pollinating creativity.

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Like the idea that 
architecture informs music,

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that it informed scientific 
discovery, that it informs food.

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And really Mr. Jefferson 
had all of that

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and what he was 
doing at Monticello.

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And it's kind of something the 
festival was about as well.

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>>Been excited about Tom 
Tom since the beginning.

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I think we've needed something 
to showcase Charlottesville

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innovators, makers, 
and founders for years.

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And this is the 
festival to do it.

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This is just the 
beginning of what I see

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is a mini South by Southwest 
in Charlottesville.

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>>I think I love the 
fact that people ask,

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"what's up with the Buffalo?"

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and then it's related to the 
Lewis and Clark expedition.

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That's really tied here.

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They brought back a Buffalo 
hide for Mr. Jefferson.

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>>It's exciting to see this 
confluence of people with ideas,

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entrepreneurs, 
musicians, and artists.

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We're all coming together 
in the same spaces,

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sharing about their 
visions, their stories.

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And that's why I just 
had to come out this year

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to make sure I 
heard some of these

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and to gain more inspiration

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as I continue to work on my 
own career and my own arms.

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>>So how did Charlottesville 
first received this?

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>>Well, I think people have 
always been pretty excited

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by the idea actually.

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I mean, I think we think of 
ourselves as a music town.

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I think music has always been 
one of the driving attractions

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and forces of the festival.

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I've always pitched it as 
like the bright shiny object.

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It's like, people 
come and they're like, 
"Oh there's music,"

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And then once they get 
accustomed to that.

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They're like, "Oh, 
hold on a second".

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Just across the street,

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there's these panels 
and there's these talks,

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and then there's this art.

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And so it really transitioned 
more to innovation.

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This is a really the 
driver of the festival.

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What's new?

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what's emerging 
out of this town?

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what spurs startups?

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what start spurs development?

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And then also what's just brings 
the community get together,

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because that is really 
ultimately people 
most responded to,

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which is just the idea that

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Charlottesville can 
be a silent place.

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And you have these big events

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that bring lots of 
communities together.

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It kind of feels right.

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And it feels like it's kind 
of where the city needs to go.

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♪ baby you're so plastic ♪

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♪ Baby you oou oou ♪

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>>One thing going on 
is the Block Party.

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Talk a little bit about 
the McGuffey Block Party.

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>>Sure, the McGuffey is I 
think probably the crown jewel

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this chief spectacle of Tom Tom.

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And again it utilizes this 
beautiful historic school house

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in downtown Charlottesville

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where there's I believe 
40 working artists.

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And so it's been a longterm 
institution in Charlottesville.

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And then for Tom Tom, it says,

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let's get the city there and 
let's not just get the city

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there to experience the art,

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but let's shut down the 
streets around the McGuffey

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let's have food trucks,

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Let's have acrobats, 
lets have fire dancers.

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Let's have a high 
school step team.

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Let's have the boys and girls 
club, a hip hop dance team.

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>>Yeah. 
>>Let's have a funk band.

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And so these massive 
Block Party School

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with two to 3000 people 
come at any given time

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and they go for six and 
seven hours into the night.

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>>Yes, that you guys got it

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That is one of the 
quintessential events

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of all Tom Tom people go,

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okay, well, I get it.

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And now I'm going 
to everything else.

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>>And then across the 
street, say at the Haven,

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in the sanctuary at the Haven,

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there are these wonderful 
panels going on.

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So give us some examples 
of the different talks

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that you've brought to 
town through the years.

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>>The underlying idea of 
Tom Tom's innovation is that

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Charlottesville is creative.

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That there's a lot 
of startup energy

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and there's people 
doing creative things

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that need to be highlighted.

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And then in the process of that,

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there are a lot of people that 
have already done huge things

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and they need to be 
highlighted as well.

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Bruce Floor, for instance,

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this last festival red light 
management talked about

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the global expansion of this 
music industry heavyweight.

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And then we looked at,

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we had all the investors in town

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talk about investing 
in Charlottesville.

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We had healthcare looking 
at like mobile health and IT

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and how mobile technology 
is informing patient care.

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Again, it's kind 
of this hodgepodge

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and you just go and you're 
like, "all right, I'm here.

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And I'm going to bounce between 
this venue and this venue

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and this venue".

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And I will see a lot of 
very interesting things.

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And a lot of them are very 
centric to Charlottesville

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happening here.

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>>So I'm here today 
to talk to you

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about this idea of agile Goliath

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companies that can think big

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but act small and continue to 
evolve themselves over time.

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So April 1997,

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Clay Christiansen publishes 
"the innovator's dilemma"

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and the lessons of the 
innovator's dilemma still hold.

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And they are this,

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one is that useful simple 
solutions get adopted.

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And so if you're a startup 
and you're trying to build

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an amazing product,

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and you're doing all the 
hard to build that product.

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You can quickly 
become the incumbent

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and you can be quickly 
become disrupted.

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So that's a challenge.

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It's a challenge for all of us.

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>>I think it's the ability

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to bump into folks and 
to meet new people,

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not just to hear the panel 
speakers who are sharing

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about where they've been,

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and they've got a wealth of 
knowledge that they can share

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with people in the audience,

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but even with audience members,

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I mean, I just ran 
into a local writer

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Who's really kind of a hero 
of mine who I haven't seen in

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the past couple of years and 
hearing about what he's up to,

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what the inspiration he's 
drawing from Tom Tom Fest

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and his career is 
something that kind of,

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it makes me want to 
get back to work.

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And I think that's the thing 
that I really enjoy most.

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>>So I first got into 
graffiti style art.

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When I lived in 
Frankfurt, Germany

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When I was 11-years-old.

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over there I would 
see the artwork

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on the streets and I would 
pass by it all the time

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and be pretty 
amazed at what I saw

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to the point where I 
decided to go ahead

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and pick up a can for myself.

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So basically we have six 
individual artists who are doing

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their own unique expression,

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but the whole thing is 
still one cohesive unit.

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>>One of the other 
events was a mural,

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a graffiti mural.

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Every year it changes?

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>>Yeah. So again,

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public art is a big 
part of the festival

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that interact with your city.

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Like, don't look at that 
a retaining wall and go,

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that's just a retaining wall.

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Look at it as a canvas 
where you can have

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a collective of graffiti 
artists from across the state.

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Re-imagine it.

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Don't look at a street in 
Downtown Belmont and go,

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"yeah, that's just a 
street I drive over".

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It's like, "no, let's 
shut the street down,

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have a Big Block Party.

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And then in the middle of it

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have three dozen school children 
painted big street mural".

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>>Which you did

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>>Is what happened 
to Downtown Belmont.

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(laughs)

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So the public art is really,

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I think goes back to 
my initial excitement

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about the festival,

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which is just see the 
city in a new way,

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and that can be Charlottesville.

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It could be Tulsa.

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It could be any city of 
cost across the country.

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Just do something cool

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and interesting 
with public spaces,

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>>Yeah so pop-up art

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>>Pop-up art.

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>>What is that?

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>>So this year we had 
a competition called

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Pop-up parking spaces.

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And is with our 
local arts council,

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it was with the AIA,

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the American Institute 
of architects.

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And it was like,

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look we're going to 
take parking spaces

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and you can do whatever 
you want with them.

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So whether it was an 
architecture class at UVA,

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whether it was just 
some artists locally,

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just crazy little projects 
popped up and they were mobile,

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they were temporary.

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And they just said, look, 
think about parking space

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in a different way.

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>>Well we as the central 
Virginia chapter of the AIA

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are participating

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and we are making 
our interpretation

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of the sleeping Alcove of 
Thomas Jefferson's Monticello.

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it's such a unique 
space in the house.

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We were just thought,

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it'd be pretty fun 
to try to give folks

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the opportunity or that 
experience in some way.

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>>Tom Tom is great.

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And it's that combination 
of entrepreneurship

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and innovation with the arts.

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I'm very proud as 
a city counselor

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that we supported it 
this year financially.

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And it just want 
to see it happen

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every year.

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>>So it's a nonprofit now.

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And so, if you're not charging,

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how is it supported?

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How is it funded?

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>>There's really 
three components.

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One is a private philanthropy. 
>>okay

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>>The main driver 
is sponsorship,

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corporate sponsorship 
of various kinds.

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We have municipal grants

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and we have grants from 
foundations come in.

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And then we have beer sales.

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People who really 
wanted to compete

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(laughs)

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I mean it's not a huge compound 
of how we raised money,

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but it's a nice,

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it's probably the most fun 
part of how we raise our money.

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And, and yeah, I mean,

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this was the first year 
actually we broke even

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and had money to pay 
salaries, which again,

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it's like, wow, that 
is pretty nuts to think

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that a free festival just 
based on private philanthropy

253
00:10:10,643 --> 00:10:13,646
and generosity was 
was able to do this,

254
00:10:13,646 --> 00:10:16,015
but it sets a good 
tone for the future

255
00:10:16,015 --> 00:10:18,951
and it's kind of as 
we continue to grow,

256
00:10:18,951 --> 00:10:22,321
that's what we really, that's 
the ask we make of people

257
00:10:22,321 --> 00:10:23,789
is we just say, look,

258
00:10:23,789 --> 00:10:26,892
this is the baseline of 
making this happen this year

259
00:10:26,892 --> 00:10:29,795
and if we want Charlottesville 
to have an event

260
00:10:29,795 --> 00:10:33,499
that has this caliber 
of musician, this 
caliber of speakers,

261
00:10:33,499 --> 00:10:36,168
this is what's going to take 
and are we going to get there.

262
00:10:36,168 --> 00:10:39,438
And again I like 
putting that decision

263
00:10:39,438 --> 00:10:42,208
in the hands of people 
in Charlottesville.

264
00:10:42,208 --> 00:10:44,076
>>So what's the five-year plan?

265
00:10:44,076 --> 00:10:48,147
That talking about the 
future what's the plan?

266
00:10:48,147 --> 00:10:51,651
>>We haven't actually 
written out in a graphic,

267
00:10:51,651 --> 00:10:53,719
and it's like a little sonar.

268
00:10:53,719 --> 00:10:55,488
It's like first year it 
was just Charlottesville.

269
00:10:55,488 --> 00:10:58,024
And the second year 
was Central Virginia,

270
00:10:58,024 --> 00:11:01,894
this past year was really 
about Virginia as a whole.

271
00:11:01,894 --> 00:11:04,463
And I think increasingly we 
had that kind of recognition.

272
00:11:04,463 --> 00:11:06,098
And then the next two years,

273
00:11:06,098 --> 00:11:09,068
it's what makes us a 
mid-Atlantic festival.

274
00:11:09,068 --> 00:11:12,271
What makes this so 
people in DC and Raleigh

275
00:11:12,271 --> 00:11:15,307
and Baltimore that they go,

276
00:11:15,307 --> 00:11:17,743
"Oh yeah, this is a time 
to be in Charlottesville".

277
00:11:17,743 --> 00:11:20,846
(instrumental music)

278
00:11:24,984 --> 00:11:26,352
>>When we were talking earlier,

279
00:11:26,352 --> 00:11:28,220
you tell me how you 
would know the festival

280
00:11:28,220 --> 00:11:30,256
had truly arrived.

281
00:11:30,256 --> 00:11:31,524
(laughs)

282
00:11:31,524 --> 00:11:33,025
>>Okay.

283
00:11:33,025 --> 00:11:35,027
I mean, when I first started 
talking with those people.

284
00:11:35,027 --> 00:11:38,230
It was like, if David 
Byrne had a parade

285
00:11:38,230 --> 00:11:41,934
Downtown mall of Charlottesville

286
00:11:41,934 --> 00:11:43,602
and into what the 
concert in the Pavilion,

287
00:11:43,602 --> 00:11:45,638
it'd be like, "that's 
when it arrives",

288
00:11:45,638 --> 00:11:48,841
when you have this 
national-level speaker

289
00:11:48,841 --> 00:11:50,976
that is relevant to musicians,

290
00:11:50,976 --> 00:11:52,478
he's relevant to urban planning,

291
00:11:52,478 --> 00:11:55,281
he's relevant to like 
the history of music

292
00:11:55,281 --> 00:11:56,148
and of creativity

293
00:11:56,148 --> 00:11:58,317
and how places create

294
00:11:58,317 --> 00:12:01,253
and to have him be part of it.

295
00:12:01,253 --> 00:12:04,657
And then having major light 
sculptures installations.

296
00:12:04,657 --> 00:12:06,592
I mean, I think that's 
where, it's thinking big.

297
00:12:06,592 --> 00:12:10,796
It's like, yeah, get this in 
for a spectacle and just big.

298
00:12:10,796 --> 00:12:12,298
>>We'll, call him up.

299
00:12:12,298 --> 00:12:13,566
I think Charlottesville is 
almost ready. Don't you?

300
00:12:13,566 --> 00:12:14,500
>>Yeah.

301
00:12:14,500 --> 00:12:15,901
He'll be on the line soon.

302
00:12:15,901 --> 00:12:17,303
>>Thank you, Paul.

303
00:12:17,303 --> 00:12:18,137
>>Yeah. Terrific.

304
00:12:18,137 --> 00:12:19,672
Thank you.

305
00:12:19,672 --> 00:12:23,175
(instrumental soft music)