need to make sure we are providing services for them. yesterday, we had a hearing on the dcyf budget, and i was very disappointed with one aspect of the budget, particularly the alt and backs were being eliminated -- that all add-backs were being eliminated on a number of different subjects. i do not agree with that. i am in discussions with dcyf, and i am is hopeful we will be able to work something out. my predecessor was always committed to making sure funding occurred, and i will continue to do that, so you have an ally in me. the budget is the most eminent issue, and we do have a structural budget deficit in the city, so we need to deal, of course, with the short-term balancing our budget in a way that does not decimate city services that people rely on,

but also to address our long- term structural budget deficit, and that means implementing some budget reforms. smooth out our budget process so it is not a boom/bust kind of budget. reforming our pension system and retiree health care system so that they are stable. we do a decent job providing low-income housing. we do a terrible job providing housing for low or middle class and middle-class people, people who are working and paying taxes that we need to have here for a functioning economy, so i am looking for ways to try to fund that, particularly for essential employees like teachers, nurses, first responders. projects coming up in the city like the renovation of dolores park, which is a once in 50 years opportunity to define what the park is and what changes we want to make to it. that will be a very significant projects.

[inaudible] when was the last time it rained? there are puddles. we elect our supervisors by district, and it is very important to pay attention to the district, to be engaged in projects in the district, but we also represent the whole city. any supervisor that just focuses on the district without addressing the citywide issues is not doing his or her job. every day, i'd make sure i am working both on the citywide issues and on district issues.

supervisor chiu: i fully appreciate the concerns raised by some tenant leaders. i would never supported the project if i did not feel comfortable that tenant rights have been protected here with parker said -- part merced. i say this as one of the few tenants on the board of supervisors, who has been a staunch advocate of tenants before i was elected and with my votes on this board. my parents immigrated to the united states in the 1960's, and i was the first kid born in the u.s. my parents sacrificed everything so that their kids could have the opportunities that they wanted when they came here. i grew up in the boston area,

live in different parts of boston, went to a catholic high school in dorchester, which is a section of boston. because of my parents work and the opportunities they gave me, my brothers and i were all blessed to go to harvard university. it was intense. i stayed there for college, for law school, and i also have a master's in public policy there. those are subjects i decided to study in part because i was very interested in public service and public policy issues and government. i ran for office in part because i wanted to serve the city and really protect all that is so special about what san francisco is. >> we've been talking for years about how important it is to build new neighborhoods, to develop affordable housing, make sure we have transit-oriented sustainable green development that really is worthy of a 21st century san francisco. what we're doing today -- and, frankly, what we're doing this year will have impacts on the

city for decades to come. thank you all for being part of this, and i look forward to that mid-cutting. i moved to san francisco 15 years ago for all the reasons that we all love our city. our cable cars. our hills. the diversity of our neighborhoods. and have loved every minute of being here. >> like many of you here, i did not actually grow up in san francisco. i grew up in another part of the country that was not quite as tolerant or quite as diverse. san francisco drew me, as i think it through all of us, because we live in a very special place. i just want to say on behalf of the board of supervisors -- we have a special responsibility and a special leadership role in the world. as we come together, we symbolize all of this date we have in humanity, the faith we have in the fight for civil rights, the faith we have,

frankly, as a common family. >> i consider myself someone who shares the progress of value that need san francisco's -- many san franciscans hold dear. >> i do believe that a majority of this board share the same progressive values, and i think there is a danger and an overly narrow definition of what is progressive. we have to remember that being progressive stance for values of inclusiveness, of tolerance, of acceptance, and we need to think hard about how we characterize various votes of either being within that definition or outside of that. >> before i ran for office, i worked in san francisco as a criminal prosecutor and a civil- rights attorney and really got to understand how much of a beacon to the rest of the world san francisco is for social justice. i also been spent a number of years helping to grow a small

business, got to understand the innovative spirit here in san francisco. at night, i volunteered as a neighborhood association leader and also as the chair of an affordable housing organization and learned so much about the challenges facing our neighborhoods and facing a really special tools that are the urban villages that we live in. sen for assistance -- facing really the special jules -- jewels that are the urban villages that we live in. san franciscans during campaigns read everything they are sent in the mail. love to meet candidates. a gauge with them in conversations. i also learned how important it is to build bridges between communities, particularly communities of diversity we have. i was just incredibly honored to have been elected in november 2008. my district really encompasses the ethnic and economic

diversity that exists throughout the city. as a result, i think my district is really emblematic of the entire city. you can find every political perspective that you could possibly want in district 3. so oftentimes, the interest of my district and the city really are quite a line, so i do not have to think about this difference is probably quite as often as some of my colleagues may have to. i in particular want to thank the mayor for his decision to protect our nutrition programs. this is something that i think we all believe is incredibly important at a time when we have seen massive federal and state cuts, for us to hold the line locally and stand up in the city of st. francis for our seniors and our nutrition programs and families. i think we have a lot of challenges right now. we are still in the midst of the great recession. we all know way too many folks who are struggling in a minimum wage jobs pirouette of folks who have been laid off at work. i think as a city, we need to do

much better at creating an environment where we have more jobs and more economic development. i know that all of us are committed to ensuring that we have a budget that not only provides basic city services that we have come to expect but make sure that we take care of our most vulnerable. whether it be our at-risk use, our seniors, are disabled, our working families, folks who are out of work. i know something that every public servant who is here is committed to. adding with all come together as a board, as a city. we should come together as san franciscans, and, colleagues, at this time, i hope, and i asked that we unanimously vote for ed lee to be our next mayor. this is also a historic day for the asian-american community. for a community that has been here in santa francisco, for over 160 years, i am a product

of that community. i know the ed and all of us of asian-american decent feel the legacy. i want to thank all of you who have been part of this historic moment to make this happen. and say that this is obviously not just about a chinese- american community or an asian american community. this is about the american dream. the idea that anyone of any background of any color from any part of the globe can come here and sunday be at the very top of what our community is about -- and someday be at the very top of what our community is about.

>> i think a lot of times we look a community and we say, there is this one and this one, and we all have our own agenda, when our agenda is to create great work. if you're interested in that, you are part of our community. >> it is a pleasure to have you here tonight. >> we are trying to figure out a way to create a space where theater and presentation of live work is something that you think of, the same way that you think

of going to the movies. of course, it has been complex in terms of economics, as it is for everyone. artistically, we have done over 35 projects in four seasons from presenting dance, producing theater, presenting music, having a full scale education program, and having more than 50,000 visitors in the building almost every year. a lot of our emerging artists generate their first projects here, which is great. then we continue to try to support figuring out where those works can go. we have been blessed to have that were produced in new york, go unto festivals, go on to the warsaw theater festival. to me, those are great things, when you see artists who think there is no or else of someone being interested in me being a woman of color telling her story and getting excited about it.

that is our biggest accomplishment. artists becoming better artists. what is great about surely coming back to brava, we have this established, amazing writer who has won a slew of awards and now she gets an opportunity to direct her work. even though she is an amazing, established writer, the truth is, she is also being nurtured as a director, being given space to create. >> and the play is described as ceremony and theater meet. in the indigenous tradition, when you turn 52, it is that the completion of an epic. the purpose of this ceremony is to celebrate. whenever you have been caring for the first 52 years, it is

time to let it go. they have given me carte blanche to do this. it is nice for me in the sense of coming back 25 years later, and seeing my own evolution as an artist and a thinker. the whole effort even to put the indigenous woman's experience center stage is very radical. because of the state of fear, it is a hard road to hold up an institution. it really is a hard road. i am looking at where we're 25 years later in the bay area and looking at how hard it is for us to struggle, to keep our theaters going. i would like to think that i am not struggling quite as hard personally.

what i mean by that is that in tension, that commitment. what i see is that we're here to really produce works of not be produced in other places, and also to really nurture and women of color artists. i think that that is something that has not shifted for me in 25 years, and it is good to see that brava is still committed to that kind of work. you know? ♪ >> happy birthday to you happy birthday to you ♪ >> windy will talk about the reflection of the community, we can only go with what we have on our staff. south asian managing director. african-american artistic director. latino outreach person. to us, aside from the staff, aside from the artists that we work with him being a reflection

of oz, yes, the community is changing, but brava has always tried to be ahead of that, just that sense of a trend. i tried to make about the work that shows the eclecticism of the mission district, as well as serving the mission. that is what i feel brava is about. ♪ >> i came out to san francisco about seven years ago. i was trained as a carpenter. i got sick of the cold weather and the hot weather. i wanted to pursue art. i thought i really be here for about three years. here i am, 7 years later. ♪ i have problems sleepwalking at

night. i wanted to create a show about sleep. a mostly due painting kind of story telling. these are isolated subject matters, smaller studies for the larger paintings. i fell in love with it and wanted to create more of them. it is all charcoal on mylar. it is plastic. i was experimenting and discovered the charcoal moves smoothly. it is like painting, building up layers of charcoal. it is very unforgiving. you have to be very precise with the mark-making. a mark dents the paper and leaves the material embedded.

you have to go slowly. the drawings are really fragile. one wipe and they are gone completely. it is kind of like they're locked inside. all of the animals i am showing are dead. i wanted them to be taking -- taken as though they are sleeping, eternal sleep. i like to exaggerate the features of the animals. it gives it more of a surreal element. it is a release subtle element. -- it is a really is subtle elements. the range of reactions people get is that normally they get what i am trying to achieve, the sense of calmness, it's really

gentle state of mind -- a really gentle state of mind, i guess. ♪ >> i am the director of visual arts programming at intersection for the arts. intersection for the arts is based in san francisco and has always been an organization that looks at larger social political issues through the lens of practice, and we are here today at our exhibition of "chico and chang." the original inspiration was

drawn from a restaurant chain in new york city. half of their menu is -- what struck me was the graphic pictures and a man in a hat on a rig truck carrying take that time is containers and in the black sea to representation of a mexican guy wearing a sombrero and caring a somali horn. it struck me that these two large, very subversive complex cultures could be boiled down to such simple representations. chico and chang primarily looks at four topic areas. one of the man was is whose stories are being told and how. one of the artisans in the show has created an amazing body of work working with young adults calling themselves the dreamers.

another piece of the exhibition talks about whose stories of exhibition are actually being told. one artist created a magnificent sculpture that sits right in the center of the exhibition. >> these pieces are the physical manifestation of a narrative of a child in memory. an important family friend give us a dining table, very important, and we are excited about it. my little brother and i were 11, 14. we were realizing that they were kind of hand prints everywhere on the bottom where no one would really see, and it became this kind of a weakening of what child labor is. it was almost like an exercise to show a stranger that feeling we had at that moment.

>> the second thing the exhibition covers is how the allocation is defined, a great example on the theme, sculpture called mexicali culture. another bay area artist who has done residencies in china and also to what, mexico. where immigrant communities really helped define how businesses look of a business' sign age and interior decoration, her sculptural piece kind of mismatches the two communities together, creating this wonderful, fantastical future look at what the present is today. first topic is where we can see where the two communities are intersecting and where they start colliding. teresa fernandez did a sculptural installation, utilizing the ubiquitous blue,

white, and read patterns of a rayon bag that many communities used to transport laundry and laundromats to buy groceries and such. she created a little installation kind of mucking up the interior of a household, covering up as many objects that are familiar to the i and the fabric. fourth area of investigation that the exhibition looks at is the larger concerns of the asian and latin communities intersecting with popular cultur one best example -- when he's exemplified is what you see when you enter into the culture. >> this piece refers to restaurants in tijuana. when you are driving, to speak

chinese and you read chinese characters. you see these signs. i was trying to play with the idea of what you see and the direction you read. when you start mixing these different groups of people, different cultures, i like the idea. you can comment on somebody else's culture or someone else's understanding about culture. >> one of the hopes we have for visitors is that they go away taking a better understanding with the broadest and the breadth of issues impacting both the asian and latin communities here in california and how they spell out into the larger fabric of the communities we live and work in.

>> welcome to "culturewire." today we are at recology. they are celebrate 20 years of one of the most incredibly unique artist residency programs. we are here to learn more from one of the resident artists. welcome to the show, deborah. tell us how this program began 20 years ago. >> the program began 20 years ago. our founder was an environmentalist and an activist and an artist in the 1970's. she started these street sweeping campaigns in the city. she started with kids. they had an exhibition at city hall. city officials heard about her efforts and they invited her to this facility. we thought it would coincide

with our efforts to get folks to recycle, it is a great educational tool. since then, we have had 95 professional artists come through. >> how has the program changed over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you would expect from a program like ours. over the years, we tried to include artists and all types of mediums. conceptual artists, at installation, photographers, videographers. >> that has really expanded the program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support.

when they start, it is an empty studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work. it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top? >> it is based on work that was done many years ago in new york. it is the only kind of structured, artist program. weit is beautiful. a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways