know, charlotte, we are going to do a lot of work this year, but these years forthcoming, as we work hard, i want to also have fun. isn't this fun? all right. [applause] this is our 50th anniversary of the wonderful song, "i left my heart in san francisco." tony, it is wonderful for you to be here and grace us and honor us with your presence. your 17 grammys are just so unprecedented. you just won two more this past week, and what a wonderful career. congratulations, tony. i want to thank our school of the arts. i want to thank our boys and girls choruses. thank you. wonderful performances. it is a fitting tribute that

our boys and girls choruses and ouryouth -- our yout are here today to perform because they reflect tony's dedicated career to ensure the future of arts education. we have seen what he has done and seen what his support is, and he is encouraging youth to be leaders on and off the stage, to make sure they grow up with the values and the shared values that he has. this is such a wonderful opportunity. i also want to thank some of the school kids especially here today. we have kids from our tenderloin community school. thank you for being here. [applause] all right. we also have, for the first time, at the request of -- the idea ofcesa -- that cesar chavez elementary school wanted us to webcast this live, so we did it

for them. wherever you are, welcome. [applause] tony, for 50 years, you have helped us not only remember a great song, but whenever any of us leave our town, we always come back and call san francisco our home. i know we talked a little earlier and tried to recall that wonderful initiation where in 1961, you first sang that song in the venetian room up at the fairmont. little did you know at the time that then mayor george christopher was in the audience with joe alioto. it was such a marvelous performance that when joe became mayor, he adopted that as one of our two official anthems. thank you for performing first in san francisco.

[applause] tony, you have helped us celebrate so many milestones in our city. you have helped us after earthquakes to come back and revive the spirit of our wonderful city. you have designed the wonderful art pieces to raise funds for those who need that service. you help us to reopen. after earthquakes, you have helped us climb -- not half way, you have helped us climb all the way to the stars with the -- a nation of our cable cars. you have just -- i in your career, you have generated more love and more nostalgic for our bay area -- more nostalgia for our bay area than all the songs and all the movies and all the television shows associated with us combine.

for that reason -- it is really for that reason, tony, that it is my pleasure if you would please come up, to declare today, valentine's day, february 14, 2012, as tony bennett day in san francisco. [applause] and also, on behalf of all of us and with all of our love and with all of our hearts together, to present to you the key to the city of san francisco. [applause]

>> would you like to say a few words? you have 45 minutes. [laughter] >> well, i would like to thank mr. ralph sharon, my great friend and musician, for finding this song. i was in little rock, arkansas, and we were on our way for the first time in my life. he found a song, and he said, "why don't we do this in san francisco?" i said ok, and i have no idea, but there was a bartender who said, cassette and i don't mean

to interrupt your rehearsal, but if you record that song, i'm going to be the first customer -- "i don't mean to interrupt your rehearsal, but if you record that song, i'm going to be the first customer." as i started singing it, the people came up and said, "you have to record the song immediately." i always thought it would be a local song in the area, but the fact that it has become such an international song throughout the world -- everybody loves it, and they love this city. it reminds me of one time when i was playing the fairmont hotel, gorbachev from russia with here and travel throughout the whole united states and in front of the company could tell, i was listening to him speak about san francisco. he said, "i traveled to every

city in the united states, and i was disappointed with what i saw. there was not one city that i liked, but as far as i'm concerned, san francisco is so beautiful that i would like to design 15 cities in russia that look like san francisco." [laughter] and he was right. [applause] my wonderful wife, my family is here. i'm thrilled. thank you very much. i must say -- excuse me, i have to mention one thing. i have never seen anything in my life as beautiful as these young people. [applause]

you stand so beautiful. [applause] -- you sang so beautiful. [applause] >> it is tony bennett day in san francisco. [applause] just fantastic. now, before we leave here today, just one more time, let's hear that special song one more time, now performed by the talented san francisco gay men's chorus, who will be joined by -- yes -- who will be joined by all of our performers here today and then all of you. you can sing along by following the lyrics on the screens. ladies and gentlemen, the san francisco gay men's chorus. [applause]

♪ >> ♪ the loveliness of paris seems some house sadly -- somehow sadly gay the glory that was rome is of another day i've been terribly alone and four got 10 -- forgotten in manhattan i'm going home to my city by the day -- city by the bay ♪ >> and now it is your turn. >> ♪ i left my heart in san

francisco high on a hill it calls to me to be where little cable cars climb halfway to the stars in the morning fog may chill the air i don't care my love waits there in san francisco of of the blue and windy see -- above the blue and windy sea

when i come home to you san francisco your golden sun will shine for me ♪ [applause] >> very nice job, everybody. well, as we close here today, mr. bennett, you have always had the key to our hearts.

now you have the key to our city. we hope to see you back here soon in your city by the bay. thank you for this wonderful gift you have given us all these years and thank you so much for letting us honor you today. tony bennett day in san francisco. once again, for the man of the hour. [applause] thank you all so much for celebrating with us today. happy valentine's day. we will see you at the ballpark.

>> we came to seven straight about 10 years ago. -- 7th street about 10 years ago. the environment is huge. it is stronger than willpower. surrounding yourself with artists, being in a culture where artists are driving, and where a huge amount of them is a healthy environment. >> you are making it safer. push, push.

that is better. when i start thinking, i see it actually -- sometimes, i do not see it, but when i do, it is usually from the inside out. it is like watching something being spawned. you go in, and you begin to work, excavate, play with the dancers, and then things began to emerge. you may have a plan that this is what i want to create. here are the ideas i want to play with, but then, you go into the room, and there maybe some fertile ideas that are becoming manifest that are more interesting than the idea you had initially set out to plan. so there has to be this openness for spontaneity. also, a sense that regardless of the deadline, that you have tons of time so the you can keep your creativity alive and not cut it off and just go into old habits. it is a lot like listening.

really listening to watch what is going to emerge. i like this thing where you put your foot on his back. let's keep it. were your mind is is how you build your life. if you put it in steel or in failure, it works. that works. it is a commitment. for most artists, it is a vacation and a life that they have committed themselves to. there is this notion that artists continue to do their work because of some kind of the external financial support. if that was taken away, artists would still do their art. it is not like there is a prerequisite for these things to happen or i will not do it. how could that be? it is the relationship that you

have committed to. it is the vocation. no matter how difficult it gets, you are going to need to produce your art. whether it is a large scale or very small scale. the need to create is going to happen, and you are going to have to fulfill it because that is your life. >> what if you could make a memorial that is more about information and you are never fixed and it can go wherever it wants to go? everyone who has donated to it could use it, host it, share it. >> for quite a great deal of team she was hired in 2005, she

struggled with finding the correct and appropriate visual expression. >> it was a bench at one point. it was a darkened room at another point. but the theme always was a theme of how do we call people's attention to the issue of speci species extinction. >> many exhibits do make long detailed explanations about species decline and biology of birds and that is very useful for lots of purposes. but i think it is also important to try to pull at the strings inside people. >> missing is not just about specific extinct or endangered species. it is about absence and a more fundamental level of not knowing what we are losing and we need to link species loss to habitat loss and really focuses much on the habitat.

>> of course the overall mission of the academy has to do with two really fundamental and important questions. one of which is the nature of life. how did we get here? the second is the challenge of sustainability. if we are here how are we going to find a way to stay? these questions resonated very strongly with maya. >> on average a species disappears every 20 minutes. this is the only media work that i have done. i might never do another one because i'm not a media artist per se but i have used the medium because it seemed to be the one that could allow me to convey the sounds and images here. memorials to me are different from artworks. they are artistic, but memorials have a function.

>> it is a beautiful scupltural objective made with bronze and lined with red wood from water tanks in clear lake. that is the scupltural form that gives expression to maya's project. if you think about a cone or a bull horn, they are used to get the attention of the crowd, often to communicate an important message. this project has a very important message and it is about our earth and what we are losing and what we are missing and what we don't even know is gone. >> so, what is missing is starting with an idea of loss, but in a funny way the shape of this cone is, whether you want to call it like the r.c.a. victor dog, it is listen to the earth and what if we could create a portal that could look at the past, the present and the future? >> you can change what is then missing by changing the

software, by changing what is projected and missing. so, missing isn't a static installation. it is an installation that is going to grow and change over time. and she has worked to bring all of this information together from laboratory after laboratory including, fortunately, our great fwroup of researche e-- g researchers at the california academy. >> this couldn't have been more site specific to this place and we think just visually in terms of its scupltural form it really holds its own against the architectural largest and grandeur of the building. it is an unusual compelling object. we think it will draw people out on the terrace, they will see the big cone and say what is that. then as they approach the cone tell hear these very unusual sounds that were obtained from the cornell orinthology lab. >> we have the largest recording

of birds, mammals, frogs and insects and a huge library of videos. so this is an absolutely perfect opportunity for us to team up with a world renown, very creative inspirational artist and put the sounds and sights of the animals that we study into a brand-new context, a context that really allows people to appreciate an esthetic way of the idea that we might live in the world without these sounds or sites. >> in the scientific realm it is shifting baselines. we get used to less and less, diminished expectations of what it was. >> when i came along lobsters six feet long and oysters 12 inches within they days all the oyster beds in new york, manhattan, the harbor would clean the water. so, just getting people to wake up to what was just literally

there 200 years ago, 150 years ago. you see the object and say what is that. you come out and hear these intriguing sounds, sounds like i have never heard in my life. and then you step closer and you almost have a very intimate experience. >> we could link to different institutions around the globe, maybe one per continent, maybe two or three in this country, then once they are all networked, they begin to communicate with one another and share information. in 2010 the website will launch, but it will be what you would call an informational website and then we are going to try to, by 2011, invite people to add a memory. so in a funny way the member rely grows and there is something organic about how this memorial begins to have legs so to speak. so we don't know quite where it will go but i promise to keep on it 10 years.

my goal is to raise awareness and then either protect forests from being cut down or reforest in ways that promote biodiversity. >> biodiverse city often argued to be important for the world's human populations because all of the medicinal plants and uses that we can put to it and fiber that it gives us and food that it gives us. while these are vital and important and worth literally hundreds of billions of dollars, the part that we also have to be able to communicate is the more spiritual sense of how important it is that we get to live side by side with all of these forms that have three billion years of history behind them and how tragic it would be not commercially and not in a utilitarian way but an emotio l emotional, psychological, spiritual way if we watch them one by one disappear.

>> this is sort of a merger between art and science and advocacy in a funny way getting people to wake unand realize what is going on -- wake up and realize what is going on. so it is a memborial trying to get us to interpret history and look to the past. they have always been about lacking at the past so we proceed forward and maybe don't commit the same mistakes.

>> welcome, everybody. to the 2011 justice summit by the book. i'm so excited to be here. you know, we've been doing these summits now for seven years, but this by far