gets to a breaking point you've got people always there. i'm lucky to have those individuals helping me. it's important in this day and age we know that public budget isn't was it used to be. the department of public works are able to do a lot of works cleaning but there are limits to what they can do with their resources. we try to get more cleaning resources for p w and we're going to try to continue to do that but it makes it an essential part of the u equation to have people partnering with

our city agencies to make sure that our neighborhoods will save. certainly we have it in noah valley in large part to our districts. we need to keep supporting them and making them stronger and stronger and you have my commitment. thank you >> up next in our program is president chiu and is very excited about the process here. so president chiu >> good morning it is great to be here in the sun and with you're very efficient scott wiener. i want to thank the mayor and i have to tell you in the very first year i was exposed to how

for this is. i was asked to triple the size of this one district in my first term in union square. supervisor wiener said it's very important that he tripled the size of his districts. but in my districts i have the motorbike man's wharf and we've got make sure that our wharf is safe. i'm happy to announce we're talking about a new you community benefit i'll be proposing along broadway but

there have been some serious knsz around pope street and whether the financial districts having should consider a cd v. when you have the private partnership and you have people working with our city police department it's important that all of us who are working it to make sure that san francisco has the most gem of neighborhoods for the entire word we're trying to chief that >> thank you for helping us. thank you very much >> thank you supervisor. and we know it's comfortable without our community leaders.

so, please thank you so much. in our other vp thank you all for coming. i think the original reason for this conference is to tell you in terms of giving you a qualified data. we did a terrific study were what i want to talk to you today about why the cd vs good but in terms of how we change the environment it's more than just changing the city's atmosphere the real magic is because we do all these things but it changes the feeling people have a of a

neighborhood it gives them a great sense of belonging. it's what cv ds are important. i want to thank supervisor wiener and the mayor because the atmosphere is very important >> i want to thank if you could say just a couple of words? well, thank you very much for coming out today. i want to thank the supervisors and thank you to lee a for

leading the community districts. congratulations on the moscone expansion i know it was a lot of work for you. and i want to say that she is leaving her post and we have a new person coming on board. thank you for the report and all your work. thank you so >> the garden contains plants referred to by william shakespeare's plays and poems. located near the academy of sciences, shakespeare's garden was designed in 1928 by the california spring and wild flower association. here is a truly enchanting and

tranquil little garden tucked behind the path of a charming rot iron gate with romantic magic. the overarching cherry trees, the gorgeous big walkway and brick wall, the benches, the rustic sun dial. the pack picnic, lovely bench, enjoy the sunshine and soft breeze and let the >> on december 28, 1912. san francisco mayor, sonny jim rolph stared into the crowds of those who have gathered. a moment in history. the birth of a publicly own transit system. san francisco municipal railway. muni as it would become to be

known. happy birthday, muni, here is to the next 100 years. the birth of muni had been a long-time coming. over the years the city was disjointed privately owned companies. horses and steam and electric-powered vehicles. creating a hodgepodge of transit options. none of them particularly satisfying to city residents. the city transit system like the city itself would have changes during the san francisco earthquake. the transition that will pursue from this aftermath would change san francisco's transportation system once again. facilitated by city boss, abe

ruth, ushering in the electric city car. the writing was on the wall. the clammer had begun for the experiment including public transit people. owned by the people and for the people. the idea of a consolidated city-owned transit system had begun traction. and in 1909, voters went to the polls and created a bond measure to create the people's railway. would become a reality three years later. on december 28, 1912, mayor sonny rolph introduced the new geary electric streetcar line and the new san francisco

railway. that he said would be the nucleus that would host the city. and san francisco gave further incentive to expand the city's network. a project by way of tunnel leading into chinatown by way of north beach. in december the first streetcar was driven into the tunnel. just two years after its berth, muni had added two lines. and k, l and m lines that span out from westportal. in 1928, the j line opened heading west to the beach. in 1944 san francisco voters finally approved muni take-over of the market street railway.

by then motor bus and trolley bus improvement had given them the ability to conquer san francisco's hills. after the war most of the street-car lines would be replaced with motor or trolley bus service. in 1947, the mayor recommended replacing two lines with motor coaches. and it appeared that san francisco's iconic cable cars had seen their final days. entered mrs. cluskin, the leader to save the cable cars. arguing that the cable cars were a symbol of the city, and she entered a charter placed on the november ballot. it passed overwhelmly. the california street cable railway was purchased by the

city in 1952. there were cut backs on the cable car system and in 1957 only three lines would remain. the three lines that exist today. in 1964 the cable car's future as part of california's transit system was sealed when it was proclaimed a national historic landmark. in february, 1980, muni metro were officially inaugurated. in that same year, muni received its first fleet of buses equipped with wheelchair lifts. in 1982 when the cable car had a shut-down, they added an

alternative attraction to the cars. the festival was a huge hit and would continue for the next four summers in a permanent f-line that would extend all the way to fisherman's wharf, by 2000 the f-line was in place. and in 2007 muni extended the third line to the southeast corner and returning to third street. for the first time in 60 years. in the course of last 100 years, muni's diverse workforce forged by men and women of innovation have reflected the many cultures that flock to the city. muni's ground-breaking antidiscrimination has guaranteed equal opportunity for all.

the city's policy mandates the course for the future, as they work diligently to increase options and increase multialternatives, and deduce -- reduce the carbon footprint. it continues to improve the systems. during this sen -- centennial year we reflect on the transit system. driven not

>> 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 we tour about 5000 people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic. let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on june 1, so we came into the studio then and spent most of the first couple weeks just digging around in the trash. i am continuing my body of work, kind of making these hand- embroidered objects from our day-to-day life.

>> can you describe some of the things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death. this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at this, i glanced down and this is amazing, and it is on top of a book, it is ridiculous and amazing. >> i am interested in the

serendipity of these still life compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel. what attracted you to apply for this special program? >> who would not want to come to the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books. that is one of the thing that hits me the most. books are good for understanding, language, and art in general. also being a graphic designer, going straight to the magazines and seeing all this printed

material being discarded has also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or

settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out. everybody is welcome to come out. we have food. sometimes we have gains and bands. it is great time. from june to september, we accept applications from bay area artists. we encouraged artists from all mediums to apply.

we want as many artists from the bay area out here so they can have the same experience. >> how many artists to do your host here? >> 6 artist a year, and we receive about 108 applications. very competitive. >> but everyone should be encouraged to apply. thank you again for hosting us. >> thank you for including us in "culturewire." ♪ ♪ ♪ aah! i'm a lion! yes, you are. come here. let's see how this looks. hey, how's my little horse? she's a lion. yes, she is. grrr! ha ha! announcer: you don't have to be perfect to be a perfect parent. when you adopt a child from foster care, just being there makes all the difference.

>> started in 1990. the citizens of the marina district came to the fire department and asked for a program to survive for 3 days. there is a 70 percent chance we will have a 6.5 earthquake. 71 large fires. 40 major rescue operations. [inaudible]. rescue operations there were 34 structure fires we need 275 engines to handle this. we have 41. you will be on your own and we should be prepared