we'll make the san francisco law calls laura's law pertinent. it's about public safety arrest despite a year where we experiences to homicides in our city san francisco remains the safest city at levels not seen since the 1960s. one homicide is too many. last year, i i was frustrated like all of you by the rash the homicides and shootings in this very community and i suggested we need to shack up our efforts for the police and communities to stop this voinsz. i regret the upheaval it started

but i don't regret this today. since we launched the ipo we've seen some rules no homicides in august since the last thirty years. and homicides and gun violence down over the first part of the year citywide. thank you to all our police officers that can thank you pastor bryant and to our faiths leaders. thank you. we need to save young men's lives and we can be safer still.

weigh are getting more pollens on your streets. i look forward to sign into law the by an of hallow points bullets. these bullets have no place on our streets. and there's another type of violent crime where often no weapon is involved and that's domestic violence and abuse which effects whoo too many woman and children in our streets. we must prevent and report

domestic abuse. i pledge - and i pledge to continue to working on the pleasantly with our partners in the community to bring to issue the violation that will prevent woman and children >> i'm also proud that under our probation departments and working with police and other city departments san francisco in 2012 has responded to the challenges a of realignment and intergrating non-violent programs it sport non-violent

lives. and just as he must continue to be a healthier city. less than one year our adults will receive health care thanks to president obama and nancycy pelosi. we have a long-standing healthy program and the new international law will extend the program to 3 b thousand san franciscans. and just as we must keep getting

health care and pension reform define we must address the challenge of the unfunded liability area. we're beginning to make progress but we must development a more responsible approach to providing health care to our retired city employees >> and know that together our partners in labor will address this the san francisco way to son sense once in a while. and finally, we must rebuilt our st. louis hospital in the mission. they're the priors of critical health deliver as well as major

employers. members of the board have taken a strong leadership role working with my office to bring a proposal back to the community that delivers jobs and most importantly critical health care for our city were we're going to get it done. and that brings me arrest warrant why we're here today. a college track and education. i hear from businesses that they're number one priority is education. they would like nothing better to hire san franciscans but they often struggle to find their candidates. and it's clear to me the only way our city will continue to be

strong is if we support the improvement of our city schools. in many cities they choose to address the keegs challenges by picking fights and appointing fingers but once again not in 90 san francisco. together we strive for excellence in our public schools not excused. last year, i met with our community leaders the first time in our memories the mayor and others and we all agree that technology, expediting our kids earlier with the expectation for

college and seth them to in our economies is the keys key to success and we're making progress. san francisco unified continues to be the hive urban development are high. we've seen double digit high-grades among our latin and africa kids >> results are being recognized

for our achievement we received a federal grab the to bring job training in our mission neighborhood. the supervisor knows about this. these gains are possible because reforms are underway the partnership are in place. for our kids to succeed in this economy we must do more. that's why this year i will propose in my budgeted more resources more than $50,000,000,000 and $25 million for preschool activities. i view education as an be

investment not an expense. the folk in the road for many kids and many families the point at which they decide they're though stay in san francisco or leave. you're going to hear me talking about this layoff a lot this year. i want our middle squirrels to courthousess choose the road to success notes the road that leads to trouble or and is the one of the 3 san franciscans who went there know we must continue to preserve our colleges decree

- it's important to equip our kids to win in the 20th century you knew. i've offered the schools leadership to continue to go forward. i want to thank you you for working with the state to put city college back on track and r that keeps the opportunity coming for every san franciscan young person. because hope and opportunity after all are at the heart of the this place the idea we call

san francisco. you know, many of us came here from smoip else or their parents did. and whether it was guadalajara or a rural county in texas what brought us here was that hope where in san francisco as most places offered a better life. it was judged by a play we create not by a language we grew up with. we're a city that rewards the inno matter and the risktaker. fred and harvey ye very and willie brown and nancycy pelosi.

we've known our share of adversity, earthquake and the problems with aids. we're not afraid to fail or doing what we know is right. and most importantly we know that none of us succeed alone whether it's in reconcile or business or life. we know as michelle obama said so well, this past summer when you walk through that door of opportunity you don't slam it shut you help someone else walk through that door behind you. my fellow san franciscans i know there's no limit to the opportunities in this city in we

keep the door open. if we commit ourselves and put politics behind us we can help future generations and thank you go

(music) >> herb theatre,open rehearsal. listen to the rehearsal. i think it is fun for them, they see our work process, our discussions, the decisions we make. it is good for us. we kind of behavior little bit when we have people in the audience. msk (music) >> we are rehearsing for our most expensive tour; plus two concerts here.

we are proud that the growth of the orchestra, and how it is expanded and it is being accepted. my ambition when i came on as music director here -- it was evident we needed absolutely excellent work. also evident to me that i thought everyone should know that. this was my purpose. and after we opened, which was a spectacular opening concert about five weeks after that the economy completely crashed. my plan -- and i'm absolutely dogmatic about my plans --were delayed slightly. i would say that in this very difficult timefor the arts and everyone, especially the arts,

it's phenomenal how new century has grown where many unfortunate organizations have stopped. during this period we got ourselves on national radio presence; we started touring, releasing cds, a dvd. we continue to tour. reputation grows and grows and grows and it has never stopped going forward. msk(music) >> the bay area knows the orchestra. you maybe take things for granted a little bit. that is simply not the case will go on the road. the audiences go crazy. they don't see vitality like this on stage. we are capable of conveying joy when we play. msk(music)

>> any performance that we do, that a program, that will be something on the program that you haven't heard before. string orchestra repertoire is pretty small. i used to be boxed into small repertoire. i kept constantly looking for new repertoire and commissioning new arrangements. if you look at the first of the program you have very early, young vibrant mendelson; fabulous opener and then you have this fabulous concerto written for us in the orchestra. is our gift. msk(music) >> and then you have strauss, extraordinary piece.

the most challenging of all. string orchestra work. 23 solo instrument, no violin section, now viola section; everybody is responsible for their part in this piece. the challenge is something that i felt not only that we could do , absolutely could do, but i wanted to show off. i can't tell you how aware i am of the audience. not only what i hear but their vibes, so strong. i have been doing this for a long time. i kind of make them feel what i want them to feel.

there is nobody in that audience or anywhere that is not going to know that particular song by the fourth note. and that is our encore on tour. by the way. i am proud to play it, we are from san francisco. we are going to play that piece no matter where we are. >> bonnie banks. bonnie banks. my definition of noise is uncontrolled music. without format. pretty simple affair.

pancakes, and you're -- people get up on sundays around noon, weekends or whatever. should not be too hard to walk into place. have your audio alarm clock go off for two hours waking your up while you are eating breakfast with many interesting visuals once in a while. improvisation. listening or not to the person you're playing up against or people or machines. trying to get as many different people in as possible. different genres, experimental noise, electronics, dissonance some drums.a tiny bit of

ambient -- the first noise pancake shows, 1999, the first waffle noise, 2001. god-waffle noise, noise pancake came out of cubist art, place on mission street, brutallo, where the church -- opened up his house and saturday morning cartoons. a big space. you can have everybody set up and barely move equipment around; small room for an audience to move around, walkover and get pancakes without getting burned up in the kitchen. there's like people

in their hard-core gabber; people into really fast death metal; black metal. people who don't listen to music at all. guy like larnie bock (sounds like) set up huge, motor driven harp. i don't know how to explain it. 40 foot of motors that he had running over strings and wires. and then played each string individually with the mixer. there is a feeling of euphoria

when somebody's really good at what they do. experiencing a buffer, pushing your bowels out your rear. different. a lot of noise. you don't play clubs with a cleaning schedule, a guy coming in the morning emptying the beer bottles. you play the warehouse. if you travel around you will see the exact same kind of weirdos doing their own thing. it is like in the bay area it's even more absurd. there seems to be more people that in a place like new york or tokyo. we did a show in new york, i didn't think that anyone was at hardly, and people come up and said i saw the show.

i wish they had some kind of breakfast noise going on over there. i think a lot of people were being, walking out of the shows. that was incredible. i can't believe it's over already, after two hours. if you are reluctant to enjoy something like this it will probably take a mass of peers to sell you on it. it's fine if you stay away. most of the people that come to the shows are pretty happy to be here. you may not be one of them. which is fine. >> a lot a ton with the community and we say to ourselves, there is this one and

this one. we all compartmentalize them, we have our own agenda. our agenda is to create great work. if you are interested in that, you are part of our community. >> hello and welcome to brava theater. >> we are trying to figure out a way to make 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 now. artistically, we have done over 35 projects in four seasons, from producing dance, 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 to 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 work produced in new york, going on to the edinburgh festival, the warsaw theater festival. to me, those are great things when you can watch artists who think there is nowhere else that might be interested in you being a woman of color and telling your story and then getting excited about it. that is our biggest accomplishment. having artists have become better artists. what is. sheri coming back to brava, here you have this establish, amazing writer who has won a clue -- slew of awards. now she gets to director and work. even though she is this amazing, established writer, the truth

is, she is being nurtured as a director and is being given some space to direct. >> the play is described as ceremony and -- where ceremony and theater me. in the indigenous tradition, when you turn 52, it is like the completion of an important era. the importance of the ceremony is to say, you are 52. whenever you have been caring for the first 52 years, it is time to let it go. really, here, they have given me carte blanche to do this. i think it is nice for me, in the sense of coming back 25 years later and seeing personally my own evolution as an artist and thinker. the whole effort to put the chicano or indigenous woman's

experience on center stage is, in itself, for euro-american theaters, a radical position. because of the state of theater, it is a hard roll to hold up in institution. it is a hard road. i am looking at where we are 25 years later in the bay area, looking at how hard it is for us to strive to keep our theater is going, etc. i like to think that i'm not struggling quite as hard, personally, but what i mean by that, the intention, the commitment. particularly, to produce works that would not be produced in other places, and also to really nurture women of color artists. i think that is something that has not shifted for me in those 25 years, and it is good to see that brava remains committed to that kind of work.