was to, like, make more -- make more cars, you know what i'm saying, so it could, like, it could, like, fit a lot of people, because it's like, it gets, like, really frustrated and a misconduct against the blackhawks. bertuzzi hit forward ryan johnson in the head just five minutes into this game. we'll have highlights for you a little later on "sportscenter." updating the action in the dayton region, the two notre dame, the one tennessee with a trip to the final four on the line. johnson with the follow. more from the lady vols, and more from taylor spani, getting the three to go. lady vols continue to play catch-up in this basketball game. it's something you can see live right now on espn. the fighting irish with the lead, 49-41, with 11 minutes to play in the second half. it's a 25-game win streak on the

line for the lady vols. tennessee a perfect 3-0 all-time against notre dame in the ncaa tournament. we'll keep you posted. on campus, tennessee introduced its new head coach cuonzo martin. he takes over for bruce pearl who was fired for recruiting violations after six seasons in knoxville. 39-year-old martin said he did his homework about possible and/or future vols penalties before he left missouri state. for more, let's welcome in andy katz. why is tennessee a good fit for cuonzo martin? >> well, cindy, i have to refute a little of that from cuonzo. because there's really no way of him knowing. they just have no way of knowing what the committee on infractions is going to do to tennessee in june. they're anticipating that it's going to be directed much more at bruce pearl because they fired him in advance, so they're hoping that more of the penalty

is sticking to him and his staff. a lot of these times, that's what the schools do. they try to get rid of the players involved and hope that the ncaa will come down a little less lenient. in talking to a number of people that have been on the committee of infractions, they can see the transparency in that. so i think it's a little premature for him to say that and for the a.d. to say that because they don't know. there could be some sort of institutional penalty, loss of scholarships that still could come down on tennessee. but as for martin, he did do a great job in missouri state the last three seasons. very well respected. has a tremendous story as a cancer survivor. and i think he'll do a fine job at tennessee. it's just unknown as to what will occur in terms of the ncaa at this juncture. cindy: another hire made today. georgia tech opting to go with brian gregory from dayton. he only had one losing season. what can yellow jackets fans expect out of gregory? >> well, i don't mean to be negative nick here, but this is

an odd hire, because it the problem with the j first is sometimes that sometimes it is not so we have to wait for most of my friends. they get late to school and they call their parents. they are calling. i also do after school program and when i have to go back to the home i have to wait for a long time. it is not valuable in the given schedule. so my solution for this is they

should have a scheduled time set and they should manage the time so it should be available for everyone. >> thank you very much. >> my name is aaron thomas. i ride the j but i wake up at 6:30 sometimes because i don't know what time it is going to come. i stay on 29th street. i am thinking i will be late. i already got in trouble for truancy. the j will be coming like 30 minutes. sometimes it be switching. solution they need to add more cars. that would be good. >> thank you. >> i go to mission high school and i am in the 10th grade.

the problem for me and the j is since i live in hunter's point it is a long rout to go to school. when i go on the j i go to glen park. monterey to glen park. and the j, to me, runs every 20 or 30 minutes. a solution to me is getting the j to run more fredwently. not more cars but to get it to run more frequently. thank you. >> my name is ryan. i am a sophomore. i used to ride the j to school to go to mission, because i am a transfer. i think the problem with the j is it is not precise. it will say five minutes but it could come in like 20 or 25 minutes. i don't know what they do to

predict the time but i think they need to sharpen their predictions. that is all. thank you. >> thank you. >> supervisors, i am the president of new mission terrace improvement association, the neighborhood between glen park and balboa park station. at a recent district 11 council meeting a representation was made to the neighborhood that some trains could be switched back from out of bounds to inbound. i want to make it clear and the letter will explain that this is unacceptable. basically improving the service for the patrons. at the expense of the patrons in district 11 does not make it. once we have put the major dent

in public transit. there is no ada accessibility. if i want to shop in glen park at canyon market or if i want to go there for breakfast or to the library or to the bookstores, i am going to walk or take the j line and walk up that miserable, fifthy staircase. the idea of serving one part of the patronnage at the expense of the other won't make it. if we can make improvements on the line that is another. from my understanding that the f line operators pulling out via the j line are supposed to carry the folks. most do. but the few that don't make quite an impression. and if there is an opportunity to work with the sfmta at

training, in an opportunity to make sure these operators know what the community interest is i look forward to the opportunity. i think i can do it without venting. the idea is community of interest. if the people on either side of the j line see a way to improve it i don't want to tell the people on church street they should take away stop signs or consolidate stops. historically there were many more stops on church street. i want to thank you for the presentation. >> hello. i live in mission terrace. and i take the j church four times a week. and basically in the morning between 8:00 and 9:00 i have never seen every 10 minutes.

usually it is every 20 minutes at best. and i have been on switchbacks. when they switchback at 30th street you have to get off. usually you are not told until the stop is coming up. then you have to pile out. many times it has been raining when you have to pile out. there is no bus stop with an overhead there to protect you from the rain. so, you know, you are just standing out there. usually there are a lot of people standing out there. several times i have even just walked down to mission street to catch a mission street bus to get home. last friday i was on a switchback at glen park. when i got on at 16th and church it said balboa station. and then when he announced it was just before randall he

announced it. so i went up to ask him. he said i just got told i had to switchback. that is his answer. when i got on at 16th and church it said balboa to church. so i thought we were going all of the way up. luckily a train did come five minutes afterwards and took us out the rest of the way, but that was the first time i was on a switch back. usually you stand out there 15 minutes and beyond. thank you. >> good afternoon supervisors. i just wanted to thank you for calling this hearing. i am glad i came. it was very educational. i think i look at my role on the mta board as the board not only sets policy and strategy but we are also there to support the staff when they do things to implement these strategies and policies.

i want to thank you for coming to do this presentation. it was very valuable. as the transit effectiveness project continues to be worked upon and rolled out there are a lot of things that can help the reliability and the timing of all of our muni lines. not all of them will be easy and painless. and i remind myself of that when i think of stop consolidation and i think of parking strategies that will help us get rid of the double parked cars. i look forward to us continuing to have that conversation and it is a good reminder to us that we do want better service. thank you to the students who came. it reminds us what our students go through to get to school on muni and we have to work to help them. thank you. it was very etifiying. i look forward to us continuing to worked for to improve the service on both of those lines and others. >> thank you commissioners.

>> on friday -- thursday we took a survey of mission high school students of the j church. >> wonderful. thank you. we will make sure muni gets it as well. is there any further public comments? ok. hearing none can we file that to the call of the chair? >> you want to continue the call of the chair? >> yeah. >> we can do that. >> i want to thank everyone who came out today. and i really want to thank mta for the very thoughtful presentation. and obviously this is a long-term project. as is all of muni. i know we are all committed to making the system run better and serve the people. thank you. >> and i want to thank the

supervisor for bringing the hearing forward. we have a common interest on the j church and hope we can improve it for both of our districts and all of the san francisco residents who rely on the j service. thank you for moving it forward. and thank you for being here and your presentation today. of course thank you to the public for coming out. we will continue the call of the chair. and we will be adjourned. ok. thank you.

[indistinct voice on p.a.] announcer: when charles bennett graduated from high school, he dreamed of returning to his old neighborhood as a teacher. but without the money for college, only half his dream came true. [car horn blares] he's back in the old neighborhood. please support the united negro college fund. because a mind is a terrible thing to waste.

>> i'm your host of "culturewire," and today, here at electric works in san francisco. nice to see you today. thanks for inviting us in and showing us your amazing facility

today. >> my pleasure. >> how long has electric works been around? >> electric works has been in san francisco since the beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of graduate school in 1972. i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store. in 1972, i wanted to have art sales, point-of-sale at the grocery store.

>> so you go through the manifesto. with the bay area should have. you are making art incredibly accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show? >> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws as well as he does. it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that work in a lot of different media. how to use some of what you look for in artists you represent? >> it is dependent on people are confident with their materials.

that is a really important thing. there is enough stuff in the world already. >> you also have in his current show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery. >> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists doing really site-specific work. >> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare. >> may be a nightmare. >> this one over here is even harder to figure out what the initial material is. >> this is made out of puffy

paint. often, kids use it to decorate their clothes. she has made all these lines of paint. >> for the pieces we are looking at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret. >> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging artists. is that something important to you as well? >> very important in this space, to have artists who really have not shown much. now let's look at other aspects

of electric works operation. let's go to the bookstore. >> ok. >> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he got up onstage to sing a song, 270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but they are made out of cattails. >> these pieces of here, you have a whale head and various animals and their health over

there, and they are jewelry. >> we do fund raisers for nonprofits, so we are doing a project for the magic theater, so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only one earth. this is a print edition. there are only eight total, and

what we wanted to do was expand the idea of printmaking. this is really an art object. there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine. if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume. the cab of count dracula with 20 lithographs inside and lined with beaver fur. really special. >> let's move on to the print shop. >> ok. the core of what we do is making things. this is an example. this is a print project that

will be a fund-raiser for the contemporary music players. we decided to put it in the portfolio so you could either frame at or have it on your bookshelf. >> so nonprofits can come to you, not just visual are nonprofits, but just nonprofits can come to you, and you will produce prints for them to sell, and the profits, they can keep. >> the return on investment is usually four times to 10 times the amount of investment. this is for the bio reserve in mexico, and this is one of the artists we represent. >> you also make prints for the artists that you represent. over here are some large prints by a phenomenal artist. >> he writes these beautiful things. anyone who has told you paradise is a book of rules is -- has only appeared through the windows.

this is from all over coffee. we are contract printers for all kinds of organizations all across the country. >> thank you very much for showing us around today. i really appreciate you taking the time to let me get better acquainted with the operation and also to share with our "culturewire" team.

>> welcome to "culture wire." on this episode, we explore what it means to the aged, in today's society -- what it means to be chicana in today's society.

chica chic features an array of artwork by five leading chicana artists that addresses a range of issues such as integration, sustainability, and integration. using a distinct visual approach, each of the artist's response to the shifting needs of their communities in ways that offer unique perspectives and multiple points of entry. >> the exhibition is to bring together the voices of a new generation chicana artists, all of whom reference the works of the civil-rights movement in their works, but they are also responding to a new cultural concerns and new cultural circumstances. >> the works in the show include a large canvas depicting a woman washing the beach with her hair at the u.s./mexican border.

the painting encourages the viewer to engage with the current debates over immigration and the politics of women and labor. influenced by the campaigns of the chicano civil rights movement, this oakland artist is a print maker whose work has helped and sustainability with the immigrant community as well as other current sociopolitical issues. this print-based work draws on appropriated agricultural worker manuals and high fashion labels to satirically address class issues, cultural identities, and consumerism. >> angelica -- her father was an agricultural worker, so she has drawn a lot from the materials the agricultural department sends to agricultural workers, referencing the depiction of farm workers and some of the information about pesticide application.

>> mitzi combines a variety of media, including embroidery, to create artifacts of mexican, chicano, pop culture. she greets immensely detailed drawings of celebrities on the same platform of her friends and families. her work combines elements of chicano portraiture and low writer art, rendered in upon new art style, or intricate drawings on handkerchiefs, also -- often associated with prison art. her portrait of three girls is among several of original posters by the exhibition artists, which are on view at various bart stations as part of a public campaign funded by the national endowment of the arts. from the outset, the curator felt it was important for the exhibition to have a public art components of the work could reach the widest possible audience. more than just a promotion, the posters connect the work of

these powerful artists with new audiences, including the vital chicano and latino community. images can be found in bart stations located in san for cisco and oakland. >> it is enormously exciting for me personally and for the institution. the poster with up right after new year's, and i remember very vividly -- i am a regular rider, and i went into the station and saw the first poster i had seen, it was incredibly exciting. it is satisfying to know that through the campaign, we are reaching a broader audience. >> for more information about