my intention is that we have an honest and open discussion. rather than keep going, i suggest we continue this discussion next week. >> i would like to add, if i may. think you all for your input. i understand totally where you're coming from the. of the point in terms of getting all the appropriate stakeholders' on board. it is ambitious. maybe it doesn't happen. but it gets as focused so that by the next time around, we're there. it might take a lot of time. and the other hand, i feel much more optimistic about this. as to commissioner dejesus, the reason why it has not been

framed in that fashion, up until now, it has been in exploratory meetings to get some ideas on what they think could make the system better. it is not just that. even though it started there. that is one solution that seems to be pointing in that direction i know it took you by surprise. when i further talk with the city attorney about the deadlines, it became very apparent that if we did not take this head on and trouble with that, that we needed to do that. i would just like to add one more thing.

that is that we adhere a couple of discussions. a critical part of this needs to be discussed in closed session. i propose that we have part of the discussion in open session and the necessary part scheduled for an agenda item. >> attempts like this have happened before. that is why i know that we have never actually discussed this at the commission meeting. we have studied the department, we have never actually had a discussion or studied the disciplinary process. i would like to have a discussion openly here. i don't mind people talking to other people, but we have not had it here. that is what i am trying to do.

however you want to legendize -- agendize it. the point is, i just want to have the discussion. >> can we agendize it for both open and closed? >> i will talk to commissioner mazzucco. >> are we at agendizing for next week? commissioner marshall: we are at commission reports that will lead us to d. we will get there. it will be there in some form in a way that maximizes discussion. let's go to item d. >> scheduling of items for

future commission meetings. commissioner marshall: we have one? another one? >> we are going to meet with the human rights commission at some point. commissioner marshall: where were we? >> may 4. the human rights commission had their meeting and asked if we could do it may 11. commissioner marshall: what is here for may 11? nothing? >> i will not be here, and i wish to be part of the conversation. commissioner marshall: anybody

else? commissioner hammer? commissioner hammer: i will ask that we put it in item four, the current disciplinaryin the coure conversations, we set out to clean this up with some of the ideas that have come forward in our discussions. we can agendize for next week optimistically. we will be trying to go over it with the other parties. >> you are keeping score for next week? when we get overloaded, say something? >> it is the same issue essentially. item four will be continued until next week. they are the same thing.

it is up to the president. >> commissioner marshall, at some point not next week and not necessarily until we have a new police chief, i think we should get community policing on the agenda in terms of where the commission is act and the department -- is at and the department and talk about this issue. >> public comments on item three. hearing none, thank you. we do? i am sorry. we have a public comment on item three. >> commissioners, it is not clear to me exactly what we are doing.

regarding crime statistics, i would like to weigh in in favor of using a community policing model. i think people in this town have shown a desire to have more bottom up a neighborhood responsibility instead of it being made according to some computer model. can i ask you if you have any comment? >> you cannot do a anq and a. >> you cannot do that? and do you know who makes those rules? >> we could have a response. at this hour, we may not have a response immediately. >> i would like to encourage more community policing. that is their bread and butter,

what they are set up to do at a much lower cost. i think that should be taken under consideration. thank you. >> thanks. thanks for coming. item nine please. are we going -- >> are we going to pass on four? >> item 10. >> four is continued until next week. >> item 10 is an adjournment. >> so moved. >> the meeting is adjourned.

>> welcome to "culturewire." on this episode, the director of cultural affairs takes us on a field trip to the mission district to check out odc's new 36,000 square foot campus, the largest in the region. >> for san franciscans, odc has a very significant significance. stands for a venerable performing arts organization

celebrating its 40th anniversary of bringing fans and theaters to the bay area. standing with me today on "culturewire" is the theater director of odc. thank you for joining us. i mention that this is the 40th anniversary. >> it is indeed. >> i'm standing with you in a fabulous theater that was completed six months ago in time for this anniversary. tell me about how it has been going for the last six months. >> absolutely. in terms of the anniversary, the dance company, which is our founding body, is celebrating its 40th anniversary, and it is the 30th anniversary, so it is historic for both sides, and the completion of the theater represents in some ways the completion of our entire campus that began in 2005. it has come to its fruition with

the completion of the theater. the theater opening was remarkable. one of the things we wanted to do was to make sure that our community really truly -- our san francisco bay area community understood that this theater was for them. we invited 31 bay area companies to do a day-long performance marathon, so we really launched with a feeling of this is for everyone in this community. it was a tremendous thing to bring everyone together around the opening of this building. >> you are part of our creative troika, including the founder, brenda wey and k.t. nelson. talk about what it is like to keep this campus going. >> it is a wonderful thing to be working with someone who is certainly your co-worker and also largely your mentor. i inherited the theater at a

funny time in its life. it needed to make some decisions as an institution about what it wanted to be. whether it wanted to be exclusively a rental facility, it is needed to be a rehearsal space with a really high ceilings -- whatever it was, having that level of leadership that my founding director is also my boss really made that possible. i really felt like i had great stewardship and we were able to make really innovative decisions for how the theater could grow over the decade. >> living with -- living with someone who is both your immediate boss and also a working artist is also a huge asset. that is one of the things that keeps the creativity flowing through odc. it is a campus about the creative process at all times. >> the theater was part of a second phase of capital fund raising and community support. the previous one had renovated the space where the rehearsal studios are and the school is,

sell what does that sort of say about the importance of the odc in the community? >> i think it's spoke to the two very different tracks of our organization. part of what we do is education and outreach. part of what we do is performance on the part of our company, odc dance, and a third part of what we do is this presenting an incubation stage. when we came to people to talk about the theater as a second investment after having built the dance commons, the distinct purpose of the theater really came through. what we were going to do with our venue was invest deeply in creativity, deeply in our regional artists, and we were going to do something that most mid-size san francisco venues have struggled to do. >> talk to me a little about the group other than odc that have used this space. >> one of the great pleasures in

our opening season was to go back and invite two of our former resident artists to launch this space. arab laung was to invite two of the best known -- our launch was to invite two of the best known companies in the city to share in the event, and it was really exceptional. these are companies that i have worked with and the organization has worked with releases they were either newborn or just a few years old, and to go back to that roster and invite two of our really major home town honeys to open a theater and be able to treat them as the professionals they have become with this opportunity, with this menu, and with the resources that were available was really a full circle experience for both of us. >> now that the theater has been fully renovated, where is it going? >> i believe that san francisco

is in some ways to the nation what odc is to san francisco, which is to say that i believe the west coast is the hotbed for innovation. i think it is where major cultural innovations happen, where huge ideas are born and often raised up. it may not often be the marketplace that other major metropolitan areas are, but i do think is the center of where creativity sits. i think that what odc can do by becoming this level of institution is raise the platform of san francisco. i name -- in many ways, it is sort of a death process, but putting an artist in contact with recording artists, with other major areas, with exchange companies around the country and the world will become a central part of what we do. >> it is clear that now there is a campus that has been built out and filled in, that odc is

playing this fabulous supportive and incubated role, both for san francisco, the bay area, and the country. thank you so much for being part of "culturewire." >> my pleasure. >> and for contributing so much to the performing arts of our city. >> for more information, visit odc

>> cents and cisco's buses and trains serve many writers -- san francisco buses and trains serve many riders. the need to be sure they can get off at their intended stop. the digital voice announcement system, which announces upcoming stops, can help these low vision riders know where they are, but

only if set properly. >> it is a wonderful piece of technology, but in practice, it is a little bit more tricky. oftentimes, i find that the automatic announcement system is turned off or turned down so low that i'm unable to hear it, or it is turned up so high that the sound is distorted. >> most of the time, it does not ever seemed to be on. or is it is, it is a really quiet. occasionally, it is so loud that it is distorted. >> driver, may i have california st., please? >> no problem. >> whenever the announcement system does not work properly and a driver does not call out the stops, and i'm totally lost as to where i am. the announcement system calls out the stops, but to help the customer, i caught the destination, transfer points,

and requested stops. and it is the law. >> i use the p a system to make sure everyone on the bus here is my announcements. >> i have had both experiences with the loudness and the to stop for the announcements. you are never going to have it exactly balanced for every trip because your level of noise changes. the announcement system ranges from 1 to 10. 10 would be too loud, a little distorted. eight is a good number. not too loud, but loud enough for everyone to hear and understand what is going on. >> i think bus drivers might not be aware of the fact that if you let a visually impaired person off at the wrong stop, number one, they may be absolutely unfamiliar with the area they are in. >> the driver overshot the stock that i wanted. i decided to get off and find my way back, but it was very disorienting, not exactly

understanding how far i was. number 2, it might be a potentially dangerous situation if they do not know the area and are attempting to make crossings that they are unfamiliar with. >> they let me off somewhere else. i had no idea where i was. i missed the stop, and the bus was gone. then, i look around. i tried to find someone to help me, and i cannot find anybody. i would have no way of knowing where i am at. >> [inaudible] i asked why he did not stop when i asked. we did not panic. we do not know where we are. we do not know what is going on. i get over there, and right away, i almost got killed. >> #3, it's the person in

question is trying to get somewhere, it is going to make them late for whatever they are doing. >> i had to find my way to a corner and ask someone where i was going to and how to get there. i eventually made it to my appointment, which was with social security, but i was very late, and they almost did not see me. >> i was very late former doctor's appointment, and there was concern about whether or not i could be fit in. >> when i get off i stock that is unfamiliar to me, because i have no sight, i cannot just automatically orient myself off to a new environment. it takes a lot of training, a lot of work. there are a lot of skill sets involved when i am first introduced to a new area. to get off at an unfamiliar bus stop for the first time and to do it unintentionally -- it can be a really disorienting experience. >> i think ther