we will definitely continue working on that as part of making sure we get the best part -- possible package of community benefits and we try and address the issues you have raised today. supervisor mirkarimi: but because redevelopment is in flux the way it is, the city has quite often umpired committee benefits agreement. because redevelopment is in flux, i do not want the city to sidestep its obligation in making sure that an effective committee benefits agreement is established with the impacted community. i do not think that is that they're excused, because redevelopment is in an uncertain time right now, and i expect, as i would advocate for, that there be, i think, a well-written agreement. the community benefits agreements that have been assigned to the development projects in the bay view have been exponentially more, i think, beneficial to the

community in that the baby. and this is something that is riding on the theme that has come up for 60 years, been part of the fillmore, and it is on the doorstep of our community. i made this very clear to the sponsors of this project. and what i see before me does not reflect the conversation. >> i was just trying to reassure you that action today does not put in stone what is in the community benefits and that we're not moving that forward. so we can continue to have the discussion, and we will represent that position back. supervisor mirkarimi: to why. supervisor kim: thank you. i appreciate the presentation. it is complicated. i appreciated being very understandable. i am very excited about the opening of sfjazz center. i think it will complement what we have, celebrating the symphony, the opera, and the

ballet here. jazz is america's classical music, and i think it deserves a center here in san francisco. i do want to be very sensitive to the concerns as supervisor mirkarimi has brought up, and he is much more familiar with the western addition fillmore community. i also want to be sensitive to that, acknowledging that the sfjazz center will be blocks away from the fillmore jazz district. so if we could -- if redevelopment could work with his office to ensure that the appropriate committee groups and schools and housing committees in the western addition maybe could be included as places of initial outrage for some of the matinees and the educational programs. i think that would be appropriate. i know in the meeting, i guess it is now six middle school programs that would be included. i believe that marina is on that

list and francisco. the two schools. we can look back at that. we can look at zip codes of enrollment at each of the middle schools. i think it is important to ensure that the students coming from the western addition community, that those get priority. because there's not a middle school in the western addition. although gateway middle school, i believe, is opening this year. but that is a charter middle school. and i believe the change i asked about has been included, but i want to clarify. i know that it said up to 10%, but it has been changed to at least 10%. >> yes. supervisor kim: i appreciate that change as well. i know we're still waiting on a report from harvey rose, and that will be coming to us next week. so i do feel comfortable putting this out with no recommendation until that report comes to the

full board next week. but i do appreciate your work on this, and i hope that during this time, we can work with supervisor mirkarimi's office. >> yes. supervisor kim: we do want to have a focus in that particular neighborhood. the way this is right now, the impact may be too disparate throughout the city. >> we will certainly contact the supervisor's office immediately to sit down and figure out how to make this community agreement a lot more solid. supervisor kim: thank you very much. supervisor chu: in terms of the pipeline that was allocated for college track, that was done through the redevelopment commission. >> yes. supervisor chu: and the $15 million is before us today in terms of the in dignity. and the remainder is about $11 million roughly. do we know what is in the pipeline if there will be additional ones that come before us? >> the next project submitted an

application, a group for family housing in mission bay. and providing that this is resolved in january, we expect that our commission will go ahead and provide them the indemnification. the other thing we're looking at is the to look at other options. we have already started to have conversations with investors about not going down this path again and looking for alternative ways to do this, as opposed to going through the city of san francisco. supervisor chu: ok. i know there was a tight timeline, because there was another partner investor who would see their critics inspired him -- expire, so we need to move toward expeditiously. i appreciate this committee seeing this item, but i think it is absolutely important to see the budget analyst report before we make a determination i would like to send this item out

without recommendation until we do see the report, which should come before our next board meeting. >> and we will work pretty handily with the office to make sure that gets to us. supervisor chu: great. finally, with regards to the risk, it sounds like, in terms of the risks that you have talked about in the case of a recapture, it is perceived as a fairly small risk, if anything, and they're mostly things we can control. >correct? >> yes. supervisor chu: and i think there was a statement in terms of the bad for a provision -- of the bad boy provision that is not so much the sfjazz organization, but it is really the nonprofit organization and redevelopment, correct? >> yes. it is community development entity that we created. obviously members of the city

administration are on the board of directors. it is really that entity, in collusion with the nonprofit, sfjazz was accused of fraudulent activities, which is in our mind extremely remote. supervisor chu: and the folks on the body currently would be? >> currently, fred blackwell, executive director of the redevelopment agency, myself, nadia, brian from the capital planning program, and jennifer from the office of workforce development. supervisor chu: thank you. are there any members of the public who wish to speak on number 12? >> hello peter i am executive operating director at sfjazz. i want to respond to the comments regarding the outreach

to the western addition, fillmore, and the jazz heritage area. we have been listening to and have been taking action on the request to reach out further and more closely to those areas. we held a community organization roundtable in may of this year. we invited members of community organizations in to talk about what they might want and what they might seek from the sfjazz and to see how we could benefit in partnerships. representation that that committee -- commended the session that we had, there were members of the jazz heritage center there in the jazz heritage district. and they all thank us for having that open forum, because they felt it was a good step to building the bridges across all the different organizations involved in jazz in music education. and we all promised together to continue that collaboration

going forward. since then, we have established in committed to, with the jazz heritage center, a discover jazz series on women. that is going to be held in the spring. it is part of our spring catalog and part of the jazz heritage center's program activities for the spring. it will be held at the jazz and heritage center. we feel that is one good way to start bridging the connection between our two organizations and making sure that we're able to bring the artists, the educational and back, and the staff want to bring overall to san francisco to a tighter and closer collaboration. we think we're moving along in that path. that is becoming more of a part of what we're doing as an organization. and we're happy to work some of those specific activities and to specificcba to make it be part of this activity. supervisor chu: thank you. supervisor mirkarimi: can i ask a question, please? thank you. i appreciate your comments and

presentation. the last sentence is more important to me. that is, working things into the cba. we have seen agreements that if they're not well spelled out, they're not necessarily always honored. so it is important to me that upfront that we have, i think, the full menu of what is possible between a relationship of those usyouth and the residents of the population, of the fillmore and western addition, who also proud of the jazz heritage and how that intersects with sfjazz and the center. whether that is delineated in a higher number of scholarships, other than 10% city-wide. because it does not give any preference. we do not know where those 10% would come from. that is not really speak to me as the advocate for my district. if it is more about hoping that

san francisco would have wised up and put the jazz festival at the fillmore, which it does not do, that would be great, if there was some facilitation of that idea. if it was something that creates more of an enterprising relationship between sfjazz and businesses on lower fillmore, i think that would be a step in the right direction. i think that that warrants a little more throughput in sculpting what that may look like. but typically, and trust me, there are days in a redevelopment and other large and not so large projects, cba's are usually a lot bigger than this. when i am looking at a three- page community benefits agreement for a project of this size and this kind of investment in an area that borders a district that has been well- challenged for the last 40 years

because of redevelopment and other reasons, i am just hoping something better can come out of this. we appreciate every effort. >> and i trust that our actions are moving along that direction. supervisor mirkarimi: thank you very much. supervisor chu: are there additional individuals who would like to speak on item number 12? seeing none, public comment is closed. colleagues, this item is before us. if we can entertain a motion to send it out of committee with that recommendation at this time, pending a report. supervisor mirkarimi: will this go to next tuesday or the tuesday after? >> it will be next week on tuesday. supervisor mirkarimi: and the budget will be ready by then, ok. one more question, through the chair, please. what is the timeline on the cba? you said this is ancillary, but in this whole equation, does the cba have a role?

in our decision making process and how we can influence that? >> it runs in tandem with the closing. the goal is that on the day of the closing, october 11, this agreement will be executed. until then, it is a working document. supervisor mirkarimi: but we do not have much time. if i am not mistaken, october 11 is a holiday. >> the day after. supervisor mirkarimi: we have no board meeting that week. i want to signal that that means the cba is considered firm by october 11, correct? >> yes. supervisor mirkarimi: i think my dad was right on this one by spotlighting the fact that we have something before us that needs more work and we do not really have the time line to support what i think that work is and where i think this work should go. i am more than happy to try to

pay some attention to this, but who is going to take point on this? >> i am. supervisor mirkarimi: i just want to circle the wagons on this so we do not leave this amended or incomplete. so let's develop a plan after we talk here about how we sort of solidify some of these in detail so that they comport with all parties, including supervisor kim and others should they be -- should they be interested. >> we will do everything we can to comply. supervisor mirkarimi: and we can innovate if we can, maybe with some of the other cba's that have been developed, reflective of their projects and developments that have come before us. we might want to glean from those as they might be applied to this area as well, too. >> great, thank you. supervisor mirkarimi: thank you. supervisor chu: i want to be

clear, this resolution is going to the full board on october 4? >> yes, the october 4 meeting. supervisor chu: and we expect to have a budget analyst report by october 3. colleagues, we have a motion on the floor. can we take that without objection? ok, thank you. do we have any other items before us? >> the complete the agenda. supervisor chu: thank you. we are adjourned.

>> 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.

>> i am the director of visual arts programming at intersection for the arts. intersection for the arts is based in san francisco and has always been an organization that looks at larger social political issues through the lens of practice, and we are here today at our exhibition of "chico and chang." the original inspiration was drawn from a restaurant chain in new york city. half of their menu is -- what

struck me was the graphic pictures and a man in a hat on a rig truck carrying take that time is containers and in the black sea to representation of a mexican guy wearing a sombrero and caring a somali horn. it struck me that these two large, very subversive complex cultures could be boiled down to such simple representations. chico and chang primarily looks at four topic areas. one of the man was is whose stories are being told and how. one of the artisans in the show has created an amazing body of work working with young adults calling themselves the dreamers. another piece of the exhibition talks about whose stories of exhibition are actually being told. one artist created a magnificent sculpture that sits right in the

center of the exhibition. >> these pieces are the physical manifestation of a narrative of a child in memory. an important family friend give us a dining table, very important, and we are excited about it. my little brother and i were 11, 14. we were realizing that they were kind of hand prints everywhere on the bottom where no one would really see, and it became this kind of a weakening of what child labor is. it was almost like an exercise to show a stranger that feeling we had at that moment. >> the second thing the exhibition covers is how the allocation is defined, a great example on the theme, sculpture

called mexicali culture. another bay area artist who has done residencies in china and also to what, mexico. where immigrant communities really helped define how businesses look of a business' sign age and interior decoration, her sculptural piece kind of mismatches the two communities together, creating this wonderful, fantastical future look at what the present is today. first topic is where we can see where the two communities are intersecting and where they start colliding. teresa fernandez did a sculptural installation, utilizing the ubiquitous blue, white, and read patterns of a rayon bag that many communities used to transport laundry and laundromats to buy groceries and such. she created a little