within our population there are people who simply do not have access to the internet, who do not have the means to access

information the way that others have, and i think that it's really imperative for government to make sure that we play a role in closing that technological divide. so you have to strike that balance between maintaining that character, but also welcoming in the new people who bring their own -- >> absolutely. >> so i love that. i love that mix, that balance that comes with it. it's hard to strike the right balance, but -- >> it really is. >> but it's there. >> i was born in guatemala and came to this country as a kid. i was brought here by my parents. and essentially grew up in l.a. and then moved up to the bay area, where i went to college. i went to stanford. my background for the first few years out of school was a practicing attorney. i worked for -- in the private sector for a number of years and then i went and worked for the city as a deputy city attorney and then became

general council of the school district here in san francisco, and through that became involved in politics and at some point decided to run for office. [speaking spanish] >> i think that san francisco really represents the best that this country has to offer. it's a place that welcomes people from all over the world, from all over the country, and it's a place that not only tolerates, but actually embraces diversity, a place that is very forward thinking in terms of how it looks at issues. it always felt like home, and i felt that as a gala tino man that this -- gay la taken no man, that this is a place where i could be happy.

now doing the job of a supervisor has been the most rewarding experience. it is really remarkable how amazing our neighborhoods are, how amazing its people are. i have a progressive outlook in terms of how i see things, and by progressive i mean we have to make government and make the city work for everyone, and that means that it's not just those who are doing well, it's also those who are not doing so well, those who have the least. but it also means making sure that the city works for the middle class. >> good evening, everyone. good evening. thank you all for being here. and when we first got into office about two years ago, we started talking to the mayor's office of workforce and economic development and trying to figure out how we can help different corridors within our district have a better sense of

what that neighborhood should look like, what its main concerns and priorities should be and a strategy for the community. and that means business, residents and the city working together to make whatever that vision is a reality. ultimately if there is a guidance on how i approach government, i believe in good government, i believe in transparency, i believe in accountability, i believe in making sure that we follow best practices. i think that oftentimes transcends the left, the middle and the right. it goes beyond that. and that's why as a supervisor i focus so much on contracts and how the city spends its money, which is not traditionally a progressive issue. but i believe that we have an obligation to make every penny count. thank you. [applause] we are still going through a

very tough economic time. we are still not where we need to be in terms of job creation and economic development. so government, i think, has to work with a lot of different folks, not only the business community, but also the community groups to see how we can create economic development that works for every san franciscans. >> one of the topics is -- [inaudible] >> as a member of the police commission, i learned that the most effective policing is the policing where you have the police and the community working together. so you need training for the police officer who's already there. it is important to have police officers on the street and having that police presence, but at the same time, there has to be a connection between the

police and the community. so i think we're on the same page. you have to make sure that you create an atmosphere where people feel safe, and i think that to feel safe they have to feel like they're in partnership. i really believe that when you are blessed with the opportunities that this country gives you, that you have an obligation to give back. i really believe in public service. i could be in the private sector and make a lot of money, but i believe that i have a duty to try to make things better for other people and to pay back to a country that has given me so much.

>> here we are at the embarcadero. we are standing at one of locations for the street artists. can you tell me about this particular location, the program? >> this location is very significant. this was the very first and only location granted by the board of supervisors for the street artist when the program began in 1972. how does a person become a street artist? there are two major tenants. you must make the work yourself and you must sell the work yourself. a street artist, the license, then submitting the work to a committee of artists. this committee actually watches them make the work in front of them so that we can verify that

it is all their own work. >> what happened during the holiday to make this an exciting location? >> this would be a magic time of year. you would probably see this place is jammed with street artists. as the no, there is a lottery held at 6 in the morning. that is how sought after the spaces are. you might get as many as 150 street artists to show up for 50 spaces. >> what other areas can a licensed street artist go to? >> they can go to the fisherman's wharf area. they can go in and around union square. we have space is now up in the castro, in fact. >> how many are there? >> we have about 420. >> are they here all year round? >> out of the 420, i know 150 to sell all year round.

i mean like five-seven days a week. >> are they making their living of of this? >> this is their sole source of income for many. >> how long have you been with this program. how much has it changed? >> i have been with the program since it began 37 and a half years ago but i have seen changes in the trend. fashion comes and goes. >> i think that you can still find plenty of titis perhaps. >> this is because the 60's is retro for a lot of people. i have seen that come back, yes. >> people still think of this city as the birth of that movement. great, thank you for talking about the background of the program. i'm excited to go shopping.

>> i would like you to meet two street artists. this is linda and jeremy. >> night said to me to print them -- nice to meet you. >> can you talk to me about a variety of products that use cell? >> we have these lovely constructed platters. we make these wonderful powder bowls. they can have a lot of color. >> york also using your license. -- you are also using your license. >> this means that i can register with the city. this makes sure that our family

participated in making all of these. >> this comes by licensed artists. the person selling it is the person that made it. there is nothing better than the people that made it. >> i would like you to meet michael johnson. he has been in the program for over 8 years. >> nice to me you. what inspired your photography? >> i am inspired everything that i see. the greatest thing about being a photographer is being able to show other people what i see. i have mostly worked in cuba and work that i shot here in san francisco. >> what is it about being a street artist that you particularly like?

>> i liked it to the first day that i did it. i like talking to mentum people. talking about art or anything that comes to our minds. there is more visibility than i would see in any store front. this would cost us relatively very little. >> i am so happy to meet you. i wish you all of the best. >> you are the wonderful artist that makes these color coding. >> nice to me to. >> i have been a street artist since 1976. >> how did you decide to be a street artist? >> i was working on union square. on lunch hours, i would be there visiting the artist. it was interesting, exciting, and i have a creative streak in

me. it ranges from t-shirts, jackets, hats. what is the day of the life of a street artist? >> they have their 2536 in the morning. by the end of the day, the last people to pack the vehicle probably get on their own at 7:30 at night. >> nice to me to condemn the -- nice to meet you. >> it was a pleasure to share this with you. i hope that the bay area will descend upon the plaza and go through these arts and crafts and by some holiday gifts. >> that would be amazing. thank you so much for the hard work that you do.

>> hello. welcome to "culturewire." we are here today with bay area artist jody chanel, and we are here to see the plaza where your piece has just been installed. >> i have been doing large-scale paintings in the galleries and museums, and the idea that in the future, i could do something that would hang out a little bit longer than the duration of the installation the kind of appeal to me. i quickly found out about the san francisco arts commission

school and realized there was a pre-qualified school you had to apply to, so i applied to the. >> how long did it take you to develop this work for the plaza? >> this was a fast track project. design development was about a month. >> let's look at the beautiful mural. i have never seen a mural created on asphalt. >> the heat of the asphalt, a new layer of asphalt. then, these wire rope templates that were fabricated for the line work get laid down and literally stamped into the asphalt, and then everything was hand-painted. >> maybe you could talk about some of the symbolism, maybe starting in the middle and

working out. >> [inaudible] the flower of industry. >> it is like a compass. there's an arrow pointing north. >> within the great bear consolation, there are two pointed stars here. they typically lead one to the northstar, otherwise known as polaris. so i thought it has a layer of theme. >> let's talk about some of the other elements in the peace. we are walking along, and there is a weather vane. there's a sweet little bird hanging on the side. what kind of bird is that? >> [inaudible] the smallest of the gulf species, and it lives around the bay area. >> you want to talk about the types of flour patterns that you send? >> [inaudible]

around 1926 or so by the dahlia society. >> what is this bird here? >> that is the california quail. >> coming up here, we had a little blustery theme. what is this area here? >> this is supposed to be the side view, the expense of the golden gate bridge. >> there it is. >> there are really beautiful elements of architecture still around, i would say that it gives that feeling over to the work. >> what are your hopes for it? >> that in a way it just becomes part of the area. i think it is starting to have that feeling. people utilize it. they sit and, and have their lunch and play on -- they sit

and, and have their lunch and play on that -- they sit and come and have their lunch and play on it. just for it to be part of the neighborhood. that is my hope. >> is such a beautiful addition to our public art in san francisco. thank you for joining us. it was nice to meet you. and thank you for telling us about your beautiful mural. thanks for watching "culturewire."