>> welcome to culture wire deborah. can you tell us how this program began 20 years. i >> i can. the program began 20 years ago with our founder and she was an environmentalist and an artist back in the 70s and she was >> so how has the program grown and changed over the years and where's the program at today in terms of what you have to offer

artists when they come and what the public might engage with too. >> in the beginning they worked with metal and wood and what you would expect from a program like ours and over the years we've really tried to include arttists that work in all types of media. >> and that's really expanded the program out. i followed your program for a long time. why would an artist want to come here. >> mainly i think it's the materials. it's -- we give them a lot of support and it's been four months and they get a shopping cart and they go out in the public disposal area.

>> you have the only sculpture garden at the dump in the nation. >> we have the only artist and residence program -- >> we are back in open session and we have a quorum still. commissioner [inaudible]. >> thank you very much inspector monroe. do i have a motion as to whether or not we'll disclose the matters discussed in closed session. >> please call line item eight. adjournment. >> so moved. thank you.

>> on december 28, 1912. san francisco mayor, sonny jim rolph stared into the crowds of those who have gathered. a moment in history. the birth of a publicly own transit system. san francisco municipal railway. muni as it would become to be known. happy birthday, muni, here is to the next 100 years. the birth of muni had been a long-time coming. over the years the city was

disjointed privately owned companies. horses and steam and electric-powered vehicles. creating a hodgepodge of transit options. none of them particularly satisfying to city residents. the city transit system like the city itself would have changes during the san francisco earthquake. the transition that will pursue from this aftermath would change san francisco's transportation system once again. facilitated by city boss, abe ruth, ushering in the electric city car. the writing was on the wall. the clammer had begun for the experiment including public

transit people. owned by the people and for the people. the idea of a consolidated city-owned transit system had begun traction. and in 1909, voters went to the polls and created a bond measure to create the people's railway. would become a reality three years later. on december 28, 1912, mayor sonny rolph introduced the new geary electric streetcar line and the new san francisco railway. that he said would be the nucleus that would host the city. and san francisco gave further incentive to expand the city's

network. a project by way of tunnel leading into chinatown by way of north beach. in december the first streetcar was driven into the tunnel. just two years after its berth, muni had added two lines. and k, l and m lines that span out from westportal. in 1928, the j line opened heading west to the beach. in 1944 san francisco voters finally approved muni take-over of the market street railway. by then motor bus and trolley bus improvement had given them the ability to conquer san francisco's hills. after the war most of the street-car lines would be replaced with motor or trolley

bus service. in 1947, the mayor recommended replacing two lines with motor coaches. and it appeared that san francisco's iconic cable cars had seen their final days. entered mrs. cluskin, the leader to save the cable cars. arguing that the cable cars were a symbol of the city, and she entered a charter placed on the november ballot. it passed overwhelmly. the california street cable railway was purchased by the city in 1952. there were cut backs on the cable car system and in 1957 only three lines would remain. the three lines that exist today. in 1964 the cable car's future

as part of california's transit system was sealed when it was proclaimed a national historic landmark. in february, 1980, muni metro were officially inaugurated. in that same year, muni received its first fleet of buses equipped with wheelchair lifts. in 1982 when the cable car had a shut-down, they added an alternative attraction to the cars. the festival was a huge hit and would continue for the next four summers in a permanent f-line that would extend all the way to

fisherman's wharf, by 2000 the f-line was in place. and in 2007 muni extended the third line to the southeast corner and returning to third street. for the first time in 60 years. in the course of last 100 years, muni's diverse workforce forged by men and women of innovation have reflected the many cultures that flock to the city. muni's ground-breaking antidiscrimination has guaranteed equal opportunity for all. the city's policy mandates the course for the future, as they work diligently to increase options and increase multialternatives, and deduce --

reduce the carbon footprint. it continues to improve the systems. during this sen -- centennial year we reflect on the transit system. system. driven not

welcome home, man. >> welcome to "culturewire." today we are at recology. they are celebrate 20 years of one of the most incredibly unique artist residency programs. we are here to learn more from one of the resident artists. welcome to the show, deborah. tell us how this program began

20 years ago. >> the program began 20 years ago. our founder was an environmentalist and an activist and an artist in the 1970's. she started these street sweeping campaigns in the city. she started with kids. they had an exhibition at city hall. city officials heard about her efforts and they invited her to this facility. we thought it would coincide with our efforts to get folks to recycle, it is a great educational tool. since then, we have had 95 professional artists come through. >> how has the program changed over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you would expect from a program like ours. over the years, we tried to

include artists and all types of mediums. conceptual artists, at installation, photographers, videographers. >> that has really expanded the program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support. when they start, it is an empty studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work. it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top? >> it is based on work that was

done many years ago in new york. it is the only kind of structured, artist program. weit is beautiful. a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways we tour about 5000 people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic. let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on june 1, so we came into the studio then and spent most of the first couple weeks just

digging around in the trash. i am continuing my body of work, kind of making these hand- embroidered objects from our day-to-day life. >> can you describe some of the things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death. this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at this, i glanced down and this is

amazing, and it is on top of a book, it is ridiculous and amazing. >> i am interested in the serendipity of these still life compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel. what attracted you to apply for this special program? >> who would not want to come to the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books. that is one of the thing that

hits me the most. books are good for understanding, language, and art in general. also being a graphic designer, going straight to the magazines and seeing all this printed material being discarded has also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional?

maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out. everybody is welcome to come out. we have food.

sometimes we have gains and bands. it is great time. from june to september, we accept applications from bay area artists. we encouraged artists from all mediums to apply. we want as many artists from the bay area out here so they can have the same experience. >> how many artists to do your host here? >> 6 artist a year, and we receive about 108 applications. very competitive. >> but everyone should be encouraged to apply. thank you again for hosting us. >> thank you for including us in "culturewire." ♪

after school at 3. . 30 i hop on the bus and go to work with kids. i didn't realize i was going to get up that early for the rest of my life. >> it's hard to get good jobs. you can get well paid working at restaurants i was making good money that's not my 50 year goal working as a waitress. it would be better to have something to fall back on i wanted something where i would in 10 years accumulate

properties. >> 3 months is a long time to be busy all day. i'm putting myself further in debt with the understanding it's worth the sacrifice. eating raman for 3 months. it's not fun but i think it will be worth it. >> we all want to graduate we are all tired of this class. been 11 weeks. one more week to go. >> i need to get these mraps out. >> my purpose is to get the recruits prepared for the construction training. >> what you do is get a 2 by 6 sitting on the saw horses. we will cut 10 feet. everybody going to get one and you measure up 6 inches. you sure you got 8 feet.

>> as a carpenter you have to let them know what's expected and they need to know the stuff to get going on the trades. >> the main thing they need to know is how to carry the stuff on the job and the hussle. >> you can't work with the gloves. >> my part is a small part. my part is the best part. the part that really teaches them how to go out and fish rather than go to the fish market. my job is how to teach them to fish when the fish market is closed. >> this requires i thinking. when you go on the job site they will pay you 20-15, dollars an hour you have to think and figure stuff out and get the jobs done in a record time. >> one of the things we try to

teach with the construction trades is your attitude going to work. how employers look on new workers and it's about profitability and productivity. it's not how much swings it takes to drive, you know, ita about do you have the right attitude? can you show up on time? can you make the company money? >> 12.5 times 15. >> i don't want you to use the calculator. >> the students go through approximately 420 some hours of training. we operate at the campus of the community college a 12 week, full time program, 7-3:30. >> if you were going to figure out how much [inaudible] you

need you rounding up. >> average age of individuals in the trades is in the 40's from what we are told. in the 50's quite frankly those folks are getting ready to retire. we see a void. >> the average is making 60-80 thousand dollar a year more with benefits much it's hard work i will not lie. >> if you like working with your hands and creative and you look at a building and say, i did that finish and that building is there for a hundred years. come to my program you will work for anyone in the country. >> we send people to the dry waller the carpenters and the plummers. >> we are conscious who we give a job referral to. >> we look at the skills part

as far as hayou do with a hammer and nail there are other components to be able to be a team player. be able to take directs and be precise and punctual things like this you need to help you keep your jobs. >> we will looking at the interviews today and doing the critiquing from the papers. >> i was thinking last week we were talking ask that was so much thinking going on about the interview and how i was going to do it. >> i feel like, me, as an african-american woman and older woman with children i feel i

have to set an example. a lot of people don't know how to deal with anger and conflicts. the kids here look up to me. if i do something and don't set an example then they are going to follow. since i've been a positive roll model, coming to school everyday. some of those kids pick up on that and i see the improvement in them. >> one thing that i knew but the class helped reinstate is that you have to check yourself. we are all grown adults. >> i try to be motivated in everything i do in my life. if you don't encourage yourself to do something or do things for yourself you can't expect somebody else will do it for you. some people didn't make it to class because they have a bad attitude and decided it wasn't

worth it. >> when you do something you have to understand why you are doing it and you can't say and come in and say, i will make good money. construction's not like that you have to want to do it because it's not aedz work. you have to want to get up and go to work and do physical labor for 8 hourses. >> i lived next to biotechnology companies and was a recruiter. i was getting tired and felt sluggish. >> i knew from the first day we were outside being outside having fun, climboth ladder and hammer and the physical labor i knew it was something i would enjoy. to say i put 15 years into this and not retire a multimillionaire but retire healthy and feel good about the work i have done.

>> the greatest accomplishment is you drive by a building or bridge and say, i helped build that bridge or helped build the building on market street. the most greatest reward for me is i taught that student to work on the bay bridge. taught the student operating the crane that student was in my class. >> our goal is to have a core group of people, we are hoping it's over 50 percent of your grads complete and become journey people andup standing good roll models and citizens. the largest public