that dpw required and up front. >> right. but i don't see -- >> the responsibilities -- >> [inaudible] >> the responsibilities that we're required or we are committing to in the mou they're outlined there. we didn't do a cost estimate. >> [inaudible] >> we can include that cost estimate as an attachment but to be honest 20 years out i don't know that we have an accurate sense of the costs and it will be $80,000 19 years from now. >>i am thinking it gives the whole picture if we do that. if we don't down the road there is i think some questions raised about incurring these liabilities on an on going basis. >> okay. we will include an estimate of the cost of the services the park will be providing as an attachment to

the document. >> so that is part of your amendment when they make a motion with the mou, correct? >> yes. >> so they didn't have to vote on it. >> i really appreciate that. thank you nick. >> i just have one comment. i am delighted that the city's refunding this cost for 20 years but i'm surprised at it. is that because the board has a provision it can't commit a future board to obligations like this so we have to pre-fund it? >> you're on the right track, but this is an mou so this is not going to the board and we can't have future boards appropriate funds in a certain way so this is something we could have them move it in the budget and have the board approve it before we take over maintaining and operating the facility and we would have the

certainty that this funding source was in play the next 20 years. >> with that we're through public comment. i don't see anymore commissioner questions. can i explain a motion? >> moved. >> and seconded. >> moved and seconded. all those in favor? so moved. >> now we are item 10 which is general public comment continued so joshua, jeff and richard. >> thanks for waiting. >> no problem mr. chair. sorry for being premature in the agenda. i am executive director of bright line defense project. we're a nonprofit community advocacy organization worked on policies to promote sustainable communities and one of the things that we do is target job opportunities through programs

like the city's hiring program which park and rec is a successful partner in and promote wages and conditions that support and sustain working families and community work force. i have a letter that has the concern i want to kind of raise to the commission. i do want to thank the general manager handed me some information i think is going to be important for us to disseminate and we heard there are more and more concerns about the apprenticeship program with laborer which is successful. we have heard a lot of things and maybe not come to the commission's attention yet and the general manager gave me information and thank you for that and i look forward to learning more about the issue, but we have an issue we hope is not a trend and treasure island develop authority and taking everything that you do with the

apprenticeship program and wages and targeting the work force and when you issue private contracts for the same work. in this case landscaping and treetopping and all the maintenance of the public spaces and at treasure island we saw the great things for workers disappear. it hurts the community and hurts standards. this maybe going for the private contracts for the same services. again not to jump to conclusions and it's such a mesh there we needed to have public hearings and protests. it took a lot of time to get information from the staff and without jumping to conclusions what is happening with the contracts? are they providing the right wages? . are your private contractors driving a race to the bottom

for workers? at treasure island we found landscape workers paid less than minimum wage if you can believe that and in all cases across the board. not the benefits that you worked so hard to create with organized labor, the benefits community that is near and dear to our heart and outline of the issue. general manager gins bers is ready to step up to get the data. we need four years of certified one payroll and one of the companies and not to jump to conclusions and with staff and i didn't get the information but with the commission's help we are looking for all of this information and let's answer the questions and we will report back to what is going on. thanks. >> thank you. >> jeff and then richard.

>> good morning president buell, commissioners. i am jeff rocker and a nailtive san franciscan and five generations long and live on the west side of the town. i are here to talk about issues that are near and dear to my heart. we started a nonprofit in san francisco and help kids k-12 and small donations and work with infrastructure working with the kids. did a lot of coaching and not so much baseball but soccer but we are fully vested in our kids having access to athletics. having the process open and fair to them and we run across something in youth baseball we're not happy with. a coach who have been for years

coaching two teams in youth baseball has been removed from coaching with really no public input. you can what did he do? did he pick up a trash can and throw it at a umpire? no. did he push kids? no. he was talking about an after season tiewrnment and emails and the commissioners vote that's it. it's final. this gentleman cant coach. we have 60 parents fit to be tied. he coaches 30 of these kids. he came from the wrong side of the trucks. these kids respect him and he is very, very just -- i mean the kids are just crest fallen and i am asking this commission to shoin a little daylight on what is it with rec and parks youth baseball? we

got an email to show you. his decision is final. there is no one to appeal to. this is not what we want to teach the kids. if there is a legitimate reason that's fine. if we could have a discussion about it let's do it and show the kids this is the mistake he made. now if we're just going to treat them as disposable when they don't meet our needs and whims. i worked for rec and park and after school funds and under gm burns and robinson and i was told as an employee we're there to serve the public. our petty disagreements with somebody doesn't quiz qualify them from participating in this. >> >> and it's like me getting an argument and you can't come to my park. sometimes we can

disagree and have intelligent conversations. we don't have to take it out on the kids. give me 10 more seconds. i came here to head off. we talked at supervisor chu's office and come here and go in peace and try to make something happen here. that's what i am here for. i would love to entertain a discussion with the commissioners to come to a resolution to this problem. put the kids first. >> thank you. >> richard fong. >> i don't want to get in the way of all of you and your appetite getting close to the dinner hour, but i just wanted to make more comments about animal control welfare. they're dealing with the issue of licensing, dog walkers, and

when there was bob palaceo as commissioner and [inaudible] was here, the acting superintendent, a big fellow quite a while ago before he went south to bel air. what happens there was a discussion on whether or not such and such dog walkers would use the park facilities. the issue i want to bring it has to do with insurance, whether or not they have insurance. there was something about the grandfather clause. that wasn't voted on when it was before them but for myself i would think people with responsibility if there is an accident that comes up a mauling or a dog fight

there is insurance. it wasn't when they issue the permits and try to apply the grandfather clause so when it comes up again i will be present and i hope i would have the support of the commissioners. thank you sir. >> thank you. >> is there anyone else that would like to make general public comment on item 10? seeing none this item is closed. we are now on item 11 which is closed session. conference with legal counsel. anyone that would like to make public comment on item 11? public comment is closed. commissioners, we do need to vote whether to hold closed session so i need a motion and a second. >> moved. >> second. >> it's been moved and seconded. so moved. >> >> closed session.

>> motion not to disclose. seconds. >> moved and seconded. all in favor? so moved. >> great. thank you. we are on item 12. commissioners matters. commissioners. >> >> i'm sorry commissioner bonilla. >> i am waiting to be called. >> just nodding off here. >> okay. yeah i would like -- because i think we have some questions that were raised on beacon at halter house park because there are questions raised about transparency and i am dumbfounded on who really supports the creation of this . i have not seen any supporters in previous meetings or in

previous years in terms of the creation of this , and because i have questions about where the resources would come for the creation of that i think this item needs to see a lot more sunshine and i think that we need to consider putting it on the agenda for future discussion. >> commissioner, if i could respond to that and we are happy to handle it however you want to handle it but i think there is confusion about the process -- >> [inaudible] >> okay. the answer is this will -- as a factual answer this will come before the commission before a trail is built. we go through a approval process and it ends back with you.

>> right. but my understanding is the decision is made to do this trail and we're only looking at is the design elements, not for this , and not whether to do this or not to do this so i would like to see us have some discussion on whether we do the. >> commissioner harrison. >> yeah, i agree with commissioner bonilla on this. also i would like some explanation on the treasure island thing and the comments on the coach if that is possible. >> i'm not aware of the issues that came before you in public comment so i will research them and figure out an appropriate way to report back. >> thank you. >> any public comment? seeing none public comment is closed.

item 13 is new business agenda setting. commissioners public comment? no public comment is closed. 14 is communications. public comment? seeing none it is closed and 15 is adjournment. >> i move to adjourn. >> second. >> 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. driven not

>> 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.