just to stay alive. you've got to give us hope you've got to give us hope. you've got to give us hope. you've got to give us hope. you've got to give us hope that we believe if you've got to give them hope give them give them give them hope. you've good neighbor policy got to give them hope you've got to give them hope they can see. you've got to give them hope. you've got to give them hope they can feel they can building in you've got to give them hope they can come give them give

them give them hope give them give them hope firefighter give them hope (clapping) give them hope (clapping) you've got to give them hope. you've got to give them hope (clapping) you've got to give them hope (clapping) you've got to give them hope. (clapping.) you've got to give them hope >> hope. give them hope. hope. (clapping.) >> i love the gay mention

chorus thank you so much this was awesome. it's my pleasure to introduce stewart i know you know stewart is harvey's envelope he was a teenager when harry was assassinated he has taken on harry's mammal tell he travels around the world spreading harry's hope thank you global level to working tirelessly to inspire hope in others who wouldn't have it otherwise. stewart (clapping) i'm not sure this everyone got to hear the loudspeaker announcement when the chorus was introduced let me tell you again they're first public performance

was at the amazing seaman's candlelight vigil to this day is humanities eloquently voice so, please join me in giving them another routinely they put this together in a week's notice (clapping) it's such an honor to be here in san francisco city hall with the type of diverse carl served with my usage on the board of supervisors is here my usage did a lot of causes that people thought were losing causes he ran a couple of times and lost but in the 11 months he challenged a lot of existing

fierce of what could be and dreams of what we can co- create so when a man a fellow brown naming gordon decided to run for president of the board of supervisors my usage made a point of joining carol silver and ella in supporting gordon even though they knew they were going to louis lose and why he said i want san franciscans to dream there will be an asian president board of supervisors and maybe a asian mayor of the san francisco that's harry's dream i saw what we have in this great mayor, i get often asked

am i sad that my usage didn't see the day when we have 9/11 drafts and xhaem shows we're i don't know people in treasure island that will be having difficult table conversations having conversations and standing up for who they are in school yards and not only lgbt people but men anyone who skins skin is different or religion or non-risen is different those were dreams he did get to see them he got to see today when this wonderful city of san francisco would be this beaming light we have a decision that

the not only a-year-old people think it's old hat that the sprusht knocked down a ruling a federal discretionary law dolled the dorm don't remember a woman named edit was not going to take this she didn't have a law she said i'm not going to take this (clapping) he dreamed of the overcame people that would rise that to injustice if their own lives and dreamed as a society would come together and support minority like in a red state like arizona

we had a discretionary law and for the fritter we've seen a rise up led by corporations and different faith organizations and people of different colors who said we won't tolerate this no way and we got a governor to veto that legislation. historic (clapping) but as much as we are in the best of times in the united states i spend a lot of time abroad we're in the worse ways time abroad with one stroke of a pen over a billion people went background with india recriminals the people because of who they love and who having they a afghan followed suit. let me share with you one of the

reasons i have global right in my experience when i was 20th century i got to go to a conference if north america rob with the decade on women there was a short black woman who got up and a room of people who looked like me at conference of women in north america rob age of he said if you come here because you want to help me go home. we have nothing to talk about. if you have come here because you want to help me and people like me go home we have nothing to talk about you could hear a pin drop but if you come here because i understand your liberation is down with mine

then let us work together that's the answer to the global equality issue your liberation is down with people in eastern upper and people in and africa we have a self-interest it can't be ultimate lyric we have a self-interest to make sure that no one is a sclas citizen that's the dream of harvey milk (clapping) ann and i are going to close this beautiful ceremony by asking a couple of people that we have noticed that deserve recognition in addition to the co-sponsors and in addition to all our esteemed speakers we're going to ask some people to come

up is that okay >> i think we should rather than do that i think that everyone who knew and loved harry because if i start saying names. >> i'll list some. >> we've said steve have an and carol. >> all the staff people. >> the staff people you started the entire thing thank you very much. >> and, of course, the court system come on up. (clapping.) i think we should bring the court system donna. and cal silver (clapping) ross and everyone who knew harry that was please come up we'll have a great photo opportunity

and everyone from the harvey milk foundation and equality in the house come on up are your future the folks being trained not only in revocations but diversity come on up jose cisneros come on up. post office folks by the way, we've got the post office general we've got those cards i promised i'd mention the names. james wid he will come on up. i'm going to need our help. ross post master for san francisco. affidavit stou please come on up folks from the milk club

everyone who has felt something from harvey and his legacy this is a photo opening for the angles come on up danny. this is the representatives by the way, san francisco a mayor a board of supervisors, and a community of people who have in their heart the belief that we got to give them hope. the yeses as my usage said you can't live on hope alone but without hope life is not living thank you harry and thank you san francisco (clapping) >>

>> i love teaching. it is such an exhilarating experience when people began to feel their own creativity. >> this really is a place where all people can come and take a class and fill part of the community. this is very enriching as an artist. a lot of folks take these classes and take their digital imagery and turn it into

negatives. >> there are not many black and white darkrooms available anymore. that is a really big draw. >> this is a signature piece. this is the bill largest darkroom in the u.s.. >> there are a lot of people that want to get into that dark room. >> i think it is the heart of this place. you feel it when you come in. >> the people who just started taking pictures, so this is really an intersection for many generations of photographers and this is a great place to learn because if you need people from different areas and also everyone who works here is

working in photography. >> we get to build the community here. this is different. first of all, this is a great location. it is in a less-populated area. >> of lot of people come here just so that they can participate in this program. it is a great opportunity for people who have a little bit of photographic experience. the people have a lot, they can really come together and share a

love and a passion. >> we offer everything from traditional black and white darkrooms to learning how to process your first roll of film. we offer classes and workshops in digital camera, digital printing. we offer classes basically in the shooting, ton the town at night, treasure island. there is a way for the programs exploring everyone who would like to spend the day on this program. >> hello, my name is jennifer. >> my name is simone. we are going on a field trip to take pictures up the hill. >> c'mon, c'mon, c'mon.

>> actually, i have been here a lot. i have never looked closely enough to see everything. now, i get to take pictures. >> we want to try to get them to be more creative with it. we let them to be free with them but at the same time, we give them a little bit of direction. >> you can focus in here. >> that was cool. >> if you see that? >> behind the city, behind the houses, behind those hills. the see any more hills? >> these kids are wonderful. they get to explore, they get to

see different things. >> we let them explore a little bit. they get their best. if their parents ever ask, we can learn -- they can say that they learned about the depth of field or the rule of thirds or that the shadows can give a good contrast. some of the things they come up with are fantastic. that is what we're trying to encourage. these kids can bring up the creativity and also the love for photography. >> a lot of people come into my classes and they don't feel like they really are creative and through the process of working and showing them and giving them some tips and ideas.

>> this is kind of the best kept secret. you should come on and take a class. we have orientations on most saturdays. this is a really wonderful location and is the real jewel to the community. >> ready to develop your photography skills? the harvey milk photo center focuses on adult classes. and saturday workshops expose youth and adults to photography classes. >> 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." ♪ ♪

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>> on december 28, 1912, san francisco mayor stared into a sea of 60,000 of constituents that gathered at geary. the berth of the first publicly owned transit system in the city, the san francisco municipal railway. good afterno

the san francisco full board of supervisors meeting of tuesday, june 3, 2014, hope everything has voted. >>