the only problem was that it was developed before battery storiage became competitive and it relies on bio mass and bio gas and that's not a good panel. so i'll send it with that disclaimer that says energy disclaimer, bio gas, not mass. when we talked, they expressed interest in doing the city-wide master plan. we and lafco have been talking about it and tyrone expressed interest -- i won't commit him to anything -- but expressed interest in lafco leading for the plan. so that is something very important that we would need to get on an agenda soon so that we can get that rolling.

especially with all of this pg & e stuff. >> are there any other members of the public that would like to speak? >> my name is hunter stern, we represent the pg & e workers in northern and central california and then a number of utilities in northern nevada. so under the heading of any time i can agree with eric brooks, i will stand up and do so. the points that eric just made about the build-out of local generation, renewable generation, this has been promised to people, and i'm a san francisco resident, as well, this has been promised to people in the city for 15 years. we met actively with leadership at the sfpuc, i think five or six years ago.

they have identified 20 different projects they can build that have not moved forward in at least ten years. i shouldn't say for all 20. there's a list the puc has identified. this is something we can do. people voted and there was a ballot measure talking about clean energy projects and infrastructure that we in sanfrancisco approved. you have to push this forward. it's something that is incumbent on a city that is clean, clean, clean and doesn't own or invest in clean energy projects. thank you. >> thank you. >> just as an action item, can you send commissioner hainy and marr a list of the report? thank you. i see no action is to be taken on this matter. madam clerk -- oh, public comment is closed first and no

action to be taken on this matter. madam clerk, any other business for today? >> that concludes or business for today. >> no further business, we are adjourned. >> san francisco is surrounded on three sides by water. the fireboat station is integral to maritime rescue and preparedness not only for san francisco but for all of the bay area.

>> fire station 35 was built in 1915, so it's over 100 years old. and behind it, we're going to build fireboat station 35. >> so the city's capital planning committee, i think about three years ago, issued a guidance that all city facilities must resist sea level rise. >> fireboat station number 35, construction costs are approximately $30 million, and the construction is over complicated because the float, it's being fabricated in china and will be brought to treasure island where the building -- the actual fire station will be constructed on top of it, and

then brought to pier 22 1/2 for installation. >> we are looking at late 2020 for completion of the fireboat float. the historic fire house will remain on the embarcadero. we will still respond out of the firehouse with our fire engine and respond to medical calls and other incidents raratin the district. >> the if a sill has to incorpora incorporate five to 6 feet of sea level rise. it's built on a float that can move up and down as the water level rises, and so it's on four fixed guide piles, so as the seas go up, it wican move and down with the bay. it does have a full range of travel from low tide to high tide of about 16 feet.

so that allows for current tidal movements as well as several extra feet for sea level rise in the coming decades. >> the fireboat station float will also incorporate a ramp for ambulance deployment and access. >> the access ramp is rigidly connected to the land side or more of a pivot or hinge connection, and then, it's sliding over the top of the float. so then that way, the ramp can, you know, flex up and down like a hinge but also allow for a slight -- a few inches of lateral motion of the float. both the access ramps, of which there's two, and the utilities, need flexible connections when connecting from the float and back to the building. so interesting power, water, sewage, it all has flexible connections to the float. >> fireboat station 35 will provide room for three boats

and one fire boot. >> we would like to establish a dedicated marine unit that would be able to respond to multiple incidents. looking into the future, we have not only at&t park, we have a lot of kayakers, but we also have a lot of developments on the southeast side, including the warriors stadium, and we want to have the ability to respond to any marine or maritime incidents along all of these new developments. >> there's very few design references for people actually sleeping on the water. what we really looked to were cruise ships, which are, you know, larger structures, several times the size of station 35 but have a lot of people -- a lot of sleeping, but they're really the only good reference point. and so we looked to the cruise ship industry that has kind of an index for, you know, how

ma many -- how much acceleration they can accommodate. >> it's very unique. i don't know about any other fire station built on the water in the united states. >> the fireboat's a regional asset that can not only be used for water rescue and stin wishment of fires, but we also do environmental cleanup. we have a special rigging that we carrie that will contain oil spills -- carry that will contain oil spills until viermsal can come out. this is not a job, it is -- environmental can come out. this is not a job, it's a lifestyle, a community, and we're willing to help people

>> i'm rebecca and i'm a violinist and violin teacher. i was born here in san francisco to a family of cellists, professional cellists, so i grew

up surrounded by a bunch of musical rehearsals an lessons. all types of activities happened in my house. i began playing piano when i was 4. i really enjoyed musical activities in general. so when i was 10, i began studying violin in san francisco. and from there, i pretty much never stopped and went on to study in college as well. that's the only thing i've ever known is to have music playing all the time, whether it is someone actually playing next to you or someone listening to a recording. i think that i actually originally wanted to play flute and we didn't have a flute. it's always been a way of life. i didn't know that it could be any other way. >> could you give me an e over here. great. when you teach and you're seeing a student who has a problem, you

have to think on your feet to solve that problem. and that same kind of of thinking that you do to fix it applies to your own practice as well. so if i'm teaching a student and they are having a hard time getting a certain note, they can't find the right note. and i have to think of a digestible way to explain it to them. ee, d, d, e. >> yes. then, when i go on to do my own practice for a performance, those words are echoing back in my head. okay. why am i missing this? i just told somebody that they needed to do this. maybe i should try the same thing. i feel a lot of pressure when i'm teaching young kids. you might think that there is less pressure if they are going on to study music or in college that it is more relaxing.

i actually find that the opposite is true. if i know i'm sending a high school student to some great music program, they're going to get so much more instruction. what i have told them is only the beginning. if i am teaching a student who i know is going to completely change gears when they go to college and they never will pick up a violin again there is so much that i need to tell them. in plain violin, it is so difficult. there is so much more information to give. every day i think, oh, my gosh. i haven't gotten to this technique or we haven't studies they meese and they have so much more to do. we only have 45 minutes a week. i have taught a few students in some capacity who has gone on to study music. that feels anaysing. >> it is incredible to watch how they grow. somebody can make amazing project from you know, age 15 to 17 if they put their mind to it.

>> i think i have 18 students now. these more than i've had in the past. i'm hoping to build up more of a studio. there will be a pee ono, lots of bookshelves and lots of great music. the students will come to my house and take their lessons there. my schedule changes a lot on a day-to-day basis and that kind of keeps it exciting. think that music is just my favorite thing that there is, whether it's listening to it or playing it or teaching it. all that really matters to me is that i'm surrounded by the sounds, so i'm going top keep doing what i'm doing to keep my life in that direction.

>> i view san francisco almost as a sibling or a parent or something. i just love the city. i love everything about it. when i'm away from it, i miss it like a person. i grew up in san francisco kind of all over the city. we had pretty much the run of the city 'cause we lived pretty close to polk street, and so we would -- in the summer, we'd all all the way down to aquatic

park, and we'd walk down to the library, to the kids' center. in those days, the city was safe and nobody worried about us running around. i went to high school in spring valley. it was over the hill from chinatown. it was kind of fun to experience being in a minority, which most white people don't get to experience that often. everything was just really within walking distance, so it make it really fun. when i was a teenager, we didn't have a lot of money. we could go to sam wong's and get super -- soup for $1. my parents came here and were drawn to the beatnik culture. they wanted to meet all of the writers who were so famous at the time, but my mother had some serious mental illness

issues, and i don't think my father were really aware of that, and those didn't really become evident until i was about five, i guess, and my marriage blew up, and my mother took me all over the world. most of those ad ventures ended up bad because they would end up hospitalized. when i was about six i guess, my mother took me to japan, and that was a very interesting trip where we went over with a boyfriend of hers, and he was working there. i remember the open sewers and gigantic frogs that lived in the sewers and things like that. mostly i remember the smells very intensely, but i loved japan. it was wonderful. toward the end. my mother had a breakdown, and that was the cycle. we would go somewhere, stay for a certain amount of months, a year, period of time, and she would inevitably have a breakdown. we always came back to san francisco which i guess came me

some sense of continuity and that was what kept me sort of stable. my mother hated to fly, so she would always make us take ships places, so on this particular occasion when i was, i think, 12, we were on this ship getting ready to go through the panama canal, and she had a breakdown on the ship. so she was put in the brig, and i was left to wander the ship until we got to fluorfluora few days later, where we had a distant -- florida a few days later, where we had a distant cousin who came and got us. i think i always knew i was a writer on some level, but i kind of stopped when i became a cop. i used to write short stories, and i thought someday i'm going to write a book about all these ad ventures that my mother took

me on. when i became a cop, i found i turned off parts of my brain. i found i had to learn to conform, which was not anything i'd really been taught but felt very safe to me. i think i was drawn to police work because after coming from such chaos, it seemed like a very organized, but stable environment. and even though things happening, it felt like putting order on chaos and that felt very safe to me. my girlfriend and i were sitting in ve 150d uvio's bar, and i looked out the window and i saw a police car, and there was a woman who looked like me driving the car. for a moment, i thought i was me. and i turned to my friend and i said, i think i'm supposed to do this. i saw myself driving in this car. as a child, we never thought of police work as a possibility for women because there weren't any until the mid70's, so i had

only even begun to notice there were women doing this job. when i saw here, it seemed like this is what i was meant to do. one of my bosses as ben johnson's had been a cop, and he -- i said, i have this weird idea that i should do this. he said, i think you'd be good. the department was forced to hire us, and because of all of the posters, and the big recruitment drive, we were under the impression that they were glad to have us, but in reality, most of the men did not want the women there. so the big challenge was constantly feeling like you had to prove yourself and feeling like if you did not do a good job, you were letting down your entire gender. finally took an inspector's test and passed that and then went down to the hall of justice and worked different

investigations for the rest of my career, which was fun. i just felt sort of buried alive in all of these cases, these unsolved mysteries that there were just so many of them, and some of them, i didn't know if we'd ever be able to solve, so my boss was able to get me out of the unit. he transferred me out, and a couple of weeks later, i found out i had breast cancer. my intuition that the job was killing me. i ended up leaving, and by then, i had 28 years or the years in, i think. the writing thing really became intense when i was going through treatment for cancer because i felt like there were so many parts that my kids didn't know. they didn't know my story, they didn't know why i had a relationship with my mother, why we had no family to speak of. it just poured out of me. i gave it to a friend who is an editor, and she said i think this would be publishable and i think people would be interested in this. i am so lucky to live here.

i am so grateful to my parents who decided to move to the city. i am so grateful they did. that it never >> growing up in san francisco has been way safer than growing up other places we we have that bubble, and it's still that bubble that it's okay to be whatever you want to. you can let your free flag fry

he -- fly here. as an adult with autism, i'm here to challenge people's idea of what autism is. my journey is not everyone's journey because every autistic child is different, but there's hope. my background has heavy roots in the bay area. i was born in san diego and adopted out to san francisco when i was about 17 years old. i bounced around a little bit here in high school, but i've always been here in the bay. we are an inclusive preschool, which means that we cater to emp. we don't turn anyone away. we take every child regardless of race, creed, religious or

ability. the most common thing i hear in my adult life is oh, you don't seem like you have autism. you seem so normal. yeah. that's 26 years of really, really, really hard work and i think thises that i still do. i was one of the first open adoptions for an lgbt couple. they split up when i was about four. one of them is partnered, and one of them is not, and then my biological mother, who is also a lesbian. very queer family. growing up in the 90's with a queer family was odd, i had the bubble to protect me, and here, i felt safe. i was bullied relatively infrequently. but i never really felt isolated or alone. i have known for virtually my entire life i was not suspended, but kindly asked to not ever bring it up again in

first grade, my desire to have a sex change. the school that i went to really had no idea how to handle one. one of my parents is a little bit gender nonconforming, so they know what it's about, but my parents wanted my life to be safe. when i have all the neurological issues to manage, that was just one more to add to it. i was a weird kid. i had my core group of, like, very tight, like, three friends. when we look at autism, we characterize it by, like, lack of eye contact, what i do now is when i'm looking away from the camera, it's for my own comfort. faces are confusing. it's a lack of mirror neurons in your brain working properly to allow you to experience empathy, to realize where somebody is coming from, or to realize that body language means that. at its core, autism is a social

disorder, it's a neurological disorder that people are born with, and it's a big, big spectrum. it wasn't until i was a teenager that i heard autism in relation to myself, and i rejected it. i was very loud, i took up a lot of space, and it was because mostly taking up space let everybody else know where i existed in the world. i didn't like to talk to people really, and then, when i did, i overshared. i was very difficult to be around. but the friends that i have are very close. i click with our atypical kiddos than other people do. in experience, i remember when i was five years old and not wanting people to touch me because it hurt. i remember throwing chairs because i could not regulate my own emotions, and it did not

mean that i was a bad kid, it meant that i couldn't cope. i grew up in a family of behavioral psychologists, and i got development cal -- developmental psychology from all sides. i recognize that my experience is just a very small picture of that, and not everybody's in a position to have a family that's as supportive, but there's also a community that's incredible helpful and wonderful and open and there for you in your moments of need. it was like two or three years of conversations before i was like you know what? i'm just going to do this, and i went out and got my prescription for hormones and started transitioning medically, even though i had already been living as a male. i have a two-year-old. the person who i'm now married to is my husband for about two years, and then started gaining

weight and wasn't sure, so i we went and talked with the doctor at my clinic, and he said well, testosterone is basically birth control, so there's no way you can be pregnant. i found out i was pregnant at 6.5 months. my whole mission is to kind of normalize adults like me. i think i've finally found my calling in early intervention, which is here, kind of what we do. i think the access to irrelevant care for parents is intentionally confusing. when i did the procespective search for autism for my own child, it was confusing. we have a place where children can be children, but it's very confusing. i always out myself as an adult with autism. i think it's helpful when you

know where can your child go. how i'm choosing to help is to give children that would normally not be allowed to have children in the same respect, kids that have three times as much work to do as their peers or kids who do odd things, like, beach therapy. how do -- speech therapy. how do you explain that to the rest of their class? i want that to be a normal experience. i was working on a certificate and kind of getting think early childhood credits brefore i started working here, and we did a section on transgender inclusion, inclusion, which is a big issue here in san francisco because we attract lots of queer families, and the teacher approached me and said i don't really feel comfortable or qualified to talk about this from, like, a cisgendered straight person's perspective, would you mind talking a little bit with your own experience, and i'm like absolutely. so i'm now one of the guest

speakers in that particular class at city college. i love growing up here. i love what san francisco represents. the idea of leaving has never occurred to me. but it's a place that i need to fight for to bring it back to what it used to be, to allow all of those little kids that come from really unsafe environments to move somewhere safe. what i've done with my life is work to make all of those situations better, to bring a little bit of light to all those kind of issues that we're still having, hoping to expand into a little bit more of a resource center, and this resource center would be more those new parents who have gotten that diagnosis, and we want to be this one centralized place that allows parents to breathe for a second. i would love to empower from the bottom up, from the kid level, and from the top down, from the teacher level. so many things that i would love to do that are all about changing people's minds about certain chunts, like the transgender community or the

autistic community. i would like my daughter to know there's no wrong way to go through life. everybody experiences pain and grief and sadness, and that all of those things are temporary.. i'm scott adams. i'm board chair of the a.p.a. heritage foundation. we want to thank you for joining us this evening as we celebrate lunar new year, the year of the boar. we wish you and your family the best of fortune, prosperity and much happiness. we are a nonprofit organization dedicated to securing funds and coordinating resources to support the city's annual a.p.a. heritage organization

festivities. our organization is made up of a very small board, and i'd like to introduce to you our directors. we have our treasurer, irene yee riley, our incoming treasurer, j.j. lara. board member matt mooey, and our founder and president, claudine ching. [applause] >> so although we're a very small organization, we're able to put on celebration events every year because of the dedicated members of the a.d.a. celebration committee, and that's a group of 30-some odd representatives of the community that makeup the a.p.a. community. so if you are a member of that group, can you please raise your hand? okay. everyone give them a hand.

[applause] >> want to thank you so much for being part of the a.p.a. team. now please give a warm welcome to our president and founder, claudine ching. >> thank you, scott. [applause] >> thank you, everyone for helping to come celebrate lunar new year. today is the third day of the new year. some of us were in chinatown for the first day of the year with mayor breed, and when i friend, walter wong, celebrated the biggest celebration in chinatown with eight pigs, is that right? and firecrackers, so i want to acknowledge of the presence of the mayor who will be speaking shortly and the members of the council and community members of the so eve-- members. every year, we kick off events

in the community with the lunar new year celebration. we can take the opportunity to tell you a little bit more about what we are doing for a.p.a. heritage month this year. some of you may not have been to our a.p.a. heritage month celebration, so i want to take the opportunity to talk about the a.p.a. heritage month. last year, we celebrated the 40th anniversary of the law that established this particular celebration. so the month of may, why is it the month of may a.p.a. heritage month? congress decided because of two reasons. the first day of 1943 marked the rival on may 7 of the first japanese immigrant into the united states in the record so that was one reason. and the other reason was on may 10 -- 1843 -- 1869 was the completion of the

trans-continental railroad. so that's why the month of may was selected, and this year was the 150th anniversary of the trans-continental railroad. so for this year's celebration on may 1, as you all are invited to our event, together with mayor breed, we'll be celebrating two significant historic events. one is the completion of the trans-continental railroad, and the other one actually is the 50th anniversary of the establishment of the college of ethnic studies at san francisco state. this is unbelievable that to this date, although there are a lot of ethnics -- different studies classes in many universities and colleges, our san francisco state remains the only ethnic studies department in the whole country where asian american studies african american studies, all ethnic

studies had a part of. this is a momentum decision. we are very happy to be celebrating these two significant occasions this year, and during our event, we will be presenting the second annual edwin mah lee public service award. last year, the winner was our assessor-recorder carmen chiu. we're very happy to have her -- in the month of may be able to bring to our city a whole month of activities. we have plenty of events because we have celebrations, partners such as the asian art museum, san francisco public library, and the country's largest asian american themed festival. with all of these organizations, i think we have

a healthy calendar. but back to today, we are happy to be here, celebrating lunar new year. we are very lucky to be in a city that we have cultural offerings with the different cultural offerings. so some of you -- some of you may not have met mayor breed. mayor breed is a native of san francisco. she grew up in the western addition in the public housing, graduated from schools -- from schools in san francisco, from galileo, as i remember, and without taking the time to read the mayor's long bio, many people have asked me how is it working with mayor breed? and i just have to say, i am not jewish, but if i were jewish, our mayor has a lot of

chutzpah. no matter what issue she is addressing, housing, transportation, public education, every time i hear the mayor talk about this, she's open-minded. she's willing to look at other solutions of the city that have been -- of problems of the city that have been around for years and decades. so we're very proud to have mayor breed with us today. [applause] >> the hon. london breed: thank you, claudine. you know, when i first started on the board of supervisors, i attended this event, and it was always in room 201, in the mayor's conference room. and i would always say, claudine, we're growing. we need more space. and finally, she took me up on my word, and she decided we were going to move this incredible celebration to here,

the north light court. this is our great celebration of our a.p.i. heritage month kind of kickoff. even though it's not in the month of may, it is during the lunar new year which is of course fitting that we celebrate such a time honored tradition here in our city. i want to thank so many people who are joining here -- joining us here today, including so many folks from the leadership, many of our sister cities, folks from manila, from osaka -- yes, you can clap -- from seoul, taipei, ho chi mint cities, places that we share more than our brotherly and sisterly loves, but relationships of community, of business, and a number of other things that are so important and vital to the success of not just san francisco but the entire world. i also want to take this time

to recognize that we have a number of council generals who are with us here today. starting with the council general of the philippines, who is -- i hope i don't butcher your name council general. i apologize from the philippines, and his wife. thank you so much for being here. council general for the republic of korea is here, as well. and council general from japan. thank you so much for joining us. we have really an incredible relationship with so many of our sister cities as well as the council generals from all over the world, and san francisco, as you know, has been the gateway to the pacific, and we truly value our relationships which promote trade and cultural and educational exchanges. we -- we know sadly we're

living in a time our immigrant population and our cultural diversity are sometimes not welcomed in other cities across the united states, but i want you to know that here in san francisco, it's not only welcomed, it's celebrated. it is celebrated in a way that really honors our rich history and our traditions. and we have many celebrations throughout the year, including during the month. we just kicked off black history month here in the rotunda in city hall, chinese lunar new year, which is amazing, along with an amazing parade and a number of festivities, and we will kick off asia-pacific heritage month, which we started celebrating in 2005. when i served on the board with supervisor -- well, actually, only supervisor president yee was on the board when we passed that resolution, making it official in san francisco.

and here he is now, the president of the board of supervisors, along with his colleagues, and they'll be talking in just a minute. so i am just here to say thank you to so many of you, especially because as we know, it takes a lot of resources to put together so many amazing community activities that promote our diversity and our culture, and i just want to thank the a.p.i. heritage committee for their continued work and fund raising and bringing people together. and claudine, at this time, i'd like to honor you and the members of the committee with a certificate thanking you for your service and the work you continue to do every year, not only asking for support, but twisting our arm and making us all participate and help us to understand how important this is to so many of our asian communities around the city. thank you for being a real advocate for the a.p.i.

community in san francisco. [applause] >> the hon. london breed: thank you, everyone. [speaking chinese language] >> so understand board president norman yee's here with all his colleagues, and from the dinner we have in chinatown recently, i was

shocked to hear that every single one of the board members of supervisors speak beautiful chinese, japanese, all kinds of languages. so in the interest of time, because i understand that mayor breed might have to leave, so i'm going to ask you to maybe just say two lines of greetings in your own language, whatever you prefer. and try not to repeat what the -- what the preceding speaker have said, okay? but maybe we should start with president yee. >> president yee: thank you, claudine. [speaking native language] >> president yee: happy new year to every one of you. this is a great celebration that happens every year. i want to thank the a.p.a. heritage foundation to sponsor this every year because it really means a lot to our

community. yes, mayor breed, it's true. in san francisco, we embrace our diversity. in san francisco, and probably the only city, the public school actually gets a day off for lunar new year. probably the only district -- we should give them a big hand. [applause] >> president yee: and that was made possible because of the leadership of supervisor fewer and myself and a few other a.p.i. school board members that were able to provide to say you know, it makes a difference to 50% of your students, and they made it happen. now another thing, every year, we get to look at the new stamp. by the way, claudine, i still have the original one, 1993, when you unveiled that, that

was such a happening. this is something that took a little while to get the federal government, the post office to actually engage and make this happen for us because they didn't -- there was a little rip resistance there, but after a while, they said wow, this is pretty good. to all of you, to all of my colleagues here, we are here to celebrate, and we are here to honor the a.p.a. heritage foundation. so on behalf of the full board of supervisors, we'd like to give you this certificate. claudi claudine scott, would you come up and accept it?

[applause] >> president yee: so come on up. just say happy new year. >> supervisor fewer: [speaking native language] [applause] >> good evening, everyone. my name is matt haney. i'm supervisor from district six. congratulations and thank you for all your work to the a.p.a. heritage foundation. i have to say i've been to a few celebrations around the year of the pig, but this is the first one that i've seen where there's a whole pig to eat. happy to celebration with you.

>> supervisor brown: hi. i'm vallie brown, the proud supervisor of japantown. unfortunately, can you please tell me how to say happy new year in japanese? [inaudible] [applause] >> supervisor safai: good evening. my name is supervisor ahsha safai. happy new year. very happy to be here for the third or fourth year. congratulations to claudine and all the leadership for a.p.a. this is a wonderful celebration. i actually am also an asian supervisor from western asia, from the -- from the country of iran, so i'm going to say happy new year in farsi. [speaking native language] >> supervisor safai: thank you.

[applause] >> thank you. ve we want to acknowledge d.b.i., the head, tom, and mohamed nuru from the department of public works. we have captain link from central station, and commander lozar. so the highlight of today's program is unveiling of the lunar new year stamp. as board of supervisors president yee mepgsed, inntion u.u u.s. post office issued the first series of stamps in 1993. this is the last year of the series of stamps. we are not sure if we're going to get the new ones.

so there is a pgs for all of you to sign after the program because we want to make sure the united states postal service unders we in san francisco, just like many people around the country, we love our stamp that celebrate our cultural heritage. i would like to invite post master abraham cooper. >> good afternoon. or i should say good evening. you know, it's an honor to unveil the 12th and very last stamps and celebrating the lunar new year. as the post master of san francisco, i'm proud to present such a beautiful and meaningful stamp. it represents a lot of significance not only to the community but also to the people that we serve in san francisco, but our employees, as well as we celebrate, and

they also celebrate lunar new year. the lunar new year stamp is currently available for sale at the local postal service and also independently also as booklets. the board believes to represent luck and good fortune but also symbolized hard work and generosity as trust and also sincerity. i'd also like to think that the postal service fits that description well as the relationships between the san francisco district community and the leaders that's in the room today. and without further adieu, i'd like to bring up the mayor as well as norman yee and claudine chan for the unveelg of tilinge

chan for the unveiling of the stamp. [applause] [inaudible] [applause] as latinos we are unified in some ways and incredibly diverse in others and this exhibit really is an exploration of nuance in how we present those

ideas. ♪ our debts are not for sale. >> a piece about sanctuary and how his whole family served in the army and it's a long family tradition and these people that look at us as foreigners, we have been here and we are part of america, you know, and we had to reinforce that. i have been cure rating here for about 18 year. we started with a table top, candle, flower es, and a picture and people reacted to that like it was the monna lisa.

>> the most important tradition as it relates to the show is idea of making offering. in traditional mexican alters, you see food, candy, drinks, cigarettes, the things that the person that the offerings where being made to can take with them into the next word, the next life. >> keeps u.s us connects to the people who have passed and because family is so important to us, that community dynamic makes it stick and makes it visible and it humanizes it and makes it present again. ♪ >> when i first started doing it back in '71, i wanted to do something with ritual, ceremony and history and you know i talked to my partner ross about the research and we opened and

it hit a cord and people loved it. >> i think the line between engaging everyone with our culture and appropriating it. i think it goes back to asking people to bring their visions of what it means to honor the dead, and so for us it's not asking us to make mexican altars if they are not mexican, it's really to share and expand our vision of what it means to honor the dead. >> people are very respectful. i can show you this year alone of people who call tol ask is it okay if we come, we are hawaii or asian or we are this. what should we wear? what do you recommend that we do? >> they say oh, you know, we want a four day of the dead and

it's all hybrid in this country. what has happened are paper cuts, it's so hybrid. it has spread to mexico from the bay area. we have influence on a lot of people, and i'm proud of it. >> a lot of tim times they don't represent we represent a lot of cultures with a lot of different perspectives and beliefs. >> i can see the city changes and it's scary. >> when we first started a lot of people freaked out thinking we were a cult and things like that, but we went out of our way to also make it educational through outreach and that is why we started doing the prosession in 1979.

>> as someone who grew up attending the yearly processions and who has seen them change incrementally every year into kind of what they are now, i feel in many ways that the cat is out of the bag and there is no putting the genie back into the bottle in how the wider public accesses the day of the dead. >> i have been through three different generations of children who were brought to the procession when they were very young that are now bringing their children or grandchildren. >> in the '80s, the processions were just kind of electric. families with their homemade visuals walking down the street in san francisco. service so much more intimate and personal and so much more rooted in kind of a family practice of a very strong cultural practice.

it kind of is what it is now and it has gone off in many different directions but i will always love the early days in the '80s where it was so intimate and son sofa millial. >> our goal is to rescue a part of the culture that was a part that we could invite others to join in there there by where we invite the person to come help us rescue rescue it also. that's what makes it unique. >> you have to know how to approach this changing situation, it's exhausting and i have seen how it has affected everybody. >> what's happening in mission and the relationship with the police, well it's relevant and

it's relevant that people think about it that day of the dead is not just sugar skulls and paper flowers and candles, but it's become a nondenominational tradition that people celebrate. >> our culture is about color and family and if that is not present in your life, there is just no meaning to it you know? >> we have artists as black and brown people that are in direct danger of the direct policies of the trump a administration and i think how each of the artists has responsibilitie responded ss interesting. the common t>> we have a wonderful adult

ceramic class. we offer over 10 adult classes in morning and evening. it accommodates people who work in the day, people who work in the evening, people who are day people and night people. we try to cater to the whole group. it's beyond just a clay lesson. it's really a lifeless on. when you meet people you never know what's underneath. sometimes they show you what they want to. and you kind of expect that it's just going to be that. but it's never really what's on the surface. it's really what's underneath the surface . that's what i try to get at when i do my clay. the camaraderie that we have here. we have students that have been for for many many years. we have students here for the

first time. we share our skills, our formulas. this is how we learn. how did you do that? let me show you. that's the attitude that the students and the teachers have here. it's a really wonderful it's a really wonderful >> this meeting will come to order. this is a regular meeting of the budget and finance committee. i'm supervisor filling in for chair. i'm joined by supervisor rafael mandal minimum anman. i woulmadam clerk, any announce? >> yes, please silence all cell