>> shop and dine in the 49 promotes local businesses and challenges residents to do their business in the 49 square files of san francisco. we help san francisco remain unique, successful and right vi. so where will you shop and dine in the 49? >> i'm one of three owners here in san francisco and we provide mostly live music entertainment and we have food, the type of food that we have a mexican food and it's not a big menu, but we did it with love. like ribeye tacos and quesadillas and fries. for latinos, it brings families

together and if we can bring that family to your business, you're gold. tonight we have russelling for e community. >> we have a ten-person limb elimination match. we have a full-size ring with barside food and drink. we ended up getting wrestling here with puoillo del mar. we're hope og get families to join us. we've done a drag queen bingo and we're trying to be a diverse kind of club, trying different things. this is a great part of town and there's a bunch of shops, a variety of stores and ethnic restaurants. there's a popular little shop that all of the kids like to

hanhang out at. we have a great breakfast spot call brick fast at tiffanies. some of the older businesses are refurbished and newer businesses are coming in and it's exciting. >> we even have our own brewery for fdr, ferment, drink repeat. it's in the san francisco garden district and four beautiful muellermixer ura alsomurals. >> it's important to shop local because it's kind of like a circle of life, if you will. we hire local people. local people spend their money at our businesses and those local mean that wor people willr money as well. i hope people shop locally. [ ♪ ]

>> 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. >> hi. welcome to san francisco. stay safe and exploring how you can stay in

your home safely after an earthquake. let's look at common earthquake myths. >> we are here at the urban center on mission street in san francisco. we have 3 guest today. we have david constructional engineer and bill harvey. i want to talk about urban myths. what do you think about earthquakes, can you tell if they are coming in advance? >> he's sleeping during those earthquakes? >> have you noticed him take any special? >> no. he sleeps right through them. there is no truth that i'm aware of with harvey that dogs are aware of an impending earthquake. >> you hear the myth all the time. suppose the dog helps you

get up, is it going to help you do something >> i hear they are aware of small vibrations. but yes, i read extensively that dogs cannot realize earthquakes. >> today is a spectacular day in san francisco and sometimes people would say this is earthquake weather. is this earthquake weather? >> no. not that i have heard of. no such thing. >> there is no such thing. >> we are talking about the weather in a daily or weekly cycle. there is no relationship. i have heard it's hot or cold weather or rain. i'm not sure which is the myth. >> how about time of day? >> yes. it happens when it's

least convenient. when it happens people say we were lucky and when they don't. it's terrible timing. it's never a good time for an earthquake. >> but we are going to have one. >> how about the ground swallowing people into the ground? >> like the earth that collapsed? it's not like the tv shows. >> the earth does move and it bumps up and you get a ground fracture but it's not something that opens up and sucks you up into haddes.

>> it's not going anywhere. we are going to have a lot of damage, but this myth that california is going to the ocean is not real. >> southern california is moving north. it's coming up from the south to the north. >> you would have to invest the million year cycle, not weeks or years. maybe millions of years from now, part of los angeles will be in the bay area. >> for better or worse. >> yes. >> this is a tough question. >> those other ones weren't tough. >> this is a really easy challenge. are the smaller ones less stress? >> yes. the amount released in small earthquakes is that they are so small in you need many

of those. >> i think would you probably have to have maybe hundreds of magnitude earthquakes of 4.7. >> so small earthquakes are not making our lives better in the future? >> not anyway that you can count on. >> i have heard that buildings in san francisco are on rollers and isolated? >> it's not true. it's a conventional foundation like almost all the circumstances buildings in san francisco. >> the trans-america was built way before. it's a pretty conventional foundation design. >> i have heard about this thing called the triangle of life and up you are supposed to go to the edge of your bed to

save yourself. is there anything of value to that ? >> yes, if you are in your room. you should drop, cover and hold onto something. if you are in school, same thing, kitchen same thing. if you happen to be in your bed, and you rollover your bed, it's not a bad place to be. >> the reality is when we have a major earthquake the ground shaking so pronounced that you are not going to be able to get up and go anywhere. you are pretty much staying where you are when that earthquake hits. you are not going to be able to stand up and run with gravity. >> you want to get under the door frame but you are not moving to great distances. >> where can i buy a richter scale? >> mr. richter is selling it.

we are going to put a plug in for cold hardware. they are not available. it's a rather complex. >> in fact we don't even use the richter scale anymore. we use a moment magnitude. the richter scale was early technology. >> probably a myth that i hear most often is my building is just fine in the loma prieta earthquake so everything is fine. is that true ? >> loma prieta was different. the ground acceleration here was quite moderate and the duration was moderate. so anyone that believes they survived a big earthquake and their building has been tested is sadly mistaken. >> we are planning for the bigger earthquake closer to san

francisco and a fault totally independent. >> much stronger than the loma prieta earthquake. >> so people who were here in '89 they should say 3 times as strong and twice as long and that will give them more of an occasion of the earthquake we would have. 10 percent isn't really the threshold of damage. when you triple it you cross that line. it's much more damage in earthquake. >> i want to thank you, harvey, thanks pat for

. >> i love that i was in four plus years a a rent control tenant, and it might be normal because the tenant will -- for

the longest, i was applying for b.m.r. rental, but i would be in the lottery and never be like 307 or 310. i pretty much had kind of given up on that, and had to leave san francisco. i found out about the san francisco mayor's office of housing about two or three years ago, and i originally did home counseling with someone, but then, my certificate expired, and one of my friends jamie, she was actually interested in purchasing a unit. i told her about the housing program, the mayor's office, and i told her hey, you've got to do the six hour counseling and the 12 hour training. she said no, i want you to go with me. and then, the very next day that i went to the session, i notice this unit at 616

harrison became available, b.m.i. i was like wow, this could potentially work. housing purchases through the b.m.r. program with the sf mayor's office of housing, they are all lotteries, and for this one, i did win the lottery. there were three people that applied, and they pulled my number first. i won, despite the luck i'd had with the program in the last couple years. things are finally breaking my way. when i first saw the unit, even though i knew it was less than ideal conditions, and it was very junky, i could see what this place could be. it's slowly beginning to feel like home. i can definitely -- you know, once i got it painted and slowly getting my custom furniture to fit this unit because it's a specialized unit, and all the units are microinterms of being very small. this unit in terms of adaptive,

in terms of having a murphy bed, using the walls and ceiling, getting as much space as i can. it's slowly becoming home for me. it is great that san francisco has this program to address, let's say, the housing crisis that exists here in the bay area. it will slowly become home, and i am appreciative that it is a bright spot in an otherwise

>> this is one place you can always count on to give you what you had before and remind you of what your san francisco history used to be. >> we hear that all the time, people bring their kids here and their grandparents brought them here and down the line. >> even though people move away, whenever they come back to the city, they make it here. and they tell us that. >> you're going to get something made fresh, made by hand and made with quality products and something that's very, very good. ♪ >> the legacy bars and restaurants was something that was begun by san francisco simply to recognize and draw attention to the establishments. it really provides for san francisco's unique character. ♪

>> and that morphed into a request that we work with the city to develop a legacy business registration. >> i'm michael cirocco and the owner of an area bakery. ♪ the bakery started in 191. my grandfather came over from italy and opened it up then. it is a small operation. it's not big. so everything is kind of quality that way. so i see every piece and cut every piece that comes in and out of that oven. >> i'm leslie cirocco-mitchell, a fourth generation baker here with my family. ♪ so we get up pretty early in the morning. i usually start baking around 5:00. and then you just start doing

rounds of dough. loaves. >> my mom and sister basically handle the front and then i have my nephew james helps and then my two daughters and my wife come in and we actually do the baking. after that, my mom and my sister stay and sell the product, retail it. ♪ you know, i don't really think about it. but then when i -- sometimes when i go places and i look and see places put up, oh this is our 50th anniversary and everything and we've been over 100 and that is when it kind of hits me. you know, that geez, we've been here a long time. [applause] ♪ >> a lot of people might ask why our legacy business is important. we all have our own stories to tell about our ancestry.

our lineage and i'll use one example of tommy's joint. tommy's joint is a place that my husband went to as a child and he's a fourth generation san franciscan. it's a place we can still go to today with our children or grandchildren and share the stories of what was san francisco like back in the 1950s. >> i'm the general manager at tommy's joint. people mostly recognize tommy's joint for its murals on the outside of the building. very bright blue. you drive down and see what it is. they know the building. tommy's is a san francisco hoffa, which is a german-style presenting food. we have five different carved meats and we carve it by hand at the station. you prefer it to be carved

whether you like your brisket fatty or want it lean. you want your pastrami to be very lean. you can say i want that piece of corn beef and want it cut, you know, very thick and i want it with some sauerkraut. tell the guys how you want to prepare it and they will do it right in front of you. san francisco's a place that's changing restaurants, except for tommy's joint. tommy's joint has been the same since it opened and that is important. san francisco in general that we don't lose a grip of what san francisco's came from. tommy's is a place that you'll always recognize whenever you lock in the door. you'll see the same staff, the same bartender and have the same meal and that is great. that's important.

♪ >> the service that san francisco heritage offers to the legacy businesses is to help them with that application process, to make sure that they really recognize about them what it is that makes them so special here in san francisco. ♪ so we'll help them with that application process if, in fact, the board of supervisors does recognize them as a legacy business, then that does entitle them to certain financial benefits from the city of san francisco. but i say really, more importantly, it really brings them public recognition that this is a business in san francisco that has history and that is unique to san francisco.

>> it started in june of 1953. ♪ and we make everything from scratch. everything. we started a you -- we started a off with 12 flavors and mango fruits from the philippines and then started trying them one by one and the family had a whole new clientele. the business really boomed after that. >> i think that the flavors we make reflect the diversity of san francisco. we were really surprised about the legacy project but we were thrilled to be a part of it. businesses come and go in the city. pretty tough for businesss to stay here because it is so expensive and there's so much competition.

so for us who have been here all these years and still be popular and to be recognized by the city has been really a huge honor. >> we got a phone call from a woman who was 91 and she wanted to know if the mitchells still owned it and she was so happy that we were still involved, still the owners. she was our customer in 1953. and she still comes in. but she was just making sure that we were still around and it just makes us feel, you know, very proud that we're carrying on our father's legacy. and that we mean so much to so many people. ♪ >> it provides a perspective. and i think if you only looked at it in the here and now, you're missing the context.

for me, legacy businesses, legacy bars and restaurants are really about setting the context for how we come to be where we are today. >> i just think it's part of san francisco. people like to see familiar stuff. at least i know i do. >> in the 1950s, you could see a picture of tommy's joint and looks exactly the same. we haven't change add thing. >> i remember one lady saying, you know, i've been eating this ice cream since before i was born. and i thought, wow! we have, too. ♪

>> hi. i am cory with san francisco and we're doing stay safe and we're going to talk about what shelter in place or safe enough to stay in your home means. we're here at the urban center on mission street in san francisco and joined by carla, the deputy director of spur and one of the persons who pushed this shelter in place and safe

enough to stay concept and we want to talk about what it means and why it's important to san francisco. >> as you know the bay area as 63% chance of having a major earthquake and it's serious and going to impact a lot of people and particularly people in san francisco because we live on a major fault so what does this mean for us? part of what it means is that potentially 25% of san francisco's building stock will be uninhibit tabl and people can't stay in their homes after an earthquake. they may have to go to shelters or leave entirely and we don't want that to happen. >> we want a building stock to encourage them to stay in the homes and encourage them to

stay and not relocate to other locations and shelters. >> that's right so that means the housing needs to be safe enough to stay and we have been focused in trying to define what that means and you as a former building official knows better than anybody the code says if an earthquake happens it won't kill you but doesn't necessarily say that can you stay in your home and we set out to define what that might mean and you know because you built this house we're in now and this shows what it's like to be in a place safe enough to stay. it's not going to be perfect. there maybe cracks in the walls and not have gas or electricity within a while but can you essentially camp out within your unit. what's it going to take to get the housing stock up to this

standard? we spent time talking about this and one of the building types we talk about was soft story buildings and the ground floor is vulnerable because there are openings for garages or windows and during the earthquake we saw in the marina they went right over and those are -- >> very vulnerable buildings. >> very and there are a lot of apartment buildings in san that that are like that. >> and time to. >> >> retrofit the buildings so people can stay in them after the earthquake. >> what do they need? do they need information? do they need incentives? mandates? >> that's a good question. i think it starts with information. people think that

new buildings are earthquake proof and don't understand the performance the building will have so we want a transparent of letting people know is my building going to be safe in it after an earthquake? is my building so dangers i should be afraid of being injured? so developing a ranking system for buildings would be very important and i think for some of the larger apartment buildings that are soft story we need a mandatory program to fix the buildings, not over night and not without financial help or incentive, but a phased program over time that is reasonable so we can fix those buildings, and for the smaller soft story buildings and especially in san francisco and the houses over garages we need information and incentives and coaxing the people along and

each of the owners want their house to be safe enough. >> we want the system and not just mandate everybody. >> that's right. >> i hear about people talking about this concept of resiliency. as you're fixing your knowledge you're adding to the city wide resiliency. >> >> what does that mean? >> that's a great question. what spur has done is look at that in terms of recovery and in new orleans with katrina and lost many of the people, hasn't recovered the building stock. it's not a good situation. i think we can agree and in san we want to rebuild well and quickly after a major disaster so we have defined what that means for our life lines. how do we need the gasolines to perform and

water perform after an earthquake and the building stock as well, so we have the goal of 95% of our homes to be ready for shelter in place after a major earthquake, and that way people can stay within the city. we don't lose our work force. we don't lose the people that make san francisco so special. we keep everybody here and that allow us to recover our economy, and everything because it's so interdependent. >> so that is a difficult goal but i think we can achieve it over the long time so thank you very much for hosting us and hosting this great exhibit, and thank you very much for joining you. >> when i first moved here people come to san francisco to be the person you want to be can be anyone you want.

>> the community is so rich and diverse that i'm learning every single day san francisco is an amazing photoy town historically been base on evolution and that applies to every single professional field including philanthropic arts today what i do is photo based art manifests traditional forest and some colonel lodge and other frames of digital forest is a meeting that has been changing like super rapid and the quality is not extended by the medium if you took forest in school or you get a job in a newspaper they'll give give you a list of how to create a philanthropic story my goal to break down that model and from a to b that is unique

and allows the ability to incorporate different types of i believey about propels someone through the rise and a fall of their own experiences one of the main things i'm trying to contribute it unconditional narrative form the narrative art of photograph the in between of photos how does a group of photos come together as how to use the space between photos to alight emotional responses from the audience and bring innovation and create bodies of work that narratively function the way that photos do san francisco as the commission came out and you visited me and one of their prerestricts was to find an art with enough work to fill a large says that a quad

down the hallway downstairs and we hung that quad to feel like a train station that constant sensation from all different directions some of the major characteristic of the landscape festivities the blur of the train their 70 miles per hour and they're not perfect as opposed to to what landscape will look like it creates a dichotomy for people insides the train not just the story of the subject it is not just the visual design the composition juxtapositioning, etc. not just all autobiography boo-hoo it creates pictures with meaning within them

and then some of the portraits feel awkward some of them feel welcoming and the person that mime making the picture is really comfortable and other ones feel awkward and weigh i didn't and tense that sensation is counter to what we feel like makes a successful portrait that sensation makes that work it is hard to be an artist in a city is 100 percent focused an business the cost of living is expensive and to value your success not scribble on financial return creates a conflict between the paramount egos in san francisco today. >> you see a lot of artists

leaving for that reason because you need space to make work my ultimate goal to make work that firms people firms this gift and just the experience of life and of their worst and of the amazement the wonderment of everything around us