ancestors gave. i am the dream and the hope of the slave. i rise, i rise, i rise. . my family comes from the southern gospel church tradition my parents from texas and that also inform the music and the kind of energy in the

art form of soul and gospel tradition to the ship so my shoulders away the streams how long has each one gone? take my blood is worth more than being a long way. >> my grandmother was the voice of like marshall texas ruby mae watkins and what we have on embers of the gift that she possessed. so my father he was blessed with the gift and he transferred dow to my sister and to myself. and so i've been carrying it forward. >> we are aware of your fear and exhausted from having to hide who we are but pretending that we're lust won't make you stronger in the end. >> i grew up in bill chapel c m church in bayview hunters point

. we had jimmy on the jimmy williams as the choir director and he was hard. he was he was, you know, getting that people who were not delivering on time. so i made it my business to make sure he didn't get at me. so i wanted to complete my assignments, hit my harmonies, do my solos and it was also helping forge a certain level of of of toughness and ability with this natural gift, you know, so all these different things went into what made me want to choose to make music in a certain direction because a lot of the music that i make has community and spirit involved in it. it's a bit of a mystic ministry that i'm borrowing from this omniverse and doing my best with putting it to song with maybe a new chord change or a different kind of beat, you know and boom on the other side in the world of the song in san francisco in specific as a musician i have been responsible for putting some paint where it ain't as we like

to say if i don't see enough artists being elevated or platforms welcoming people who create the kind of work that i create then i will start the festival rebel soul festival acoustic soul festival ran for years at the jerry garcia amphitheater. we've done some things over at what was yoshi's at one time we produced events over at the s.f. jazz center at moet at moma. the list goes on because i'm not just an artist who's out here saying hey, would you please listen to my demo? i'm actually someone who's going to go corral the audience, get the other artists lined up, produce the events, sell the tickets, go find sponsorships, bridge partnerships with community partners. it's a it's a process but when it comes down to delivering that heartfelt so that classic good feeling music or that modern day twisted avant garde approach to jazz, blues, gospel rock and roll hip hop there's no real boundaries. it's just good music and that's what we're responsible for. so what the music scene in san francisco you've seen and

heard my word possibly on those stages i've played all over this city and i continue my wife and i started the people's garden and basically had this point where we now have created the stage for other artists to get up and make sure they have a platform for their works to be seen and heard and for them to get a respectable coin in the process. it's easy to to look at the talent in the music talents as if that's not something that you should pay your money for. so as opposed to just talking about it or making complaints we are creating opportunity. so my impact on the city of san francisco we'll see in time what that may or may not be but as of right now i'm not looking for residual or reward for effort. i'm constantly making waves because that's the only way our surfboards can rock 25 years to life and he's gone where he is now and who's going to help

take care of home model? >> well, the something to the core look, will she know your will then just take her all in some no oh well to the world you might be one person but to that person you might be the one who you are somebody's super star somebody's super star you are somebody so you are somebody super you are is

somebody super super star i gre cuisine mixed with american cuisine, and grew up cooking with my grandmother. as i grew older, i really found a lot of joy and fulfillment in cooking and coming up with my own recipes. once i got into the fire department, it was a really easy

transition to cooking on a daily basis. my mom said, if you love to eat, you will know problem learning how to cook. it's like cooking for your family especially since this is a blue collar job and regular people food. that is a lot of things that go on into preparing firehouse meals. we pay for our own meals. we go, we shop and we spend

divided upon the amount of people in on the meal. in the morning, there is a sign up board and you can sign up for lunch and dinner. my name is figueroa and at station 5 is pillar. when we go in typically, we sort of span out in our meals situation and whoever is cooking dictates to what we are going to eat. we are going to take care of the pasta, bread, heavy cream, eggs, a pound of butter. three polish killbasa and onion and garlic. >> you have a lot of people

hustling. >> we are doing this technique on the chicken where we are going to cook it in high heat for about 15 minutes and turn it down. we started at 425, and dropped the temperature at 375. >> my name is oj leonardo, a firefighter first, always, for the city and county of san francisco. >> it's unique. one of the few houses where the officers cook. they are on the cooking detail. so cooking is a big part of our tradition here in the fire department. when you cook for your folks, you are showing how much you care for them.

you don't have to be an excellent cook, just show that you care. when you are at home, you put whatever you want together and people will eat it. there are no rules. in the firehouse, it's a different story. now, whoever is cooking, the first thing we ask is, no. 1, are there any diet restrictions because one of my firefighters is kosher and vegan. here at 12, we make sure that everyone eats. >> when i'm planning my meals, i tend to weigh it, i guess is the best way to describe it. i don't make a list, i don't typically go from recipes. i will sort of go into the rolodex in my mind and think of what possibilities i have

depending on if it's cold outside, if it's hot, do you want to barbecue, do we want a soup, a salad, go light, heavy and decadent. when i first came in, i had some experience in cooking. i think the big difference for me was knowing how to cook for many people and how to shop. that was a pretty big deal because i had no idea how many chickens to get to make roast chicken for 11 guys. luckily, i had some really cool people help me along the way. when goaledberg, who was a staple here at station 5 was we me the first day that i cooked and he said, look here kid, you are going to be all right. we are getting this many salad,

chicken, pasta and you will be all right. don't worry about it. he was throwing things in the shopping cart and i could barely keep up. i thought how is he going to turn all this for a meal for the guys. that's really where i had to wrap my behind around this is how we do it here. lloyd, and all the people here at 5, when i first came in were nothing but helpful when it came to that and everything and parting knowledge to the next person, the next generation is being part of being in this fire department. they for the most part know and every once in a while something new.

>> when we get dispatched to a call, we'll put everything on hold and will do whatever duties we need to fulfill and then we'll come back finish cooking and go on with the day. >> the biggest challenge for me is to make sure that i have a meal that everyone likes. that's the biggest scare. if they don't like it, one guy is on the phone calling for pizzas and the rest are scraping their meal. that has happened. it's really important to pass on traditions. station 5 is famous for setting up the linen, the cloth and tradition. once you have caesar in the firehouse, you won't have it again outside the firehouse.

>> i'm filipino and had my grandmother in the kitchen. we learned how to cook because we were always helping my mom in the kitchen. my mom never measured anything, neither my grandma and i had to always watch because when they turn their back, that is where they made their move. now with cooking, i use simple ingredients and let them speak for themselves. >> i think there is something to be said about coming together and sharing a meal. there is something that happens, some kind of magic that happens spinning across the table. you know, it's a moment where everybody has something in common. the next thing you know people are talking and engaging and there is a sense of community, and that's important whether

it's in the firehouse or outside of the firehouse. that's why it's important in my family that we eat together. >> the biggest thing that the food that i cook for them and we do together is to show how much you love your fellow firefighter. that's our bond. we do it through food. it's more than just the food. i remember we had two of our firefighters pass away in a fire that turned into something. we were together at that moment, and we were able to talk about them and think about them before we started our meal and during our meal. and we would just sit there and just be together and have a moment. in the end, being a firefighter, is all about people. if you love people,

this is the job for you. if you see people in need and respond to people in need, and then you are sharing meals with your fellow firefighters, it's a people business. so, that food just makes that bond even greater. if you are eating, you are paying. so all of you guys, i hope brought enough money to pony up. [ laughter ] oh, this is something. i told you, who needs to measure. [ laughter ]

in the fire department, everyone is willing to help. you have to bring your a game. come on out to u.n. plaza well we have the most recent addition to our fabulously renovated un plaza.

it's 21,000ft2 of incredibly designed space by alexis sablone who is a nationally recognized skater and architect . >> and this particular project is a great partnership between the richmond park department, the civic center cbd converse and the skate park foundation. and ultimately the goal here is to make sure that un plaza is a place where we are all welcome, where we all feel safe, where we can all enjoy each other and recreate and we've had over 350,000 visitors to this space and very significantly we've seen a reduction of unhealthy activity and crime here approximately 80% and skaters are absolutely welcome here. we want to celebrate the skating community, its incredible history and what it's done for the texture and fabric and culture of our city

[♪♪♪] >> i really believe that art should be available to people for free, and it should be part of our world, you shouldn't just be something in museums, and i love that the people can just go there and it is there for everyone. [♪♪♪] >> i would say i am a multidimensional artist. i came out of painting, but have also really enjoyed tactile properties of artwork and tile work. i always have an interest in public art. i really believe that art should be available to people for free,

and it should be part of our world. you shouldn't just be something in museums. i love that people can just go there, and it is there for everyone. public art is art with a job to do. it is a place where the architecture meets the public. where the artist takes the meaning of the site, and gives a voice to its. we commission culture, murals, mosaics, black pieces, cut to mental, different types of material. it is not just downtown, or the big sculptures you see, we are in the neighborhood. those are some of the most beloved kinds of projects that really give our libraries and recreation centers a sense of uniqueness, and being specific to that neighborhood. colette test on a number of those projects for its. one of my favorites is the oceanview library, as well as several parks, and the steps.

>> mosaics are created with tile that is either broken or cut in some way, and rearranged to make a pattern. you need to use a tool, nippers, as they are called, to actually shape the tiles of it so you can get them to fit incorrectly. i glued them to mash, and then they are taken, now usually installed by someone who is not to me, and they put cement on the wall, and they pick up the mash with the tiles attached to it, and they stick it to the wall, and then they groped it afterwards. [♪♪♪]

>> we had never really seen artwork done on a stairway of the kinds that we were thinking of because our idea was very just barely pictorial, and to have a picture broken up like that, we were not sure if it would visually work. so we just took paper that size and drew what our idea was, and cut it into strips, and took it down there and taped it to the steps, and stepped back and looked around, and walked up and down and figured out how it would really work visually. [♪♪♪] >> my theme was chinese heights because i find them very beautiful. and also because mosaic is such a heavy, dens, static medium, and i always like to try and incorporate movement into its, and i work with the theme of water a lot, with wind, with

clouds, just because i like movements and lightness, so i liked the contrast of making kites out of very heavy, hard material. so one side is a dragon kite, and then there are several different kites in the sky with the clouds, and a little girl below flying it. [♪♪♪] >> there are pieces that are particularly meaningful to me. during the time that we were working on it, my son was a disaffected, unhappy high school student. there was a day where i was on the way to take them to school, and he was looking glum, as usual, and so halfway to school,

i turned around and said, how about if i tell the school you are sick and you come make tiles with us, so there is a tile that he made to. it is a little bird. the relationship with a work of art is something that develops over time, and if you have memories connected with a place from when you are a child, and you come back and you see it again with the eyes of an adult, it is a different thing, and is just part of what makes the city an exciting place. [♪♪♪] >> who doesn't love cable cars? charging emissions and we're free which we're proud of you know, it's not much free left in the world anymore so we managed to do that through donations and through our gift shops. you got

a real look and real appreciation of what early transit systems are like. this was the transit of the day from about 1875 to about 1893 or later, you know. cable car museum is free, come on in. take a day. come down. rediscover the city. you can spend as time you want and you don't have to make reservations and it's important to be free because we want them to develop a love for cable cars so they do continue to support whether they live here or other places and people come in and say, yes, i have passed by and heard of this and never come in and they always enjoy themselves. people love cable cars and there's none left in the world so if you want to ride a cable car, you've got to come to san francisco. that what makes the city. without the cable cars, you lose part of that, you know, because people who come here and they love it and they love the history ask they can ride a cable car that has been running since 1888 or 1889. wow! that's something.

can't do that with other historical museums. rarely, have i run into anybody from outside who didn't come in and didn't feel better from knowing something about the city. it's a true experience you'll remember. i hope they walk away with a greater appreciation for the history, with the mechanics with people are fascinated by the winding machine and i hope the appreciation, which is a part of our mission and these young kids will appreciate cable cars and the ones who live here and other places, they can make sure there will always be cable cars in san francisco because once they are gone, they are gone. it's the heartbeat of san francisco that founded the cable and the slot and without the cable cars, yeah, we would lose something in san francisco. we would lose part of its heart and soul. it wouldn't be san francisco without cable cars. [bell ringing]

♪♪ ♪♪ i'm shawn quigley the founder of paxton gate that's where we are here on ra11sia street. >> it started more of a quirky gardening store. we leaned in this quirky side over the years and started with insects and learned how to hydrate them and symmetrical or natural poses. which then went into small taxidermy. i saw interest in the oddity side and purposely expanded that to more of a natural side oddity store. this is interesting mechanical parts in the beetle.

african porcupine is cool. they look at their eyes. i grew up on what many call a farm but it was in the to us. we raised animals it a garden i was involved with plant. had a rock collection. collection goes from your basic house plants to an air plant. avoid this term people happening they survive on air alone they do need water. i went to school for business here and finishing up at sf state. and this idea fell in my lap and masterfuled my interests and i learned a lot over the years. i like to view it as like a museum experience. rather hahn sales people they might be like dossants they are not hard selling you but more

conveying informing or knowledge about the products. teeth, that's the giant shark that would get up to 60 feet long. we are launching class we did them before the pandemic. a bunch of hand's on learn to do things classes that we are getting around to relaunching. this is our insect spreading kit. inside is a striped needles, forceps, instructions and the other tools you need to take up the hopy of spreading insects. had is a prize to many people is 80% of the stuff we get is from vendors or merchants. people think do you tremendous finding these. i don't get to do this.

that is a still born kitten that had one eye. the most common question is, is it real. almost everything is. we have replicas like the sabre tooth tigers and things that would be present low expensive to procure and sell or illegal we'll do replicas we have, lot of real stuff. ♪♪