tv [untitled] July 16, 2010 10:30pm-11:00pm PST
of people living close to them. esthetically -- aesthetically, it is ugly, but the amount of radioactivity we are exposed to is ridiculous compared to the 1800's. i take a look at this case and had a discussion of several of you yesterday about it. is it really health-related? is it really aesthetic? is it really going to affect your quality of life? we are going to see more of this because if you go to japan,
korea, china, they're much further ahead with all of these hand-held devices. i have not seen any studies, i have not seen much of an increase. if you look at sites of short, it is a very complicated area. i understand the concerns of the neighborhood. based on the information we have now and the competition, we have to have a level playing field. commissioner moore: i just wanted to pick up on what commissioner sugaya was saying. we should add a condition that says once the technology changes, they need to take the antenna's down. that is for television, nobody
uses them anymore. we are leaving behind a dead technology that clutters up our rooftops. >> i feel like they are sort of being held hostage to the technology and to the neighborhoods and the interface between them. we talk about 3g and 4g technology that requires more than what you have now. old technology was only six months ago. what is coming next year? i don't know. to me, there is very little we can do in these situations to appease everybody.
we can't even get city wide coverage for wi-fi. >> commissioner moore, just to clarify, there is the six month clause that is a standard condition. >> there is a motion and a second before you. the motion is to approve the project as submitted. commissioner antonini: aye. commissioner lee: aye. commissioner moore: no. commissioner sugaya: aye. >> so moved, commissioners. that puts us at public comment. they can address anything except
for agenda items with one exception. if members of the public were allowed to testify, they have closed the public hearing. your opportunity to address the commission must have been exercised during the public comment portion of the calendar. each member of the public may address the commission for up to 3 minutes. president miguel: is their public comment for any items not on the agenda? >> t-mobile is planning on putting a store in that building. they have not applied. i just want you to know that it is happening. president miguel: is there additional public comment? if not, public comment is closed at a hearing is over.
welcome. i understand this is the 13th annual festival. can you tell me the name? >> the name is a celebratory name. we also celebrate what we call the asian-pacific islanders as well, in terms of culture, experience, and multidisciplinary arts. >> the festival is actually very wide-ranging. you have 16 venues, and how many different performing arts centers? >> we have over 85 artists participating, 16 venues, 21 events. there are over 15 groups that are performing. >> there recently kicked off at
the beginning of may and will continue through june 13? correct? >> that is correct. unlike in the past years, we have had to expand the festival because there has been so much activity and so many people want to be part of the celebration. we're very honored and pleased to have the festival going all the way into june. >> we're kind of coming in on one of the groups. >> francis is one of the pioneers of the asian american jazz movement and is also one of san francisco's very own. we're very honored at the cultural center that we can be part of the program. >> an addition to him, what are some of the other highlights of the festival? >> we have three gallery openings in the festival. one is called reclaim, which is a film art.
the others are receptions that are happening at four different the supervisors' offices. the other is called mining the creative source. >> think you for sharing the content with us on "culture wire." >> thank you very much. >> it is in celebration of the 40th anniversary of the strikes at uc-berkeley of the study of ethnic studies. it is a celebration of that history, as well as some of the other items. >> what led to this multidisciplinary collaboration? >> i am from san francisco, and from the 1960's on, that is the aesthetics. the poets, working with the musicians, dancers, the waitresses, the jazz club, actors, whatever. the idea is we are all a
community and we share this common story. >> did you reach out to the dancers? how did it come together? did they come to you? >> the choreographer and dancer actually was a student of mine and residency in cameron house and chinatown. i developed a friendship with her over many years, and also with the spoken word artists. i met him at a benefit at one of the benefits in chinatown. it is part of that ongoing really rich relationship building that happens in our arts community. >> i got a chance to hear a little bit of your performance, and i am a big fan of john coltrane, and you play a phenomenal sax. can you tell me a little about your musical influences. >> a particular piece about john
coltrane was he reached out to asia and his global vision. as an asian american growing up and coming up in this country seeking some recognition, that was a very meaningful, making that kind of contribution. i really owe a debt to john coltrane for recognizing my culture and uplifting it as part of the music as well. >> i know that your family history is really rich and complex in terms of illustrating how the chinese has occurred over the last two centuries. it could talk about that? >> it began in the 1870's, when my great grandfather, instead of coming with everybody else to the united states to build a railroad, he went off the coast of madagascar are. -- madagascar are. he met a woman there who is