By Steven T. Jones
For the last year, the Guardian has been trying to get mainstream San Francisco to pay attention to the mounting threats to this city’s nightlife and outdoor events. Last night, the issue finally started getting some traction when the San Francisco Democratic County Central Committee overwhelmingly approved a resolution calling on the city to value fun and enact policy changes to protect it (to read the resolution, click here and select “Nightlife and Festivals Resolution”). Kudos to all the representatives who supported it and to the Outdoor Events Coalition and Nightlife Coalition for their advocacy on the issue. There are signs that Mayor Gavin Newsom is coming around on the issue, but the real test will be whether he can rein in the bureaucracy’s hunger for bigger fees and make fun a priority in his next budget update. BTW, it would also be nice if the Chronicle, Examiner, and local TV stations would start paying attention to an issue that goes to the heart of whether San Francisco maintains its lively culture. We really can’t be the only ones that love a good party, can we?

Photo from How Weird Street Faire, courtesy of Mv.gals.net
Budget
Score one for fun
The four men in “The Iron Mask”
When The Iron Mask screens at this year’s San Francisco International Film Festival, four disparate cinematic personalities will merge – three in spirit and one in the flesh.
Now 68, Kevin Brownlow made his first feature film, 1966’s It Happened Here, while in his 20s and subsequently published two books, one (How It Happened Here) on the making of that movie and another (The Parade’s Gone By) featuring interviews with silent-era filmmakers and stars. At that time, the silent era was almost like a technical glitch to be overcome and forgotten. But Brownlow would soon help immortalize great early works through his interviews and his pioneering skills as a restorer.
At the Castro Theatre, Brownlow (the recipient of the SF Film Society’s Mel Novikoff Award, whose latest movie, Cecil B. DeMille: American Epic, also screens at this year’s festival) will present 1929’s The Iron Mask. That movie’s star, Douglas Fairbanks, had an effortlessly cheery, energetic onscreen persona, performing his own, Jackie Chan-like stunts. He also ran a tight ship offscreen, controlling nearly every aspect of his business empire. When Fairbanks began planning his extravagant 1922 film Robin Hood, with its record million-dollar budget, director Allan Dwan landed in the driver’s seat. A crackerjack action man, Dwan could keep up with Fairbanks and move things at a brisk pace; Dwan would go on to direct about 400 films, most of them considerably cheaper.
Fairbanks hired Dwan once again for The Iron Mask, a follow-up to 1921’s The Three Musketeers in which Fairbanks would reprise his role as D’Artagnan. The film is not without its breezy, exciting moments, but by this time Fairbanks was 46 and beginning to slow down. He seemed to understand that his antics no longer coincided with the times; his D’Artagnan is a bit long in the tooth and meets a less heroic ending than does the typical Fairbanks hero. Concurrently, talkies had begun to draw the curtain on silent pictures. Fairbanks recorded two talking interludes for the film, which only add to its heartbreaking, elegiac nature. When The Iron Mask was restored, the great modern composer Carl Davis, whose work currently graces a number of silent movies on DVD, recorded a 42-piece orchestral score worthy of the film’s energy and its melancholy. Fortunately, as Brownlow will no doubt demonstrate, it’s possible to see the film with new eyes. In that, there’s no reason to be sad. (Jeffrey M. Anderson)
CECIL B. DEMILLE: AMERICAN EPIC Sat/28, 9:15 p.m., Kabuki
THE IRON MASK: AN AFTERNOON WITH KEVIN BROWNLOW Sat/28, 2 p.m., Castro. $9-$12
KEVIN BROWNLOW: AN INTRODUCTION TO SILENTS Sun/29, 5:30 p.m., PFA
Resurrection blues
› kimberly@sfbg.com
Sure it’s all about puppy love, music-geek boners, and clean-cut strangers offering to be their dog now, but as Iggy Pop declared during a crowded onstage interview at this year’s South by Southwest fest in Austin, Texas, back when the once-decried Stooges first burst blown-out, bratty, and oozing monosyllabic menace, bristly distortion, and snotty attitude from Ann Arbor, Mich., "the two things were, ‘They can’t play.’ " He gestured toward the two other surviving original Stooges, guitarist Ron Asheton and his brother, drummer Scott, then nodded almost imperceptibly toward himself. "And ‘We hate him!’ "
Thirty-four years after the Stooges called it quits the last time around, that animosity was absent the next night as the Stooges packed the dirt expanses of Stubb’s in Austin. The Stooges’ first two albums, 1968’s self-titled debut and 1970’s Fun House (both Elektra), left an indelible, grotesque yet groovy, brutal bruise on rock’s flower-power posterior with the most proudly primal and corrosive art rock ever generated by smarter-than-they-looked-or-sounded troglodytes enamored of the dirty blues, garage rock, and free jazz. And now it looked like the surprisingly mixed mob at Stubb’s of T-shirted record collectors, black-garbed rockers, shaggy hipsters, gray-haired codgers with pasteled wifeys, buttoned-down frat boys, and straightened-haired patrician blonds was all in on the joke and the joy of still-powerful songs such as "1969" and "TV Eye." A deeply tanned, limber Pop undulated above the mass, flailing and bounding like a bronze lizard made of bubble gum and Motor City tire rubber, seemingly swallowed by the crowd, then spat back out while the Ashetons, Mike Watt on bass, and Pacifica resident Steve Mackay on sax punched through bleeding, blighted versions of "No Fun" and "Loose."
Still, you couldn’t help tearing your peepers away from arguably the finest rock combo ever to roll off Detroit-area assembly lines to wonder who were all these people? Deeply closeted Stooges fans who wore out the grooves of their gatefold Fun Houses in the dark beside dank jocks and dusty sneaks? Surely there were more Three Stooges Usenet newsgroups than Stooges message boards? If you weren’t even born when a band first came around, does the connection you forge with the group and its work still count as nostalgia?
What does someone in the middle of the Stooges reunion storm, such as Ron Asheton, feel about the newbs and the love lavished even as the band fails to gather enough votes to be inducted into the Rock and Roll Hall of Fame despite multiple nominations?
"It’s the best time. It’s superfine," the 58-year-old Asheton says from Ann Arbor. "Especially since the audiences are more receptive than they’ve been in the past. They know the songs. It’s kind of like the world has caught up with the Stooges."
Between playing with bands such as Destroy All Monsters and acting in low-budget horror flicks such as Mosquito, Asheton a born raconteur given to wicked, basso profundo Pop impersonations and swoopingly dramatic vocal flourishes has been holding down the inherited Asheton family homestead as the only remaining Stooge left in Michigan while Scott and Pop spend most of the year in Florida. He was prepping for the start of the reunited Stooges’ first full US tour and looking forward to working on the 30 or so additional songs written during the making of The Weirdness.
SFBG Why do you still live in Michigan?
RON ASHETON I love it. It’s a beautiful state. I love the Great Lakes, and I have a place on Lake Heron that I get to go to infrequently. When I was younger, we moved so much that when I finally got to Michigan, I said when I was 14, [miming a pouty teen] ‘I’m never moving again!’ Though I did live in California for six years when Main Man Management took the Stooges to LA being here was like being in the backwater rather than being close to the action when you’re young and stupid!
SFBG How do you feel about The Weirdness?
RA When I listen to it, I can’t just listen to it once I really do, it’s true! I listen to it twice, and I picture people in the summertime, riding in the cars or sitting by the campfire on the beach or having a backyard party.
It was really fun to do it differently than in the past, where with the first record, we had one week. I never heard the record till it was actually in the stores. The second, Fun House I heard the acetate shortly before it was released, and that only took two weeks. This one took three weeks, and I got to be one of the producers.
SFBG Why weren’t you able to listen to The Stooges before it came out?
RA That’s the way record companies dealt with things. It was just taken out of our hands after we were done "You kids are dismissed! Leave the room!" The producer [John Cale] and the owner [Jac Holzman] of the record company took the record, and they got a new toy! "Yeah, I paid for it! I can do whatever I want with it!" So it was very smart of Iggy to want to have control of the new record.
SFBG The Stooges always wrote songs based from the start on your guitar riffs. How did you develop the songs this time?
RA We did it on this also. The only difference now was it was concentrated going down to Florida and me walking in the building, plugging in my guitar, and starting to play. Iggy lurking about same thing. Coming up with things just off the top of my head, and Iggy saying, "Hey, I like that!"
SFBG How would you describe the Stooges’ dynamic, writing and playing together?
RA I think part of it is we actually grew up together. Being teenagers and deciding to get a band house and getting that first summer sublet and finally getting kicked out of there and moving on and getting another place, that common bond of doing everything together. We literally ate dinner together, went out, cruised the town, went to parties, knowing we were part of the birth of that ugly baby the Stooges! *
STOOGES
Thurs/19 and Sat/21, 8 p.m., $39.50$45
Warfield
982 Market, SF
(415) 775-7722
For more from Ron Asheton, go to www.sfbg.com/blogs/music.
Writing the book on cinematic sound
› a&eletters@sfbg.com
Where to start with the work of Ennio Morricone? The composer and musician has scored more than 400 films, so the task for the curious listener, let alone for the intrepid film curator, can be daunting. His most famous soundtracks have become a kind of enduring synecdoche, capable of summoning not just a particular title but an entire genre think of the evocative power of the ocarina flourish in The Good, the Bad and the Ugly (1966). Countless others, unearthed from the vaults every few years, are often the only artifacts we have of titles mostly sexy thrillers and low-budget police procedurals long since forgotten (see Dagored’s impressive reissue catalog of Morricone’s more obscure Italian scores). The Castro Theatre has assembled a decent pocket guide Il Maestro for Dummies, if you will which includes chestnuts such as 1986’s The Mission (his biggest Oscar snub and crossover success) and the more rarely screened and heard, such as Sam Fuller’s 1982 tale of a racist canine, White Dog.
Morricone first garnered international attention for his collaborations with Sergio Leone, in which he underscored the rugged beauty of the director’s lawless western mesas by adding ethereal choirs, noble strings, lilting harpsichord, and fuzz guitars that dart like rattlesnakes across the landscape. It’s an approach perhaps best encapsulated in his gorgeous theme for 1968’s Once upon a Time in the West, also included in the Castro’s lineup.
By that time Morricone had already proven himself to be a protean asset to directors regardless of genre, given his ear for unusual timbres and sensitivity to emotional coloring. He could sum up the tragic cost of liberation in a simple martial tattoo, as he did in Gillo Pontecorvo’s The Battle of Algiers (1966), or use his extensive compositional training to achieve twisted, discordant ends, as heard in his score for the 1968 psychological thriller A Quiet Day in the Country.
It is the darker, freakier side of Morricone, deliciously showcased on the 2005 Mike Pattoncurated compilation Crime and Dissonance (Ipecac), that has most consistently entranced this listener and could provide enough entries for its own film festival. The Doors-esque theme for Dario Argento’s 1971 giallo Four Flies on Grey Velvet kicked off with a chaotic drum roll worthy of the Muppets’ Animal only hints at the bleating, echo-laden trumpet (often played by Morricone himself), cackling snippets of wah-wah guitar, frantic free jazz drumming, and creaking gongs that would later accompany the supernatural goings-on and criminal activities in films such as The Antichrist (1974) and The Cold Eyes of Fear (1971). The score for the latter was the only one Morricone ever performed with his avant-garde orchestral ensemble, Gruppo di Improvvisazione Nuova Consonanza.
His work on these pulpy flicks, like his celebrated spaghetti western scores, are only one facet of the embarrassment of riches constituting Morricone’s oeuvre. To call the honorary Oscar he received at this year’s Academy Awards long overdue is a gross understatement. Hollywood’s acknowledgement seemed almost too little too late for someone who has so profoundly shaped how we hear, and in turn how we see, movies. *
LEGENDARY COMPOSER: ENNIO MORRICONE
April 2025
See Rep Clock for show info
$6$10
Castro Theatre
429 Castro, SF
(415) 621-6120
>
The fun keeps dying
By Steven T. Jones
How Weird Street Faire’s fate got even worse since my last post, with the San Francisco cops now saying the organizers need to cough up $23,833 in fees, to be paid before the May 6 event. What is this, a shakedown? Somebody call a cop. Or maybe someone at City Hall should call off the cops.

Unfortunately, the city’s punitive approach to its most beloved street fairs and festivals only got worse last night when Recreation and Park Department staff convened members of the Outdoor Events Coalition to say they’re recommending substantially increased special event fees, so big that events like Bay to Breakers, Love Fest and other events could cease to exist. Rec and Park, an increasingly incompetent department that has bungled its way into a $2 million budget deficit, say they need big bucks to cover their costs and wipe out the red ink. Their proposal calls for charging $50,000 to use the Golden Gate Park polo field, $25,000 for Civic Center Plaza, and $12,000 for Mission Dolores Park. And on top of all this, the city has banned booze from the Haight Ashbury Street Faire of all places. Last year, we warned that fun in the city was under siege. Now it’s starting to look comatose.
The fun keeps dying
By Steven T. Jones
How Weird Street Faire’s fate got even worse since my last post, with the San Francisco cops now saying the organizers need to cough up $23,833 in fees, to be paid before the May 6 event. What is this, a shakedown? Somebody call a cop. Or maybe someone at City Hall should call off the cops.

Unfortunately, the city’s punitive approach to its most beloved street fairs and festivals only got worse last night when Recreation and Park Department staff convened members of the Outdoor Events Coalition to say they’re recommending substantially increased special event fees, so big that events like Bay to Breakers, Love Fest and other events could cease to exist. Rec and Park, an increasingly incompetent department that has bungled its way into a $2 million budget deficit, say they need big bucks to cover their costs and wipe out the red ink. Their proposal calls for charging $50,000 to use the Golden Gate Park polo field, $25,000 for Civic Center Plaza, and $12,000 for Mission Dolores Park. And on top of all this, the city has banned booze from the Haight Ashbury Street Faire of all places. Last year, we warned that fun in the city was under siege. Now it’s starting to look comatose.
Cut off war funding
EDITORIAL On Jan. 12, a couple months shy of the fourth anniversary of the invasion of Iraq, the secretary of defense, Robert Gates, appeared before the Senate Armed Services Committee and put to rest any question of whether the conflict in that country can be declared a civil war:
"We face, in essence, four different wars," he said. "The war of Shia on Shia, principally in the south; sectarian conflict, principally in Baghdad and the environs of Baghdad; third, a Baathist insurgency; and fourth, al-Qaeda."
The Pentagon made it official March 14, when a report declared that "in some ways" Iraq is in the throes of a civil war. The report also noted that October through December 2006 was the most violent three-month period since 2003.
The carnage is horrible: more than 3,000 US troops have been killed. The United Nations, according to Reuters, says some 34,500 civilians were killed in 2006 alone. About 2 million Iraqis have fled abroad, and another 1.7 million have moved elsewhere in Iraq to escape violence and sectarian cleansing.
The cost is spectacular and almost unfathomably tragic: more than $400 billion so far. The money that San Francisco alone has spent on the war could have paid for 12,000 affordable housing units, the National Priorities Project estimates. All of that money has come in special supplemental budget requests, so it hasn’t been a part of any rational budget discussion.
And yet while the Democrats have offered an alternative plan to withdraw from Iraq, party leaders are still refusing to do what Congress has every right to do: demand that no more money be spent on combat operations in Iraq, set a timetable for pulling out the last troops and specify that not a single dollar will be spent on anything except safely removing US personnel.
Hillary Clinton, by many accounts the front-runner for the Democratic presidential nomination, even said last week that she thinks the United States will have a military presence in Iraq for years to come.
The opposition party has to do better than that.
Seventy percent of Americans oppose the war. The allies are getting ready to bail: Prime Minister Tony Blair just announced the British have set a timetable for withdrawing troops. The protests in the streets during the past few days should be a signal to Rep. Nancy Pelosi: Congress can’t pass nonbinding resolutions and come up with plans that the president can simply veto. George W. Bush has no intention of listening to what the public wants. In a March 19 speech he proclaimed that "the fight is difficult, but it can be won." Translation: the war will continue as long as Bush is in office unless Congress forces him to stop it. And the only way to do that is to cut off funding.
Rep. Lynn Woolsey (D-Petaluma) has introduced legislation that would block further war spending but fully fund a deliberate withdrawal aimed at pulling the last US troops out by the end of this year. Rep. Barbara Lee (D-Oakland) is a cosponsor. Pelosi needs to sign on and put the power of the new Democratic majority behind the only feasible plan to end what the New York Times is calling an "unnecessary, horribly botched and now unwinnable" war. *
NOISE: How very SXSW – Federation, Saafir, Jandek, Silver Daggers, “Monotract,” and more
Shame you gotta to go-go-go to Austin to see Bay hip-hop talents like the Federation, Saafir, the Pack, Kirby Dominant, and Rico Pabon. They more than made up for it with a Friday, March 16, showcase at Blender Bar Patio.

Federation get up for Saafir, holding it up (and down) stage left in the audience. All photos by Kimberly Chun.
The rarely seen, good-natured Saafir was great, spitting “Crispy” and “Cash Me Out,” as the Federation cheered from the sidelines.

Saafir makes The Transition live.
After the Pack – who were said to have performed atop booker Todd P’s car at his series of Mrs. B’s house parties earlier that week – Federation got it up for the crazed crowd, bringing out the Pack for the last few songs. More dancing was sighted in the Patio tent than, well, maybe ever…

Federation stun ’em.
The next night, March 17, the Load Records showcase at Room 710 brought out all-ages noise-skronk fave Silver Daggers, who invited the entire audience up on stage at the end. Thurston Moore was in the haus, helpfully finding a wallet on the floor.

The crowd blew it up with Silver Daggers.
Next up, the broken-up NY band “Monotract” got up on stage – and lo, it was Moore with his Ecstatic Peace noise lineup including Monotract’s Nancy Garcia on guitar, Burning Star Core’s C. Spencer Yeh on violin and vocals, and Magik Marker’s Pete Nolan on drums. Nice, nice noise.

Thurston Moore works it out with “Monotract” once more.
On a completely different rock tip, I caught ex-Guardian staffer and Budget Rock organizer Chris Owen’s Hook or Crook showcase. By all accounts, Hank IV ruled; the Golden Boys followed with tuneful garage.
Golden Boys horn in.
Burning Star Core also showed at Holy Mountain’s show at Spiro’s, March 16, alongside Blues Control, Lesbian, Wooden Shjips, and Psychic Paramount. Tokyo psych duo Suishou no Fune built slowly, burned softly.
Burning Star Core on a slow burn.

Suishou no Fune fuming.
SF’s Wooden Shjips drew the biggest crowd that night – thought they sounded great, like souped-up Velvets. The frontperson for Psychedelic Horseshit cheered up front.
Wooden Shjips bend light eerily.
One of the fest’s highlights, however, had to be Jandek’s extremely rare performance, backed by what looked like Oaklander and former Houstonite Tom Carter, at the Central Presbyterian Church. Vulnerable lyrics coursed through thoughtful noise improv – ending with the sole standing O that I witnessed this year.

Is that Jandek or is that a preacher man straight outta Flannery O’Connor that I spy?

SFIAAFF: Got fangs?
› kimberly@sfbg.com
What a difference an indie blockbuster makes. The last time I spoke to Better Luck Tomorrow writer and director Justin Lin, he was energetically doing the grassroots festival rounds, beating the shrubbery on the importance of Asian Americans making Asian Pacific Islander films with empowered, complex characters. Yet judging from the craft, ideas, humor, and humanity that went into Lin’s compelling final product, luck was only one part of it. Rather, it was a game of wit, tenacity, and persuasion that archetypal overachiever Lin excelled at (he’d already made one indie, 1997’s Shopping for Fangs). It probably seemed like gravy, with rice noodles on the side, when the MTV Filmsreleased Better Luck Tomorrow broke new ground during its 2003 opening weekend, earning almost $400,000 in 13 theaters, averaging $30,650 per screen and thus beating the averages of other MTV releases such as Jackass: The Movie.
Now, five years after I first talked to Lin, he has paid off the quarter-mil credit card debt he’d accrued in financing Better Luck Tomorrow and parlayed his success into studio work: 2006’s Annapolis and The Fast and the Furious: Tokyo Drift, a sequel that attempted to correct the damage done by the first film’s rewrite of Asian car culture. Lin is still one of the only API faces behind the camera in Hollywood ("At directors guild meetings you definitely stick out," he confesses with a chuckle), but in the process of gaming the studio system, he’s been able to return to what he calls "passion projects." In fact, earlier in the day of our interview, he’d just completed Finishing the Game his imagined retelling of the making of Bruce Lee’s posthumous cash-in deathsploitation flick, Game of Death a comic take on Asian American masculinity, Hollywood, and the stories we tell ourselves to make it through the next scene.
SFBG How did Finishing the Game come to pass?
JUSTIN LIN The idea has been with me since I was a kid. It’s funny because as a filmmaker, there’s the journey you kind of dream up, and there’s the reality that hits you. You take out 10 credit cards and are in six-figure debt it does affect your choices. I was fortunate. Better Luck Tomorrow opened up avenues, and one of those was to make studio movies. In reality, not many people get those opportunities, and it’s a whole different set of challenges and rules. It’s insane. Walking on set on a big Hollywood action movie, I would think, "$250,000 was the budget of Better Luck Tomorrow here you spend that buying lunch."
SFBG Is it harder to get films with Asian American narratives and Asian American characters made?
JL Yeah, even for a $250,000 budget movie that’s still tons of money, as far as Asian American film goes, and it’s all about gross profits and getting the films out, distribution and exhibition.
It’s funny when I get into the studio world, I go to marketing meetings and meetings that most people don’t get into, and I’ve learned it’s all about numbers. Better Luck Tomorrow proved there was an audience, and it crossed over. But with Finishing the Game, the conversation always went back to Better Luck Tomorrow, because as far as Asian American films go, that’s the only thing they have to refer to, and it’s a challenge to prove it’s a valid business model for investors. I hope to conquer that with Finishing the Game you can’t be treating these films as if they’re big-event blockbusters. Hopefully we are building our community with shared experiences.
SFBG You made Finishing the Game independently?
JL I approached studios early on. But I could see them wanting to develop it into a kung fu movie. Right now, the Asians on film have to exist for Asian reasons. Usually when you see Asian faces they’re Asian for a reason, whether they’re tourists or kung fu masters.
I don’t think it’s racism. That’s just the mind-set that exists in these rooms the reality of it is, when you go in these casting offices and when they cast, it’s usually black and white. I think it’s going to take filmmakers to go in and say, "I want the casting to be color-blind." Even getting Asian American actors in to meet heads of casting is important you may not get the job, but they can see your work. These are little baby steps. No one talks about it or knows about it.
SFBG How do you feel about Bruce Lee?
JL As a kid, I had a push-pull relationship with Bruce Lee, who was empowered, sexy, and cool and everything wrapped into one. At the same time, you’re walking down the street, and they’re expecting you to know kung fu and doing his yell at you.
But his screen presence and fearlessness made him so great. At the time I was totally confused I saw Game of Death and didn’t know the backstory that 80 percent of it was made with a fake stand-in. As the idea evolved, all these other issues came up. There’s a made-up scenario of a casting process to replace him and, especially in the last five years, issues of identity and what it means to be in the film industry and society as a whole and the politics and agendas that go into it. In Asian American cinema too, I think it’s time for us to laugh at ourselves, even.
FINISHING THE GAME
Thurs/15, 7 p.m., $40 opening night gala screening, $60 screening and Asian Art Museum reception
Castro Theatre
429 Castro, SF
(415) 865-1588
www.asianamericanmedia.org
>
A downtown tax for free buses
EDITORIAL Free Muni is a great idea. It’s an even better and more realistic idea if the mayor is willing to support a tax on downtown office buildings to pay for it.
That’s what Mayor Gavin Newsom needs to be talking about and if he doesn’t, the supervisors need to push the idea.
We’ve been calling for free Muni since at least 1993, when we ran a cover story explaining how the idea would work. It’s always made sense for San Francisco: eliminating bus fares would encourage more people to get out of their cars, which would eliminate traffic congestion, pollution, and safety problems and set a standard for fighting global warming. Without having to worry about fare collection, drivers could move the buses along faster (and pay more attention to driving). And the city would save a lot of money that’s currently spent collecting and counting fares and monitoring fare cheats.
Besides, as we pointed out back then, it’s a great economic boost for the city: if all the people who currently pay $45 a month for a fast pass could hold on to that money, millions of dollars in consumer spending would likely be pumped into local business.
But here’s the rub: Muni collects about $138 million in fares every year and the system needs more money, not less. Free Muni will inevitably spur more ridership that, after all, is the whole point so the cost of operating the system will rise even further. The city doesn’t exactly have $138 million in extra General Fund cash to throw around. So there has to be a new source of revenue to fund this plan.
So far Newsom hasn’t said a word about that which is all too typical. The mayor loves to advance all sorts of ideas without explaining how the city’s going to pay for them. And then, not surprisingly, a lot of his plans never go anywhere.
But in this case there’s an excellent way to make the numbers add up. For more than 30 years, San Francisco activists have been promoting the idea of a special tax district downtown, with revenue going directly to Muni. It’s got political and economic logic: a significant amount of Muni’s operational budget goes to ferrying workers to office buildings in the Financial District, and since those buildings tend to be vastly undertaxed (thanks to Proposition 13), the city ought to levy a special fee every year to help underwrite transportation.
San Francisco has about 80 million square feet of commercial office space in the central downtown core. An annual tax of as little as $2 per square foot would provide more than enough money to cover the cost of free bus service citywide. The money would come from those most able to pay building owners and the (typically) large, wealthy businesses that rent downtown. The benefits would go to the (typically) less-wealthy people who ride the buses every day.
It’s green, it’s fair, it’s creative, it’s economically sound all the things Mayor Newsom likes to talk about. All he has to do is announce a proposal to pay for free Muni with a downtown tax district, and his plan might actually have a chance of working. Since that’s unlikely, we urge the supervisors to take up the initiative: yes, let’s have free Muni and let’s make downtown pay for it. *
