Many cities have Commissions for Arts and Culture.  Sometimes linked with film or sports commissions, they are niche economy stimulators that draw film production companies, large sporting engagements or ultra events to their city and preserve and promote local heritage.  San Francisco’s Entertainment Commission, however, is the first body of its kind in California and, perhaps the nation -- an organization solely established to oversee permits and promote the development of a vibrant late-night entertainment industry.

The need for San Francisco’s Entertainment Commission arose from the convergence of numerous factors: a recession, increased mixed use development, a huge post 9/11 drop in tourism, public’s desire for authentic places to socialize, perceived police conflict of interest and a confusing and burdensome permit process.  Yet, when symptoms first surfaced it was thought to be the night clubs fault.

When Lingba Lounge reached its one year anniversary, the owner planned to throw a celebration. He hired some of San Francisco’s hottest DJs and was ready to open the party’s doors when the police told him he could not.  This first time business owner had no idea that in order for DJ’s to perform in his licensed and permitted bar, he needed an additional Place of Entertainment Permit.

At that time, nightclubs could be required to hold three different and expensive permits: A Cabaret Permit required in order to stay open past 2:00am, A Dance-hall permit to allow dancing, and a Place of Entertainment Permit that allowed clubs to offer live or recorded music.  The Golden Gate Restaurant Association noted that some of their members who wanted to employ a jazz combo once or twice a year were required to go through the same onerous and expensive process.  

However, while the police department issued and enforced the permits, they didn’t create the permit process.  Not only were they overburdened with running and enforcing a flawed system, they additionally struggled to manage the crowds the permits drew.  The department cracked down with enforcement and adding conditions that were perceived as music profiling.  Public outcry maintained that restrictions were "a war on the creative class," shooing artists out of town or forcing them to hold events illegally.

In 1999, San Francisco Police Department’s Southern District claimed increased crime and drug use in the SOMA (South of Market) District were directly related to one nightclub and that the department was spending too much time and money responding to incidents. 

When the police department initiated suspension of the club’s permit, the San Francisco Civil Grand Jury disagreed with the police department’s assessment.  They recognized that the police were understaffed to manage the 8,000-10,000 people that frequented SOMA’s nightclubs on the weekend, but they could not place blame on clubs.   They ruled, "Recent police actions to suspend or revoke club permits are in part based upon incidents that are not fairly attributable to club management . . . The Civil Grand Jury recommends a reconsideration of the permit process to ensure equal treatment of applicants and permit holders."

That same year, a broad base group of promoters, activists, dj’s, musicians, artists, community members and club owners discovered that even thought no official moratorium existed, no new permits were being issued at locations that had closed down .  The Late Night Coalition galvanized to protect, preserve and promote San Francisco’s late-night culture. Their organization was built on two principles: The recognition that their economic sector provided an integral part of the cultural fabric of San Francisco, and made significant contributions to its economy and artistic diversity.  They made it their mission “to encourage understanding and awareness of the regulations and issues surrounding after-hours entertainment in San Francisco, and to provide a voice for the rights and the passions of this diverse community.”

The Late Night Coalition registered as a Political Action Committee, and along with then-Supervisor Mark Leno (now a California State Assemblyman), advocated for the formation of an Entertainment Commission that would take charge of the permit system once it was revamped. 

Over the course of the permit process investigation recommended by the Civil Grand Jury, terrorist attacked New York’s World Trade Center on September 11th.  Tourism nationwide took a sharp decline.  San Francisco’s economy was among the hardest hit, necessitating dependence on local markets for small businesses to stay afloat.  As the city sorted things out, permit conditions stayed in place, some of which forbade clubs to play rap and loud rock music.  The clubs feared they’d lose customers to clubs where banned music was allowed, across the bay in Oakland.  The Late Night Coalition gained momentum and the proposition made the ballot and was passed.

Creation of an Entertainment Commission was not without opposition.  The arguments of those opposed to an Entertainment Commission taking charge of permits mostly centered around its makeup.  Some argued that civil service employees should staff a commission, instead of political appointees.  There were concerns over creating a completely mayor-appointed Commission.  Some questioned hospitality industry members having power to make decisions that regulate the nightlife industry. There was one surprising supporter: The police.  They had no problem with transferring permit responsibility as long as they continued to have input.

Established in 2003, the Entertainment Commission now acts as a system of coordinated planning and permitting for cultural, entertainment, athletic and similar events and establishments.  The Commission’s seven members, four mayor appointed and three supervisor board appointed, accept, review, and conduct hearings for and gather information regarding entertainment-related permit applications, and  plans and coordinates the provision of City services for major events for which there is no recognized organizer, promoter, or sponsor.  San Francisco’s Entertainment Commission also mediates disputes between entertainment operators and organizers and affected peoples.

It is perhaps the only Commission in the country with such duties and powers that strives to balance the benefits of a vibrant entertainment and late-night entertainment industry with the needs of residents and businesses in the vicinity of entertainment venues.

San Francisco Entertainment Commission Website

San Francisco Late Night Coalition Website