A Fleet History Of The San Francisco Municipal Railway

A Fleet History of the San Francisco Municipal Railway is a book that lists every transit vehicle that has been used in regular Muni service since 1912. The format includes a listing of key data for each vehicle, such as size, passenger capacity, manufacturer /cost and years of service, a short summary of the service history of the vehicle, and a photo (if available). All four modes are covered: rail (streetcar and LRV), bus, trolley bus and cable car, with one section covering each mode. Two additional sections include information on all Muni operations facilities, and a figures and graphics section. The figures and graphics section includes information on the four modes of transit, plus information on historical data in the areas of ridership, fares, farebox recovery, logo and agency structure and leadership. A short summary history section precedes the fleet history sections, and a photo credits table is included along with the blbilograpy. The completed document represents the first compilation of many of these pieces of information in almost 40 years. With over 200 pages and over 400 photographs, it is an excellent reference and history book both for experts and for people with a casus interest in the history of San Francisco Municipal Railway.

On December 30, 1909, following the passage of the bond issue allowing construction of San Francisco's Municipal Railway to begin, Mayor Edward Robeson Taylor gushed, "This is great . . . The Geary Street road will now be built and run by the people and for the people. This marks an epoch. It means civic freedom. . . . Some day our children's children will look back with wonder at the things we have stood for and suffered. Public utilities run . . . by the people . . . will give service to the public.

Grafton Tyler Brown—whose heritage was likely one-eighth African American—finessed his way through San Francisco society by passing for white. Working in an environment hostile to African American achievement, Brown became a successful commercial artist and businessman in the rough-and-tumble gold rush era and the years after the Civil War. Best known for his bird’s-eye cityscapes, he also produced and published maps, charts, and business documents, and he illustrated books, sheet music, advertisements, and labels for cans and other packaging. This biography by a distinguished California historian gives an underappreciated artist and his work recognition long overdue. Focusing on Grafton Tyler Brown’s lithography and his life in nineteenth-century San Francisco, Robert J. Chandler offers a study equally fascinating as a business and cultural history and as an introduction to Brown the artist. Chandler’s contextualization of Brown’s career goes beyond the issue of race. Showing how Brown survived and flourished as a businessman, Chandler offers unique insight into the growth of printing and publishing in California and the West. He examines the rise of lithography, its commercial and cultural importance, and the competition among lithographic companies. He also analyzes Brown’s work and style, comparing it to the products of rival firms. Brown was not respected as a fine artist until after his death. Collectors of western art and Americana now recognize the importance of Californiana and of Brown’s work, some of which depicts Portland and the Pacific Northwest, and they will find Chandler’s checklist, descriptions, and reproductions of Brown’s ephemera—including billheads and maps—as uniquely valuable as Chandler’s contribution to the cultural and commercial history of California. In an afterword, historian Shirley Ann Wilson Moore discusses the circumstances and significance of passing in nineteenth-century America.

Maybelle was a cable car a San Francisco cable car. . . She rang her gong and sang her song from early morn till late at night. . . . By recounting the actual events in San Francisco's effort to keep the city's cable cars running, this classic story illustrates how the voice of the people can be heard in the true spirit of democracy. Virginia Lee Burton's original art for Maybelle the Cable Car was retrieved from the archives of the San Francisco Public Library to re-create this edition with all the vibrant charm of the original, which was published in 1952.

It's strange to think that an electric commuter rail line rivaling BART in efficiency, speed, and comfort ran over 100 years ago between San Francisco and San Mateo, but run it did. The 40 Line, or San Mateo Interurban, began in 1892 with an initial segment operating between Market and Steuart Streets out to the county limits on San Jose Avenue. Three years later, the line reached Baden in present-day South San Francisco, and by 1903 service was opened all the way to downtown San Mateo. During the line's heyday, there was talk of extending it down the peninsula from San Mateo to Palo Alto to connect with the Peninsular Railway to San Jose. The 1906 earthquake put this plan on hold. Following much the same route as today's Mission Street, El Camino Real, and Caltrain, the San Mateo Interurban carried over four million passengers a year along its main and spur lines until 1949, when the system was shut down amidst much fanfare.

An insider’s “indispensible” behind-the-scenes history of the transit system of San Francisco and surrounding counties (Houston Chronicle). In the first-ever history book about BART, longtime agency spokesman Michael C. Healy gives an insider’s account of the rapid transit system’s inception, hard-won approval, construction, and operations, warts and all. With a master storyteller’s wit and sharp attention to detail, Healy recreates the politically fraught venture to bring a new kind of public transit to the West Coast. What emerges is a sense of the individuals who made (and make) BART happen. From tales of staying up until 3:00 a.m. with BART pioneers Bill Stokes and Jack Everson to hear the election results for the rapid transit vote to stories of weathering scandals, strikes, and growing pains, this look behind the scenes of an iconic, seemingly monolithic structure reveals people at their most human—and determined to change the status quo. “The Metro. The T. The Tube. The world's most famous subway systems are known by simple monikers, and San Francisco's BART belongs in that class. Michael C. Healy delivers a tour-de-force telling of its roots, hard-fought approval, and challenging construction that will delight fans of American urban history.”—Doug Most, author of The Race Underground: Boston, New York, and the Incredible Rivalry That Built America's First Subway