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From YouTube: Arts, Culture & Special Events on March 7, 2023
Description
Arts, Culture & Special Events Hearing - Docket #0260 - Order for a hearing to address the loss of rehearsal spaces for musicians in the City of Boston.
A
B
B
Good
afternoon
my
name
is
Gabriella
Coletta
and
I'm.
The
chair
of
the
committee
on
Arts
culture
and
special
events
in
the
city
of
Boston
I
want
to
remind
you
that
this
public
hearing
is
being
recorded
and
broadcasted
live
on
Xfinity
8,
rcn82
and
FiOS
964,
and
streamed
on
www.boston.gov
forward,
slash
City,
Dash,
Council
Dash
TV
and
will
also
be
rebroadcasted
at
a
later
date.
B
I'm
going
to
ask
members
of
the
audience
to
please
silence
all
your
cell
phones
and
other
devices.
We
will
be
taking
public
testimony
and
would
appreciate
it
if
you
sign
in
to
testify
over
at
the
station
right
over
here
or
register
your
attendance,
anyone
that
is
listening
in
at
home
and
would
like
to
testify
virtually
on
this
matter,
please
be
sure
to
email,
Ron,
ron.com,
Cobb
boston.gov,
with
your
full
name
for
the
zoom
link
at
the
start
of
your
testimony.
This
is
for
everybody,
please
state
your
name
address
and
affiliation.
B
Today's
hearing
is
on
docket
number
0260
order
for
a
hearing
to
address
the
loss
of
rehearsal
spaces
for
musicians
in
the
city
of
Boston.
This
mattered
was
sponsored
by
myself
as
well
as
my
co-sponsor
sitting
to
my
left,
Liz
burden,
Council
Liz
burden
and
counselor
Tanya
Fernandez
Anderson
and
referred
to
the
committee
on
January,
25th,
2025
or
excuse
me
2023.
B
We
will
then
go
to
the
administration
to
provide
their
presentation
and
we'll
follow
with
questions
from
my
colleague
we,
my
colleagues,
we
are
joined
here
today
by
Chief
of
arts
and
culture
of
the
mayor's
office
of
arts
and
culture,
Cara
Elliot
Ortega,
as
well
as
Melissa
Meyer,
the
director
of
cultural
planning
from
the
mayor's
office
of
arts
and
culture.
Following
that,
we
will
hear
from
artists
directly
impacted
by
the
loss
of
rehearsal
spaces
and
their
experience,
as
well
as
individuals
from
the
mass
mass,
creative
and
the
metropolitan
area
planning
councils,
arts
and
culture
division.
B
Originally,
these
musicians
and
tenants
were
told
and
not
given
written
onus,
that
the
owner
will
turn
the
music
rehearsal
Studio
into
a
self-storage
facility,
and
they
would
have
needed
to
vacate
by
June
1st,
in
partnership
with
those
tenants.
We
mobilized
quickly
to
work
with
moack
to
get
the
owner
to
the
table
and
provide
some
returns.
We've
had
some
initial
conversations,
although
to
my
understanding,
there
really
hasn't
been
any
confirmation
if
the
artist
will
receive
adequate
notice.
B
If
the
plan
change
of
use
is
ultimately
sought
after
by
the
owner,
this
could
affect
95
music
rehearsal
studios,
meaning
that
between
about
400
and
11
1100
musicians
could
be
displaced
with
the
loss
of
other
spaces
in
the
city.
The
available
music
rehearsal
spaces
in
Boston
or
the
surrounding
area
is
shrinking.
B
We
are
at
risk
of
losing
valuable
square
footage
if
we
don't
take
necessary
action
to
mitigate
what
has
already
happened
and
be
proactive.
The
displacement
of
musical
artists
has
profound
impacts
on
our
cultural,
Legacy
and
cultural
economy.
As
a
city,
everybody
knows
where
the
home
to
Berkeley
College
of
Music
and
have
a
Heritage
of
producing
incredible
acts
like
Aerosmith,
New,
Edition
and
so
many
more
acts
that
that
I
can
name
but
I'm.
Sure
I
will
miss
if
I
even
begin
to
start,
but
this
distressing
trend
will
become
barrier
for
emerging
musical
artists.
B
C
C
This
is
a
community
report
priority,
regardless
of
who
the
business
or
operator
is
current
development.
Review
process
is
flawed
and
inconsistent
and
there
needs
to
be
more
standardized,
Community
benefit
and
mitigation
rubric
for
development
projects
that
impact
the
arts
and
culture
spaces
with
greater
representation
of
artists
and
creators
in
the
article
80
development
review
process.
C
My
office
is
admit,
has
made
an
intentional
priority
to
nominate
artists
to
impact
advisory
groups
in
the
neighborhood.
In
the
past
few
years
since
I
was
elected,
our
approach
to
City
Planning
needs
to
be
integrated
with
the
proactive
lands
towards
sustaining
and
expanding
the
Arts
and
Cultural
industry
in
our
city.
We
should
not
only
be
asking
about
the
artists
and
creative
industry
when
reviewing
current
development
projects
in
the
immediate
pipeline
would
be
holistic
to
plan
for
the
stabilization
of
existing
assets,
as
well
as
to
pursue
and
expand
the
creating
creation
of
new
assets.
C
Our
approach
to
planning
also
needs
to
be
collaborative
intergovernmental
and
Regional.
A
distinct
feature
of
of
artists
and
creators
is
that
they
are
not
static
or
fixed
in
a
single
place,
but
find
Community
wherever
they
be
they
go
while
Austin
is
of
course,
best
known
as
Rock
City
for
decades.
Not
everyone
who
considers
at
home
necessarily
never
lives
in
Alston
or
Brighton
Alston
Brighton
is
home,
took
a
community
of
artists
and
creators,
regardless
of
whether
or
not
they
actually
reside
in
the
neighborhood
or
frequently
commute
in.
C
We
welcome
them
and
are
fighting
to
maintain
their
ability
to
both
live
work
and
play
in
our
neighborhood.
That
is
why
it
is
essential
that
we
coordinate
our
efforts
with
other
cities
and
towns
also
working
to
address
this
crisis,
such
as
with
Cambridge
and
Somerville,
our
immediate
neighbors
and
those
at
the
regional
and
state
level,
like
the
metropolitan
area
planning.
C
Council
and
the
mass
cultural
Council,
you
know,
I
think
we
Face
a
severe
threat
or
artist
Community
faces
a
severe
threat
from
in
with
the
ever
advancing
and
wave
of
development
across
your
city,
but
I
think
we
need
to
be
mindful
and
strategic
in
and
and
prioritize
space
for
artists
and
creatives
in
our
in
our
city
and
in
our
neighborhoods
and
because
they
make
a
very
valuable
contribution
to
our
city.
Thank
you,
madam
chair.
B
D
Thank
you,
Council
Clara.
Thank
you,
madam
chair,
for
to
being
the
lead
sponsor
and
to
adding
me
also
to
my
colleague,
Council
Braden.
Thank
you.
So
much
I
don't
have
much
to
say
other
than
we
know
what
the
need
is,
and
we
know
what
the
issues
are
and
we
have
an
office
of
arts
and
culture,
a
chief
that
is
a
proponent
of
artists
and
artist
space
and
that
we
have
respectable
spaces
to
work
and
to
thrive
and
to
make
respectable
living
wage
as
well
as,
even
even
for
our
residential
spaces.
D
D
I,
don't
think
it's
just
just
in
arts
and
culture,
but
I
look
forward
to
the
conversation
and
seeing
in
terms
of
the
funding
and
the
planning
for
that,
but
really
housing
and
bigger
Investments
like
this
needs
to
we.
We
need
OBM
in
the
house.
We
need
our
finance
people
for
the
city
to
be
able
to
speak
to
what's
coming
and
how
to
resolve
this
issue
temporarily,
but
also
long
term.
How
are
we
looking
at
investing
in
our
artists
in
Boston?
Thank
you.
B
Thank
you,
councilor
Fernandez,
Anderson
and
just
to
answer
your
question.
So
OBM
is
the
office
of
budget
management.
We
did
not
include
them
in
this
conversation,
however,
for
the
working
session
moving
forward.
We
can
certainly
invite
them
I'm
sure
the
chief
has
some
idea
of
where
Investments
are
are
going
in
the
city
of
Boston
and
some
of
her
budget
asks.
So
I
will
ask
the
chief
to
elaborate
on
that
during
her
presentation.
I
will
now
pass
it
over
to
counselor
Ed
Flynn.
E
Thank
you.
Thank
you.
Council
coletter
I
just
want
to
say
thank
you
to
you,
madam
chair,
and
to
council
Braden
Council,
Tanya
fernanderson,
for
this
important
hearing
order,
and
please
know
if
I
can
be
of
any
help
during
this
debate.
Please
let
me
know,
but
thank
you
for
the
important
leadership
you
are
providing.
Thank
you.
B
F
Sure,
thank
you
thank
you,
chair
and
thank
you
to
the
administration
for
being
here
and
all
of
the
artists
who
are
here
welcome
it's
important
to
have
this
conversation
into
proactively
discuss
spaces
before
it's.
You
know
the
musicians
or
the
artists
are
moving
out
or
you
know
calling
in
distress
that
they're
losing
their
space.
So
looking
forward
to
the
conversation
and
how?
How
can
we
make
sure
moving
forward
that
we
are
a
city
that
is
including
artists
when
we
talk
about
Housing
and
Development
and
what
we
want
to
see
in
our
city?
F
I
might
age
myself,
but
growing
up
the
New
Kids
on
the
Block,
where
you
know
street
performers
and
also
used
the
space
down
on
dot
Ave
and
Fields
Corner.
There's
some
artist
Studios
there
near
the
Fields
Corner
train
station
in
every
neighborhood
I
know,
councilor
Braden
has
talked
about
the
artist
space
over
in
Austin
Brighton.
Every
neighborhood
has
their.
F
You
know:
artists,
communities,
the
artists
for
humanities,
which
is
in
South
Boston.
Now
such
an
important
part
and
I
know
Chief.
We've
talked
about
at
different
events.
How,
when
in
the
pandemic,
showed
it
anytime
right
when
I
think
about
Katrina
or
the
disasters
that
have
happened
in
the
world,
they
always
say
like
we
need
to
get
the
musicians
back.
First,
we
need
to
have
the
performers
back
first
to
really
heal
us
as
a
city
as
a
community
as
a
people.
F
So
definitely
a
strong
Advocate
and
as
a
former
teacher
and
many
people
hear
me
talk
about
the
need
to
invest
more
in
not
just
in
athletics
but
in
any
whatever
it
is.
That
brings
you
Joy.
If
it's
music,
art
painting
dancing
clay
whatever
it
is
that
we
need
to
invest
for
our
students
at
schools,
but
also
in
these
spaces
around
our
city.
So
thank
you,
chair
and
co-sponsors
for
this
hearing
and
look
forward
to
being
an
advocate
along
with
council
president
Flynn,
like
he.
B
Said,
thank
you.
Thank
you.
Councilor
Murphy
and
for
the
record,
I
will
read
into
read
into
the
record
a
message
and
letter
from
a
counselor
at
large
Ruth
C
louisian,
dear
committee
members.
I
regret
to
inform
you
that
I
will
be
unable
to
attend
today's
Hearing
in
order
for
Boston
to
be
a
creative,
Innovative
and
interesting
place
to
live.
We
need
more
artists,
musicians
and
creatives.
We
need
to
prioritize
taking
these
creative
spaces
out
of
the
speculative
real
estate
market.
Furthermore,
we
must
create
zoning
opportunities
in
all
neighborhoods,
where
the
Arts
can
Thrive.
B
My
office
has
been
actively
working
on
the
sound
Museum
issue
in
Brighton
and
supporting
the
artists
as
much
as
we
can,
while
urging
the
city
to
ensure
that
the
developer
who
has
purchased
the
sound
Museum,
makes
good
on
their
promise
to
build
a
new
practicing
space
for
artists.
Furthermore,
my
office
has
been
working
with
Austin,
Arts,
Impact
and
other
artists
to
help
secure
performance
and
venue
spaces
such
as
Fields
West
Allston.
Thank
you
to
Lizzy
Torres
for
bringing
this
issue
to
our
attention.
B
As
we
work
to
solve
this
issue
with
Cody
Rico
and
ISD
musicians,
artists
and
creatives
give
boss
in
its
soul,
and
we
must
fight
for
the
soul
of
the
city.
To
stay,
unique,
diverse
and
distinctive.
Our
office
will
not
be
defined
or
excuse
me,
our
city
will
not
be
defined
by
another
biotech
lab,
but
it
may
be
by
the
next
Superstar
musician
that
got
their
start
here.
My
staff
will
be
attending
and
I
will
thoroughly
review
the
video
hearing,
minutes
and
public
testimony.
Should
you
or
any
member
of
the
public
have
questions
or
concerns?
B
G
G
So
musicians,
artists
makers
and
cultural
production
of
all
kinds
are
a
critical
part
of
our
communities
of
our
economy
and
the
city's
identity,
a
thriving
cultural
landscape
with
venues
places
for
Creative
expression
and
joy
with
friends
and
family
in
all
neighborhoods,
a
sense
of
Discovery
and
access
to
nightlife
and
authentic
experiences.
These
are
the
things
that
incentivize
people
to
stay
and
invest
where
they
are
and
form
the
social
Fabric
and
connectivity
required
for
the
healthy
resilient
communities
that
we
want
to
see
in
Boston.
G
We
want
to
start
just
a
little
bit
by
explaining
how
we
approach
this,
which
is
through
the
lens
of
cultural
planning.
We
are
one
of
the
only
local
Arts
agencies
in
the
country.
That's
made
an
investment
in
having
a
cultural
planning
team
on
our
staff
in
the
Arts
office.
So
what
is
cultural
planning?
G
G
G
The
mayor's
office
of
arts
and
culture
engages
with
the
Boston
Planning
and
Development
agency
development
review
process
on
a
daily
basis.
The
office
submits
feedback,
formal
comment
and
meets
with
development
and
design
teams.
Throughout
the
development
review
process,
our
office
is
engaged
with
between
40
to
50
development
projects.
At
any
one
time,
and
in
2022
we
added
a
project
manager
for
development
review
to
our
cultural
planning
team,
just
specifically
to
add
more
capacity
to
this
work.
Next
slide.
G
Please,
we've
seen
some
important
successes
in
stabilizing
and
expanding
the
city's
cultural
spaces
over
the
last
year,
through
an
investment
of
1.7
million
dollars
from
the
city
through
American
Rescue
plan
act,
inclusionary,
development
policy
and
housing
Boston
2030
funds,
Humphrey
Street
Studios
in
Uplands
corner,
will
now
be
permanently
artist
owned
and
affordable.
Securing
three
dozen
creative
workspaces
used
by
45
creative
workers.
Our
goal
is
to
support
more
of
these
acquisition
opportunities,
but
require
funding
to
do
so.
We
launched
our
first
ever
grant
funding
program
specifically
for
cultural
spaces.
In
Boston.
G
We
added
two
new
cultural
planning
roles
to
our
team
with
a
third
higher
in
progress.
This
marks
an
important
milestone
in
establishing
a
well-resourced,
cultural
planning
function
for
the
city.
We
kicked
off
important
Regional
cultural
planning,
work
with
Cambridge
and
Somerville,
supported
by
mapc,
recognizing
that
the
creative
economy
extends
throughout
Greater
Boston.
This
work
establishes
a
way
for
three
cities
to
collaborate
on
cultural
planning
policy
and
plant
and
planning
tools.
G
We
are
also
using
American
Rescue
plan
act
dollars
to
make
an
unprecedented
investment
in
the
Arts
through
the
cultural
investment
Grant.
This
10
million
dollars
in
multi-year
support
for
organizations
will
really
support,
transformative
work
happening
in
the
city
of
Boston
and
while
those
decisions,
those
Grant
decisions,
are
going
to
be
made
this
spring.
Many
of
the
transformative
ideas
that
have
been
submitted
to
us
address
this
space
issue,
with
proposals
to
create
and
expand
access
to
physical
spaces
throughout
the
city
and
with
respect
to
the
two
issues
that
bring
us
here
today,
counselor.
G
This
is
possible
because
of
a
wider
ecosystem
that
the
city
supports,
building
on
wins,
investing
in
advocacy,
increasing
funding
for
the
creative
sector
and
ensuring
that
the
Arts
has
a
seat
at
the
table.
Now,
in
addition
to
this
immediate
space
solution,
we
are
also
working
with
the
bpda
and
iqhq
the
developer
of
155
North
Beacon
to
prioritize
creating
affordable
music
space
and
perpetuity
as
a
part
of
the
mitigation
of
that
project.
G
Can
we
get
the
next
slide?
Please
Boston
has
lost
numerous
creative
workspaces
and
cultural
venues
over
the
last
decade.
Other
cultural
spaces
are
under
threat
today
and
Austin
Brighton
alone,
over
120
000
square
feet
of
cultural
space
is
currently
at
risk
as
a
result
of
development
projects
impacting
at
least
300
artists
and
creative
workers
over
a
hundred
thousand
square
feet
of
cultural
production.
G
Space,
including
Studios
and
rehearsal
spaces,
have
been
lost
in
the
last
five
to
seven
years,
along
with
numerous
live
music
venues,
Gathering
spaces
and
specialist
retail
all
identified
as
cultural
assets
and
our
recent
Austin
Brighton
placekeeping
report.
An
issue
of
this
scale
requires
new
policies
and
approaches,
and
so
here
I
just
want
to
start
sharing
a
framework
for
moving
forward,
including
our
three
kind
of
Top
Line
goals.
G
The
first
goal
is
to
make
sure
that
all
of
City
Hall
is
supporting
a
position
of
no
net
loss
of
cultural
space.
We
need
to
make
sure
that
all
departments
are
working
towards
this
goal
of
preserving
and
recreating
cultural
space,
and
that
includes
working
with
the
bpda
through
Planning
Development
review,
Urban,
Design
and
Zoning
reform,
with
the
mayor's
office
of
housing,
on
artist,
housing
projects
and
incorporating
cultural
uses
and
City
development
and
with
ISDN
environment,
so
that
we
all
know
when
something
is
triggered
through
a
permit.
G
That's
been
submitted
or
anything
that's
going
to
impact
arts
and
culture
uses.
The
second
goal
is
to
integrate
the
Arts
into
planning.
We
believe
that
all
neighborhood
planning
efforts
should
include
cultural
planning
and
really
that
any
kind
of
community
planning
means
understanding
the
cultural
reality
and
needs
of
that
Community.
We
can
do
this
by
expanding
city-led
planning
Scopes
to
include
cultural
asset
mapping,
cultural
space,
baselining,
so
tracking
the
amount
and
kind
of
space
and
their
affordability
over
time,
a
commitment
to
include
arts
and
culture,
stakeholders
and
the
engagement
process.
G
In
addition
to
the
many
many
ways
that
creative
expression
can
be
folded
into
planning,
engagement
and
the
outcomes
of
planning
work.
Our
third
goal
is
to
Value
all
of
our
cultural
assets.
We
can't
do
this
work
if
we
don't
value
all
cultural
assets
and
the
people
who
need
them.
We
see
time
and
time
again
that
developers
file
their
projects
with
no
mention
of
what's
being
displaced,
no
acknowledgment
of
what
is
on
site
and
what
that
site
means
to
people.
G
We
at
the
city
across
departments
need
to
show
up
for
communities
that
make
cultural
space
and
make
that
and
continue
to
work
together
to
make
that
work
visible.
Without
that
championing,
we
will
always
be
stuck
being
brought
in
too
late
at
the
point
of
Crisis,
as
opposed
to
starting
earlier
in
the
process,
by
building
awareness
and
relationships
to
the
creative
places
and
people
in
our
city.
A
G
The
first
issue
we
want
to
highlight
is
relying
on
the
current
development
review
process,
because
it
creates
inconsistent
and
inequitable
outcomes
and
unnecessarily
pits
Community
needs
and
competition
with
each
other.
So
the
solution
that
we'd
like
to
propose
is
more
predictable,
Community
benefit
and
mitigation
expectations
for
development
projects
that
impact
arts
and
culture
uses,
and
we
are
working
closely
with
the
VPD
on
this
arts
and
culture,
is
being
taken
into
consideration
in
the
current
review
of
article
80
process.
That's
a
lot
of
technical
information.
So
just
what
this
could
actually
look
like.
G
It
could
look
like
a
commitment
for
develop
development
projects
to
reprovide
the
comparable
amount
of
square
feet.
So,
if
they're
going
to
displace
the
use,
how
are
they
recreating
that
as
a
part
of
their
development
or
nearby?
It
could
look
like
projects
making
an
equivalent
contribution
to
a
fund
to
support
the
creation
and
preservation
of
space.
G
The
next
issue
we
would
like
to
highlight
is
also
related
to
development,
and
it's
about
Community
benefits
and
other
Financial
contributions
from
development
projects,
which
right
now
happen
on
a
project
by
project
basis.
Even
though
we're
dealing
with
a
systems
level
city-wide
issue,
real
estate
costs
in
Boston
require
larger
Collective
efforts
than
our
current
system
allows.
G
So
our
solution
here
is
to
establish
a
city-wide
funding
mechanism
that
can
receive
and
expend
funds
for
cultural
space
projects.
Our
creative
economy
is
not
restricted
to
Neighborhood
boundaries
and
we
need
to
be
able
to
direct
funds
Citywide,
and
we
know
already
that
people
are
going
from
one
city
to
another,
let
alone
from
one
neighborhood
to
another
in
order
to
find
places
to
make
work
and
show
work
and
be
a
part
of
these
markets,
so
we
can't
be
restricted
to
having
mitigation
or
Community
benefit
funds
that
are
just
tied
to
one
project
at
a
time.
G
The
last
issue,
we'd
like
to
cover
is
related
to
Capital
funds,
so
the
mayor's
office
of
arts
and
culture
has
a
capital
budget
which
has
historically
been
connected
to
public
art
projects
and
City
buildings.
That's
how
we
fund
the
percent
for
art
program,
which
has
been
extremely
successful,
and
we
need
Capital
funds
to
support
the
building
or
renovation
of
any
future
city-initiated
cultural
space
projects.
If
we're
going
to
be
proactive
instead
of
reactive,
we
need
to
acquire
property
and
develop
city-owned
property
for
cultural
uses,
and
that
does
require
Capital
funding
to
get
it
done.
G
So
our
solution
is
an
expanded
capital
budget
for
the
mayor's
office
of
arts
and
culture
to
support
these
projects.
It's
in
our
fy24
capital
budget
request
and
this
along
with
creating
a
Citywide
fund
for
cultural
space,
are
both
things
that
do
require
city
council
approval
and
I
would
just
say
on
this
point.
G
We
don't
have
it
for
commercial
space,
so
all
of
the
kind
of
Arts
and
Cultural
and
small
business
uses
that
we
would
want
to
have
are
still
struggling
to
figure
out
how
to
make
that
work
financially.
In
response
to
those
rfps-
and
this
would
help
address
that
so
with
that
I
will
come
to
a
close
I
want
to
thank
all
the
counselors
for
creating
time
and
space
to
discuss
this
issue.
G
I
also
want
to
thank
all
the
people
who
are
attending
or
tuning
in
today,
and
everyone
who's
going
to
give
testimony
a
lot
of
which
I
know
is
going
to
be
very
personal
about
how
this
has
impacted
your
ability
to
live
and
work
in
Boston
and,
lastly,
I
want
to
thank
the
rest
of
the
panelists
for
sharing
their
expertise
and
for
continually
advocating
for
more
support
for
the
creative
Community.
Without
these
Partnerships,
we
would
not
be
able
to
have
the
wins
and
Investments
that
we
do
have
today,
so
I
hope.
G
B
Thank
you
chief
for
that
presentation
and,
and
we
are
seeing
that
real
time
and
I
wanted
to
be
sure
to
let
my
colleagues
know.
Those
who
are
in
attendance
that
this
presentation
is
going
to
be
printed
out
is
going
to
be
sent
to
everybody
for
review
and
for
right
now.
I
think
what
I'll
do
is
reserve
my
questions
for
for
afterwards
and
go
straight
to
my
co-sponsor
councilor,
Liz,
brierden
and
then
counselor
for
Fernandez
Anderson.
C
Thank
you,
madam
chair.
Thank
you
cara.
Thank
you.
Thank
you.
Both
I
feel
that
that
we're
in
a
space
right
now
with
a
new
Administration,
where
we're
really
putting
some
serious
attention
to
a
problem
that
has
been
evolving
over
the
past
decades,
with
increased
development
pressure
on
our
arts
and
culture
spaces,
it's
becoming
incredibly
acute
and
in
the
in
many
of
our
spaces
in
Austin
Brighton,
where
that
have
seen
displacement
where
formerly
industrial
spaces,
and
they
were
snatched
up
by
developers
at
a
good
price
and
and
then
all
of
a
sudden.
C
We
find
ourselves
in
the
position
of
facing
an
articulated
process
that,
as
you
said,
Cara
doesn't
take
any
account
of
what
was
there
and
the
value
of
of
what
was
there
in
terms
of
our
arts
and
creative,
a
community
in
the
city.
I.
Just
wonder,
you
know
how
much
latitude
we
have
in
terms
of
of
zoning,
city-wide
zoning
to
reform
that
and
and
then
end
up
with
more
capacity
to
build
and
and
sustain
Community
the
Arts
community
in
our
neighborhoods.
G
We're
very
hopeful
that
the
zoning
Converse
opening
now
can
prioritize
arts
and
culture
needs,
and
we
do
see
a
small
example
of
what
this
could
look
like
in
a
portion
of
the
South
End,
where
there
is
a
requirement
that,
if
you're
building
a
certain
amount
of
commercial
space,
a
percentage
of
that
has
to
be
available
for
arts
and
culture
uses
and
or
you
can
buy
out
of
that
into
a
fund
and
I.
Think
that's
a
really
good
example.
G
That
would
be
a
mechanism
to
continually
have
new
space
being
created
or
to
have
funding
to
be
able
to
support
space,
and
if
we
knew
that
that
existed,
we
could
also
plan
backwards
from
it
and
say:
oh,
this
is
coming
online
in
five
years,
like
let's
work
with
the
community
and
figure
out
how
we
invest
in
an
organization
or
an
operator,
a
business
to
be
able
to
take
that
on
when
the
space
finally
comes
online.
So
I
think
zoning
is
a
is
a
really
great
tool
to
address
this.
C
And
you
know
historically,
I
would
say
we
have
set
aside
for
funds
for
art
installations,
public
art
and
that
sort
of
has
been
the
level
of
in
commitment
to
the
Arts
in
in
the
neighborhoods.
But
it's
not
really
addressing
the
fact
that
our
artists
need
to
live
work
and
play
in
our
neighborhoods
and
also
they
need
access
to
Affordable,
Studio
space,
recording
rehearsal
space
or
whatever
so
I
think.
C
G
Yeah,
we
I
think
that
there
are
an
addition
and
a
disowning
idea
is
in
addition
to
thinking
about
our
own
funds
that
we
could
use
for
City,
Acquisitions
or
city
rfps,
where
we
can
help
embed
this
in
a
way.
That's
going
to
be
successful.
I
do
think
that
there's
a
lot
of
ways
to
take
advantage
of
the
mitigation
Community
benefits
to
create
a
larger,
more
impactful
pot
of
money,
I
mean
at
the
end
of
the
day.
G
A
lot
of
this
has
to
do
with
just
how
expensive
it
is
to
do
this
kind
of
work
and
have
this
kind
of
space
in
the
city
of
Boston,
and
so
it
does
kind
of
pain
us
right
now
that
we
have
some
pots
of
funds
that
can't
actually
be
combined
for
a
bigger
solution.
So
I
think
that
that's
that's
a
really
big
piece
of
it.
We
are
having
really
good
conversations,
also
with
the
BPA
real
estate
team,
about
what
would
it
take
to
acquire
a
space?
What
does
that
look
like?
G
How
do
we
start
to
kind
of
put
pen
to
paper
on
on
what
the
requirements
would
have
to
be
of
that?
And
what
like
a
proforma
would
look
like
for
different
kinds
of
spaces,
so
I
think
we've
been
really
encouraged
by
that
conversation
it
will
always
come
back
to
how
we're
going
to
finance
at
the
end
of
the
day,
but
but
I
think
that
there
are
a
lot
of
good
things
in
place
there
with
with
where
that
conversation
is
going
and.
C
You
know
it
seems
to
me
that
there's
in
terms
of
building
artists,
cooperatives
and
and
being
able
to
run
a
Cooperative
type
business,
which
seems
to
be
a
model
that
lends
itself
to
this
type
of
work
and
are
there
are
there
places
where
we
can
tap
into
for
capacity
building
across
the
community
so
that
we
can.
We
can
build
up
a
strong,
resilient
artist,
Community,
that's
ready
to
roll
in
terms
of
building
that
infrastructure
across
the
city.
G
Yeah,
it's
one
of
the
goals
of
the
cultural
space
fund
is
also
to
fund
pre-development
costs
and
I.
Think
one
of
the
things
we've
been
learning
is
like
organizing
and
understanding
your
business
model
and
paying
for
people's
time
to
even
figure
that
out
is
also
a
pre-development
cost.
So
we've
been
able
to
do
that
with
some
small
grants
to
artists
to
groups
of
artists
to
folks
who
are
thinking
about
whether
or
not
they
should
be
a
non-profit
or
a
business,
to
kind
of
help
them
think
through
what
that
really
looks
like.
G
C
Madam,
chair
can
I
have
one
more
question
sure
may
I
the
other
issue.
That's
come
up.
You
know
I
think
maybe
around
the
when
when
Grace
Scott
was
closed,
you
know
the
the
building
was
being
it
had
residential
accommodations
above
and
near
it,
and
one
of
the
issues
I've
talked
to
with
with
folks
like
Nick,
Greco
and
and
Allison
brightness,
the
whole
Agent
of
Change
planning
bill.
C
All
of
the
spaces
around
them
are
getting
developed
into
luxury
housing
and
the
folks
don't
like
noise
at
night,
and
they
complain
about
that
rock
band.
That's
making
all
that
noise
after
ours,
you
know.
Are
we
looking
at
an
agent
of
change
type
instrument
to
try
and
protect
those
those
actual
performance
venues
in
our
neighborhoods
as
well.
G
G
C
B
D
You,
madam
chair
Chief,
I,
wanted
I
wonder
if
you
could
help
me
understand
overall,
like
the
vision
and
the
deficits.
So
in
terms
of
you
know
what
you
see
in
our
artist
housing
for
artists
working
space.
What
exactly
have
you
guys
in
a
full
assessment?
I
heard
something
about
your
Citywide
I
think
it
was
some
sort
of
report
or
planning?
Was
it
planning
for
Austin
Brighton
Place
keeping
report
Falls
from
Brighton?
D
But
in
terms
of
you
know,
just
this
is
an
issue
across
the
city.
We
know
that
we
have
hundreds,
if
not
thousands,
of
talented
people
in
Boston-
and
you
know
the
websites
look
pretty
you're
you're
doing
your
job.
Everyone
is
saying
the
same
thing.
We
know
that
there's
a
there's
a
huge
need
here,
and
we
also
know
that
there's
a
lot
of
money
to
be
made
or
to
that
should
come
to
Boston
for
artists.
G
Yeah
and
we
definitely
need
a
full
assessment,
I
think
right
now
we
were
able
to
try
our
own
version
of
what
cultural
planning
would
look
like
at
a
neighborhood
scale
with
that
place.
Keeping
report
and
I
do
think
that
it
has
to
be
done
in
collaboration
with
or
through
Boston
Planning
and
Development
agency
planning.
A
G
We
don't
want
to
be
kind
of
siled,
creating
our
own
information
if
it's
not
really
being
taken
up
into
how
planning
decisions
are
being
made,
and
then
how
that
affects
development
review.
But
we
were
able
to
through
that
really
look
at
the
history
of
the
neighborhood.
Look
at
the
spaces
have
that
kind
of
catalog
I
think
we're
still
in
a
place
of
kind
of
mourning
and
tracking
what
has
been
lost
right
so
we're
tracking
the
spaces
that
we
know
of
since
kind
of
the
office
has
existed
and
no
metrics
about
those
spaces.
G
You
know
who
owns
them,
how
many
people
are
in
them?
What
people
are
paying
and
we
keep
that
sort
of
up
to
date?
But
it's
been
it's
not
kind
of
forward-looking
and
so
I
think
that
part
of
the
outcome
of
the
work
with
mapc
is
going
to
be
to
make
that
tracking,
more
robust
and
not
just
kind
of
city
workers
with
a
spreadsheet
but
a
real
system,
so
that
we
can
look
at
the
data
and
do
some
analysis
on
the
data.
D
There's
a
huge
market
for
that
right
like
we
have.
We
know
that
communities
of
color,
especially
or
poorer
communities
or
anyone
who's
disenfranchised,
especially
artists
who
are
struggling
to
make
ends
meet
that
we.
We
have
a
certain
need
to
create
these
spaces
and
to
create
spaces
where
people
can
go
and
decompress,
and
then
we
say,
there's
a
huge
Market,
because
we
can
connect
it
to
tourism
right.
There's
a
lot
of
money
to
be
made
there
so
definitely
warranted.
D
G
I'm
with
Humphrey
Street
Studios,
we
were
able
to
close
the
gap
on
the
commercial
space,
which
is
the
big
kind
of
brick
building.
So
that's
what's
going
to
be
preserved
and
then
there
will
be
housing
also
in
the
kind
of
back
half
of
the
parcel,
but
I
think
what
is
important
about
the
framework
of
the
city
being
able
to
be
proactive
and
invest
in
these
projects
is
that
we
can
have
really
productive
conversations
about
like
what
else
should
this
space
be
serving
like?
G
How
connected
are
artists
and
how
connected
is
this
asset
to
the
rest
of
the
community?
How
are
people
defining
what's
affordable
going
forward,
and
so
as
a
part
of
making
that
investment,
the
mayor's
office
of
arts
and
culture,
has
a
seat
on
the
board
that
oversees
those
decisions
and
can
sign
off
on
affordability
plans
and
that
kind
of
thing
as
well,
so
I
think
that
just
a
part
of
our
involvement
in
being
able
to
like
make
those
Investments
is
also
to
further
develop.
D
To
your
point
about
preventative
measures
as
opposed
to
being
reactionary
after
the
fact
this
is
what
we're
talking
about.
This
is
the
frustration
at
the
root
of
the
problem.
We
look
at
issues
especially
like
while
people
are
experiencing
the
pain-
and
we
say
this
needs
to
happen
that
needs
to
happen.
The
community
knows
the
artists
know
what
needs
to
happen.
The
artists
know
how
to
fix
this
problem,
and
yet
we
say,
but
yet
wait.
D
First,
we
need
studies
and
we
also
need
designs
and
we
also
need
evaluations,
and
then
that
seems
sort
of
moot
point,
because
then
all
of
these
people
working
in
silos
in
the
community
struggling
to
find
spaces
to
work
to
find
ways
to
build
themselves
up.
They
have
already
done
the
work
they've
just
done
it
in
silos
and
I.
Think
it's
the
city's
responsibility
to
consolidate
community
in
a
way
that
we
can
actually
say,
hey.
D
You
know
the
answer
because
you've
been
doing
this
work,
how
about
leaning
into
that
immediately
and,
as
you
say,
be
more
preventative
in
terms
of
planning
in
capital,
Investments,
actually
right
and
Madam.
Chair
I
know
that
my
opening
sounded
maybe
a
bit
abrupt
and
not
to
question
whether
your
process,
but
rather
that
I
was
trying
to
expand
on
the
panel
here,
should
include
Administration
to
talk
about
what
their
intentions
are
in
capital
budget
is
coming
up
right
and
I.
D
D
So
I
think
it's
important
for
us
to
also
open
up
open
this
up
and,
as
you
said,
modern
chair
I
look
forward
to
continuing
the
conversation,
maybe
in
a
working
session
and
really
looking
at
okay
City.
We
know
that
there's
a
huge
need,
there's
a
deficit.
We
can
do
a
study.
All
you
want
people
suffering
now.
They
don't
have
housing
or
work
in
space.
There's
money.
The
city
is
filthy,
rich.
What
do
we
do
about
it?
The
city
is
filthy,
rich,
and
so
what
do
we?
What
do
we
do
about
it?
D
It's
not
Opera
funds.
It's
that's!
Not
it
right,
because
we
know
what
that
was
for,
and
that's
all
accountable
for,
but
it's
it's
it's
resolving
this
issue
enough
right
now,
so
that
we
can
get
people
out
of
a
problem,
but
it's
engaging
with
Administration
and
building
out
those
Capital
Investments,
so
that
we
can
be
preventative.
How
I,
I
and
I
appreciate
you
mentioning
bpda,
because
it
should
be
in
the
rfps.
D
It
should
be
designed
in
the
rfps
exactly
what
we
want
to
deserve
and
what
we
need,
more
importantly,
but
how
would
you
say
moving
forward
like
bpda
right
now
has
certain
funding
that
goes
to
specific
areas
by
project
or
within
the
catchment
area
of
the
project.
How
are
we
working
with
them
to
move
those
funds
so
that
we
can
resolve
those
issues
in
those
catchment
areas,
but
also,
how
are
we
working
with
Administration
to
encourage
those
level
of
like
real,
intentional
Investments
so
that
we
can
be
preventative.
G
G
B
You
thank
you,
madam
chair.
Thank
you.
Councilor
Fernandez,
Anderson,
I
I
will
go
through
my
question,
seeing
that
my
other
colleagues
have
have
left
and
I
just
want
to
say
thank
you
again
for
for
this
presentation.
I
I'm,
just
synthesizing
what
I,
what
I've
gotten
here
and
largely
what
I
was
going
to
bring
to
this
conversation
in
terms
of
Solutions
and
recommendations
were
addressed
here
and
so
I
just
want
to
say.
Thank
you
all
so
much,
rather
than
being
reactionary
or
having
mitigation
through
Community
benefits
or
various
funds
and
preventative
measures.
B
Rather,
this
all
is
happening
on
a
case-by-case
basis.
From
what
I
heard
from
your
presentation,
you
are
really
trying
to
be
proactive
both
when
it
comes
to
to
planning
and
weaving
your
office's
priorities
through
the
development
process,
which
I
think
is
key
and
that's
something
that
I
want
to
just
Dive
Dive
deeper
on
I
was
looking
for
these
figures
in
this
presentation,
but
I
missed
it
when
you
had
said
it.
B
H
B
Is
there
any
way
to
just
thinking
about
planning
right
if
we
have
a
baseline
understanding
of
what
the
need
is
both
for
housing
and
for
rehearsal
space?
Would
we
be
able
to
gather
that
data
and
have
it
in
one
place
so
that
if
we
are
going
to
do
this
holistic
planning,
which
you're
saying
we
know
what
success
looks
like
like
how
many
folks
are
waiting
both
for
artist
housing
and
for
rehearsal
space?
At
this
moment
in
time,
yep.
G
And
this
is
so.
This
is
a
like.
The
overall
number
is
not
just
for
housing
and
and
music
space,
but
looking
at
loss
over
time
and
again,
that's
a
little
bit
different
from
the
question
of
where
we
want
to
be.
This
is
what
we're
hoping
that
the
mapc
tool
can
help
us
kind
of
quantify
and
have
that
Baseline
and
have
it
in
numbers
like
square
footage
and
affordability,
and
we
also
know
that
there's
specific
disciplines
that
are
having
a
harder
time
than
others
because
of
spaces
that
have
been
lost.
G
We
can
also
there
have
been
several
studies
about
artist
space,
including
from
the
bpda
over
the
years
that
we
have
that
we
use
for
older
data,
including
like
knowing
that
there
are
entire
buildings
of
cultural
production
space
that
were
lost
in
Fort
Point
right
over
time.
So
we
do
have
that
going
back.
B
B
And
I
do
want
to
get
into
that's
a
good
segue
into
integrating
you
and
to
the
bpda
process
right.
We
know
that
article
80
is
a
good
lever
and
a
good
pressure
point
just
to
inserting
your
voice
and
and
all
the
advocacies
our
Advocates
voice
into
that
space.
You
did
mention
that
you
have
two
ftes
that
have
been
hired,
so
are
the
ACT
scoping
sessions
at
the
bpda
and
then
also
what
is
a
way
to
formalize
and
standardize.
B
G
That's
a
great
idea:
we
do
have
a
checklist
for
artist
housing
as
a
result
of
the
design
guidelines
that
we
created
for
that
right,
so
really
trying
to
hold
that
to
a
standard
and
I
think
it'd
be
great
to
develop
something
similar
for
other
projects.
We've
also
talked
with
our
colleagues
in
housing
about
the
need
for
just
like
an
anti-displacement
assessment
off
the
bat
like
what
is
actually
being
displaced
by
this
project,
and
how
is
that
being
addressed,
and
what
is
a
checklist
checklist.
B
And
thinking
about
what
happened
in
Charlestown
I
know
that
it
was
flagged
through
ISD,
because
it
was
a
change
of
use.
And
so
is
there
a
way
to
break
down
that
Silo
and
just
make
sure
that
there's
some
sort
of
Trigger
or
alert
to
your
office
when
there
is
a
change
of
use
from
from
anything
that
that's
happening
like.
G
B
And
you
had
mentioned
something
similar
to
linkage
for
for
these
sort
of
spaces
and
that's
something
that
I
I
certainly
support:
we've
seen
the
Success
Through,
the
nht,
with
the
Neighborhood
Housing,
Trust
and
obviously
Workforce
Development
in
in
the
city
of
Boston.
What,
if
those
conversations
look
like
I
know
that
it's
that
it's
a
proposed
solution,
but
what
we're?
What
are
some
tangible
actions
that
have
happened
or
conversations
that
you
can
speak
to
today?.
G
Yeah
so
I
think
the
most
kind
of
promising
part
of
that
conversation
is
to
have
the
ability
and
the
BPA
has
been
supportive
of
this
for
the
mayor's
office
of
arts
and
culture
to
have
a
city-wide
fund.
So
there
is
some
process
and
approvals
around
that,
but
if
we
could
have
that
mechanism,
then
we
could
start
to
direct
some
of
these
community
community
benefit
and
mitigation
contributions
to
that
fund.
B
Great
just
look
into
my
list
of
questions
making
sure
that
I
have
everything
so
looking
at
mapc's
work
in
Somerville,
which
is
which
has
been
incredible.
They
did
a
risk
assessment
over
there
just
in
terms
of
of
cultural
spaces
and
and
art
spaces.
They
were
able
to
convene
a
task
force
just
to
assist
with
this
and
I
know
that
we
do
have.
We
were
awarded
the
technical
assistance
grant
for
this
infrastructure
work.
Are
we
developing
a
similar
task
force
just
trying
to
bring
everybody
to
the
table?
Is
that
something
that's
already
been
discussed?.
G
And
we
haven't
discussed
a
specific
task
force,
I
think
even
as
we've
been
discussing
the
engagement
strategies
for
that
work,
we
also
know
that
people
have
been
talking
a
lot
about
this
issue
and
have
been
engaged
a
lot
on
the
issue.
So
maybe
once
we
have
the
kind
of
tool
and
process
up
and
running
it'll
be
good
to
have
a
body,
that's
kind
of
getting
reported
to
you
about
what
some
of
those
issues
are
and
how
we're
dealing
with
them.
G
B
And
then
my
last
question,
for
that
is
just
about
the
timeline
on
that,
because
I
really
see
that
as
a
way
for
us
to
gather
this
important
data
to
figure
out
some
of
the
solutions,
moving
forward
figure
out
what
the
key
findings
are.
What
is
what
is
the
timeline
on
that
and
what
is
success
in
in
your
mind,
for
for
the
arts
and
culture
office,
so.
H
We're
around
halfway
through
the
execution
of
that
project,
as
supported
by
their
technical
assistance
grant
and
the
main
outcomes
that
we're
looking
to
for
the
scope
of
work,
which
is
now
detained
at
the
end
of
this
calendar
year,
would
be
a
digital
planning
tool.
That's
shared
by
Cambridge
Somerville
and
Boston
shared
policy
platform.
A
G
C
Thank
you
for
your
answer.
So
far,
one
the
anti-displacement
assessment,
like
the
AF
they
affirmatively
furthering
fair
housing,
has
a
look
back
and
I'm.
You
know
I'm
I'm
thinking
about
spaces
in
in
Austin
Brighton
that
you
know
where
I
would
say
taken
offline,
like
55,
52,
Everett
Street.
You
know
when
a
new
when
a
new
proposal
comes
forward
for
development,
do
we
have
the
capacity
to
have
like
a
look
back
assessment
to
say?
C
Okay,
this
space
was
an
artist
base
five
years
ago,
and
now
it's
going
to
be
redeveloped
like
and
all
things
that
are
happening,
sort
of
in
real
time
right
now
and
anticipated
our
reaction
to.
But
if
something
sort
of
the
horse
has
already
left
the
barn
is
there
any
way
we
can
set
up
a
sort
of
a
look
back
sort
of
assessment
that
that
would
would
factor
in
the
the
recent
displacement
from
from
a
space
like
that
across
anywhere
across
the
city?
C
And
then
the
other
issue
was
you
know,
thinking
about
and
in
terms
of
affordable,
affordable
uses
for
artist
housing
Etc,
like
I
know
we
have.
We
have
we
struggle
with
expiring
use
in
in
a
rental,
look
highly
subsidized
rental
spaces
for
housing
residential.
Do
you
know?
Do
we
have
the
capacity
to
sort
of
try
and
extend
that
sun
setting
of
of
affordability
like
I'm
thinking
about
the
piano
Factory?
You
know
it
hits.
It
hits
us
hits
this
timeline.
It's
it's!
G
G
G
You
know
check
in
annually
or
look
three
years
later
and
see
what's
happened
because
we
do
see
it
as
a
huge
problem
that,
once
a
development
project
is
in
motion,
people
leave
right,
like
all
the
small
businesses,
all
the
creative
uses.
All
the
artists
are
going
to
start
looking
for
where
they
can
go
and
then,
by
the
time,
we're
in
the
conversation
and
it's
close
to
something
like
a
bpda
board
vote.
You
know.
Maybe
most
of
the
people
have
left
the
building
and
suddenly
it
seems
like
it's
not
a
concern
anymore
yeah.
C
And
then
and
possibly
mitigate
the
impact,
it's
this
historic.
You
know
recent
because
if
you
own
a
large
building,
that's
a
sort
of
semi-industrial
space,
that's
being
used
used
as
a
as
a
recording
studio
for
X
number
of
years,
and
you
you
want
to
you-
want
to
sell
it
to
a
developer.
You
probably
get
rid
of
your
tenants
ahead
of
time
so
that
you
don't
have
to
deal
with
that
and
again,
that's
the
look
back
yeah
mechanism
that
we
might
be
able
to
use
yeah.
H
And
I
think
the
tool
that
we're
building
with
mapc
will
have
that
functionality
in
it
to
track
what
has
been
the
use
of
buildings
over
time
even
after
it's
changed
so
marking
existing
assets
like
known
assets
that
have
even
changed
use
in
the
past
couple
of
years
through
our
data
Gathering
and
interviews.
So
that
should
be
able
to
mark
some
history
of
buildings
and
important
art
sites
in
the
city
too.
And
then
we
can
cross
check
that
with
development
review
filings
when
they
come
into
our
office.
C
I
think
the
other
thing
we
see
in
Olson
Brighton
is
like
it's
it's
sort
of
past
history
now,
but
on
Rock
Road,
like
the
informal
sort
of
rehearsal
spaces
that
were
there
that
were
sort
of
on
recognized
and
on
probably
not
compliant
with
code
or
whatever.
But
you
know
just
thinking
about
those
informal
spaces
in
other
neighborhoods
that
we
could
maybe
work
with
the
artist
Community
to
formalize
the
arrangement
and
make
sure
they
comply
with
code
Etc
so
that
they
don't
face
this.
C
D
D
Okay,
we've
talked
for
an
hour
and
your
pro,
your
presentation
is
very
thoughtful
and
I
think
very
thorough
to
to
the
limitations
within
the
limitations
that
you
have
right.
Tell
me
or
help
me
get
to
surmise
this
this
hour.
Conversation
so
that
we
understand
next
steps
because
we're
having
conversations,
because
we
are
all
interested
in
Solutions
and
I
know
that
everyone
sitting
here
is
interested
in
the
next
conversation
that
leads
to
Solutions.
Hopefully,
with
that
being
said,
things
like
that's
come
out
of
this
hearing
help
me
out.
Everybody.
D
G
H
So
with
our
additional
hires
that
we've
added
to
create
Boston's,
first
cultural
planning
team,
one
of
the
key
initial
steps
in
having
a
development
review
role
is
to
now
be
in
pre-file
meetings
as
well
as
cooking
sessions
and
what
would
really
enable
and
Empower.
That
role
is
to
have
those
clear,
Community
benefit
and
mitigation
expectations
set
up.
And
we
have
the
goals
that
we've
set
out
here
today.
H
D
I
have
three
things:
housing,
invest
in
housing,
so
purchasing
those
industrial
buildings
looking
or
for
artists
working
space,
bpda,
article
80
review
so
to
include
in
the
RV
or
in
the
process
itself
for
artist
space
and
housing.
Also
Community
benefits
the
city-wide
bucket
that
we
mentioned
so
that
we
have
more
autonomy
and
how
we
use
it.
D
G
That
is
a
good
question.
We
haven't
been
working
too
closely
with
schools
on
this
issue
yet
and
I
think
there's
some
tension
about
the
spaces
that
are
available
through
institutions
that
are
used
by
our
local
creative
community
and
how
you
know
it's.
The
educational
institutions
are
always
going
to
serve
their
students
and.
G
You
know
from
a
creative
business
perspective
and
that's
not
just
about
individual
artists
or
really
small
groups,
but
also
we
see
you
know
large
Grammy,
a
winning
winning
organizations
that
have
a
hard
time
securing
those
spaces
far
enough
in
advance
and
really
being
able
to
rely
on
them.
So
I
think
it's
a
conversation
to
be
had.
It
was
a
little
bit
harder
to
do
out
of
covid
as
well
with
schools
kind
of
closing
down
access
to
some
of
their
spaces,
but
it
should
be
Revisited.
What
about
hospitals
should
I
have
money?
G
Yeah
I
think
that's
a
great
conversation
for
us
to
have
with
housing
who
I
know
has
been,
has
already
some
precedence
for
that
and
I
think
the
question
would
be:
it's
probably
housing
us
Economic
Opportunity,
because
there's
a
small
business
lens
there
as
well
to
think
about
what
that
kind
of
initial
intake.
Anti-Displacement
intake
looks.
D
Like
if
you
were
to
think
of
your
budget
last
question,
it's
not
hypothetical.
If
you
were
to
look
at
your
budget,
you
know
right
now
what
you
wanted
to
do,
because
you
you
I
I
from
from
interacting
with
you,
I,
think
that
you
absolutely
love
what
you
do
and
you
really
care
how
much
more
money
would
you
say
the
administration
have
to
give
you
in
order
to
do
that
job.
G
I
think
that
the
reality
of
it
is
that
the
kinds
of
things
that
we're
talking
about
that
are
the
sticking
points
are
more
about
like
process
and
coordination.
I
mean
we're
talking
about
money
as
well
right,
because
money
is
needed
to
do
things
like
buy
buildings,
but
even
if
we
have
that
money,
if
we
don't
really
have
the
process
figured
out
in
the
priority
placed
on
this
area
of
work,
then
you
know
we
can't
move
that
money
either
yeah.
D
G
If
you're
used
to
working
as
a
sole
proprietor,
essentially
so
I
think
that's
part
of
the
equation.
We've
been
doing
a
lot
of
work
to
try
to
help
people
on
the
front
end
so
that
they
understand
how
the
city
system
works,
and
you
know
as
you're
filling
out
a
vendor
ID
profile
like
what
that
actually
means
and
where
that
information
is
going.
So
we've
been
trying
to
provide
more
of
that
ahead
of
time
so
that
people
don't
get
stuck
further
along
and
then
wind
up
in
problems
in
the
system
getting
paid.
G
B
B
We
do
have
this
list
that
we've
just
gone
over
and
I,
do
want
to
mention
and
and
not
lose
sight
of
this,
this
fund
that
we
need
to
set
up,
and
so,
if
we
can
be
in
constant
communication
about
that
and
how
we
can
be
helpful
as
a
council,
please
let
us
know,
especially
as
we
move
forward
in
the
budget
process,
how
much
you
you
need
in
your
capital
budget
to
be
successful.
To
to
do.
B
B
G
B
Okay,
we're
going
to
move
on
with
our
next.
The
next
segment
of
this
hearing
and
I
would
love
to
have
I'm
just
bringing
up
the
list.
Right
now
we
have
Emily
ruddock
the
executive
director
of
mass
creative
Annis,
Whitlow
sangupta.
It's
a
PhD
director
of
arts
and
culture
at
the
mapc.
We
also
have
Christina
Tedesco
from
Art
stays
here.
Ethan
Dussault
volunteer,
Jesse
vengrobe,
who
is
from
Charlestown
rehearsal
studios
and
I,
also
have
somebody
by
the
name
of
of
Jim
Healy
as
well.
B
Thank
you
all
so
much
for
being
here.
We
really
wanted
to
to
focus
in
on
folks
who
were
directly
impacted
because
of
the
loss
of
rehearsal
space
in
music
space,
while
also
getting
to
some
of
the
solutions
that
we
had
had
just
talked
about
and
I'm
very
pleased
to
see
or
to
hear
that
there
is
already
a
partnership
with
the
mapc
in
terms
of
technical
assistance
and
I
would
love
to
maybe
start
with
the
mapc.
B
B
K
Hi,
thank
you,
chair
Coletta,
for
this
invitation
to
testify
on
the
loss
of
rehearsal
spaces
for
musicians
in
the
city
of
Boston,
and
thank
you
to
the
other
members
of
the
committee
for
listening
today.
My
name
is
Anna
sangupta
I'm,
the
director
of
arts
and
culture
at
the
metropolitan
area,
planning
Council,
which
is
the
regional
planning
agency
that
serves
the
people
who
live
and
work
in
the
101
cities
and
towns
of
Metro
Boston.
K
K
And
while
that
informality
can
support
flexible
and
creative
strategies
to
preserve
affordability
and
respond
to
shifting
needs,
it
can
also
amplify
inequity
of
access
to
Affordable
space
across
the
region
and,
within
this
context,
municipalities
across
the
region
lack
both
data
and
policies
that
allow
them
to
proactively
respond
to
displacement
pressure
before
it
results
in
artist
displacement.
And
this
is
what
is
the
focus
of
our
project
with
Boston,
Cambridge
and
Somerville.
K
We
see
that
creative
workspace
is
largely
absent
from
data.
That's
available
to
municipalities,
and
so
a
big
part
of
the
project
is
actually
creating
an
inventory
of
spaces
and
linking
that
inventory
into
a
digital
planning
tool
that
all
three
cities
will
be
able
to
use
to
allow
their
staff
to
interface
with
planning
departments
and
development
review
processes
to
flag
where
there
may
be
spaces.
K
But
we
also
see
right
now
that
municipalities
have
limited
tools
to
mitigate
displacement
of
Arts
and
Cultural
uses,
and
many
of
those
tools
have
may
have
limited
impact
on
preventing
the
displacement
of
rehearsal
space.
Because
of
the
specific
issues
that
in
the
regulatory
environment
that
can
disadvantage
noisy
activities,
we
see
that
Municipal
zoning
and
permitting
can
create
barriers
to
expanding
rehearsal
space
with
a
misalignment
between
the
zoning
language
and
the
cultural
planning
goals
and
priorities.
This
is
not
only
true
in
Boston,
but
also
across
the
region.
K
There
are
not
clear
structures
or
processes
where
cultural
planning
staff
can
flag
issues
early
in
planning
and
development
review
processes
and
there's
a
lack
of
funding
and
staff
capacity
to
to
do
that.
Proactive
planning
that
has
been
mentioned
several
times
today
and
I
would
also
link
arts
and
culture
planning
to
policies
to
promote
affordable
housing
and
small
business
support,
which
are
really
important
issues
for
the
creative
community.
K
But
within
this
Regional
context
there
is
opportunity
for
local
action,
even
though
we
were
likely
to
continue
to
see
displacement
in
the
near
term.
Boston
can
document
its
existing
creative
workspaces
and
establish
this
inventory
that
makes
it
possible
to
track
changes
over
time
and
flag
risks
to
spaces
from
proposed
development
projects
and
within
the
context
of
this
project,
we'll
be
doing
that.
But
we
will
really
be
relying
on
the
creative
community
in
Boston
to
help
us
fill
out
and
identify
where
those
spaces
are
and
what
the
square
footage
is.
K
K
A
big
part
of
this
project
will
also
be
looking
doing
a
full
policy
audit
and
looking
at
the
zoning
and
permitting
processes
in
Boston,
Cambridge
and
Somerville
to
identify
specific
places
that
may
be
creating
barriers
in
those
cities
and
Boston
can
also
proactively
affirm
the
importance
of
creative
workspace
and
amend
its
zoning
and
permitting
to
reduce
restrictions
on
these
uses.
Allowing
artistic
and
creative
activity
across
the
city
and
create
incentives
and
standards
that
ensure
that
more
vulnerable
creative
uses
like
music
rehearsal
space
can
be
served
better
served
by
new
development.
K
We
also
understand
that
this
issue
cannot
be
solved
by
Boston
alone
and
that
Statewide
collaboration
and
advocacy
will
be
needed.
Boston
can
collaborate
with
its
neighbors
to
reduce
barriers
to
creative
activity
and
expression,
regionally
by
establishing
consistent
definitions
of
creative
workspace
that
can
be
used
in
zoning
across
municipalities
and
by
working
together
to
support
this
capacity.
K
The
project
that
we're
currently
working
on
will
be
wrapping
up
in
December
2023,
and
it
will
result
in
a
digital
planning
platform
that
those
three
cities
can
use,
and
we
hope
that
other
cities
will
be
able
to
opt
into.
It
will
include
a
regional
policy
agenda
and
it
will
also
have
Municipal
action
plans
that
take
into
account
the
specific
context
of
each
municipality
and
how
they
can
move
from
where
they
are
now
to
achieving
that
larger
agenda.
L
You
thank
you
very
much.
Thank
you,
chair
Coletta,
on
behalf
of
mass
creatives
board
of
directors
over
170,
Arts
and
Cultural
organizational
members
and
3
000,
individual
artists,
creative
workers
and
advocates
in
Boston
alone.
I
want
to
thank
you
for
the
opportunity
to
testify
today.
Masquerative
is
a
Statewide,
independent,
organizing
and
advocacy
organization
through
activating
the
advocacy
power
of
artists,
creatives
and
cultural
leaders,
advancing
Common
Sense
public
policy
and
leading
public
education
campaigns.
L
Creative
communities,
as
I
mentioned
in
Essex
County,
Berkshire,
County
and
Cape
Cod,
face
similar
challenges
as
private
property
owners
who
historically
leased
space
for
Creative
workers,
sell
or
redevelop
these
properties
for
other
uses,
so
Mass,
creative
and
our
Advocates.
We
see
two
main
areas
of
impact
if
the
loss
of
space
for
musicians
and
artists
continues
unabated.
The
first
one
is
economic
vibrancy.
The
creative
economy
is
a
reliable
economic
driver
for
communities
across
Massachusetts
in
Boston,
specifically,
an
individual
spends
about
3
30.20
26
Cents
at
neighboring,
retail
and
restaurants
when
they
attend
an
Arts
event.
L
Local
creative
economies
play
a
significant
role
in
the
quality
of
life
for
their
residents,
with
the
rise
of
hybrid
and
remote
work,
workers
have
options
of
where
to
live,
and
work
and
Boston
must
consider
strategies
to
attract
and
retain
residents.
However,
if
artists
do
not
have
a
space
to
create
or
present
their
work,
they
will
too
leave
and
the
vibrant
creative
economy
Boston
relies
on
for
economic
development,
Talent
attraction
and
Resident
protection
will
disappear.
L
The
second
area
that
I
want
to
point
out
today
is
the
the
issue
of
cultural
Equity,
so
like
economically
accessible
housing,
low-cost
creative
space
is
directly
related
to
who
can
afford
to
make
art
in
the
city
and
without
a
variety
of
maker
spaces
throughout
the
city.
Only
those
who
can
pay
or
have
space
near
their
residences
or
that
are
easily
accessible
will
have
the
ability
to
be
working
artists
in
our
city
in
United
States,
so
just
to
take
a
little
bit
of
a
larger
to
bring
the
helicopter
up
a
little
bit
in
the
United
States.
L
There
are
models
of
how
cities
can
address
and
mitigate
creative
space
loss.
Seattle
created
the
creative
space
agency,
a
city
charted
chartered
public
development
agency,
whose
mission
is
securing
long-term,
affordable
commercial,
cultural
space
and
in
San,
Francisco
and
Oakland.
The
public-private
community,
art
stabilization
trust,
uses
the
land
trust
model
to
secure
and
preserve
affordable,
creative
space.
It's
important
to
note
that
both
these
that
these
efforts
require
both
municipal
government
state
government
and
private
philanthropy
in
order
to
get
off
the
ground,
and
we
urge
Boston
to
consider
similar
approaches.
L
We
also
want
to
just
note
that
we
were
pleased
to
see
the
mayor's
office
of
arts
and
culture
launching
the
Boston
cultural
space
fund.
The
fund
will,
as
you
know,
will
invest
1.5
million
this
fiscal
year
to
support
individual
artists,
creative
businesses
and
non-profit
cultural
organizations
to
acquire
new
spaces
and
make
existing
ones
more
accessible.
And,
as
you
heard
from
the
chief
of
arts
and
culture
there,
it
will
take
more
strategies
like
these
in
the
city
to
mitigate
the
loss
of
space
and
the
subsequent
loss
of
artists
on
the
state
level.
L
Mass
creative
is
working
with
Senator
Liz
Miranda
of
Boston
and
representative
Dan
Cahill
of
Lynn
on
an
act
to
preserve
space
for
the
creative
economy.
This
legislation
would
create
a
defined
property
restriction
for
Creative
maker
space
and
performance
or
exhibit
space.
It
would
also
allow
municipalities
to
establish
trust
funds
to
hold
assets
and
property
to
create
and
preserve
creative
spaces.
So
we
believe
this
bill
is
an
essential
first
step
on
the
state
level
to
adjust
creative
space
loss
and
we
are
eager
for
more
Partners
on
this
legislation.
L
B
M
You,
my
name
is
Jesse
vengrove
I'm,
a
tenure
Charlestown
resident
and
an
audio
engineer
by
trade
I'm,
also
here,
as
a
musician,
a
six
and
a
half
year
tenant
at
the
Charlestown
rehearsal
studios,
also
known
as
CRS,
and
a
member,
a
member
of
the
CRS
tenants,
Association
steering
committee
I'd
like
to
start
by
expressing
my
gratitude
to
the
city
council
for
holding
this
hearing.
I
would
like
to
expand,
extend
a
special
thanks
to
councilor
Coletta,
my
city
councilor,
for
sponsoring
this
hearing
and
for
the
honor
of
allowing
me
to
be
a
part
of
this
panel.
M
I
would
like
to
also
thank
Chief
Elliot
Ortega
for
all
of
her
work
over
the
past
eight
years
on
behalf
of
musicians
and
artists
in
the
city
and
Amy
Bennett,
and
all
the
Art
stays
here.
Coalition
volunteers
for
the
countless
unpaid
hours
they
put
into
helping
organize
all
of
us
over
at
CRS
I
grew
up
in
western
Mass
immersed
in
music
concerts
as
a
toddler
with
my
parents.
M
My
first
drum
lessons
as
a
sixth
grader
from
my
dad
in
our
basement
and
years
of
band
practices
in
the
basements
of
friends,
making
an
unreasonable
amount
of
noise,
I
moved
to
Boston
in
2009
after
transferring
into
Berkeley
College
of
music's
audio
engineering
program
and
I
haven't
left
since
I've
spent
the
last
11
plus
years
working
exclusively
in
the
creative
field
of
audio,
both
in
recording
studios
and
at
live
concert.
Venues
in
Boston
in
the
surrounding
area,
as
well
as
playing
drums
and
bands
in
the
local
scene.
M
However,
I
can
count
on
one
hand
the
number
of
my
fellow
Berkeley
classmates
that
stayed
in
Boston
after
graduation,
largely
due
to
the
lack
of
opportunities
and
infrastructure
to
support
careers
in
music.
Here
growing
up,
I
took
for
granted
the
ability
to
simply
walk
down
into
my
basement
and
practice
drums
for
hours
on
end.
Now,
it
is
impossible
for
me
to
imagine
my
life
without
music
as
an
integral
part
of
who
I
am
and
how
I
navigate
the
world.
M
However,
if
right
now,
I
was
that
same
sixth
grader
living
in
Charlestown
and
my
dad
took
me
into
our
basement.
To
give
me
my
first
Drum
Lesson
we'd
have
the
police
at
their
door
with
a
noise
complaint
in
no
time
and
if
we
kept
it
up,
we'd
probably
get
run
out
of
the
neighborhood
faster
than
if
I
move
someone's
space
saver
after
a
snowstorm
making
music
with
my
band
mates
who
I
consider
family
and
amplifying
the
music
of
others
at
work
is
my
reason
for
being.
M
Music
is
the
thing
that
I
wake
up
thinking
about,
and
it
is
also
the
thing
that
keeps
me
up
until
four
o'clock
in
the
morning
at
work,
so
others
can
enjoy
it.
However,
since
the
rumors
broke
in
early
January
about
the
potential
closure
of
CRS,
which
houses
95
rooms
with
700
plus
musicians,
I
now
wake
wake
up.
Thinking
about
the
imminent
displays
from
musicians
and
friends
from
this
city,
and
it
anxiously
keeps
me
up
at
night.
It's
caused
me
to
reschedule
band
practices.
Neglect
practicing.
M
My
instrument
fall
behind
at
work,
sacrifice
time
with
my
wife
in
order
to
instead
prioritize
spending
hours
on
Zoom
strategy
meetings
with
the
CRS
steering
committee,
or
repeatedly
knocking
on
all
95
doors
at
CRS,
while
handing
out
hundreds
of
Flyers.
This
is
wholly
unsustainable,
I
used
to
practice
in
the
rehearsal
Studio
complex
at
the
corner
of
Boylston
and
Brookline
Ave,
which
is
now
luxury
condos
before
moving
to
CRS
I
was
at
155
North
Beacon,
which
is
soon
to
be
bulldozed.
M
Numerous
facilities
in
South
Boston
are
long
gone
along
with
the
rug
Road
building
in
Austin
and
soon
to
be
the
Berwick
building
in
Nubian
Square.
When
I
was
a
student
at
Berkeley,
there
were
also
even
some
Al
practice
spaces
in
the
basement
on
the
block
of
Boylston
Street
between
Hemingway
and
Mass
Ave,
which
today
I
cannot
even
fathom
as
it
seems
so
far-fetched.
M
There
are
two
large
arguments
to
be
made
about
the
necessity
of
rehearsal
spaces
in
the
city.
First,
music
is
critically
important
and
plays
a
role
in
most
people's
lives.
Even
if
those
people
aren't
musicians
themselves,
the
music
scene
is
what
makes
the
city
sound
alive
and
have
an
identity,
and
the
musicians
that
make
this
possible
need
spaces
in
which
to
create
these
spaces
act
as
a
creative,
Safe
Haven,
a
home
away
from
home.
These
spaces
need
to
be
in
buildings
that
are
well
maintained
and
cared
for
by
The
Operators,
which
I'm
happy
to
say.
M
M
All
of
these
musicians
then
play
shows
at
local
venues,
and
these
shows
bring
crowds
that
I'll
spend
their
money
not
only
at
the
venues,
but
as
surrounding
businesses
as
well.
The
economic
effect
of
losing
the
local
music
scene
here
in
the
city
would
be
felt
by
a
wide
range
of
people
and
businesses,
and
the
ripple
effect
would
be
felt
throughout
New
England
and,
believe
me,
this
will
be
lost
if
there's
not
a
quick
and
concerted
effort
to
stop
musician
displacement
from
Boston.
M
The
inability
to
sustainably
support
a
thriving
music
community
of
multiple
genres
in
the
city
has
been
an
ongoing
issue
for
a
long
time.
It
is
truly
heartening
to
see
the
city
council
shine
a
light
on
this
issue,
for
what
I
believe
is
the
first
time
ever
acknowledging
that
this
impacts
every
single
neighborhood
in
the
city
and
is
not
just
an
issue
for
one
small
arts
and
culture
office
to
solve
on
their
own
going
forward.
M
I
would
love
to
see
the
following
occur:
the
city
council
engaging
with
musicians
at
the
time
and
place
that
is
accessible
not
solely
during
weekday
business
hours
when
most
folks
are
working.
I
know
a
lot
of
folks
express
interest
in
being
here,
but
unfortunately
could
not
because
it's
the
middle
of
the
afternoon
Citywide
policies
that
incentivize
commercial
developers
of
affordable
art
and
music
spaces
through
tax
breaks.
Non-Profits
cannot
and
should
not
shoulder
this
burden
alone.
M
Money
for
Community
benefits
from
the
article
80
process
not
just
contained
to
the
neighborhood
of
the
new
development,
but
instead
pooled
in
an
effort
to
acknowledge
that
the
arts
and
culture
issues
that
one
neighborhood
faces
are
likely
faced
by
and
will
certainly
affect
constituents
in
others
as
well
concrete
policies
from
the
bpda
about
how
it
will
steer
development
towards
stemming
artists
and
musician
displacement.
And
finally,
on
top
of
the
creation
of
new
music
and
arts
workspaces.
M
B
N
N
There
have
been
no
protections
or
policies
for
these
creative
communities
and
artists
and
musicians
have
been
leaving
Boston
to
more
affordable
places
like
Malden,
Lowell
and
Waltham.
We're
so
grateful
for
our
city.
Councilors
for
calling
this
hearing
to
address
the
loss
of
Musical
music
rehearsal
space
in
Boston.
This
topic
is
not
new.
N
There
are
over
two
dozen
musicians
and
artists
here
today,
most
of
whom
have
at
some
point,
been
displaced
once
some
multiple
three
to
four
times.
Just
last
week
we
saw
the
closing
of
the
sound
Museum
in
Brighton
having
housed
hundreds
of
musicians
for
decades,
and
recently,
we've
learned
about
the
potential
displacement
of
another
700
plus
musicians
at
Charlestown
or
rehearsal
studios,
where
Jesse
is
that's
nearly
2
000
musicians
in
Boston
Proper
within
a
12-month
period,
with
zero
place
for
even
a
dozen
musicians
to
relocate
to
never
mind
nearly
two
thousand.
N
N
The
Art
stays
here
Coalition,
although
young
and
entirely
volunteer
operated,
has
helped
these
groups
to
join
together
in
one
voice,
form,
tenant
associations
and
Advocate
against
displacement.
We've
worked
with
elected
officials,
neighborhood
association
and
the
mayor's
office,
and
are
grateful
to
have
stop
Gap
individual
solutions
for
each,
but
these
piecemeal
efforts
don't
address
the
long
time
overall
issue.
There
is
not
enough.
Arts
music,
cultural
workspaces
in
Boston
and
those
we
do
have
are
all
at
risk
because
we
do
not
have
protection
or
policies
in
place
to
prevent
impending
displacement.
N
It's
not
sustainable
to
save
Arts
communities
piecemeal
as
we
have
been
and
continue
to
do.
The
Coalition
overall
must
help
communities
like
like
Humphrey
Street
Studios,
which
partnered
with
vanilla,
benevolent
developer,
turn
the
studio
community
community
community
into
a
non-profit
organization
and
purchase
the
studio
property.
N
N
We
would
have
funds
to
compete
with
other
developers
of
buyers
and
would
create
mechanisms
to
train
artists
and
Advocates
to
be
Arts
administrators
and
to
then
manage
the
communities
themselves
if
they
choose,
but
in
addition
to
our
Coalition
expanding
to
meet
the
needs
of
all
who
risk
displacement.
We
also
call
upon
the
state
of
Massachusetts
and
individual
municipalities,
and
here
today,
specifically
the
city
of
Boston,
to
a
be
truly
aware
of
this
systemic
heartbreaking
truth
and
to
to
take
action
on
two
fronts.
N
N
We
ask
that
the
city
council
provide
a
dedicated
line
item
of
funding
towards
Arts
and
Cultural
workspaces,
seed,
money
of
10
million
dollars
in
the
fiscal
year,
24
City
budget
and
funding.
Thereafter
we
ask
for
Arts
and
Cultural
representation
at
every
point
of
City,
Planning
and
Development.
We
ask
for
policy
that
protects
artists
and
musicians
when
development
occurs,
funding
for
relocation,
if
needed,
and
for
the
council
to
look
at
this
problem-
city-wide,
not
just
District
by
District
and
region-wide,
sometimes
Solutions
exist
only
in
other
districts
than
the
original
displacement.
N
O
O
O
All
of
this
requires
a
music
rehearsal,
Studio
community,
be
an
environment
suitable
for
isolating,
sounds
from
Neighbors
homes
and
businesses.
It
requires
access
at
nights
and
on
weekends,
as
most
of
us
also
work
day
jobs
to
subsidize
our
music
careers.
It
also
requires
parking,
as
we
move
our
gear
in
and
out
after
gigs,
and
it
requires
being
close
to
public
transportation.
O
Luckily,
through
the
hard
work
of
many
folks,
including
Art,
stays
here,
Coalition
the
mayor's
office
of
arts
and
culture
and
other
Advocates,
it
seems
that
preventing
art,
music,
cultural
displacement
is
beginning
to
get
your
attention.
It
seems
like
a
right
time
where
artists
and
musicians
of
many
disciplines
are
raising
our
hands,
Gathering
our
Collective
voices
and
asking
for
your
help.
O
We
need
your
help
now,
more
than
ever,
we
need
you
to
see
us
and
hear
us.
Some
of
us
are
Boston
residents
like
myself.
Some
of
us
work
in
Boston,
some
of
us
attend
Berkeley
or
other
Boston
universities,
some
live
in
surrounding
areas
and
specifically
come
to
Boston
to
be
part
of
the
music
community.
O
We
need
to
keep
the
space
we
have
and
secure
it.
We
also
need
to
build
more
spaces,
so
we
have
enough.
We
need
to
fuel
the
creative
economy,
so
we
and
all
artists
can
continue
providing
concerts,
exhibitions
and
unique
cultural
experiences
for
visitors.
Visitors
who
drive
into
Boston
Park
in
our
garages
eat
in
our
restaurants,
buy
tickets
to
the
events.
We
want
to
continue,
sharing
our
gifts
and
making
boss
more
valuable
to
all.
Please
help
us
I
on
behalf
of
all
musicians,
we're
the
currently
displacer
at
risk.
O
Ask
you,
the
Boston
city
council,
to
work
with
us
in
the
mayor's
office
to
provide
both
protection
and
policies
to
Arts
music
cultural
spaces
in
Boston.
Please
consider
a
budget
line
for
securing
space
in
your
upcoming
2024
budget.
Please
consider
offering
city-owned
properties,
buildings
to
developers
and
operators
willing
to
provide
Arts
cultural
use
in
perpetuity.
O
Please
provide
a
mechanism
in
the
development
process
for
arts
and
culture
to
be
part
of
all
planning.
Please
work
together
as
a
council
and
consider
Arts
displacement
as
a
city-wide
issue,
not
just
District
by
District.
Please
make
Bocce
Boston
a
healthy,
thriving
Community
for
all
musicians
and
artists
to
live
work
and
share
our
talents.
O
B
I
You
know
for
a
long
time,
I
considered
being
a
non-profit
and
there's
just
no
money
for
it.
There's
no
endowments!
There
are
no
funds,
there
are
no
grants
for
it.
So
it's
really.
It's
really
good
to
hear
that.
Finally,
City
governments
and
state
governments
and
and
State
art
organizations
are
starting
to
pay
attention
to
this
community.
I
And
ultimately,
you
know
right
now.
I
can
tell
you.
There
are
dozens
of
musicians
that
left
my
building
the
other
day
that
don't
have
any
place
to
go
and
were
offered
a
place
to
go,
but
again,
zero
loss
of
cultural
space,
one
out
over
this
community
and
I.
Don't
think
that
was
a
good
choice.
I
understand
the
city's
trying
to
learn
about
this
and
trying
to
figure
it
out.
But
if
you're
going
to,
you
know
be
honest
with
yourself,
I
think
that
was
a
big
mistake.
I
I
City
hall,
employees
who
I
believe
posed
as
musician
or
Advocates
were
given
the
position
to
negotiate
and,
and
so
the
the
musicians
that
were
counting
on
me
to
represent
them
to
speak
for
them
to
try
and
find
a
solution
for
them.
We
were
all
silenced
and
I
have
to
answer
to
them
as
to
why
that
happened
and
I
don't
have
an
answer.
I
Do
you
understand?
So
that's
why
I'm
here,
because
I'm
I'm
not
I'm,
not
here
to
again
to
be
confrontational,
but
if
you're
going
to
learn
and
you've
got
to
work
with
this
community,
if
you
have
I
mean
I,
I
took
the
time
like
this
gentleman
said
he
knocked
on
doors.
I
knocked
on
doors.
I
asked
these
people
I
said
what
do
you
want
and
they
said
we
want
South
Museum
to
stay
the
sound
Museum
so
to
to
work
with
this
community.
You
have
to
listen
to
them.
I
I
B
Thank
you.
Thank
you.
So
much.
Thank
you
for
your
perspective
and
I
appreciate
you
being
here
and
providing
your
your
testimony.
Thank
you.
Thank
you.
So
much
I'm,
just
looking
at
the
list
of
folks
that
have
signed
up
for
public
testimony,
so
we
are
going
to
move
to
that.
But
I
just
want
to
express
my
sincerest
gratitude
and
appreciation
for
all
of
you
being
here
for
your
advocacy.
Thank
you
for
taking
time
out
of
your
day
to
be
here,
I
heard
loud
and
clear.
B
The
need
to
have
this
outside
of
nine
to
five,
because
people
are
busy
and
they
have
families
and
they
work
and
so
heard
for
For
the
Working
session.
And
just
thank
you
for
your.
Your
your
talents
and
everything.
You've
done
to
enhance
the
the
vibrancy
and
and
state
of
arts
and
culture
in
this
city.
B
And
you
have
our
commitment
to
be
your
Champion
in
this
work
to
partner
with
you
as
we're
having
conversations
with
moack
with
the
bpda,
with
ISD
with
everybody
and
we'll
take
everything
that
we
learned
here
and
and
Institute
that
moving
forward.
I
want
to
give
the
upper
opportunity
for
my
Council
colleagues
to
make
a
comment
and
then
we're
going
to
move
to
to
public
testimony.
C
C
D
D
We
we
know
that
this
issue
affects
the
entire
like
the
whole
Boston
and
then,
when
it
reaches
our
backyard,
then
it
it's
harder
and
we
understand
profoundly
I,
think
that
City
bureaucracies
are
just
stupid
and
they
need
to
be
fixed,
and
so
these
systemic
oppressive
systems
that
we
have
to
face
really
don't
offer.
You
know
many
solutions
and
these
blanket
policies
that
have
failed
us.
We
continue
to
come
here
and
cry
and
beg
and
plead,
and
then
we
fail
to
pay
homage
to
those
that
have
already
paved
the
work.
D
So
we
work
in
silos,
we're
constantly
divided
and
it's
easy
to
control.
So
I
look
forward
to
the
work
bpda
should
be
here.
Sometimes
you
we
ask
we
when
we're
chairs,
we
ask
for
people
to
come
on
the
panel
and
then
the
administration
says
I
think.
Maybe
they
don't
need
to
be
here
or
sometimes
they'll
say
well,
I'm
really
busy
do
I
have
to
be
there
and
that's
really
not
the
way
of
doing
business.
It's
disrespectful
I
think
that
we
should
continue
to
hold
them
accountable.
The
chair
has
subpoena
Powers.
D
D
So
please
continue
to
bombard
me
with
your
emails.
I,
don't
mind:
I
read
every
single
one
of
them.
Some
of
them
are
kind
of
not
cool,
but
I.
Don't
I
still
don't
mind
if
you
email
me
and
you
Lobby
us
every
single
one
of
us.
What
you
said
was
super
important,
create
the
line
item
budget
is
coming
up.
I
can't
express
enough
how
you
should
be
lobbying
us
the
counselors,
to
create
that
line
item
to
do
some
of
the
stuff
that
you
want
to
see.
Thank.
B
B
Yep
and
I
have
I
have
a
hard
stop
at
five
as
well,
so
everybody
is
going
to
be
given
two
minutes
and
I'm
gonna
have
a
timer
and
you
will
hear
the
timer
all
right.
So
we're
going
to
start
with
the
first
person
who
has
signed
up
Clifton,
braith
white
and
then
Tracy
Blackmer,
if
you're
still
here,
Daniel,
Sussman
and
then
Max
first.
P
Hello,
Council,
hello,
fellow
fellow
artists
in
the
game,
I'll
get
right
to
the
meat
and
potato
right.
My
name
is
Clifton
Braithwaite
I
represent
umf
and
C1
entertainment.
We've
been
in
existence
for
over
30
40
years.
So
let
me
get
right
to
it.
It's
great
to
hear
about
Brighton,
it's
great
to
hear
about
Austin,
but
it's
funny
how
people
want
to
use
my
friends
names
as
like,
a
speaking
spot
like
Aerosmith
New,
Edition
New
Kids
on
the
Block
at
OG.
A
lot
of
people
are
just
name-dropping.
P
P
This
is
not
the
first
time
it
has
been
addressed,
but
I'll
say
this
is
the
best
time
it's
been
addressed
because
we
knew
back
then
under
the
different
administrations.
They
were
old
school.
They
didn't
want
to
hear
about
rock.
They
didn't
care
about
hip-hop,
they
didn't
care
about
dance.
They
just
wanted
to
stay
in
the
old
world.
So
I
want
to
compliment
you
guys.
You,
ladies
and
and
the
council,
for
bringing
this,
but
you
got
to
listen
to
the
people
who've
been
doing
it.
P
That's
why
I
started
off
I
have
a
bachelor's
degree
in
audio
video
engineering.
I've
worked
with
the
top
artists
in
the
country
and
in
the
world,
so
I'm
not
just
talking
from
the
side
of
my
neck.
That's
why
I
got
involved
in
becoming
an
advocate
and
an
activist
because
at
the
end
of
the
day,
all
the
top
groups
that
you're
talking
about
and
mentioning
didn't
have
access
in
the
inner
city.
Aerosmith
started
the
studio
and
he
wanted
to
work
with
studios
in
the
city.
But
there
was
nothing
that
was
adequate
for
him
at
the
time.
P
So
when
I
say
that
Aerosmith
built
to
sit
from
his
Studio,
it
was
in
his
home
I'm,
not
talking
side
talk
or
b-e-t
I'm
talking
direct.
The
reason
why
new
additions
and
all
the
artists
from
Boston
the
dancers,
the
twins
we
didn't-
have
the
resources.
So
when
a
lot
of
us
made
it
through
the
cracks
is
because
either
our
parents
had
money
to
invest.
P
Yep,
but
when
it
comes
to
the
housing
crisis
that
you're
speaking
about
for
artists,
that's
the
biggest
joke.
First
of
all,
the
houses
are
not
adequate
to
be
soundproof.
Then
you
move
in
a
elderly
person
beside
a
drummer.
We
have
to
have
something
a
little
bit
more
adequate
and
within
the
two
minutes.
So
so
many
else
can
get
in.
P
You
really
have
to
sit
down
with
the
true
Veterans
of
this
game
and
stop
alienating
my
community
Roxbury
Dorchester
Mattapan,
because
we
are
the
Hub
of
music
and
you
have
not
not
one
person
in
here
and
I'm,
not
disrespecting
anybody.
But
a
lot
of
you
really
don't
know
the
true
history
of
rock
hip-hop
and
dance.
P
B
Q
Hello
hi:
does
it
work?
Is
it
working?
Yes,
my
name
is
Tracy
Blackmer
I'm,
also
known
as
Tracy
Chevrolet
I'm,
a
musician
artist
resident
of
Charlestown
and
rehearsal
Studio
10,
and
at
50,
Terminal
Street
I've
rehearsed
there
for
six
years
solo
and
with
my
band
ski
bunny,
with
this
testimony
I
hope
to
convey
the
positive
impact
this
studio
has
had
on
my
life
I'm
rehearsing.
There
enables
me
to
realize
my
dreams
to
become
a
better
musician
performer
artist
and
person.
I
appreciate
every
day.
Q
I
spend
there
and
I'll
forever
consider
these
years,
some
of
the
best
in
my
life.
Thanks
to
my
use
of
this
rehearsal,
Studio
I
write
songs
there.
The
Privacy
security
and
quality
of
the
space
enables
me
to
feel
completely
free
and
to
follow
my
creative
impulses.
I
rehearse
those
songs
there,
which
supports
the
quality
of
my
ongoing
performances
and
recordings
I
rehearse
music
with
others
there
in
this
studio,
I'm
able
to
explore
and
experience
this
aspect,
which
brings
me
unsurpassed
joy
and
creative
fulfillment.
Q
If
these
Studios
go
away,
there's
nowhere
else
for
me
to
go
in
Boston,
and
this
is
devastating
to
me
and
to
my
future
as
a
musician
here
at
this
moment
in
time,
artists
of
all
kinds
throughout
Boston
are
being
displaced.
If
you
support
us
you'll
be
giving
artists
A
Chance
in
a
city
that
feels
like
it's
pushing
us
out,
you
can
be
our
hero
here.
Please
help
us
find
a
solution
that
works
for
you
for
us
and
for
arts
in
Boston.
Thanks
for
your
consideration,.
R
Hi,
my
name
is
Daniel
Sussman
I
live
in
Cambridge
I'm,
a
musician
I
play
guitar
in
a
band
called
Duncan
cover
and
I'm,
also
a
tenant
at
the
50
Terminal
Street
practice
facility
in
Charlestown,
I'd
like
to
take
a
moment
to
share
the
value
of
that
space.
To
me,
and
my
bandmates
I've
been
an
active
part
of
the
of
the
Boston
music
scene
since
the
early
90s,
when
I
played
my
first
show
at
the
Middle
East
upstairs
in
Cambridge,
my
band
is
a
critically
important
part
of
my
life.
We
are
in
a
big
band.
R
R
Some
people
like
us,
the
room
we
rent
at
50
Terminal
has
been
our
workspace
for
over
12
years
and
born
witness
to
countless
hours
of
dedication
to
our
craft.
We
do
most
of
our
writing
there,
all
of
our
Arrangement
and
all
the
preparation
for
the
shows
that
we
play
it's
a
critical
part
of
our
process
and,
as
you've
heard
from
other
testimony,
this
Dynamic
is
not
unique
to
us.
Everybody
testifying
here
today
from
the
CRS
Community
from
Austin
Brighton
communities
feel
similarly
about
their
space.
R
In
fact,
many
people
providing
testimony
to
here
today
have
taken
the
leap
committing
themselves
to
the
impossible
task
of
forging
a
career
as
a
musician
in
a
city
that
has
seen
rents,
Skyrocket
performing
venues,
clothes
and,
most
recently,
the
practice
spaces
that
we
need
to
actually
do
our
work
shut
down
for
many
of
us
here
today.
This
is
not
an
issue
of
cosmetic
convenience.
Without
the
building
blocks
of
a
music
Community,
Practice
spaces
venues
and
the
like,
there
can
be
no
music
Community
musicians
will
either
move
away
or
quit.
R
I've
learned
over
the
years
that
making
music
is
hard
work,
I
love
it,
but
it
requires
time,
dedication,
specialized
gear
and
specialized
spaces.
I
urge
this
committee
to
consider
the
value
of
Art
and
music
to
the
character
and
culture
of
the
city
of
Boston
and
to
work
to
protect
the
systems
and
spaces
that
we,
the
Arts
and
Music
Community,
need
to
contribute
to
that
character
and
culture.
I
really
appreciate
the
fact
that
we're
here
today
and
I
appreciate
that
you're
all
taking
this
issue
seriously.
Thank
you
for
your
time.
B
S
Afternoon
my
name
is
Max:
first
I'm
an
artist
and
a
musician
I
currently
live
in
Dorchester
I've
been
a
resident
of
Boston
since
2002.,
when
I
first
moved
to
Boston
of
all
the
prospects
that
living
in
the
city
had
to
offer
the
one
that
excited
me
most
was
knowing
that
by
being
here,
I
would
have
access
to
all
the
resources
I
needed
in
order
to
create
perform,
live
and
experience
music
in
all
its
forms.
The
most
critical
of
those
resources
has
always
been
having
access
to
a
dedicated
rehearsal
space.
S
A
rehearsal
studio
is
Ground
Zero
for
this
creativity
is
where
musicians
hone
in
their
skills,
refine
their
ideas,
develop
their
identity
and
ultimately
establish
a
richer
culture
within
the
city.
It
is
the
backbone
supporting
everything
that
we
strive
for
as
musicians
and
without
it
we
would
inevitably
collapse.
S
I've
been
attendant
at
50
Terminal
Street
in
Charlestown,
since
2008
I
think
I
Echo
Jesse's
sentiment.
It's
it's
literally
been
a
home
way
for
home
for
me
for
15
years
now.
Over
that
time,
it
has
provided
me
with
a
reliable,
safe
and
secure
space
for
making
music,
ultimately
leading
me
on
multiple
tours
across
the
United
States
Europe,
countless
life-changing
experiences
that
I
might
otherwise
never
have
had
the
fortune
of
knowing
sorry
well.
The
thought
of
losing
the
space
affects
me
personally
on
an
intangible
level.
S
A
once
thriving
Community
is
on
the
brink
of
Extinction.
These
opportunities
that
at
one
time
were
so
abundant,
are
diminishing
each
day,
but
is
not
too
late
to
preserve
what
remains
of
our
City's
creative
community.
It's
not
too
late
to
put
forth
a
commitment
that
would
ensure
these
resources
are
protected
and
preserved
long
term
for
both
the
current
and
the
future
generations
of
musicians.
And
while
we
speak
of
these
things,
as
as,
if
having
them
are
privileges,
I
firmly
believe
them
to
be
rights
and
vital
for
fostering
a
diverse
City.
Two.
B
T
Good
afternoon
my
name
is
Duncan
Wilder,
Johnson
and
I've
lived
in
the
Boston
area
since
1995.
I've
been
asked
to
speak
today
on
behalf
of
art,
artists
and
art
spaces.
I'm,
a
photographer
videographer
documentary,
filmmaker
writer,
performer
musician
and
teacher
I,
generate
the
bulk
of
my
income
from
my
photography
and
video
business,
which
is
called
dwj
creative.
T
In
the
past
23
years,
I
have
rented
space
at
the
sound
Museum
rehearsal
complexes
on
North
Beacon,
Street,
hitchbourne,
Street
and
Denby
Road
I've
been
part
of
the
new
alliance
community
in
all
three
of
their
spaces.
The
Fenway,
the
EMF
building
in
Central
Square
and
now
Union
Square
in
Somerville
I'm,
asking
for
your
help.
I'm
asking
the
city
of
Boston
to
commit
to
a
zero
net
loss,
Arts,
music
and
cultural
space
being
displaced
makes
it
difficult
to
make
a
living.
T
It
prevents
the
development
of
lessons
and
activities
for
my
students,
and
it
gives
a
bad
impression
to
my
clients.
Art
is
not
made
in
a
vacuum,
therefore,
being
around
other
creative
people,
Fosters
collaboration
inspires
new
ideas,
generates
Commerce
and
ultimately
benefits.
My
bottom
line
in
2022
over
half
of
my
income
was
generated
through
the
Boston
music
community.
T
Art
spaces
contribute
to
the
local
economy
by
artists,
using
vendors
purchasing
supplies
from
local
stores
and
eating
in
local
restaurants.
I
agree
that
scientific
innovation
is
very
important.
Scientific
innovation
positively
impacts
our
humanity
and
we
will
not
be
able
to
celebrate
that
Humanity
without
spaces
for
art
to
practice
and
Thrive
I'm,
asking
the
city
of
Boston
to
make
arts
and
culture
part
of
overall
planning.
Thank
you
for
your
consideration.
B
U
Thank
you
so
much
for
your
time.
My
name
is
Matthew
vincenti
I'm,
a
musician
with
the
band
Glacier
I've
been
a
tenant
of
the
Charlestown
rehearsal
studios
for
five
years
and
a
part
of
the
local
Boston
music
Community
for
20..
We
need
your
help.
Over
the
last
decade,
I've
had
rehearsal
studios
in
Fenway
Cambridge
and
two
in
Austin.
They're
all
now
closed.
U
When
we
moved
to
the
Charlestown
space,
a
common
refrain
in
my
band
was
God
bless
this
space.
We
had
gotten
used
to
spaces
with
inadequate
Heating
and
Cooling
spaces,
with
broken
doors
a
little
bit.
No
security
or
maintenance
faces
with
accessibility
issues
and
spaces
that
were
difficult
to
load
equipment
in
and
out
of
the
Charlestown
space
was
a
breath
of
fresh
air
with
us
temperature
controlled.
We
had
key
card
access,
freight
elevators
and
an
accessible
loading
dock
rehearsal
spaces
are
one
of
the
Unseen
Necessities
musicians
and
artists.
Everywhere.
U
It's
where
the
songs
we
listened
to
were
written
and
sometimes
recorded.
It's
where
the
live
performances
we
all
love
and
enjoy
are
prepared
and
perfected.
Having
rehearsal
spaces
in
the
Boston
area
means
we
can
have
music
in
Boston.
It's
so
vital
to
what
a
band
does
we've
settled
for
those
aforementioned
poor
situations.
V
Hello,
thank
you
for
hearing
our
pleas.
My
name
is
Rajan
bot
I'm.
Nobody
I
play
drums
and
I
need
to
practice
space
for
that
I'm.
Actually,
one
of
you,
I
am
a
school
teacher
and
as
a
Boston,
Public
Employee
I
need
a
place
to
play
drums
because
the
kids
drive
me
crazy,
but
I
love
them
and
I
love
Boston,
but
I
realize
that
the
city
has
fallen
a
little
bit
short
of
helping
to
cultivate
the
culture
that
I
desperately
sought
after
moving
from
Reno
Nevada
I'm
from
out
west.
V
This
is
a
world-class
City
and
I
really
believe
you
know:
I'm
I'm,
42.
I,
don't
get
my
practice
spots.
So
what?
What
about
the
kids
that
I
teach?
What
do
they
get?
Because
you
deny
me
a
practice
space?
I!
Guess
you
could?
You
might
do
the
same
for
others.
That's
a
little
bit
scary
to
me,
but
I
am
happy
to
hear
that
there
are
some
initiatives
happening
so
that
you
can
secure
a
cultural
future
for
them.
Like
I,
said
I'm,
just
a
dude
I,
don't
make
money
off
of
music
I
go
to
shows
I.
V
Try
to
keep.
You
know
some
tabs
on
what's
going
on,
But,
ultimately,
I
think
that
when,
when
I
think
about
Boston
I,
don't
think
about
myself,
I
think
about
the
other
people
who
are
here
so
I
really
am
glad
that
this
is
getting
addressed,
and
it's
really
glad
I'm
really
glad
to
hear
that
other
people
are
pushing
initiatives
forward.
I
was
at
the
Berwick
I
just
moved
my
bass
drum
out
of
there,
and
it
was
sad.
Thank
you.
W
W
Every
single
person
I've
fallen
in
and
out
of
love
with
I've
met
through
this
community
of
musicians,
patrons
promoters,
venues,
photographers
luthiers,
recording
studios,
radio
and
podcasts
house
Publications
and
more
I
would
say
that
art
finds
a
way.
But
without
these
spaces
to
write
and
rehearse
places
like
the
Charlestown
rehearsal
Studio,
there
surely
would
be
less
of
it.
There
would
be
no
stepping
into
the
Halls
to
listen
to
other
bands
playing
no
running
into
comrades,
no
photo
shoots
in
the
bathrooms.
W
People
would
scattered
places
outside
of
Boston
people
with
the
means
will
and
have
left
the
city
altogether.
We
would
lose
much
of
the
connection
with
our
community
when
one
project
ends
and
another
begins,
whether
we
are
strangers,
acquaintances,
friends
of
friends
or
friends
it
is
from
within
this
community.
It
begins
in
one
of
these
buildings
down
one
of
these
Halls
behind
one
of
these
doors
with
our
Rivals
and
our
lovers,
we
all
meet
together
with
one
common
goal
to
play:
music
for
each
other
with
each
other.
W
X
This
all
led
me
to
believe
in
the
transformative
nature
of
live
music,
a
place
where
both
audience
and
artists
feel
understood.
Musician
rehearsal
spaces
help
make
all
that
possible.
They
are
the
key
place
for
musicians
who
experiment
with
ideas
and
practice
their
craft,
losing
them
stymies
this
creative
expression
leading
to
underdeveloped
ideas
and
a
lack
of
Performing
confidence.
X
The
recent
spat
of
workspace
closings
not
only
denies
musicians
the
opportunity
to
practice
without
interruption
or
judgment,
but
it
also
further
reduces
the
number
of
spaces
in
Boston
where
artists
can
connect
and
audiences
can
be
inspired.
It's
no
wonder
so.
Many
musicians
have
vacated
the
Boston
area,
leaving
a
cultural
void
for
many.
X
For
these
reasons,
I
asked
for
your
help
in
changing
this
Paradigm,
it
will
require
providing
arts
and
culture
representation
in
City
Planning
processes,
year
marking,
funds
for
Arts
and
Cultural
use
and
enacting
other
policy
decisions
that
will
help
protect
musician
rehearsal
spaces,
but
just
as
important
it
requires
an
understanding
of
the
role
of
music
and
self-expression
in
our
lives.
I
appreciate
you
giving
up
a
space
to
talk
about
that
today.
Thank
you.
Y
Hi,
thank
you
for
hosting
this
hearing.
My
name
is
Jen
Harrington
for
over
20
years,
I've
supported
the
Greater
Boston
art
scene,
including
Enthusiast
Glee
volunteering
time
to
book
and
promote
local
shows
and
maybe
most
importantly,
helping
people
to
connect
I'm
a
proud
volunteer
for
Art
stays
here.
The
Arts
Community
needs
your
help.
Y
I
swear,
I've
shared
that
moment
with
so
many
in
the
past
10
years
that
they
fill
up
this
hearing
room
and
done
some
a
sold
out
show
of
truly
talented
people,
waving
goodbye
and,
unfortunately,
I
believe
these
words.
Every
single
artist
and
musician
who's
left
Massachusetts
has
made
the
responsible
choice
for
both
their
creativity
and
their
Financial
Health
I'm,
not
a
musician
or
an
artist.
I
want
to
look
with
adoration
at
a
stage
not
be
on
one,
but
as
a
supporter
of
the
Arts
I'm
dismayed
to
live
in
an
area
that
doesn't
support
it.
Y
B
Z
Hi,
my
name
is
Charlie
honig
and
I
live
in
the
south
end
I'm
a
musician
and
a
tenant
of
CRS
in
Charlestown
security
and
stability,
provided
by
that
space
has
been
invaluable
to
me
for
the
decade
plus
I've
been
there
really
I'm
very
similar
to
many
other
musicians.
So
I
could
talk
about
the
space.
I
live
in
a
small
apartment,
it
doesn't
have
an
elevator.
The
space
has
an
elevator
I,
don't
want
to
injure
myself
with
gear
noise.
Z
All
of
these
things
that's
been
very
well
covered,
but
something
that's
come
up
in
this
hearing,
which
I
really
appreciate
is
mentions
of
the
intersectionality
here,
the
intersection
between
affordable
housing
and
industrial
space
and
low
threshold
commercial
space
that
can
be
used
for
these
things.
I
currently
practiced
at
CRS.
But
a
couple
years
ago,
counselor
Braden
actually
mentioned
the
informal
artist
housing
at
rug,
Road
in
Austin
I
used
to
live
there.
Z
It
held
not
just
artists,
live
work,
spaces,
but
also
print
shops,
screen,
printing
shops,
recording
studios,
a
library
for
zines
circus
performers
with
the
Boston
circus
Guild
used
to
practice
their
trapeze
act
there.
It's
all
been
replaced
by
market
rate,
apartment
buildings
and
I'm,
not
here
to
suggest
that
the
art
use
was
somehow
more
important
than
much
needed.
Housing,
housing
and
arts
should
not
be
in
competition
with
each
other.
Z
I
was
lucky.
I
could
find
space
to
do
my
music
elsewhere,
I
moved
to
CRS
for
some
of
the
other
displaced
uses.
There
was
nowhere
else
for
them
to
go.
There's
another
place
actually
that
I'll
mention
in
Charlestown
near
Sullivan
Square
right
now
there
is
light
industrial
space
that
is
being
considered
to
be
turned
into
it,
residential.
Yet
again,
residential
and
conflict
with
existing
Art
Space
there's
a
dance
studio
there
it's
happening
again
as
I
watch
these
other
spaces
disappear.
Z
Z
Road
has
been
developed,
CRS
is
facing
facing
threats,
I'm,
not
special,
and
my
displacement
is
not
more
important
than
anyone
else's,
but
Music,
Arts
and
creative
uses
simply
can't
compete
with
the
big
money
flooding
our
city,
and
we
can't
wait
until
we
address
the
root
causes
of
skyrocketing
land
values,
housing
costs
and
income
inequality.
We
need
to
act
now
before
we
lose
what
we
have
left
and
have
nothing
but
biotech
Labs
with
murals
painted
on
them.
So
I
greatly
appreciate
the
attention
that
we're
giving
to
this.
Thank
you
very
much.
AA
Sorry,
thanks
for
having
me
now
I
also
I,
want
to
thank
everybody
here.
There
were
some
fantastic
ideas
that
were
presented
that,
of
course,
my
speech
kind
of
went
over,
so
I'll
try
not
to
be
redundant.
My
name
is
David
lanck,
I,
currently
and
I've
resided
and
actually
Fenway
for
the
last
10
years.
Moving
to
East
Boston
I
have
offices
in
East
Boston
and
in
Hyde.
Park
I
came
here
to
speak
from
a
unique
vantage
point
from
the
intersection
of
a
local
musician
and
a
real
estate
developer.
AA
No
tomatoes
not
only
have
I
spent
countless
hours
over
the
years
rehearsing
at
CRS
as
a
band
leader
and
a
band
member
current
bands
called
lanky
and
the
fence,
but
I
live
in
the
world
of
Boston
real
estate
development,
each
and
every
day.
Having
started
sharp
Venture
group
with
my
brother
Evan,
we
own
operate
and
develop
real
estate,
and
we
have
done
so
here
for
nearly
a
decade.
I
was
fortunate
to
be
able
to
immediately
connect
with
the
fine
folks
at
Art
stays
here,
Coalition
and
counselor
Coletta.
AA
As
soon
as
I
caught
wind
of
the
situation.
Our
musicians,
including
myself,
need
our
help.
In
my
adult
life,
Boston
has
always
been
a
leader
in
aspirational,
value-oriented
public
policy,
from
social
injustice
and
inequity
to
environmentalism
to
arts
and
culture
Boston
acts.
We
cannot
allow
ourselves
to
cut
ourselves
off
at
the
musical
knees
of
Berkeley
and
the
conservatories.
Our
city
has
placed
a
little
bit
of
more
emphasis
on
the
visual
arts
in
the
past,
but
now
music
needs
some
more
attention,
support
and
resources,
while
I
don't
speak.
AA
Government
fluently
I'm
here
is
a
passionate
artist
in
a
benevolent
small
business
owner
to
volunteer
my
expertise
in
real
estate,
site
selection,
feasibility,
due
diligence
acquisition
and
more
to
my
fellow
musicians
to
assist
in
what
will,
hopefully,
with
the
city's
cooperation,
be
a
public-private
partnership
in
finding
beloved
musical
artist
Community,
the
the
Beloved
musical
artist
Community
a
place
to
be
as
a
real
estate.
Professional
I
do
want
to
urge
us
to
be
cognizant
of
falling
into
the
one-size-fits.
AA
AA
I'll
end
with
a
lyric
from
Modest
Boston
band,
who
reached
the
heights
of
international
Fame
from
our
endangered
Boston
rehearsal
spaces.
You
might
have
heard
of
them:
Lake
Street
Dive.
They
have
a
lyric
in
their
song.
It
says
in
this
city
all
the
humans
live
in
layers,
I
got
people
down
the
hall
and
down
the
stairs.
We
all
move
in
and
out
and
live
our
lives
in
stacks
and
rows
and
Pairs
and
try
to
find
a
place
from
where
we
all
can
share
it.
Thank
you.
Thank.
B
AB
Thanks
for
having
us
thanks
for
holding
this,
my
name
is
Kevin.
Baldwin
I've
been
a
resident
of
Boston
since
2004,
like
many
in
the
city.
I
came
here
for
college
as
a
kid
from
Vermont.
I
was
amazed
by
the
diversity
and
access
to
culture
that
was
available
here.
I
fell
in
love
with
Boston
and
I
stayed
because
of
the
Arts
and
Music
Scene
in
Boston.
I
continue
to
stay
because
of
that.
Like
many
people
at
this
meeting
today,
I'm
a
musician
I'm,
also
a
current
resident
of
the
50
Terminal
building
right
now.
AB
I
really
hope
it
stays
where
we
find
a
solution
for
that.
The
Boston
music
scene
has
shaped
my
life
and
my
career,
musically
and
professionally
I've
played
over
100
shows
and
all
the
clubs
and
this
city
I've
played
the
main
stage
in
Copley
Square
for
the
first
night
celebrations
we've
done
shows
at
the
Hat
shell
and
the
Pavilion
all
because
we
had
a
rehearsal
space
here.
AB
I've
been
nominated
for
and
won
a
Boston
music
award,
I've
toured
the
country
playing
dive,
bars
and
Road
houses
and
giant
Festival
stages
alike,
and
that's
all
because
we
had
rehearsal
spaces
here.
I
was
introduced
to
my
current
employer
of
15
years
from
a
great
friend
I
made
at
a
rehearsal
space.
My
wife
and
I
have
been
together
for
14
years,
and
we
now
have
a
beautiful
one-year-old
daughter
and
I
met
my
wife
at
a
rehearsal
space
here
in
Boston.
So
you
can
see
the
theme
going
on
here.
AB
It's
very
important
in
my
life,
as
it
is
to
everybody
else's
here,
I
think
it's
easy
to
think
about
these
places
as
Expendable,
because
you
don't
always
see
the
product
that's
coming
out
of
it,
and
I
can
guarantee
you
that
rehearsal
space
is
no
different
than
a
biotech
research
facility
or
a
university
or
yoga
studio.
These
places
are
where
people
come
to
be
to
better
their
craft
and
put
new
ideas
into
the
world
and
I
think
they're,
a
vital
part
of
a
thriving
City.
AB
AB
AC
AC
My
name
is
Melissa
I'm,
actually
kind
of
I'm,
a
writer
musician,
interdisciplinary
artist,
which
is
pretentious
way
of
saying
I
do
mad
different
forms
of
art,
I'm,
actually
reflecting
I'm
here,
because
my
father
met
my
mother
when
he
was
spinning
records
at
a
party
in
Eggleston
Square.
He
he
was
here
as
a
an
undocumented
immigrant
from
Trinidad
and
Tobago,
and
that
was
how
a
lot
of
people
who
were
in
sort
of
economically
marginalized
and
didn't
have
U.S
work.
AC
Authorization
could
make
their
money
so
I'm
here
because
of
Music
For,
Better
or
Worse.
You
know
getting
rid
of
me.
I
know
the
importance
of
artist
workspaces
in
Boston,
because
I've
lived
it
a
few
years
ago.
I
was
a
sub-tenant
at
the
sound
Museum
in
Alston
prior
to
that,
I
also
worked
out
of
a
shared
art
space
at
the
Berwick
building
in
Roxbury
and
I.
Just
wanted
to
point
out
really
quickly
that
apparently
there
have
been
30
years
of
ISD
complaints
against
the
owner
of
the
Berwick
building.
AC
Nothing
was
done
until
a
firearm
was
discharged
on
Harrison,
Avenue
and
Palmer
Street,
and
that's
when
we
actually
saw
something
from
the
city.
It
was
a
scary
time.
This
was
not
long
after
the
Ghost
Ship
fire,
where
it
was
like
the
largest
mass
casualty
and
California,
so
I
share
concerns
or
frustrations
of
sound
Museum
tenants
who
have
lost
valuable
workspace
to
create
and
build
community
with
fellow
artists.
AC
But
if
we're
being
real,
the
sheer
fact
that
someone
would
be
able
to
afford
to
rent
an
artist
space
at
the
sound
Museum
reveals
a
socio-economic
divide
amongst
Boston
working
artists.
If
you
know
you
know,
as
they
say,
helping
keep
artists.
Workspaces
in
Boston
can
actually
be
a
key
issue
in
addressing
the
truly
the
lack
of
truly
affordable
housing
in
this
country
or
in
the
city
for
low-income
households.
Again
my
sympathies
and
solidarities
with
the
displaced,
sound
Museum
tenants.
But
what
about
the
unacknowledged?
Invisible
artists
of
low-income
working-class
communities
in
Boston?
AC
Hardly
anyone
considers
that,
for
example,
the
residents
of
mass
and
Cass
deserve
to
have
opportunities
to
create
art
and
access
Arts
education
in
Boston,
the
Sarah,
the
city
barely
even
sees
those
massing
cast
residents
as
human
beings,
let
alone
artists.
This
must
change.
There
are
endless
and
countless
aspects
of
policy
making
and
quality
of
life
issues
in
Boston
that
leave
a
lingering
feeling
of
hopelessness.
AC
Art
is
the
anecdote
to
that
feeling
and
art
and
artists
are
everywhere,
we're
not
going
anywhere
it
kept
our
kept
us
company
during
the
pandemic.
Lockdowns
and
inspired
us
and
occupied
us
ask
Leo
Tolstoy
real
art
has
an
element
of
emotional
infectiousness
that
Rivals
into
the
spread
of
any
Airborne
pathogen.
My
remarks
here
today
are
not
a
pretty
pleased
with
a
cherry
on
top
Beggars
appeal
to
this
governing
body
about
the
plight
of
poor
working-class
artists
in
Boston.
It's
a
respectful,
cautionary
warning.
You
will
respect
artists
in
Boston.
You
will
not
starve
the
artist.
AC
You
won't
run
us
out
of
here
we'll
go
on
our
own.
You
won't
take
away
our
sense
of
purpose
and
Devotion
to
our
vocation.
You
won't
scare
us
out
of
underground
venues
what
up
Joe
Sly,
you
won't
get
rid
of
us.
You
may
as
well
work
with
us
kind
of
a
call
back
to
a
previous
testimony.
My
really
cool
friend
that
lived
in
the
North
End.
AC
She
was
the
coolest
girl.
I
knew
at
Boston
line
school.
She
has
a
thriving
photography,
business
and
I
believe
she
works
out
of
an
artist
space
in
Lowell.
So
I
will
close
with
the
song
lyric
from
the
Boston
Indie
pop
band
ponies
in
the
surf
it's
under
their
noses.
It's
in
the
little
stars,
it's
in
their
neighborhoods,
it's
in
all
the
holes
and
all
the
walls
there
we
are
there.
AC
AD
Good
good
evening,
good
afternoon,
my
name
is
Dave
tree
I
was
born
in
Boston
in
1967.,
I
started
going
to
live,
music
shows
in
the
Boston
punk
rock
hardcore
scene
in
like
1980.,
and
it
revolutionized
my
life.
It
revolutionized
this
city,
I'm
a
musician
I'm,
an
artist
I
book
shows
I
promote,
shows
I'm
a
curator
I've
brought
tons
of
artists
together
about
tons
of
musicians
together
to
do
wonderful
things
right.
AD
AD
No
culture,
no
art,
no
songs,
nothing,
cultural
Wasteland!
It's
gone!
You
take
away
a
room,
so
we
make
our
crafts
in.
We
have
no
place
to
make
those
songs
like
you
won't
hear
that
Dropkick
Murphy
song
that
they
wrote
over
in
South
Boston
at
your
at
the
at
your
local
fan,
Sports
at
the
Red
Sox
game
in
Austin
in
Austin,
they've
built
these
giant
sports
stadiums
right
right
next
to
the
highway,
but
they've
got
no
access.
They
didn't
build
anything
for
us.
AD
They'll,
take
our
music
but
we'll
be
ghosts
to
them
by
then
we're
not
even
allowed
like
I
have
some
solutions:
okay,
Mrs
Mrs,
Braden
I
heard
you
talk
about
32,
Everett
Street
that
building's
still
standing
there.
Why
does
the
city
just
take
that
and
reallocate
it
to
the
artists
and
musicians
right
now
easily
done
right
now,
I
heard
I'm?
Sorry,
what's
your
name,
Mrs,
Jordan?
AD
Anderson?
Sorry,
my
eyes
are
off
in
my
pocket.
Actually,
I
heard
you
ask
earlier
about
like
what
about
that
giant,
brick
building
behind
that
practice,
space
building
in
the
lip
with
the
woman
that
was
sitting
there
gave
you
zero
answer.
No
answer
to
that:
what
is
so,
what
what
is
up
with
that
abandoned
building?
That's
just
sitting
there
that
could
be
used.
I,
don't
know
she
didn't
answer
that
I
was
kind
of
waiting
for
her
to
say
something
back
to
you,
Mrs
Bearden.
What
about
that?
AD
Scientology
building
on
Everett
and
Lincoln
Street
that's
been
abandoned
for
25
years.
Isn't
that
a
slap
in
the
face
to
Boston
itself?
It's
just
been
abandoned
there
intimate
domain.
They
did
it
to
the
armory
in
Somerville.
You
can
do
it
right
now.
Do
it
today
right
now,
do
it
how
about
Harvard
land
grabbing
all
of
lower
Austin?
How
about
you're
never
going
to
see
a
tax
dollar
from
them
because
they
took
it
under
they
bought
it
under
front
companies.
There's
all
that
live
right
near
the
highway.
You
have
to
worry
about.
AD
Sounding
musicians
put
the
buildings
there
get
something
from
them.
What
are
the
schools
giving
us
nothing?
The
schools
are
taking
from
us,
pu
took
us,
destroyed,
Austin
also
used
to
be
cheap,
I've
been
living
there
since
1990.
I've
been
in
all
those
buildings
that
just
shut
closed
down.
I
was
in
the
EMF
building,
I
was
in
Harrison,
Ave
I
was
on
North
Beacon
I
was
a
I
was
in
the
mall.
I
was
in
all
of
them,
I've
seen
them
all.
AD
I
just
emptied
that
last
building
out
I'm
emptying
out
rooms
that
are
people's
universes,
their
Futures,
their
love
and
the
desires
like
everything
they
had
going
for
them
is
just
in
the
garbage.
Now,
if
you
take
away
these
rooms,
basically
you
take
away
the
art
and
music
from
Boston.
You
do
that.
You
have
no
future
of
arts
and
arts
and
Boston.
You
already
talked
about
how
we
bring
in
Revenue.
AD
You
sell
this
city
on
its
arts
and
culture.
The
real
estate
that
you
make
off
of
that
arts
and
culture.
We
don't
get
a
percentage.
You
can't
use
it
anymore
because
it's
going
to
be
gone,
yeah,
bio
labs
are
great.
Science
is
great,
but,
like
everyone
was
talking
about
earlier,
we
all
have
to
work
together.
You
want
just
science
and
just
or
just
art.
No,
we
have
to
have
a
community
that
works
together,
lives
together
and,
like
believe
me,
everyone
here,
all
the
musicians
here,
love
this
city.
AD
AD
Now
we
want
it
back
just
a
little
piece,
a
little
piece,
I'm
Dave
tree.
Thank
you.
So
much
for
your
time.
I
want
to
talk
to
every
I'm
available.
If
you
anyone,
if
anyone
wants
to
talk,
I
got
Solutions
because
I'm
a
creative
person
I,
would
love
to
talk
to
you.
I'm
a
printer
I
started.
My
own
company
in
this
shop
go
ahead.
AD
It
doesn't
matter
it
doesn't
matter
I've,
given
you
five
minutes,
I
know
and
I'll
keep
going
because
I'm
not
done
like
to
give
us
all
two
minutes
to
give
us
all
two
minutes:
it's
not
enough
time.
You're
not
really
hearing
us.
Okay,
this
is
just
we
should
have
more
hearings.
This
isn't
over
make
a
difference.
We
make
a
difference.
You
can
make
a
difference.
You
need
some
ideas.
We
got.
B
Thank
you
so
much.
This
is
not
the
last
conversation.
We
encourage
everybody
to
come
to
the
next
working
session.
Okay,
we'll
go
to
and
I
lost,
my
Post-It,
sorry,
everybody
all
right,
Robert
Maloney
Ken
field
and
Casey
on
virtual,
and
then
we
have
Sam
and
Cassandra
to
close
us
out
here
in
the
chamber.
Robert
go
right
ahead.
AE
My
name
is
Bob
Maloney
I've
been
a
Jamaica
Plain
resident
since
1997.
I'm,
a
visual
artist
and
a
professor
at
Massachusetts
College
of
Art
and
I
also
play
in
a
band
called
worshiper
in
the
early
2000s
I
applied
for
my
artist
certificate
through
the
city
and
in
2005
I
learned
about
a
group
of
artists
being
displaced
from
their
studios
in
Jamaica
Plain.
AE
These
artists
received
help
from
Mayor
Menino
in
New
Atlantic
development
to
buy
the
building
and
convert
it
into
affordable
artist,
live
work.
Units
I
entered
the
artist
housing
lottery
for
these
Studios
and
was
extremely
lucky
to
have
my
name
pulled
early
in
the
lottery
process,
have
lived
and
worked
in
my
low-income
artist
unit
for
the
past
17
years,
if
it
weren't
for
that
specific
opportunity,
there's
no
way
I
would
be
able
to
afford
to
live
and
work
as
an
artist
in
the
city
of
Boston.
AE
On
the
other
hand,
my
bandmates
have
not
been
able
to
afford
to
live
in
Boston
for
many
years
and
have
long
moved
out
of
the
city.
My
band
worshiper
had
rehearsed
at
Studio
52
in
Austin
since
2014,
but
in
2020,
Studio,
52
relocated
to
another
space
in
the
area,
which
is
when
we
reassessed
our
options
since
everyone,
but
myself
lives
north
of
the
city.
AE
The
band
chose
to
move
15
miles
outside
outside
of
Boston
to
a
space
in
Malden
called
some
studios,
I
consider
myself
extremely
lucky
for
my
artist
housing
in
Boston,
but
have
unfortunately
pulled
the
shortest
straw.
In
regard
to
our
rehearsal
speed,
I
appreciate
the
council
holding
this
hearing
on
the
loss
of
rehearsal
space
in
Boston
in
hope
that
you'll
consider
wider
support
for
the
Arts
to
provide
more
live
workspaces
for
artists,
but
also
to
protect
creative
workspaces
in
the
city
of
Boston.
Thank
you.
AF
AF
Jazz,
Boston's
membership,
currently
numbers
over
4
600..
Thank
you
for
this
opportunity
to
speak.
We
feel
the
Jazz
as
a
primarily
improvisational
musical
form,
which
was
born
in
the
African-American
Community,
is
uniquely
valuable
and
valued
in
Boston
in
the
United
States
and
internationally.
Our
mission
is
to
advocate
for
this
music
and
those
who
value
and
love
it
in
and
around
Boston.
The
Jazz
musicians
in
our
community
need
acoustically,
isolated,
safe,
secure,
clean,
accessible
spaces
rehearse
their
craft.
They
desire
access
around
the
clock
to
allow
for
load
in
and
load
out
before
and
after
gigs.
AF
AF
We
recognize
that
such
efforts
are
rarely
perfect
and
that
some
personal
and
professional
appearance
might
disagree
with
the
children
have
forward.
We
encourage
all
who
are
part
of
the
Boston
area,
music
Community,
to
consider
that
a
divided
Community
rarely
thrives,
and
a
governmental,
non-profit
and
private
efforts
to
address
its
particular
issue
should
be
encouraged.
I
sincerely
hope
that
this
community
can
unite
around
those
efforts.
AF
B
AG
Hello
I'm,
chair,
Coletta,
counselors,
Breeden
and
Anderson
hello.
My
fellow
bostonians
in
my
hands
is
the
Boston
Herald
March
3rd
Edition
that
talks
about
how
we
literally
falling
over
money.
The
payroll
has
gone
up
nearly
two
billion
dollars
as
far
as
the
administrative
budget
and
the
school
budget
is
also
two
billion
dollars
and
when
we
start
to
think
about
just
one
line
item
which
is
overtime,
pay
was
141
million
in
2022..
AG
Now,
when
you
think
about
that
connected
to
the
public
housing
that
the
city
gets,
which
is
300
million,
that's
over
400
million
right
there
we're
not
talking
about
any
particular
agency,
we're
just
saying
if
we
literally
just
looked
at
the
housing
costs
by
potentially
making
dormitories
at
some
of
our
community
colleges,
which
I've
mentioned
before,
but
really
being
creative
as
far
as
our
artistic
spaces.
That
would
amount
to
over
3
000
units.
AG
If
we
did
1500
units
at
Roxbury,
Community,
College
and
Bunker
Hill
Community
College,
we
have
more
than
enough
money
to
pay
for
it,
and
so
I
would
like
us
to
literally
put
our
money
where
our
mouth
is.
We
have
over
four
billion
dollars
in
the
city
as
far
as
our
budget
for
this
coming
year.
We
have
participatory
budgeting
at
the
line,
item
level
and
I'd
like
us
to
spend
at
least
300
million
dollars
in
fixing
this
problem,
since
we
have
the
money.
Thank
you
very
much.
AH
Thank
you
good
afternoon,
everyone,
fellow
artist
chairwoman
and
our
Representatives.
My
name
is
Cassandra
Charles
I'm,
an
interdisciplinary
artist
from
Boston
I,
was
born
at
Boston
City
Hospital
I
went
to
St
Patrick's
in
Roxbury,
I
went
to
Boston
Latin
Academy
when
it
was
on
the
Fenway
I
danced
at
Miss
Beverly
Ann's
in
Dorchester
and
then
went
to
Elma
Lewis
where
I
was
told.
I
was
good
at
ballet,
where
I
wasn't
told
at
the
white
school
and
then
I
went
to
Boston
Latin
Academy
graduated
and
ran
from
Boston
I
am
why
this
needs
to
change.
AH
For
so
many
reasons:
cultural
representation
opportunities.
We
didn't
have
a
Boston
Arts
Academy.
Now
this
school
is
built
where
I
went
to
school
and
they
promised
us
a
building
for
years
and
now
there's
this
beautiful
school
there,
which
is
awesome
and
that's
it
and
what's
going
to
happen
to
all
of
those
students
from
Dorchester,
Roxbury
and
Mattapan,
where
I
grew
up
they're
going
to
get
really
good
at
what
they
do
and
leave
I
started
an
organization
called
The
Black
Arts
Sanctuary
I
received
a
grant
from
the
mass
cultural
Council
to
start
a
pro.
AH
AH
Traveled
a
lot
ran
to
Philadelphia
ended
up
working
for
the
person
that
publishes
Boston
magazine
at
Philly
magazine
where
I
dealt
with
such
workplace
trauma
that
I
almost
died
at
Boston
Medical,
because
I
left
there
and
came
back
here
and
I
looked
at
a
doctor
and
I
said
I'm
tired
of
you
guys.
Probing
me.
It
says.
After
a
year
of
taking
60
milligrams
of
Prednisone
and
my
life
totally
changed,
I
lost
everything.
AH
I
dealt
with
disparities
in
health
care
during
this
time
with
the
Boston
doctors
and
all
of
the
things,
and
when
I
decided
and
said
to
this
doctor,
I'm
tired
of
you
probing
me
I
should
have
been
a
ballerina
I'm
going
to
do
that
fast
forward.
10
years
I've
produced
my
own
shows,
I
am
getting
grants
and
I
have
created
work
at
119,
Braintree
Street,
which
is
a
Biz
art,
sound
proof,
State
place
with
Rocco
Richie,
who
plays
all
the
best
music
from
all
of
Boston.
AH
AH
AI
Please
state
your
name.
My
name
is
Patty
Crooks
and
I'm
incredibly
honored
to
be
here
because
I'm,
a
love
of
Boston
I,
have
a
passion
for
the
Arts,
but
I'm
going
to
kind
of
give
it
a
little
business
spin,
because
I
think
we've
kind
of
neglected
that
part
of
it.
I
was
brought
to
the
table
about
a
year
ago
for
the
desmonds
and
the
sound
Museum
as
a
broker
I'm
a
commercial
real
estate
broker
with
50
years
experience.
My
first
project
was
Faneuil
Hall,
Marketplace
and
I
started
the
street
performers
program.
AI
There
were
50,
there
were
500
entertainers
that
came
and
wanted
to
perform
at
that
Marketplace
and
that
form
of
art
was
critical.
Then
we
brought
in
the
Museum
of
Fine
Arts
for
the
third
floor
of
the
building,
because
they
were
getting
ready
to
undergo
construction
and
they
needed
free
space
to
display
their
art.
So
I'm
wondering
what
happened
40
years
ago
to
where
we're
at
now,
where
there's
competition
between
the
private
sector
and
the
City
of
Boston
I
think
what's
kind
of
scary
about
this.
AI
All
is
I
saw
a
mandate
that
the
city
was
obligated
had
committed
to
to
work
with
the
desmonds
and
the
sound
Museum
to
make
to
move
it
to
make
the
transition
as
smooth
as
possible.
What
happened
to
that
just
kind
of
thinking
that
one
out
loud
the
the
city
went
in
and
said,
hey.
We,
we
want
to
work
with
you
in
the
beginning,
and
there
was
a
lot
of
dialogue.
AI
I
think
not
inviting
everybody
to
the
table
is
an
awful
boring
meal
and
if
you've
got
art,
people
and
you've
got
creative
types
and
you've
got
all
of
that.
Wonderful
energy
and
not
listening
to
them.
You're
missing
the
boat.
I
love
the
idea
of
putting
housing
as
a
component
of
this
I
kind
of
question
it
because
I'm
old
I'm,
a
dinosaur
at
this
stage
of
the
game
I've
been
around
Boston
almost
as
much
well,
I
think
I'm,
probably
one
of
the
oldest
ones
in
this
room,
but
I
love
this
city
and
I
love
the
idea.
AI
The
way
you
guys
problem
solve
but
don't
shut
down
the
communication.
Listen
to
these
Artisans
listens
to
these
creative
peoples,
because
they're
Solutions
under
their
breath
and
they're
willing
to
share
they're,
obviously
they're
all
here.
This
is
a
wonderful
dialogue.
Keep
it
going,
keep
it
focused,
but
also
keep
keep.
Your
word
keep
your
word.
Listen
to
the
people
that
that
got
into
this
and
I
think
there's
more
to
this
whole
story
than
is
what
has
been
revealed
and
that
bothers
me
as
a
business
person,
because,
first
of
all,
I
am
a
business
person.
AI
AJ
I
got
a
minute:
yeah
I'm,
good,
I'm,
good,
hey,
I'm,
Rod,
Weber
I'm,
an
artist
I'm,
a
filmmaker
people
know
me
a
little
bit.
It
doesn't
matter.
If
you
do,
if
you
don't
a
lot
of
folks
around
here,
know
me
my
wife,
Lauren
from
chasing
off
the
Nazis
I
know
this
guy
over
here
he's
got
his
name.
What's
his
name,
Ed
Flynn,
Ed,
Flynn
I
believe
it
was
Ed.
AJ
Flynn
was
just
saying
how
how
we
gotta
get
rid
of
this
Nazi
problem
in
Boston
and
how
we're
going
to
switch
that
around
now.
How
does
that
connect
to
all
of
this?
Well
I?
Imagine
all
kinds
of
money
gets
allocated
this
way
in
that
way.
We
don't
know
where
that
money
is
coming
from.
We
don't
know
where
it's
going,
I'm,
not
even
sure,
if
I
believe
in
the
legitimacy
of
government,
but
we're
not
here
to
give
a
political
philosophy
class.
AJ
Are
we
I
just
know
that,
with
a
stroke
of
a
pen,
you
could
maybe
say
wait
now?
What's
that
institution
that
well
I
have
a
lawsuit
against
him?
I
know
I,
remember
at
that
straight
Pride,
Parade,
Boston
police.
They
attacked
me
for
no
reason
other
than
holding
a
film
a
film
camera
making
a
film
which,
by
the
way,
is
on
Apple,
TV
and
Amazon.
Now,
if
you'd
like
to
it's
called
2020
the
dumpster
fire,
you
should
check
it
out.
Dave
treated
the
soundtrack
other
people
around
here.
AJ
You
know
I'm
made
contributions
because
that's
what
you
do
as
Community
now,
what
I
say
is
you
could
take
that
funding?
Take
that
concept
from
last
year
or
last
election
season,
I
guess
you
would
call
it.
What
was
that
called
defund
who
defund
the
police?
Now
we
don't,
you
don't
have
to
take
all
of
it
away.
I'm
just
saying
just
take
a
little
bit
of
it
here
say
you
can
buy
this
old
Scientology
Museum,
that's
empty,
am
I
right,
fill
it
with
art
and
music
and
all
kinds
of
good
things
keep
people
here.
AJ
B
B
J
Hello,
can
you
guys
hear
me?
Yes,
we
can
okay
great.
Thank
you.
Thank
you
for
this
opportunity.
I'm
happy
to
hear
the
city
would
like
to
be
involved
in
finding
solutions
for
the
music
spaces.
This
is
specifically
regarding
sound
museum
at
155,
Northeast,
North,
Beacon,
Street
and
the
displacement
of
the
artists.
J
My
name
is
Casey
Desmond
I'm,
the
daughter
of
William
and
Catherine
Desmond,
the
founders
of
sound
Museum
and
Boston's
oldest
and
largest
provider
of
Band
Rehearsal
spaces.
Sound
museum
has
built
a
vast,
cultured
creative
community
in
Boston.
My
father
does,
and
my
family
have
played
a
large
role
in
that,
as
did
the
thousands
of
people
who
came
into
the
fold
during
its
nearly
40
years
in
Boston,
this
collaborative
showcases,
the
Arts
in
all
its
Endeavors,
covering
music
and
video
Creations
fashion,
crafting
painting,
dancing
and
print
making.
J
J
Yet
it's
imperative
to
the
Natural
creative
process,
which
is
just
one
of
the
many
reasons
why
supporting
the
sound
museum
is
crucial
to
the
community.
Additionally,
sound
Museum
rent
amounts
were
reasonable
and
manageable
for
artists,
and
this
is
also
become
increasingly
rare
in
the
city
as
We
Know
over
the
course
of
the
last
15
plus
years.
I
too,
have
been
a
tenant
and
have
had
access
to
all
these
important
things.
J
This
is
when
I
bring
up
the
you
know
my
matter.
The
matter
of
displacement.
Last
year,
I
was
at
a
public
hearing
regarding
sound
museum
being
given
a
new
location
to
provide
the
same
service
to
its
clients
and
the
community
I
shared
cans
with
the
new
owners,
City
representatives
and
the
architect
who
designed
this
future
space
as
well
as
discussed.
The
future
of
my
studio
in
the
new
location.
J
I
was
also
present
for
hundreds
of
signatures
of
people
who
were
in
Alliance
with
this
process
as
well
as
witnessed
the
support
from
the
community
moving
forward.
There
were
a
lot
of
promises
made
that
at
this
hearing
that
have
since
been
broken,
even
though
sound
museum
has
been
completely
accommodating,
sound
Museum
was
not
given
this
new
facility
and
was
purposefully
left
out
of
the
conversations
about
this
new
facility.
J
Instead,
my
father
and
my
family
have
had
their
business
an
entire
clientele
stolen
out
from
underneath
them,
which
equals
40
Years
of
hard
work,
Community
Building,
supporting
musicians
across
the
city.
This
impacts
not
only
the
sound
Museum,
but
the
people
who
worked
and
supported
the
community
for
all
these
years.
It's
it's.
You
know
I
try
to
keep
my
emotions
out
of
this,
but,
to
be
honest,
it's
absolutely
devastating
and
it's
broken
my
heart
into
a
million
pieces
so
to
wrap
this
up.
J
I
passionately,
insist
and
firmly
believe
that
the
sound
Museum
should
be
given
the
right
of
first
refuel,
of
right
of
refusal
on
running
any
new
rehearsal
squeezes
created
as
part
of
the
155
North
Beacon
Street
project
and
insists
sound
Museum
be
revered
as
the
asset.
It
is
for
the
city
and
the
artists
of
Boston.
Thank
you
so
much.
B
Thank
you
very
much.
Okay
I
think
we're
good
we're
going
to
wrap
testimony.
We're
gonna
wrap
this
hearing.
I
just
want
to.
Thank
you
all
again
for
your
time
for
your
advocacy.
It's
clearly
it's
clear
that
this
is
a
special
Community
I
feel
very
grateful
to
even
be
in
this
space
with
you
all
and
Advocate
with
you
all
and
again
you
have
my
commitment
to
partner
with
you
in
this
work.
B
I
heard
loud
and
clear:
the
need
for
a
commitment
for
space
not
just
to
live,
but
but
to
work,
to
integrate
your
perspective
through
the
planning
and
development
process
and
and
a
whole
bunch
of
other
things.
Of
course,
I.
Don't
have
my
list
in
front
of
me,
but
I
do
just
want
to
say.
Thank
you.
So
much
pass
it
to
my
co-sponsors
for
any
closing
remarks
that
they
have
thank.
C
You,
madam
chair,
and,
thank
you
all
for
being
here
this
afternoon.
This
is
the
beginning.
This
is
well.
This
is
a
process
we're
going
to
continue
this
conversation
and
work
with
the
administration
to
come
up
with
more
solutions,
and
so
that
we
need
to
try
and
use
every
tool
that
we
have
in
the
Box
currently
and
then
probably
create
new
tools
to
address
the
slightly
important
issue
to
stop
the
displacement
of
artists
in
across
our
city.
So
I
look
forward
to
continuing
the
work.
Thank
you.
Thank
you.
Council
Burton.
D
I'm
I've
definitely
heard
you
today
about
space
overall,
residential
and
Commercial,
and
looking
at
all
of
the
things
that
we
talked
about
I
have
that
list
I.
Will
we
will
populate
that
list
on
social
media?
We
should
organize
I'm
an
artist
myself
I
used
to
produce
theater
Productions
at
the
strand
made
my
own
costumes
and
I
know
how
tough
it
is.
I
worked
with
disenfranchised
youth
in
Dorchester,
Roxbury,
Mattapan,
so
I
understand
from
an
artist's
perspective.
D
We
are
creative,
so
we're
brilliant,
but
we're
also
always
seen
as
when
we're
when
we're
talking
when
we're
expressing
seen
as
crazy
and
if
crazy
is
for
thinking,
if
crazy,
as
Progressive
as
crazy
as
ahead
of
our
time,
then
so
be
it
power
to
all
the
artists.
I
appreciate
you
and
I
look
forward
to
doing
the
work
and
representing
you
on
the
console
so
that
we
can
get
Solutions.
Thank
you.