►
Description
Docket #0499 - Hearing regarding improving access to workspace and live-work spaces for artists in the City of Boston
A
Sponsors
of
this
hearing
order
with
me,
counselor
and
aneisa
asabi
George
and
councillor
Matt
O'malley.
Thank
you
for
your
partnership.
I
want
to
remind
everyone
that
this
is
a
public
hearing.
It's
being
recorded,
live
if
folks
are
tuning
in
you
already
know,
but
it
is
being
recorded
on
Comcast,
eight
RCN,
82
and
Verizon
1964.
You
can
also
go
to
the
the
city's
website.
Boston
gov,
backslash,
City,
Council,
TV
I,
want
to
remind
everyone
to
please
silence
all
devices.
A
We
will
offer
public
testimony
if
you're
interested
in
providing
public
testimony.
You
can
do
so
by
signing
up
right
down
here.
If
you
decide
to
testify,
please
share
your
affiliation
and
your
your
home
neighborhood.
Today's
hearing
is
on
docket
zero,
four,
nine
nine
again
it
was
sponsored
by
councilors,
Aneesa,
Sabri
George,
madam
Ali,
and
myself.
It
was
referred
to
the
committee
back
in
March.
A
This
is
a
hearing
regarding
and
proving
access
to,
work,
space
and
live-work
space
for
artists
in
the
city
of
Boston
and
I
will
just
briefly
say
why
this
is
important
to
me
and
offer
up
the
opportunity
for
my
colleagues
to
offer
an
opening
statement,
and
then
we
will
get
right
into
the
presentation.
So
for
me,
I
am
someone
who
grew
up
in
a
family
of
artists.
Many
people
know
that
I
grew
up
in
a
family
of
educators
and
activists
and
entrepreneurs,
but
it
was
also
a
family
of
artists.
A
I
am
proud
to
serve
as
the
chair
of
the
Arts
Committee
on
the
City
Council,
as
well
as
represent
a
newly
designated
cultural
district.
In
my
district
district,
seven,
which
is
amazing
in
my
first
term,
which
I'm
currently
finishing
up
the
end
of
my
first
term,
saw
a
number
of
artists
being
displaced
from
their
workspace
and
some
of
whom
live
in
my
district.
Some
of
the
locations
were
in
my
district,
so
this
is
a
very
important
issue
to
me.
B
B
On
this
issue,
and
thank
you
all
for
being
here
today,
we
are
so
fortunate
to
have
so
many
artists
who
live
work
and
create
in
Boston.
However,
it
is
not
easy,
as
a
city
for
our
artists
to
be
here
since
I
first
filed
this
hearing
order
in
2018
artists
and
the
piano
Factory
in
the
South
End,
the
african-american
master
artists
in
the
residence
program
at
Northeastern,
the
in
the
studios
on
Brookside
Avenue
and
Jamaica
Plain,
and
most
recently
the
Boston
Center
for
Arts
have
all
faced
artists.
B
There
have
all
faced
eviction
or
are
currently
being
displaced.
Clearly,
this
is
a
citywide
issue
in
an
issue
that
is
connected
to
the
alert
to
the
larger
affordability
crisis
and
development
boom
in
Boston.
This
is
both
a
housing
issue
and
a
business
issue.
I
want
to
thank
the
artists,
who
are
here
with
us
today,
as
well
as
members
of
the
Arts
Commission
and
the
cabinet
for
Mayor
Walsh
I.
B
Think
that
it's
important
to
note
that
we
do
have
a
particular
contingency
today
from
BCA,
and
we
recognize
that
the
decisions
of
the
BCA
have
been
devastating
for
many
of
you,
because
you
have
found
a
new
life
in
our
in
our
in
and
in
artistic
home
at
the
BCA.
The
changes
that
there
have
put
you
in
a
difficult
position
made
worse
by
the
currently
insufficient
amount
of
artists
work
space
in
the
city.
B
Our
aim
with
this
hearing
today
is
to
find
and
support,
find
and
support
opportunities
to
create
more
spaces
for
all
artists,
so
that
the
shifting
priorities
of
one
institution
do
not
cause
as
much
terrible
uncertainty
in
chaos.
The
next
time
around
I'm
committing
committed
to
finding
ways
to
remedy
the
artists
displacement
situation
that
we
find
ourselves
in
today
and
prioritize
affordability,
both
in
housing
and
workspaces
across
the
city
I'm
eager
to
hear
from
our
panel
here
today,
as
well
as
artists
during
public
testimony.
Thank
you,
madam
chair.
Thank
you.
Thank.
C
You,
madam
chair,
thank
you
to
my
co-sponsors
and
friends
on
this
hearing
order
counselors
in
ssib
Georgia,
as
well
as
chair,
Kim
Janey
for
their
leadership
and
commitment
to
improving
access
to
work,
space
and
live
work
space
for
artists
here
in
the
city
of
Boston.
Last
year,
councilor,
ciebie,
George
and
I
introduced
this
hearing
order
to
discuss
ways
to
support
Boston's
artists
and
creative
economy.
C
My
district
and
specifically
in
Jamaica
Plain,
includes
vibrant
artist
communities,
but
also
is
the
same
challenges
that
face
artists
across
the
city,
rising
costs
and
inability
to
find
space
to
practice
their
craft.
When
I
worked
with
artists
on
Brookside
Avenue
in
Jamaica,
Plain
I
heard
the
most
important
issue
artists
have
in
Boston
is
just
finding
a
work
space
to
make
their
art.
C
The
city
thrives
because
of
our
artists
and
because
of
our
creative
economy
in
2017,
the
BPD
a
reported
that
36,000
254
workers
are
in
Boston's
creative
economy
and
that
number
will
expand
by
7.2
percent
over
the
next
decade.
That's
roughly
1,800
new
jobs.
We
need
more
than
just
affordable
housing
policy
for
artists.
We
need
space
for
them
to
create,
to
work
together
and
to
exhibit
their
artwork
as
well.
Looking
forward
to
opening
this
discussion
and
hearing
from
the
mayor's
office
of
arts
and
cultural,
the
BPD
a
and,
most
importantly,
the
artists
in
our
communities.
C
Now
we
know
how
expensive
the
city
has
become.
We
know
how
difficult
and
how
scarce
housing
is
across
the
board,
but
the
three
of
us
found
it
imperative
to
have
a
specific
hearing
today
on
artists
workspace
on
our
slim
space
as
well.
We
aren't
going
to
solve
this
issue
today,
but
hopefully
we
can
come
up
with
some
long-term
strategies
and
continue
this
conversation
into
the
new
term
as
well.
Thank
you,
madam
chair.
A
D
Thank
You
councillor
Jamie
and
councillor
O'malley
and
councillor
sabe
George
for
bringing
us
here
today
and
thank
you
to
the
The
Pianist,
especially
to
the
artists
as
well,
that
are
that
are
here
with
us.
My
district
in
the
South
End
has
a
vibrant
artists
community
and
we
have
a
large
number
of
artists
housed
in
the
Boston
Center
for
the
Arts.
Recently
BCA
proposed
a
new
residency
program
there
and
the
artists.
Currently
they
are
now
facing
displacement.
D
D
D
Artists
are
important
members
of
our
community
in
economy
in
their
art
and
work.
A
part
of
what
make
our
city
beautiful
I
believe
that
we
should
do
what
we
can
to
help
our
local
artists
stay
in
our
neighbourhoods.
I'm
looking
forward
to
this
discussion
and
I
would
really
like
to
learn
more
about
what
we're
doing
to
preserve
the
work
spaces
in
our
city.
What
we're
doing
to
make
sure
that
our
artists
from
communities
of
color
are
represented
in
this
in
this
conversation?
What
are
that?
What
are
their
plans?
What
are
we
doing
for
them?
D
E
Manager
for
the
Boston
planning
and
development
and
our
point
person
on
the
artist
space
program
artist
makes
cities
vibrant
and
unique
and
in
many
ways
are
the
soul
of
our
city.
Artists
have
been
willing
to
take
over
derelict
buildings
and,
in
the
meantime,
have
spearheaded
the
revival
of
entire
neighborhoods.
We
have
seen
it
here
and
elsewhere
that
once
a
neighborhood
becomes
trendy,
it
then
becomes
too
expensive
for
these
very
artists
to
remain.
The
artists.
E
Space
program
was
created
in
part
to
assure
that
existing
illegal
artists,
housing
spaces
could
transition
into
safe
buildings
with
long-term
portability
and
to
create
new
income.
Restricted
artists
live
work
residences
through
the
efforts
of
our
agency,
along
with
our
sister
agency,
the
department
neighbor
development,
who
have
provide
important
funding
for
some
developments.
There
are
now
more
than
300
units
in
the
artist
space
program
of
which
160
our
income
restricted
to
a
range
of
incomes.
E
As
a
part
of
this
program,
our
agency
required
the
artist
complete
an
artist
certification
process,
the
mayor's
office
of
Arts
and
Culture,
assisted
with
the
process.
Over
time,
it
became
clear
that
this
process
should
be
managed
entirely
by
the
mayor's
office
of
Arts
and
Culture
and,
as
a
result,
in
2016.
They
took
over
this
aspect
of
the
program
in
full
and
I,
created
an
online
application
system
and
streamlined
the
process
and
made
it
much
more
consumer-friendly
today.
E
In
locating
these
units,
we're
looking
to
preserve
opportunities
for
artists
to
remain
in
neighbor,
where
there
is
already
a
concentration
or
where
we
have
the
opportunity
to
build
a
critical
mass
of
Units,
such
as
in
Fort
Point,
the
South
End
Boston
and
Jamaica
Plain.
In
addition
to
this
work,
through
our
planning
efforts
in
the
Dorchester
Avenue
corridor
in
South
Boston
and
the
Harrison
Albany
corridor
in
the
south
end
provisions
for
below-market
cultural
art
space
works
provides
some
of
those
work
gallery
and
performance
spaces.
The
city
so
sorely
needs
in
Oakland's
corner
BPD.
E
A
planning
staff
are
also
assisting
with
efforts
to
establish
an
arts
and
innovation
district
in
uplands
corner.
Lastly,
the
BPD,
a
and
D
and
D
through
the
plan
Dudley
square
planning
process
committed
to
encouraging
cultural
uses
in
the
request
for
proposals
for
a
number
of
lots.
Both
our
agencies
own
in
Dudley
square
as
I
turn
things
over
to
Kara,
Eliot
Ortega,
the
chief
of
Arts
and
Culture
I
must
commend
her
and
her
team
of
staff
with
whom
I
have
worked
with
John
Crowley,
Julia,
Ryan
and
Courtney
sharp.
E
Since
Courtney
previously
worked
as
a
planner
in
our
agency,
she
has
been
an
important
bridge
between
the
endeavors
of
our
two
agencies
and
spearheaded
the
important
work
to
update
our
artists,
live
work
guidelines
with
that
I
turn
it
over
to
the
mayor's
office,
arts
and
culture,
and
look
forward
to
your
questions.
Thank
you.
F
My
name
is
Kara
Eliot,
Ortega
and
I'm
here,
representing
the
mayor's
office
of
arts
and
culture,
along
with
my
colleagues,
Courtney
sharp,
our
director
of
cultural
planning
and
julia
ryan
to
my
right,
our
artist
resource
manager,
who
are
here
to
help
us
answer,
questions
that
may
come
up
and
I
want
to
thank
Tim
Davis
as
well
for
joining
us
and
for
all
the
work
that
he's
done
on
the
artists
space
program
at
the
mayor's
office
of
arts
and
culture.
We
believe
strongly
in
the
power
and
importance
of
our
city's
artists,
creative
workers
and
cultural
organizers.
F
This
value
goes
back
to
our
inception
as
a
city
department
and
to
the
2016.
Boston
creates
cultural
plan,
the
city's
first
arts
and
culture
planning
effort
in
which
we
heard
passionately
from
artists
and
creatives
across
the
city
about
the
need
for
more
resources,
more
affordable
spaces
and
more
recognition,
not
just
for
individual
artists,
but
for
the
role
of
arts
and
culture
in
shaping
and
fueling.
Our
city.
Keeping
artists
in
Boston
and
supporting
their
contributions
is
one
of
the
goals
of
that
frosting.
It's
plan.
F
Since
2016,
we
created
a
series
of
programs
and
funding
opportunities
for
artists
to
immediately
address
what
we
heard.
This
includes
new
grant
programs,
new
staff
dedicated
to
meeting
and
helping
artists,
professional
development
and
technical
assistance
programs
for
artists
as
sole
proprietors
and
entrepreneurs,
and
much
more.
In
fact,
we
spend
about
half
of
our
offices
budget
on
programs
and
grants
for
individual
artists,
which
is
unusual
for
a
municipality
arts
office
and,
of
course,
throughout
all
this
work.
F
We've
heard
about
the
need
for
space
for
affordable
space
for
space
that
accommodates
different
disciplines
and
artistic
practices,
space
for
individuals
and
space
for
organizations
and
for
the
purpose
of
our
conversation.
Today,
I'm
focusing
on
the
affordable
artists
live
work,
housing
where
an
artist
is
living
and
working
in
one
unit
and
artists.
Workspace
like
a
commercial
artist
studio,
as
Tim
mentioned,
that
BPA
started
the
artist
space
program
and
we've
been
running
it
since
2016,
with
help
from
both
the
PBA
and
the
Department
of
Neighborhood
Development.
F
One
of
the
first
things
that
we
did
with
those
partners
and
through
our
own
research
was
create
an
inventory
of
artists,
live
work
and
work
only
spaces,
so
that
we
now
know,
for
example,
that
there
are
25
properties
that
include
artists,
live
work.
Units
27
properties
that
include
artists,
work,
only
spaces
that
around
60%
of
the
live
work
units
are
studio
units
and
that
the
biggest
concentration
of
deeply
affordable
units
are
in
Midway
Studios,
an
artist
from
building
full
of
artist
spaces.
F
At
the
same
time
as
we
undertook
an
inventory,
we
work
to
lower
the
barrier
to
becoming
a
certified
artist,
streamline
the
application
and
sped
up
the
turnaround
time.
We
put
the
application
online
and
began
to
survey
individual
artists
to
understand
their
demographics,
their
income,
where
they
were
coming
from
what
special
space
needs
they
had
and
much
more.
This
is
the
first
consistent
source
of
artist
data
that
we've
had
at
the
city.
F
Nearly
a
thousand
artists
have
been
certified
through
our
online
application
over
the
past
three
years
and
in
addition
to
that,
we
have
over
800
certified
artists
from
before
the
application
went
online
in
2016.
We've
also
been
directly
involved
in
advocating
for
new
artist
units
and
affordable
art
spaces.
We're
one
of
three
cities
in
the
country
that
I
know
of
that
has
a
city
planner
on
the
arts
office
staff,
which
is
a
role
that
I
had
previously.
F
This
allows
us
to
really
be
at
the
table
and
planning
and
development
review
and
has
resulted
in
a
pipeline
of
around
86
units
of
affordable
artists
housing
as
well
as
10,
affordable
cultural
spaces
for
organizations.
Part
of
this
planning
work
has
included
working
on
the
supply
side
influencing
new
construction
and
city
assets.
There
are
many
of
these
projects
in
the
works,
including
the
last
two
years,
as
Tim
mentioned,
of
working
on
in
arts
and
innovation
district
in
albums
Corner,
but
I
want
to
highlight
a
few
other
projects
that
we
think
of
as
early
successes.
F
For
this
kind
of
development
project,
lastly,
we
are
involved
in
every
BPD
a
planning
process,
making
sure
that
artists
space
needs
are
in
each
plan.
The
latest
example
of
this
is
the
new
market
plan,
which
focuses
on
industrial
space
that
we
think
is
a
really
good
fit
for
arts
uses.
We've
been
working
with
that
planning
team
to
make
sure
that
the
arts
are
worked
into
the
RFP
for
consulting
services,
so
that
art
space
needs
are
baked
into
any
incentive.
Zoning
recommendations
or
community
benefits
that
emerge
from
that
process.
F
Well,
we've
made
some
great
progress
in
a
quick
three
years.
We
know
that
there
are
still
major
obstacles
to
keeping
artists
in
place,
particularly
when
it
comes
to
funding
artists
work
space,
but
we
know
better
than
ever
what
those
obstacles
are,
how
other
cities
are
tackling
them
and
who
our
partners
are
in
finding
solutions.
We
have
amazing
partnerships
within
City
Hall,
but
also
with
neighboring
cities.
We've
worked
with
the
Metropolitan
Area
Planning
Council
and
the
Massachusetts
Cultural
Council,
all
of
whom
see
the
need
for
affordable
artists
space
as
regional
and
statewide
issues.
F
We
have
also
been
working
with
arts
and
Business
Council
and
mass
creative
on
organizing
artists,
around
space
issues,
on
advocacy
and
on
the
need
for
facilities
planning
in
front.
We
have
met
with
many
organizations
and
artists
to
help
them
troubleshoot
what
to
do
in
a
space
crisis,
and
we
continue
to
work
hard
to
be
as
responsive
as
possible
to
constituents
from
working
with
ISD
to
allow
artists
back
into
a
condemned
building.
F
So
they
could
retrieve
audio
equipment
to
connecting
displaced
artists
organizations
that
have
extra
space
so
that
the
artists
could
stay
in
their
neighborhoods
as
practicing
artists
and
active
members
of
the
cultural
community.
We
feel
the
need
for
space
in
the
loss
of
space
acutely.
We
know
that
there's
more
work
to
be
done
and
we
look
forward
to
tackling
this
issue
together
with
you.
Thank
you.
Thank.
A
You
any
other
presentations,
ok,
wonderful,
I
have
a
few
questions
before
I
turn
it
over
to
my
colleagues
just
to
clarify
Carr,
you
mentioned
I,
think
800
people
in
the
database,
artists
and
the
database
prior
to
2016.
Right,
yes,
and
then
you
mentioned
a
number
of
how
many
people
currently
that
you're
working
with
around
a
thousand
a
thousand
that
you're
currently
working
with,
and
then
you
also
mentioned
that
there
were
25
live
work
space
and
then
how
many
were
work
only.
A
Okay,
so
these
are
the
number
of
buildings.
Wonderful,
do
we
have
a
sense
of
what
the
need
is
so
we're
talking
about.
You
know
clearly
we're
here.
We
know
that
several
artists
have
been
displaced,
whether
we're
talking
about
a
mark
or
they're
talking
about
the
piano
factory,
whether
we're
talking
about
BCA
or
other
things
that
have
come
up
before
the
council.
F
It's
definitely
challenging
to
come
up
with
a
number
of
units,
because
it's
hard
to
just
survey
the
population
of
artists
who
are
interested
in
this.
We
have
looked
at
doing
market
studies,
but
even
the
folks
who
do
that
in
other
cities.
You
know
there's
a
little
bit
of
a
disclaimer
that
it's
just
a
hard
population
to
survey,
but
from
what
we
do
know,
the
needs
are
for
more
deeply.
F
Affordable
live
work
units,
so
I
mentioned
that
the
majority
of
deeply
affordable
units
are
all
in
Midway
Studios
a
lot
of
what
we're
seeing
right
now,
our
IDP
units
that
are
often
80%
ami
or
above
and
that's
not
as
deeply
affordable
as
they
need
to
be
in
order
to
meet
what
we're
seeing
as
the
incomes
from
our
pool
of
certified
artists.
Okay,.
A
G
So
hi
I'm
Julia
Ryan
artist,
resource
manager,
so
we
don't
have
a
comprehensive
survey
of
every
single
certified
artist.
We
do
have
a
survey
that
we
ask
our
artists
to
to
fill
out
when
they're
applying,
and
so
we
have
been
collecting
data
that
way-
and
it
looks
like
through
that
data
that
at
least
half
of
the
artists
responding
to
our
survey
data
make
less
than
$50,000
a
year.
Okay,.
A
And
is
it
fair
to
say
that
the
need
is
even
greater,
because
this
is
just
artists
who
are
connected
to
know
that
there's
this
program
that
exists
and
who
have
taken
steps
to
engage
with
the
city
program?
I
would
imagine
that
there
are
several
artists
who
may
not
be
aware
and
who
may
be
trying
to
put
things
together
on
their
own.
So
would
you
say
that
this?
Yes,
that's,
definitely
a
safe
assumption,
wonderful,
wonderful!
How
do
we
determine
who
qualifies
for
the
program
so.
G
Anyone
who
can
provide
us
examples
of
their
artistic
work
in
the
past
three
years
so
that
can
be
through
work
samples.
It
can
be
through
an
artistic
resume
that
mentions
perhaps
performance
opportunities
or
publications.
Anyone
who
can
just
provide
us
with
those
examples
of
their
work.
It
gets
an
artist
certification,
I.
G
G
F
We
don't
currently
certify
artists
for
work
space.
The
artists
space
program
is
just
for
affordable,
live
work,
and
that
also
has
to
do
with
where
the
funds
are
coming
from,
because
it's
there's
either
housing
subsidy
coming
from
DMD
or
through
the
negotiation
with
BPD
a,
and
so
that's
where
that
compliance
is,
we
don't
have
any
kind
of
funding
source
like
that
to
subsidize
artists
workspace,
so
any
affordable
cultural
spaces
that
are
coming
up
are
through
chapter
91,
like
the
recent
space
in
the
Seaport
for
grub
Street.
F
There's
some
there's
a
specific
zoning
requirement
in
the
South
End
that
requires
that
a
certain
percentage
of
commercial
square
footage
go
towards
affordable
cultural
or
startup
space.
So
there
are
some
of
those
mechanisms,
but
there
isn't
a
funding
source
that
subsidizes
that
that
comes
from
the
city
and.
A
How
do
you
ensure,
given
that
that
certain
neighborhoods
will
be
zoned
differently?
How
do
you
ensure
that
there
would
be
equity
throughout
the
city
or
access
throughout
the
city
for
this
opportunity,
or
do
you
see
that
it's
clustered
in
certain
neighborhoods,
based
on
those
neighborhoods
kind
of
organizing
themselves
and
creating
space
that
really
appreciate
and
support
artists?
Is
the
city
looking
at
making
sure
that
there's
access
throughout
the
city,
or
are
we
okay
with
it's
gonna
happen
here,
organically
through
neighbors,
just
or
artists,
organizing
themselves?
Well,.
F
I
think
this
is
the
benefit
of
the
director
of
cultural
planning
being
involved
in
the
BPA
planning
processes.
So
we
can
work
as
the
city's
looking
at
different
neighborhood
rezoning
or
looking
at
different
neighborhood
process.
We
can
work
in
tandem
with
that
to
make
sure
that
we're
looking
at
what
is
the
kind
of
arts
ecosystem?
That's
already
there.
What
are
the
space
needs?
Are
there
spaces
that
are
vulnerable,
that
we
need
to
be
thinking
about?
So
that's
been
mostly
our
approach.
The
zoning
from
the
south
end.
It
predates
the
existence
of
our
office.
I
believe.
H
F
I
think
one
of
our
concerns
with
those
kinds
of
opportunities
that
do
come
up
for
affordable
cultural
space
is
looking
beyond
the
neighborhood.
So
one
thing
when
we
talk
to
organizations
and
artists
is
that
the
market
for
these
spaces
and
the
need
for
these
spaces
is
citywide
and
people
are
travelling
from
one
end
of
the
city
to
the
other
to
find
an
affordable
studio
space.
So
that's
been
a
conversation
between
us
and
the
bpa
saying.
Can
we
open
up
this
RFP
process?
A
F
F
A
F
We
have
a
guess
of
around
I
think
around
500
work,
only
spaces
like
individual
spaces,
but
the
number
of
buildings
I
think
is
more
telling,
which
is
27
properties,
and
this
is
a
harder
thing
to
find
out
because
there
isn't,
because
we're
not
involved
in
funding
or
subsidizing
these
spaces.
This
is
just
through
kind
of
research
and
word-of-mouth.
If
there's
a
lot
of
spaces
that
are
kind
of
under
the
radar
that
then
we
hear
about
from
artists,
and
so
we
try
to
take
that
into
account
in
that
number
and.
A
E
For
the
income,
restricted
live
work
units
those
have
at
least
a
50-year
affordability
restriction
where
D&D
has
funded.
It
may
have
a
99-year
restriction
for
I'm,
not
as
intimately
involved
in
some
of
the
below
market
commercial
spaces
repeating
come
online,
but
those
also
hat
should
have
some
restrictions
in
terms
of
time
and
how
long
they
should
operate.
I
would
suggest
they're,
probably
at
least
30
years
and.
A
When
we're
talking
about
the
private
market
like
what,
as
the
city
as
an
Arts
Commission
as
the
Planning
arm,
what
more
can
be
done
to
support
artists
who
find
themselves
at
the
whim?
You
know
of
you
know
a
university
or
a
private
company
that
owns
the
building
and
that
wants
to
now
charge
market
rate
rent
instead
of
providing.
You
know,
work
space
for
artists.
What
more
can
you
guys
do,
or
all
of
us
to
do
as
a
city
who
cares
about
this
issue
to
support
artists
who
find
themselves
in
that
situation?
A
So,
on
the
public
side
we
can
put
in
things
around
affordability.
We
can,
you
know,
make
sure
that
there's
more
access
across
the
city,
but
in
the
private
market-
and
it
sounds
like
there-
are
equal
number
of
units
available
in
the
private
market
that
there
are
in
the
public
and
at
least
a
couple
of
the
I
think
all
three
of
the
ones
that
we've
talked
about,
at
least
in
the
opening
are
out
in
the
private
market.
So
what
more
can
we
be
doing
to
stop
displacement
of
artists
when
we're
working
with
the
private
sector.
F
Sure
so
I
think
there's
definitely
a
role
for
advocacy
for
stronger
advocacy
and
more
networks
of
artists
actually
being
connected
to
each
other
and
knowing
about
each
other's
spaces.
We
were
really
involved
in
when
Brookside
128
Brookside
got
the
news
that
they
were
going
to
lose
their
work
space
and
worked
really
hard
with
the
artists
they're,
a
subset
of
whom
really
wanted
to
try
to
organize
and
maybe
buy
the
building.
F
Who
will
let
us
know
if
it
seems
like
something
is
changing
so
that
we
can
start
to
be
involved
earlier
on
in
the
process
with
them.
But
one
big
barrier
is
funding
for
acquisition
of
work,
space
and
funding
for
the
process
of
taking
over
a
building
if
it's
operating
or
owning.
So
in
the
case
of
the
Brookside
group.
F
A
B
E
We're
more
towards
them
at
the
beginning,
on
most
of
those
on
someone
a
couple,
the
older
ones
like
art
block,
actually
got.
No
actually
excuse
me
Walter
Baker
apartments.
In
Dorchester
they
got
a
new
funny
from
D&D,
so
they
keistered
the
clock
over.
So
we
have
some
of
these
that
are
kind
of
started
that
that
one
started
the
clock
over
so
that
ones
now
in
99
year
that
were
previously,
it
had
been
50
years.
So
we're
at
a
good
place
in
terms
of
the
current
restrictions
is.
B
E
B
E
Nobody
in
some
other
kind
of
non-artists,
affordable
housing
properties.
We
have
had
some
in
the
inventory
in
the
city's
inventory,
not
that
Dee
and
initially
had
an
agreement
with,
but
maybe
it
was
just
mass
housing
had
an
agreement
with
the
did
expire
if
they
refi
and
those
are
ones
where
we've
had
the
city
barley.
Not
just
me
have
had
to
step
in
to
kind
of
assure
that
those
what
we
call
expiring
use
properties
are
saved.
E
B
And
then
I'm
happy
to
hear
that
you
are
all
at
the
table
with
BP
da
and
discussing
future
developments,
because
the
needs
for
artists
in
their
live
and
live
work,
space
and
work
space.
It's
so
can
be
so
unique
and
so
specific
we're
making
sure
that
new
property
that
comes
online,
that's
for
artists,
is
equipped
to
handle
the
space
needs.
That
artists
need,
whether
it's
for
weight
bearing
or
performance
type
space,
yeah.
F
And
that's
exactly
what
the
new
design
guidelines
are
meant
to
address,
because
we
were
seeing
projects
come
in
that
we're
just
saying
these
residential
units
are
now
artists
units,
and
we
know
that
that's
not
they're
not
really
designed
with
artists
in
mind.
So
the
new
guidelines
have
lots
of
specifics.
Around
ceiling
heights,
around
noise,
transmission,
all
sorts
of
things
and.
B
Then,
what
about
the
role
of
our
colleges
and
universities
say?
I
worry
that
we're
training,
a
community
of
artists
exist
in
our
city
and
in
our
society,
but
then,
as
soon
as
you
graduate
from
school,
your
access
to
a
lot
of
that
equipment
in
space
is
also
shut
off.
Is
is
there
any
pressure
that
we
can
put
on
our
university
partners
and
schools
and
institutions
to
create
greater
access
to
equipment
in
space
over
a
longer
period
of
time?
I
think.
F
That's
definitely
a
conversation
worth
worth
having.
We
have
had
conversations
with
the
pro
arts
schools,
the
group
of
arts,
higher
education
schools
about
is
there
an
opportunity
to
collaborate
on
a
facility?
Is
there
some
other
way
to
kind
of
keep
people
engaged
with
the
spaces
and
the
equipment
and
materials
that
schools
have
for
a
longer
period
of
time?
That
hasn't
resulted
in
a
program,
but
it's
a
conversation
that
we
could
keep
having.
B
With
them,
because
it's
you
finish,
paying
your
tuition
bill
and
the
loan
loan
repayment
kicks
in,
and
you
also
lose
access
to
a
lot
of
I.
Think
high
quality
space,
that's
necessary!
Have
we
done
or
have
you
done
any
assessment
on
the
future
risk
of
any
of
our
artists
live
work
space
across
the
city?
What's,
what's
that
risk
assessment
for
stock
that
currently
exists,
whether
it's
City,
whether
we
have
some
access
to
of
whether
it's
city,
property
or
whether
it's
privately
held?
Yes,.
F
We
have
done
an
assessment
of
vulnerability
where
we
define
vulnerability
as
a
building
that
has
a
lot
of
deferred
maintenance.
It
does
not
have
an
artist
affordability,
an
artist
or
affordability
restriction,
and/or,
it's
pending
sale
and
sometimes
that's
something
that
we
hear
about
before.
It's
actually
put
on
the
market,
and
so
we
have
estimated
that
work.
Only
space
is
more
vulnerable
than
the
live
work,
because
the
live
work
is
usually
subsidized,
and
so
it
comes
with
those
housing
restrictions.
F
So
we've
identified
seven
properties
that
we
think
are
particularly
vulnerable
and
account
for
a
hundred
and
eighty
one
kind
of
workstation
so
to
speak,
and
that
would
be
28%
of
the
total
supply
and
those
are
all
privately
owned.
A
lot
of
these
are
kind
of
older
building,
with
a
benevolent
landlord.
An
older
landlord,
probably
who's,
been
letting
artists
use
their
space
for
artists
studios
for
a
long
time,
and
that's
a
situation
that
could
change
tomorrow.
If
the
landlord
decided
to
change
it
and.
B
F
It's
privately
owned.
We
don't
have
a
lot
of
mechanisms
in
place
to
to
try
to
force
that
use
to
stay
that
way
other
than
reaching
out
to
the
landlord
and
seeing,
if
they're
amenable
to
having
a
conversation,
which
is
something
that
we've
tried
doing.
The
thing
that
we've
been
focusing
on
is
looking
at:
what
are
the
opportunities
to
reproduce
that
amount
of
space
nearby
to
where
that
space
is
so?
A
good
example
of
this
is
in
the
South
End,
where
there
a
couple
of
these
kinds
of
buildings,
older
buildings
that
are
mostly
artist
studios.
E
E
You
could
say
yes,
I
would
say
that
mostly
those
market
rate
units
are
in
like,
for
example,
other
than
wearing
Laconia
loft,
which
is
one
of
the
oldest
artist
buildings
it.
Actually,
it
was
one
of
the
busy
can
I've,
kicked
off
the
artist
space
program
and
so
there's
market
rate
artists,
students,
as
well
as
income,
restricted
or
machines.
During
my
time
at
the
agency,
we
have
not
actually
approved
any
market
rate
artists
units
they've
all
been
inked
on
restricted,
no.
C
That's
helpful
and
I
guess
that's
my
general
point.
If
you
were
to
say
you
know
of
the
the
300
units,
if
you
were
to
combine
the
total
number
of
units
in
all
the
buildings,
that
percentage
would
be
significantly
lower
than
53%,
which
is
160
so
I
think
that's
just
a
crucial
point:
we're
not
talking
about
half
of
all
units
in
a
building.
Our
income
restricted
we're
talking
about
a
subset
among
these
that
are
ostensibly
for
artists.
C
So
I
appreciate
that
point
that,
since
you've
been
in
this
role,
that's
got
to
be
the
focus
going
forward
as
we
work
with
the
BPD
a
they
in
my
opinion,
should
all
all
artists
the
workspace
should
be
income
restricted
because
you
wouldn't
necessarily
it
just
seems
like
we're
defeating
ourselves
for
what
the
purpose
is.
Chief,
you
talked
about
I,
think
of
the
Seaport
sort
of
anew.
C
C
F
So
we
didn't
write
this
definition
and
I.
Think
we've
had
some
really
good
conversation
with
the
BPA
about.
If
we
were
to
do
something
like
this
again,
how
we
would
change
that
language,
the
way
that
it's
written
in
the
zoning
is
affordable
cultural
space,
which
means
that
an
organization
would
have
had
funding
from
the
Massachusetts
Cultural
Council.
That's
what
the
zoning
says,
which
is
one
of
the
things
we
would
want
to
broaden
or
is
startup
commercial
enterprise.
F
So
when
we've
been
talking
about
this
with
the
BPA
and
how
to
fill
some
of
these
spaces,
we've
definitely
been
blurring
those
those
lines.
A
cultural
use
for
us
could
be
a
business,
a
startup
business
or
it
could
be
a
non-profit
or
it
could
be
a
group
of
artists,
and
that's
that's
been
fine
for
the
conversation
that
we've
had,
but.
F
C
F
C
Think
that's
one
way.
Perhaps
madam
chair,
we
could
be
helpful.
The
council
can
amend
the
zoning
code.
The
Zoning
Commission
can
amend
the
zoning
code.
I
mean
there
are
a
number
of
avenues
there
and
that
seems
like
kind
of
low-hanging
fruits
right
if
nothing
else
give
more
discretion
to.
Obviously
you
one
of
the
things
that
you
know
came
out
of
the
plan,
JP
rocks
long.
An
engaged
conversation
was
that
artists
live
workspaces,
listed
as
a
priority
among
the
plan,
while
we're
still
sort
of
waiting
for
more
codification.
C
If
that's
a
word
codifying
sort
of
what
we
aim
to
do
in
JP
rocks,
has
there
been
talk
about
zoning
relief
or
density
bonuses
as
terms
of
in
terms
of
a
lever
that
folks
could
do
for
the
artists
that
work
space?
We
do
it
sort
of
for
general
affordability
and
that's
been
a
large
part
of
JP
rocks,
but
to
the
best
of
anyone's
knowledge.
Have
we
used
that
or
is
there?
Have
there
been
conversations
about
using
artists
the
work
space
as
sort
of
a
carrot
to
allow
for
denser
building
and
less
stringent
development
guidelines?
Yes,.
E
Was
gonna
say
that
the
the
JP
Ross
guidelines
have
some
pretty
clear
guidelines
in
terms
of
height
and
setbacks
and
step
backs
which
really
limit
projects,
and
so
given
that
those
guidelines
were
kind
of
worked
out
with
the
neighborhood
going
above,
those
guidelines
is
not
something.
We've
been
readily
willing
to
look
at,
and
developers
are
required
even
to
basically
go
outside
of
the
usual
even
to
access.
E
The
densities
allowed
are
required
to
do
a
very
high
percentage
of
affordability,
which,
for
some
developers
means
that
they're
doing
smaller
projects,
because
that's
what
they
can
do
and
still
afford
the
affordable
housing
piece
we
have
and
are
using
that
density
bonus,
though,
to
actually
create
some
artist
units
among
the
affordable
units
that
are
created
anyway.
Yeah.
C
I
guess
I'm
well,
aware
of
that
and
sort
of
I
still
hold
out,
hope
to
JP
rocks
can
work.
We
are
seeing
some
projects
that
are
living
up
to
both
the
letter
and
the
spirit
of
the
law.
Your
point,
Tim
is
well-taken.
There
are
far
too
many
nine
unit
residential
development.
I.
Guess,
though,
to
your
point,
I
wasn't
specifically
talking
about
JP
rocks,
perhaps
I
phrased
it
incorrectly
other
than
to
say
that
that
came
out
of
the
community
as
a
real
desire.
C
So,
as
we
talked
about
what
I
think
we
should
do
is
rezone
this
entire
city
I
want
to
make
sure
that
that
conversation
is
kept
alive
and
I
think
a
crucial
point
to
piggyback.
What
you
just
said
is
that
I
don't
want
to
see
this
become
an
either/or
proposition.
We
can
either
have
affordable
units
or
artists
live
work
space.
C
It
should
be
both-
and
you
know,
and
both
so
I'm,
just
hopeful
that
that
will
continue
and
I
think
there's
a
real
appetite
for
that,
not
only
in
Jamaica
Plain
or
the
South
End,
but
really
throughout
the
entire
city
chief.
The
Boston,
Cultural
Council
is
gives
out
grants
to
artists.
Can
any
of
can
those
monies
be
used
for
rent
or
their
workspace
or
live
space
for.
F
J
F
C
Children's
purposes
you
could
mean
that
would
take
them.
That
would
help
maybe
a
portion
of
one
month
or
a
month
right
yeah.
So
maybe
that's
something
that
we
should
I,
don't
want
to
again.
I
just
think
that
there's
an
opportunity
to
think
outside
the
box,
so
maybe
there's
a
way
to
work
with
that.
One
thing,
that's
incredibly
frustrating
is:
there
is
a
backlog
in
processing
a
lot
of
units
for
the
lottery
the
affordable
housing
lottery.
Is
that
is
there
any
backlog
with
the
artists
work
space?
F
E
E
Of
the
units
and
the
the
backlog
at
fair
housing
they
have
been
working
through.
That
part
of
the
problem
is
that
there
is
so
much
that's
come
online
and
it
gets
lumpy
yeah
to
say
just
say
the
least,
meaning
they
moved
that
staffing
over
to
DMD.
They
added
some
staffing
to
help
it
out
that
kind
of
solved
one
rough
patch,
so
another
rough
patches
can
have
occurred,
but
things
are
moving
again.
C
You
know
the
works.
I
know
these
people
work
incredibly
incredibly
hard.
I
would
say
they
are
understaffed
and
I
brought
this
up
during
the
the
budget
process.
I
mean
the
fact
that
we
have
units
that
are
sitting
vacant
because
of
a
backlog
because
know
one
or
two
individuals
could
process
these
and
go
through
sort
of
the
incredibly
nuanced
deep
time,
commitment
that
we
need
to
process
these.
We
need
to
invest
in
staffing
levels
to
address.
Those,
so
did
do
that.
Artists
workspace,
go
through
fair
housing
as
well,
or
is
that.
E
C
C
E
Come
too
late
to
the
process
to
bring
things
to
us
and
we're
also
putting
in
place
systems
so
that
we're
reminding
developers
to
register
projects
as
soon
as
they
pull
their
permit
to
make
sure
they're
talking
to
fair
housing
in
earlier
stages.
So
we're
doing
all
these
different
mechanisms
to
try
to
make
sure
that
they're
moving
more
quickly
so
that
they're
not
stuck
in
a.
C
Back
I
will
absolutely
stipulate
that
there
is
plenty
of
I
won't
even
use.
The
word
blame
I'll
try
to
be
more
positive.
There
are
plenty
of
issues
surrounding
this
backlog,
but
you
know
it's
beyond
frustrating
to
me
that
it
exists
and
we
seem
to
just
point
the
fingers
at
one
another
rather
than
getting
getting
our
hands
around
it.
That's
all
for
now,
madam
chair
Thank,
You.
D
You
councillor
Janey,
can
you
give
us
a
little
background
on
the
current
situation
with
Boston
Center
for
the
Arts?
What
is
happening?
What
is
the
city
doing
I
know,
there's
a
deadline
approaching
for
possible
evictions
of
the
artists
I'd
like
to
see
that
deadline
certainly
extended
giving
our
artists
more
time
to
stay
in
there
to
figure
out
their
next
step.
But
can
you
give
us
an
update
on
that
situation?
Sure.
F
D
F
Well,
I
think
that
we
have
folks
from
the
BCA
here
and
I
think
that
maybe
they've
submitted
testimony
today
to
explain
a
little
bit
more
about
the
program.
So
we're
actually
going
to
be
meeting
with
some
of
the
artists
next
week
to
hear
a
little
bit
more
in
detail
about
what
their
concerns
are.
If
you
know
what
they're
interested
in,
if
they
are
asking
for
2
more
years,
all
of
those
types
of
things
and
I've
also
been
in
touch
with
the
BCA
about
what
their
application
process
would
be
like
for
the
new
residency
program.
F
So
from
our
perspective,
it
would
be
great
to
prioritize
or
make
it
an
eligibility
requirement
that
these
residences
go
to
city
of
Boston
residents,
we're
interested
in
focusing
on
low-income
artists
and
thinking
about
how
that
gets
defined,
which
is
how
we
also
approach
our
own
grant
making.
So
that's
part
of
the
conversation
that
we're
having
now
I.
F
So
the
city
has
a
ground
lease
with
the
BCA.
That's
a
dollar
a
year
ground
lease
that
goes
till
twenty,
fifty
three
and
so
the
terms
of
that
are
that
that
dollar
a
year
ground
lease
is
to
support
the
arts,
use
that
the
BCA
is
providing,
but
doesn't
have
more
stipulations
on
like
programming
or
anything
else
within
that.
So
as
long
as
they're
providing
an
arts
use
with
that
space,
they're
fulfilling
the
terms
of
that
agreement,
that's
my
understanding
are.
F
D
All
right
could
could
I
get
that
information
from
from
someone
I
think.
That's
important
part
of
this
conversation
to
know
all
that
information.
I'm
wondering
also
do
we
know
the
artists
at
the
BCA
and
wasn't
sent
for
the
yachts
of
the
40
asil
that
are
being
potentially
evicted.
Do
we
know
how
many
of
them
a
woman,
no
communities
of
color
we.
D
F
A
lot
of
the
individual
artist
programs
that
we
offer
right
now
are
geared
towards
low-income
artists.
We
have
programs
that
are
specifically
meant
to
fund
communities
that
have
been
underfunded
in
the
past
or
been
discriminated
against
through
you
know
the
world
of
philanthropy
and
how
that's
operated
historically.
So
we
work
in
terms
into
how
we
advertise
things
into
what
kind
of
disciplines
or
neighborhoods
we
want
to
see
represented
or
to
see
receive,
funding
and
we've
seen
that
have
really
good
results.
F
G
G
So
we've
seen
a
lot
of
success
with
that
we've
been
doing
targeted
workshops
in
those
neighborhoods.
We
focus
the
applications
specifically
on
on
saying
neighborhoods
that
we
really
are
more
intentional
about
serving
we've,
also
been
working
more
with
community
partners
in
those
neighborhoods
as
well.
We've
been
seeing
some
really
quantifiable
results
there.
No.
D
F
F
D
A
You
I
know
my
colleagues
have
a
few
more
follow-up
questions.
If
you
guys
have
a
little
more
time,
I
would
just
love
to
invite
some
public
testimony,
and
then
we
can
do
a
second
round
if
that's
okay
with
folks
so
I'm
gonna
I,
have
I,
have
12
people
signed
up
on
this
sheet
of
paper.
I'm
gonna
call
down
the
first
few
folks,
I
have
a
Carrie
Rappaport
and
then
there's
a
Wayne
Stratman,
and
please
forgive
me
if
I'm
butchering
your
names,
we
have
two
podiums
here.
A
A
So
we'll
just
start
with
those
folks.
If
you
guys
want
to
spread
out
at
the
two
podiums
here.
If
you
could
keep
your
comments,
I
won't
time
you,
but
if
you
could
keep
your
comments
to
two
or
three
minutes
that
will
ensure
that
we
can
get
back
to
the
panel.
Hopefully
the
panel
can
address
some
of
your
direct
testimony
and
will
also
ensure
that
others
who
have
signed
up
will
have
the
opportunity
to
do
so
in
a
timely
manner.
Okay,
I
am
going
to
start
with
Kari.
K
My
name
is
Kari
Rappaport
I'm,
an
artist
I
work
in
Boston
and
I
also
work
with
an
artist
who
was
victim.
The
piano
factory
last
year
and
I
have
a
few
comments
I'd
like
to
make
regarding
these
problems,
so
the
first
one
has
to
do
with
Mayor
Walsh's
boss
and
creates
plan
which,
since
2015,
has
outlined
several
goals
and
areas
of
focus
for
Boston's
cultural
plan,
and
the
first
two
are
especially
relevant
for
this
discussion.
K
We
tried
to
advocate
for
this
hearing
to
happen
last
year
during
the
evictions
of
artists
from
the
piano
factory,
a
marpe,
african-american
artists
and
residents
program
at
Northeastern
and
others,
but
it
was
delayed
twice
before
finally
being
scheduled
now
with
little
advance
notice
to
give
attendees
much
time
to
prepare
or
get
the
word
out.
Many
artists
are
understandably
frustrated
with
the
slowness
of
response
from
the
city,
while
they
continue
to
lose
work
spaces
in
Boston
and
surrounding
areas.
K
The
most
recent
being
the
proposed
evictions
at
Boston
Center
for
the
Arts
and
green
street
dance
studios
in
Cambridge
artists
are
also
tired
of
city
officials
expressed
concern
for
years
without
seeming
to
have
the
tools,
organization,
time
and
power
to
change
anything.
We
need
more
legal
structures
in
place
that
proactively
protect
the
stability
of
artists,
live
and
work
spaces,
or
the
interests
of
wealthy
developers
will
always
trump.
K
The
preservation
of
arts
communities
I
believe
that
vocal
public
support
and
action
needs
to
come
from
the
top
of
the
city's
administration,
specifically
from
Mayor
Walsh
an
example
of
how
this
would
have
an
impact.
Last
year,
the
city's
arts,
the
city's
Office
of
Arts
and
Culture,
wrote
a
letter
to
the
management
of
the
piano
craft
guild
advocating
against
the
eviction
of
artists.
This
letter
had
far
less
impact
than
the
artists
hoped
because
mayor
Walsh
declined
to
add
his
signature
to
it
at
the
same
time
as
working
on
longer
term
legislation
that
protects
the
arts.
K
The
city
should
respond
in
the
short
term
to
current
situations
by
publicly
and
consistently
supporting
the
preservation
of
artists
workspaces,
especially
those
under
threat
of
eviction
standing
behind
their
goals
of
their
cultural
plan
through
such
action
would
help
to
regain
the
confidence
of
the
disheartened
arts,
community
and
better
work
with
artists
themselves
to
understand
the
problems.
This
conversation
needs
to
continue
past.
Just
this
one
public
hearing
with
artists
having
more
representation
in
the
planning
process
and
just
a
few
more
comments.
Arts
Boston's
report
called
the
arts
factor.
K
2019
report
cites
how
robust
the
region's
annual
arts
offerings
are
with
a
statistic
that
a
new
arts
event
happens
every
nine
minutes.
Many
of
these
arts
events
are
sponsored
by
large
institutions
and
performing
arts
groups,
or
our
events
participated
in
by
non-resident
or
part-time
artists.
Statistics
like
this,
besides
being
unclear
and
definition,
are
unhelpful
in
measuring
the
true
health
of
the
region's
arts.
Community.
A
true
gauge
of
the
vitality
of
the
Arts
should
take
into
account
how
many
artists
live
in
work.
K
Space
evictions
continue
to
be
allowed
to
happen,
and
the
effectiveness
of
the
city's
response
and
a
public
record
should
be
kept
of
this.
The
city
needs
to
value
the
long-standing
arts
communities
that
have
worked
hard
to
grow
here.
If
these
are
lost,
artists
live
under
a
constant
strain
of
having
to
start
over
in
a
new
location.
K
This
constant
cycle
of
building
something
new
is
not
always
positive,
such
as
the
case
of
Boston
Center
for
the
Arts
trying
to
pitch
their
new
artists
resume
residency
program
as
an
exciting
new
opportunity
when
it
comes
at
the
expense
of
destroying
an
already
thriving
arts.
Network
different
generations
of
artists
should
not
be
pitted
against
each
other
in
this
way,
and
especially
not
from
an
arts
organization
who
should
know
better.
Yes,
there
is
always
competition
that
in
the
arts,
but
we
will
only
thrive
with
a
stable
community.
Thank.
L
L
L
L
He
says
I've
got
nothing
to
fight
with
there's
no
regulations,
the
legislation
that
I
can
even
use
I
can
go
to
them,
and
I
can
more
or
less
plead
for
them
to
be
taking
a
moral
and
ethical
position,
but
I've
really
got
nothing
to
fight
within
the
particular
landlord
at
the
piano
factory.
Wasn't
gonna
hear
any
of
it,
so
he
was
unwilling.
He
came
right
out
and
said:
I'm
unwilling
to
do
any
negotiation
and
here
to
extend
time
periods.
This
is
a
a
private
building
and
I
own
it
and
so
you're
out.
Thank
you.
A
M
M
My
name
is
Beverly
sky,
I
live
and
work
in
Boston.
Thank
you
for
all
for
giving
me
the
opportunity
to
speak
today.
I
am
a
fiber
artist
designer
and
one
of
the
artists
at
the
artists,
studio,
building,
ASB
I'm,
a
former
Union
Park
Neighborhood
Association
board.
Member
and
presently
I
am
a
united
south
and
artists
association
board.
Member
I
was
on
a
waitlist
for
five
years
to
get
into
the
ASB
I've
been
working
in
my
studio
for
nine
years,
I
was
a
single
mother
of
two
children
and
I'm.
M
Now
a
grandmother
of
four
I
was
born
in
a
displaced
persons
camp
in
Austria,
my
family
emigrated
to
the
United
States
in
1956,
and
we
became
citizens
in
1962.
When
I
told
my
parents
that
I
wanted
to
be
an
artist
they
recoiled
in
horror
and
said:
what
are
you
crazy?
You
should
be
a
hairdresser
hair
is
always
growing.
Who
needs
art.
I
need
art,
our
children
need
art.
Our
communities
need
art.
M
M
M
The
immediate
shock
of
silence
was
broken
by
someone
who
called
out
what
did
you
just
say.
Everyone
of
us
has
cried
suffered,
stress,
anxiety,
sleepless
nights
and
continued
to
deal
with
the
disruption
of
our
lives
and
businesses.
As
a
result
of
this
cruel
announcement,
this
grotesque
devaluation
of
our
work,
our
careers
and
our
community,
this
callous
sweeping
us
all
out
like
so
much
trash
and
then
holding
out
a
carrot
on
a
stick
of
after
three
months.
You
may
reapply,
but
you
may
not
be
accepted
back,
was
just
rubbing
salt
into
our
wounds.
M
This,
after
all,
is
the
Boston
Center
for
the
Arts,
a
nonprofit
that
we
all
artists
have
worked
for
years
to
support
through
our
monthly
rents,
determined
by
the
BCA,
based
on
our
square
footage,
with
a
3%
annual
increase
through
our
personal
donations
of
our
artwork
for
their
fundraisers
through
our
private
donations.
Through
our
work
over
these
many
years
of
helping
to
create
the
BCA
as
an
arts
destination
in
the
city
of
Boston
executive
director
of
the
Massachusetts
Cultural
Council
Anita
Walker
stated
that
the
eviction
notice
came
as
a
surprise
quote.
M
The
artists
at
the
BCA
took
a
risk
when
they
moved
into
a
neighborhood
40
plus
years
ago,
and
now
this
now
that
this
real
estate
is
highly
desirable,
their
risk
and
investment
is
discarded.
This
is
an
all
too
common
scenario
that
leaves
artists
out
in
the
cold.
Unquote,
yes,
look
at
what
has
happened
in
Fort
Point
in
sowa,
Waltham
Street
and
at
the
piano
factory
luxury
loft
style
living
has
pushed
out
all,
but
the
wealthiest
gentrification
is
a
code
word
for
displacement.
M
The
Massachusetts
artist
Leadership
coalition,
mal
C
in
their
excellent
report,
stated
quote
evicting
artists
on
mass
to
make
room
for
other
artists
is
a
zero-sum
game
and
destroys
years
of
stability
and
community
building.
It
pits
artists
against
artists.
No
funders
of
the
BCA
should
let
this
stand.
The
BCA
needs
to
stop
this
eviction
of
the
current
artists,
especially
given
the
recent
resignation
of
its
president
CEO.
So
we
ask
why
all
the
secrecy
for
so
many
years?
M
What's
the
rush
to
get
us
all
out
why
five
or
six
year
maximum,
since
we
were
all
left
out
of
this
secret
process
for
many
years
we
don't
know
the
two
artists
representatives
from
our
building
to
the
BCA
board
had
to
sign
letters
of
confidentiality.
These
were
our
representatives
to
the
board
and
they
were
not
allowed
to
tell
us
about
what
the
board
was
up
to.
M
We
now
believe
that
the
reason
to
get
us
all
out
all
at
once
is
not
to
fix
up
a
decrepit
four
floor,
walk-up
building
with
no
elevator,
but
to
cleanse
the
building
of
its
lease
holders.
Last
May,
first,
for
the
first
time
that
I
can
recall,
we
had
to
sign
a
tenant
at
will
lease
or
leave
our
studios.
We
didn't
know,
then,
that
when
we
signed
those
leases
that
the
guillotine
of
eviction
was
going
to
fall
on
us,
this
coming
May
1st.
M
If
all
the
artists
leave
the
building,
we
no
longer
have
any
standing
visa
via
our
rights
as
tenants.
These
are
work
only
studio
spaces,
the
idea
of
short
term
five
or
six
year,
quote-unquote
residences,
is
an
indicator
that
the
ASB
could
theoretically
be
empty
of
all
artists
at
the
end
of
five
or
six
year
period
of
time.
This
new
plan
is
not
a
money-making
plan
for
the
ASB,
as
stated
by
Emily
foster
day.
M
The
current
co-president
of
the
BCA
quote
the
BCA
would
like
would
likely
earn
the
same
revenue
from
the
new
pricing
model
as
it
does
from
its
current
one
or
less.
The
BCA,
which
has
an
operating
budget
of
3.6
million,
has
yet
to
determine
the
exact
cost
of
this
exciting
new
program.
The
reason
that
these
studios
are
still
affordable,
affordable
is
that
the
ASB
is
on
city
property
and
the
and
the
BCA
rents
the
ASB
from
the
city
for
one
dollar
per
year,
and
pays
no
real
estate
tax.
M
So
now
we
get
to
pull
back
the
curtain
and
see
what,
in
fact
is
driving
this
rush
to
get
us
out
in
seven
months
and
set
up
a
program
of
short-term
studio
residences
in
September
of
2018.
The
BCA
bought
the
Calderwood
theater
for
$1
from
the
city
of
Boston.
The
Calderwood
theater
was,
according
to
Greg
roofer,
the
former
CEO,
a
quote:
27
million
dollar
asset
that
the
BCA
purchased
for
$1
from
this
city.
M
This
incredible
asset
can
be
used
as
collateral
for
borrowing
money
as
the
last
city-owned
building
the
artists
studio
building
is
the
next
target
for
purchase
and
development
by
the
BCA.
Given
the
inept
rollout
of
this
eviction
and
this
plan,
we
can't
help
but
suspect
a
hidden
agenda
and
suspect
that
the
BCA
Board
may
not
be
capable
or
worthy
of
Accra
acquiring
this
precious
asset.
We
have
compiled
a
listing
of
the
BCA
board
for
your
perusal.
There
is
only
one
artist
from
our
building
who
had
to
sign
a
nondisclosure
agreement.
M
We
object
to
this
systematic
pattern
of
excluding
us
from
all
discussions
and
decisions
that
gravely
affect
our
lives,
work
and
community
New
York's,
mayor
dill,
Bill
DeBlasio
has
recently
set
a
policy
that
quote
no
New
York
public
grants
be
awarded
to
institutions
unless
their
boards
diversify
with
the
stated
goal
of
making
their
boards
of
directors
more
artists,
inclusive.
That's
a
quote
from
art,
scott
magazine,
mayor
walsh
and
city
of
boston
and
arts
and
culture,
administrators
and
elected
representatives.
M
We,
the
artists
at
the
ASB,
ask
that
you
insist
that
the
evictions
at
the
BCA
be
canceled
and
that
we
be
included
in
any
decisions
that
affect
our
studios.
We
support
the
gradual
implementation
of
new
programs
as
artists
leave
their
studios.
Some
have
already
left
the
BCA
has
already
begun
to
destroy
our
creative
community.
We
would
like
to
ensure
that
the
ASB,
the
last
city-owned
building
of
this
size
is
forever
a
building
for
affordable
artists,
workspaces
and
potentially
affordable
live-work
spaces.
M
A
N
Thank
you,
hi
I'm
David
Lloyd
Browns,
a
Boston
resident
in
one
of
the
40
visual
artists
being
evicted
by
the
nonprofit
Boston
Center
for
the
Arts
BCA
at
5:51,
tremon
Street,
the
artist
studio
building
I
would
like
to
thank
councilors
Anisa,
sabe,
George,
Matt
O'malley
in
Kim
Janie
and
the
other
members
present
for
this
opportunity
to
speak
before
you
and
be
heard
on
the
evictions
of
the
40
artists
from
551
trim
on
Street.
One
of
the
only
and
I
would
I
know
here
is
the
only
city
owned
building
designated
for
the
Arts.
N
Excuse
me
in
September,
25th
2019,
the
BCA
announced
their
50th
anniversary
meeting
that
all
the
residents
at
their
50th
anniversary
meeting
that
all
residents
would
artists,
art,
resident
artists
would
be
evicted
and
must
leave
their
studios
by
May.
1St
2020.
Replacing
the
current
yearly
tenant
at
will
leases
that
we
all
that
all
of
us
sign
annually
in
July.
The
BCA
seeks
to
implement
a
program
of
residences
with
durations
of
six
month,
one
year
in
five
years,
with
an
option
of
a
one-year
renewal
for
those
with
the
five
year
residences.
N
At
the
time
of
the
announcement,
the
BCA
offered
no
guidelines
for
application
to
the
residences,
and,
as
for
my
knowledge,
as
of
this
meeting,
still
has
not
published
any
guidelines,
there
is
to
this
day
no
plan
by
the
BCA
to
implement
the
renovations
they
called
for
and
which
they
said
necessitated.
Removal
of
the
artists
currently
working
in
the
building.
Originally,
the
BCA
plan
called
for
renovating
for
the
entire
building
between
May
1
and
July
1st
of
2020.
N
Excuse
me,
the
BCA
has
subsequently
backtracked
on
this
plan.
After
meeting
with
a
group
of
the
artists,
where
I
believe
we
were
able
to
convince
Randi
Hopkins
director
of
visual
arts
and
Emily
foster
day,
one
of
the
acting
co-directors
that
renovations
on
that
scale
would
certainly
take
more
than
two
months.
N
I'm
almost
done
I'm
here
to
testify
before
your
committee
on
the
personal
and
professional
impact.
A
forced
search
for
and
move
to
a
new
studio
is
having
a
my
professional
practice
since
1979
I
have
contributed
to
the
Boston
culture
in
the
arts
and
economy
with
exhibitions,
property
ownership
and
30,
and
a
30
year
career
in
academia,
as
and
as
a
founding
member
of
the
249,
a
Street
co-op
in
four
point
channel
the
artist
owned
live
workspace.
This
unplanned
studio
move
the
one
that
I'm
now
currently
faced
with
doing,
has
put
a
halt
to
any
contribution.
N
I
can
continue
to
make
to
the
Boston
cultural
community.
Eight
years
ago,
I
chose
the
studio
at
the
BCA,
so
I
could
work
closer
to
my
home,
continue
my
studio
practice
while
taking
care
of
my
terminally,
ill
spouse
and
stay
employed
as
the
associate
dean
of
graduate
programs
at
the
school
of
the
Museum
of
Fine
Arts
Boston.
Without
my
BCA
studio,
I
would
have
given
up
a
professional
practice
when
the
eviction
was
announced.
N
I
was
only
able
to
find
a
shared
studio
space
in
the
south
and
so
a
district
which
I
am
extremely
grateful
for
and
I
and
was
found
because
I
was
able
to
contact
my
many
fellow
artists
and
colleagues
that
live
in
work
in
Boston.
Without
that
Network
and
their
presence
in
Boston
is
working.
Artists
I'd
still
be
looking
for
a
studio.
N
N
There
is
a
$160
moving
permit
fee.
The
city
collects
from
movers
while
this
is
generously
paid.
Currently,
the
BCA
has
has
said
that
they
would
pay
for
the
permit.
It
is
an
expense
to
be
incurred
by
every
artist
moving
because
of
this
new
residency
program.
The
per
square
foot
rental
rate
that
I
will
now
be
paying
has
doubled.
For
my
for
my
new
studio,
I
have
lost
two
months
studio
time,
while
searching
for
a
studio.
N
I
have
been
unable
to
do
anything
in
my
current
studio,
except
pack
up
given
the
great
emotional
impact
created
by
the
eviction
I'm
carrying
two
studio
rents
for
the
month
of
December.
In
order
to
have
the
transition
comply
with
the
terms
of
my
lease
with
the
BCA
months,
if
not
a
full
year
will
be
lost,
unpacking
and
setting
up
the
new
studio.
Creating
the
visual
artist
works.
Visual
arts
workspace
doesn't
happen
overnight.
N
N
Finally,
leaving
the
community
of
artists
at
the
551
tremon
Street
will
adversely
impact
income
I
have
started
to
receive
because
of
the
collaborations
I
now
have
with
my
fellow
artists
this,
for
the
first
time
in
my
career,
I've
been
able
to
rent
two
sets
that
are
are
in
need
of
artwork
sets
for
TV
and
for
movies,
and
that
was
all
through
a
connection
through
a
fellow
artist
at
the
BCA
and
I.
Never
would
have
met
her
if
I
didn't
have
that
close
proximity
and
I'm,
hoping
that
that
relationship
will
continue.
N
O
Name
is
Mark
and
I'm
the
phony-baloney
program,
director
of
spontaneous
celebrations
in
Jamaica,
Plain,
happy
little
multicultural,
Art
Center
and
when
homefries
sent
me
a
notice
about
this
meeting,
I
thought
I'd
come
by
and
share
a
little
bit
of
my
perspective.
I've
been
a
manager
of
this
space
for
about
seven
years
now
and
I've
been
working
part
time,
mostly
as
an
artist
in
Boston
for
probably
about
28
years
as
part
of
the
puppeteers
cooperative.
O
So
to
speak
and
have
lots
of
storage
space
we
have
at
spontaneous
I,
probably
have
I
turn
away.
Many
many
many
proposals
just
based
on
the
fact
that
we
just
don't
have
the
space
and
we
keep
our
space
remarkably
affordable,
but
there's
just
not
enough
of
it
to
go
around.
So
if
we
could
utilize
these
spaces
that
were
already
paying
to
heat
and
light,
and
actually
I
mean
it's
not
like
virtually
we're
literally
paying
for
these
spaces
already
for
the
upkeep.
O
A
P
So
thank
you
to
counselors
SAV,
George,
Janie
and
O'malley
for
the
opportunity
to
speak.
My
name
is
Tracy
kind
of
Pinsky.
I
am
a
resident
in
Jamaica
Plain
in
Hyde,
Square
and
I
also
work
as
the
program
director
of
max
creative,
so
mass
creative
is
a
statewide
arts,
advocacy
organization
for
the
arts,
cultural
and
creative
community,
and
we
represent
400
arts
and
cultural
organizations,
individual
artists
and
community
members,
as
well
as
art
supporters.
P
Our
mission
is
to
build
a
more
healthy,
vibrant
inequitable
Commonwealth,
and
we
do
that
through
supporting
the
arts
and
cultural
community
to
make
sure
they
have
the
resources
and
support
that
they
need
to
thrive
so
max
creative
supports,
further
exploration
and
development
of
strategies
for
creating
for
creating
more
affordable
work
spaces
for
artists
to
create,
perform
and
show
their
work.
So
obviously,
the
benefits
of
the
arts
community
are
more
than
economic.
In
2018,
the
arts
and
cultural
community
delivered
two
billion
dollars
in
direct
economic
impact
in
the
bus.
P
The
Greater
Boston
area
over
30,000
jobs
were
created
in
Greater
Boston
by
the
arts
sector,
but
artists,
art
community
builders,
their
connectors,
their
truth,
tellers
from
public
artists
that
change
how
we
understand
the
city
and
its
residents
to
art
therapies
that
support
our
most
vulnerable
populations.
The
creative
community
is
a
vital
part
of
what
makes
Boston
a
competitive,
unique
and
strong
city
and
like
many
residents
in
Boston
as
we're
talking
about
artists,
are
experiencing
displacement
at
an
accelerated
rate
and
without
intervention
and
proactive
strategies
were
in
danger
of
losing
a
vital
sector
of
our
city.
P
So
the
work
of
the
mayor's
office
of
Arts
and
Culture.
What
they
have
done
to
address
artists
live
work
needs,
is
a
really
encouraging
and
proactive
approach
and
obviously
we're
here,
because
more
is
necessary.
So
we
wish
to
recommend
that
the
City
Council
consider
supporting
policies
that
incentivize
or
require
developers
to
dedicate
more
space
to
artists,
live
work,
space
and
more
help
more
housing
units
for
affordable
live
space.
P
A
A
We
heard
some
very
compelling
public
testimony
and
so
certainly
want
to
offer
the
opportunity
for
our
panel
to
respond
directly
I
had
some
questions
based
on
the
testimony
as
well
one
of
the
things
so
there
there
are
a
number
of
buildings
that
used
to
house
or
currently
housing
artists
live
work,
space
that
will
not
in
the
future
and
we've
heard
a
piano
factory
mentioned,
which
is
in
my
district
privately
owned.
We
heard
a
mark
northeastern,
owns
it
or
owns
the
building.
We
heard
BCA
with
BCA,
though
I
think
that's
the
one
example
of
public
building.
A
So
not
you
know
they're
paying
their
dollar
rent
each
month.
Are
there
opportunities
based
on
you
just
heard
the
comments
from
Tracy
and
I
know.
You
spoke
to
this
in
terms
of
projects
going
forward,
but
is
there
something
more
that
we
can
do
to
encourage
a
process
with
BCA
that
feels
that
is
much
more
respectful
of
the
artists
that
are
there,
certainly
understanding
that
the
goal
is
to
be
more
inclusive
and
nice
only
support
having
workspace.
A
That
is
more
inclusive
of
artists
throughout
our
community,
but
certainly
don't
want
to
disrespect
or
pit
artists
against
each
other.
So
it
seems
to
me-
and
we
heard
from
David
his
rain
has
doubled.
Fortunately,
for
him,
he's
found
a
new
space,
but
now
he's
got
to
maintain
two
rents
at
one
point:
he's
lost
the
ability
to
collaborate
and
I
know
how
important
that
is
for
artists
who
are
in
work
space
together
to
kind
of
have
that
opportunity.
A
F
Sure
so,
I
think
and
I
really
appreciate
the
testimonies
from
from
everyone.
So
far
and
I
think
we
really.
We
really
do
feel
the
experience
that
artists
are
having
losing
space
that
they've
been
in
for
a
long
time.
We
are
really
looking
forward
to
meeting
with
the
BCA
artists
and
just
hearing
more
detail.
F
I
heard
some
new
things
just
from
the
testimony,
so
I
think
that'll
be
really
productive
conversation
and
we're
committed
to
helping
have
that
conversation
between
the
artists
and
the
BCA
as
this
all
unfolds
so
where
we'll
definitely
be
involved
and
and
want
to
represent,
represent
the
needs
of
artists
in
Boston
for
sure
I.
Think
I
also
want
to
particularly
acknowledge
that
the
way
in
which
the
program
from
the
BCA
was
rolled
out
is
problematic.
B
F
The
percent
for
art
program
is
a
fund
for
the
commissioning
of
public
art
from
the
City
of
Boston.
So
the
city
has
committed
to
this
that
a
percent
of
our
capital
borrowing
budget
will
go
toward
commissioning
new
permanent
artworks
that
get
incorporated
into
new
city
construction
projects
like
new
schools,
the
engine
42
fire
station,
the
new
Boston
Arts
Academy,
building.
B
F
F
Are
still
I
think
figuring
out
how
much
capacity
we
need
on
staff
to
take
advantage
of
the
funds
and
their
entirety
and
what
that
pacing
looks
like,
because
this
is
the
first
time
that
we've
done
this
in
the
city.
So
I
think
we'll
probably
see
more
projects,
even
just
from
that
one
source,
and
then
we
also
have
a
new
program
for
a
temporary
art
that
we
just
started
this
year
that
we're
hoping
to
do
annually.
F
We
do
work
a
maintenance
plan
into
every
project
so
that
we
know
what
it
will
cost.
We
only
have
one
source
of
maintenance
funding,
because
the
capital
funds
don't
cover
ongoing
maintenance.
They
just
cover
the
kind
of
one-time
construction
aspect,
so
our
maintenance
funds
are
fairly
small
relative
to
the
number
of
projects
that
are
coming
online,
which
is
something
that
we're
talking
to
budget
about
now
and.
B
Then
my
other
question
is
you
know
something
that
we
haven't
talked
a
lot
about
today,
because
it's
been
about
the
space,
whether
it's
live
or
work
space,
but
what
about
the
technical
assistance
to
help
our
our
artists?
Entrepreneurs
are
artists,
business
owners
to
really
be
successful
in
their
craft
and
in
their
business
sure.
F
So
and
we've
done
some
really
exciting
work
around
this.
In
the
last
few
years,
we've
worked
with
office
of
economic
development,
on
piloting
a
series
of
workshops
specifically
for
creative
entrepreneurs,
and
we
did
that
in
Holmes
corner
and
partnership
with
the
Fairmont
Innovation
Lab
we've
helped
the
office
of
economic
development,
get
consulting
firms
on
as
consultants
specifically
for
business,
technical
assistance,
we've
helped
them
find
firms
that
specialize
in
working
with
artists
as
individuals
or
with
creative
businesses,
so
that
can
be
available
through
their
normal
ta
funds.
F
We've
also
done
a
lot
of
technical
assistance
through
Julia
Ryan,
our
artist
resource
manager.
We
have
a
new
program
that
we're
helping
fund
through
mass
art-
that's
a
year-long
series
of
workshops,
specifically
around
the
business
side
of
being
a
creative
person.
So
what
does
it
mean
to
price
your
work
to
advertise
it
to
know
who
your
audience
is?
Those
kinds
of
issues
I.
B
F
B
J
A
F
A
I
Ahead,
thank
you.
I
tried
to
keep
this
under
five
minutes.
I
just
like
to
say
that
I
came
here,
I'm
taking
my
time
off,
of
work.
I'm
like
the
members
of
the
BCA
I,
am
sacrificing
this
day
of
wages
to
be
here.
A
lot
of
my
other
artist.
Friends
can't
do
that.
I
stand
to
lose
a
lot
of
money
in
this
situation.
Also.
I
A
high
school
art
teacher
encouraged
me
to
focus
on
my
art,
take
college-level
courses
and
apply
to
school
before
that
time,
I
had
never
been
encouraged
to
pursue
that
path.
I
am
now
earning
a
living
building,
set
dressing
and
props
on
major
studio
motion
pictures
and
exhibiting
my
sculptures
and
galleries
around
Boston.
None
of
this
would
have
been
possible
without
the
use
of
my
art
studio
from
my
professional
development.
Having
that
place
is
the
sole
reason.
I
I
stayed
in
Boston
in
2005,
I
joined
the
staff
at
the
BCA
as
an
over
hire
Events
Manager
and
was
presented
with
an
opportunity
to
share
a
space
with
an
established
artist
in
my
building
for
a
little
over
$300
a
month.
At
that
time,
everyone
on
the
waiting
list
was
seeking
out
private
studios,
so
I
could
get
in
without
the
years
long
wait.
This
artists
and
other
elders
in
my
building
were
able
to
provide
me
with
invaluable
knowledge
and
guidance
in
my
growth
and
development.
I
The
connections
that
came
my
way
due
to
this
artist
community
at
the
BCA
are
immeasurable.
For
instance,
I
am
currently
exhibiting
at
Harvard
ed
portal
gallery
curated
by
a
BCA
studio
artist
in
2009
I
got
an
opportunity
to
work
on
a
movie
and
discovered
my
creative
skills
could
earn
me
a
living
in
the
art
department
on
future
films.
I
have
used
my
studio
space
throughout
the
year
to
not
only
develop
my
artwork
but
to
produce
props
and
set
resting
for
many
film
television
and
commercial
projects.
I
am
also
renting
artwork
from
several
artists.
I
In
my
building
and
over
a
dozen
Boston
area,
artists
for
set
dressing
on
a
network
television
show
I'm
currently
working
on
my
work
in
the
film
industry
has
allowed
me
to
earn
a
decent
income
and
having
a
union
backing
me,
has
lauded
training,
opportunities
and
benefits
that
have
helped
me
to
afford
the
workspace.
After
my
studio,
moved
out,
I
have
been
paying
638
dollars
a
month
from
my
space
the
past
few
years.
I
During
that
time,
I
have
had
two
artists
supply
to
share
the
space
with
me
and
both
have
backed
out
due
to
the
financial
commitment
of
the
300
and
$25
a
month.
Share
of
rent
many
artists
I
know
are
working
hard
at
jobs
that
are
not
paying
them
enough
to
save
money
or
make
investments
in
their
future.
I
have
found
that
many
of
the
successful
artists
professionals
I
have
encountered
have
financial
support
from
an
outside
source
like
a
spouse
or
parents.
I
I
feel
that
temporary
artist
residency
will
only
be
afforded
to
those
privileged
enough
to
not
have
to
work
a
full-time
job
in
the
early
80s
artists
were
able
to
purchase
buildings
through
a
co-op
and
convert
them
and
to
live
work
spaces.
This
allowed
them
to
build
equity
in
their
future.
With
the
security
of
owning
their
spaces,
they
were
able
to
build
careers
in
businesses
in
Boston.
These
opportunities
no
longer
exist.
Since
the
eviction
was
announced,
I
have
been
unable
to
locate
an
affordable
private
workspace
in
a
building
in
Boston.
I
The
best
I
could
find
is
a
shared
studio
space
in
the
Vernon
Street
building
in
Somerville.
It
will
cost
me
three
hundred
and
eight
dollars
a
month
for
about
one-fifth
of
the
space.
I
will
be
sharing
it
with
six
other
artists,
three
of
whom
are
oil,
painters
and
I,
will
not
have
access
to
a
window.
I
inquired
and
was
placed
on
a
waiting
list
for
a
private
studio.
I
was
told
to
be
several
years
before
one
became
available.
Currently
I
am
carrying
two
studio
rents
for
November
and
December
at
over
$900.
I
Since
the
outcome
of
this
eviction
is
uncertain
and
I
do
not
wish
to
leave
my
space
at
the
BCA,
I
have
also
secured
a
storage
unit
to
move
my
belongings
into
because
I
no
longer
have
adequate
space
in
the
shared
studio
had
I
been
invited
into
the
conversation
of
how
to
develop
the
BCA's
mission
to
support
artists.
I
would
have
offered
to
share
my
studio
with
an
emerging
artist,
just
graduating
from
college
as
a
mentor
and
sponsor
sim
to
the
opportunity
given
to
me.
I
They
would
not
only
have
access
to
my
knowledge
of
materials
tools
in
the
industry,
but
also
a
furnished
studio
space
in
an
established
arts
community,
the
network
and
connections
I
have
built
would
no
doubt
benefit
them
in
their
journey.
I've
decided
to
seek
out
opportunities
to
invest
in
to
live
work,
studio,
space
outside
of
Boston
and
I'm,
currently
emailing
with
the
mayor's
office
in
Worcester
with
one
email
they
have
invited
to
meet
with
me
to
help
understand
how
they
can
best
assist
me
in
my
relocation.
I
feel
valued
and
wanted.
I
This
is
the
opposite
of
how
I
currently
feel
in
my
hometown.
I
am
asking
the
city
of
Boston
to
step
in
to
obtain
a
building
for
artist
development
and
allow
them
to
create
equity
plant
roots
and
build
so
as
a
sustainable
future.
You
will
always
have
new
artists
attempting
to
make
a
life
for
themselves
in
Boston
after
college,
without
support
and
resources
from
the
city,
they
will
all
eventually
leave.
Thank
you
so
much
for
this
chance
to
testify.
Thank
you.
Q
Hi
I'm
J,
Padgett
I
live
in
Hyde,
Park
and
I'm.
The
director
of
the
cultural
facilities
fund
at
the
Massachusetts
Cultural
Council
I'm,
also
a
drummer,
and
so
my
neighbors
have
always
been
acutely
aware
of
my
need
for
off-site
rehearsal
space
and
fortunately,
at
many
of
the
years
being
able
to
find
off-site
rehearsal
space
and
so
I
understand
the
importance
of
dedicated
space
for
to
practice
your
craft.
So
I
just
want
to
say
a
couple
things
we've
been
working
on
this
in
collaboration
with
Carr
and
her
team
for
a
while.
Q
It's
these
are
tough
issues
to
unpack,
but
I
think
going
forward.
There's
an
opportunity,
I
think
for
the
city
to
engage
the
BCA
and
just
kind
of
say
stop
at
this
point.
I
even
talked
to
anyone
who's
thought.
This
has
been
a
reasonable
and
fair
process
for
doing
a
reset
to
open
up
the
spaces
for
more
people
to
come
in,
and
you
know
anyone
sort
of
that
thinks
about.
It
says:
there's
probably
a
way
to
do
this
other
than
the
way
they
did
it.
Q
I
really
do
think
the
city
has
leverage
to
go
in
and
talk
to
them.
Right
now,
instead
of
just
just
stop
this
process
and
do
something
a
little
more
reasonable,
we
did
invite
them
into
the
mass
cultural
council
to
talk
about
it.
A
couple
of
the
staff
people
that
didn't
really
weren't
the
architects
of
this
came
in
and
the
board
ship
board
chair
refused
to
come
in.
So
there's
a
little
bit
of
that
going
on.
Okay,
so
you
know
overall
I
think
with
community
development
and
anytime
people
are
being
displaced.
Q
One
of
the
sort
of
the
key
factors
here
is
ownership
and
control
got
to
control
the
real
estate
you've
got
to
make
the
decisions.
This
goes
for
the
same
and
affordable
housing.
Cdc's
know
that
federal
government
knows
that
the
state
knows
that,
there's
this
whole
infrastructure
of
support
for
fordable
housing.
We
don't
have
quite
that
same
thing
for
creative
workspace,
but
it
kind
of
feels
like
we
need
that.
We
need
some
levers
in
some
resources,
technical
expertise,
I
think
the
technical
expertise
is
there.
Q
What
we
need
is
some
resources
and
will,
in
order
to
acquire
properties,
get
properties
under
control,
make
them
permanently
affordable,
restricted
and
all
the
good
things
that
we
do
to
stabilize
communities
in
affordable
housing,
okay,
so
around
the
Commonwealth.
We
noticed
that
a
lot
of
municipalities
are
taking
the
surplus
schools
and
using
them
for
artist
space,
there's
about
a
dozen
projects
right
now
around
the
Commonwealth,
and
we
can
share
that
with
you
of
how
they
obstructs
you
to
deal
where
they're
taking
surplus
properties.
The
code
upgrades
are
relatively
minimal:
it's
not
housing.
Q
It's
work,
space
and
they've
been
able
to
bring
in
50
75
a
hundred
and
50
artists
into
these
spaces
and
stabilize
sort
of
the
bleeding
that's
been
going
on
in
different
places.
So
that's
something
we
can
share
with
you.
I
think.
The
other
thing,
that's
really
a
tough
one
is
to
have
an
acquisition
fund
in
a
predetermined
developer
to
come
in
and
move
quickly
in
real
estate.
This
stuff
doesn't
wait
for
us.
We
need,
we
I,
think
the
expertise
is
there
with
CDC's
and
nonprofit
developers.
Q
I
think
an
acquisition
fund
is
probably
in
order
here,
where
you
could
move
quickly.
You
could
step
in
with
a
predetermined.
It's
almost
like
it's
pre-vetted
developer
and
the
project
you
see
coming
down
sort
of
heading
for
the
heading
off
the
track,
so
to
speak,
you're
going
to
lose
a
number
of
artist
spaces
and
you
have
a
way
to
step
in
negotiate
with
the
right
of
first
refusal
or
right
of
first
offer.
You
can
go
in.
You
can
have
some
resources
in
a
capable
developer
to
go
in
negotiate
and
sort
of
stabilize
the
property.
Q
I
mean
just
last
week.
I
think
there's
two
properties
in
Somerville
up
for
displacement
right
now
and
that's
another
hundred
plus
artists
kind
of
so
that's
that's
in
play
too
so
that
stopped
awesome,
but
it
impacts
Boston
I.
Imagine
there's
people
that
joy
Street
in
Miller,
Street
Studios
who
live
in
Boston,
but
just
work
in
Cambridge.
So
it's
a
systemic
problem,
so
we're
at
the
Basque
Cultural
Council
we've
been
in
communication
with
you.
We
will
happily
continue
that
communication
and
try
to
figure
out
ways
to
address
this
in
a
real,
meaningful
life.
Thank
you.
A
R
Yeah
I'll
gladly
keep
it
brief.
Well,
first
of
all,
I'm
Brendan
Killian
I'm,
a
former
tenant
at
128
Brookside
and
Jamaica
Plain.
We
were
one
of
the
first
to
get
the
axe.
If
you
will
and
thank
you
all
for
your
help,
I
mean
I,
consider
you
all
Hal
eyes
and
in
some
level
this
is
preaching
to
the
choir.
So
I'm
not
gonna,
go
ahead
and
go
with
any
of
my
personal
experience
even
have
some
patrons
in
the
crowd
and
again,
thank
you
so
much
for
the
help
for
the
help
you
provided
for
us.
R
I
just
wanted
to
reiterate
a
couple
takeaways
you
of
course
all
know
this,
but
just
to
just
to
hear
myself
say
it
again,
yeah
a
couple
big
takeaways
from
my
experience
that
I
haven't
heard
anybody
else
address.
As
far
as
the
problem
itself
goes,
I
think
you
have.
What
I
would
describe
is
a
perfect
storm.
Not
only
is
real
estate
value
outrageously
high
but
like
in
our
case
and
many
people.
Many
many
buildings
in
in
that
particular
neighbor
neighborhood
in
Jamaica
Plain.
R
Most
of
the
owners
bought
these
places
for
next
to
nothing
back
in
the
70s
and
guess
what
the
time
is
right
for
them
to
cash
in
I
mean
it's
that
simple
they're
all
getting
older
and
I.
Don't
blame
them
on
some
level,
but
because
the
asking
prices
are
so
high,
you're
completing
completely
cutting
out
any
any
any
potential
investors
that
might
actually
be
anything
other
than
a
large
real
estate.
Developer.
R
As
far
as
I
know,
mass
art,
museum
school
are
still
doing
well
in
terms
of
their
graduation
rates.
There
are
an
awful
lot
of
post
grads
out
there
that
a
can't
afford
the
rent
to
begin
with
for
an
apartment,
let
alone
a
studio
space.
On
top
of
that,
and
now
there
is
none
for
them
to
go
to
so
it
doesn't
take
a
genius
to
you
know
the
writing's
on
the
wall.
R
R
People
like
me,
will
survive,
I
mean
I.
I
actually
landed
softly
if
you
will,
but
the
reason
I
fought
so
hard
was
because
of
the
one
went
one
thing
that
is
impossible
to
commodify
and
that's
community
you've
heard
it
over
and
over
again
we
had
a
community.
We
were
like
a
family
and
that's
gone,
and
you
can't
reproduce
that
overnight
it
took
30
years
to
build
it
up
and
it's
gone
overnight
and
you
know
I
can't
imagine
it
we'll
see
what
happens.
Mark
mentions
alternative
spaces,
that's
where
I'm
in
a
church.
R
You
know
what
there
are
a
lot
of
churches
in
the
area
that
need
to
raise
some
revenue
and
are
starting
to
think
outside
the
box.
They've
got
a
lot
of
space
and
you
know
what
I
feel
safe
there.
Nothing
else
I
know
they're,
not
gonna.
Boot
me
at
the
drop
of
a
hat,
so
I
don't
encourage
a
lot
of
the
artists
here
to
look
into
alternatives
like
that
and
I.
Think
that's
all
I
have
to
say.
Thank
you
again
for
your
help
and
for
having
this
hearing.
Thank.
S
Hi,
my
name
is
Helen
Matthews
I'm,
with
City
Light,
peter
Urbana,
we're
an
eviction
defense
organization,
and
last
year
at
City
Life.
We
saw
the
displacement
crisis
hitting
artists
in
Boston
at
the
piano
Factory
at
128
Brookside
at
a
marpe
across
the
river
at
EMF,
and
we
advocated
on
the
ground
with
many
of
these
folks
and
this
year
in
2019,
we've
seen
potential
displacement
of
musicians
at
14,
Palmer,
Street
and
Dudley
the
closure
parts
of
via
Victoria
and
pending
evictions
at
the
BCA,
as
well
as
the
Green
Street
Dance
Studios
in
Cambridge.
S
So
we
are
in
a
displacement
crisis
that
is
affecting
artists
in
a
very
meaningful
and
real
way,
and
the
City
Council
and
the
mayor
need
to
control
the
damage
now
and
because
this
is
a
hearing
partially
about
access
to
art
spaces.
I
want
to
speak
briefly
on
the
issue
of
access.
One
major
problem
with
access
to
artists
live
work.
Spaces
in
Boston
is
the
under
representation
of
artists
of
color
in
the
pool
of
certified
Boston
artists
compared
to
the
demographics
of
our
city
as
a
whole,
and
because
most
of
the
artists
live
work.
S
Spaces
in
Boston
require
certification.
This
raises
questions
around
fair
housing
and
for
me
personally,
as
Anna
butter
to
many
of
the
new
projects
around
the
Green
Street
Station
area
that
meet
their
IDP
obligation
through
live
work
units.
This
has
pitted
concerns
for
racial
justice
against
concerns
about
the
need
for
artist
spaces
and
that
should
never
ever
be
a
trade-off.
S
Spaces
I
understand
that
deed,
restricted,
affordable,
live
workspaces
are
offered
at
an
average
of
about
80
percent
AMI
and
many
are
designated
for
even
higher
income
levels
than
that.
That's
totally
mismatched
with
the
actual
incomes
of
the
vast
majority
of
Boston's
artists
and
that
even
leads
to
some
live
work
units
sitting
vacant
for
stretches
of
time
so
for
live
work,
units
that
are
created
through
the
inclusionary
development
policy.
The
strongest
solution
to
access
is
to
strengthen
the
IDP.
S
We
need
live
work
units
at
30,
40
and
50%
am
I
not
at
80%
AMI
and
100%
AMI
and
higher
on
the
flip
side
of
development.
There's
the
issue
of
preserving
existing
artists
and
their
spaces,
and
the
city
should
develop,
as
was
mentioned
a
few
times
before,
an
aggressive,
proactive
and
well-funded
acquisition
strategy,
enabling
nonprofits
and
mission
based
arts
developers
to
buy
and
stabilize
art
spaces
at
risk
of
displacement.
S
Finally,
the
city
and
the
BPD
a
should
not
reward
projects
predicated
on
the
eviction
of
artists
by
granting
zoning
variances
to
developers
of
such
projects.
All
project
reviews
should
include
a
thorough
assessment
of
the
displacement
impact
on
artists
to
assess
whether
or
not
variance
are
appropriate.
So
this
is
my
laundry
list
of
possible
solutions
and
I
hope
that
you'll
serious
explore
all
of
these
before
the
damage
spiral
is
too
far
out
of
control.
Thank
you.
Thank.
A
You
Helen
Helen.
Are
you
able
to
submit
that
via
email?
Could
you
thank
you
so
much
Joanne
and
Byron,
and
then
I'm
gonna
get
ready
for
the
next
group
of
folks.
I've
got
a
Kevin
Nika,
okay,
Alexander
club
and
Ashley
Rose.
If
you
guys
could
also
make
your
way,
Joanne
is
Joanne
here:
Joanne,
rostov,
okay,
Byron
McFarland.
A
T
I'll
be
quick,
my
name
is
Kevin.
Micah
I
was
told
about
this
from
friends
at
a
city
or
Urbana.
My
name
is
Kevin
Mike
I've
been
resident
of
Jamaica
Plain
for
the
last
20
years,
I'm
a
musician,
an
artist
I've
had
a
space
in
Dudley
square
at
a
place
called
the
Berwick
for
the
last
13
years,
I've
been
associated
with
the
space
the
last
20
years
in
January
this
year,
a
Boston
real
estate
collaborative
purchased,
the
building
after
Nick's
video
Steve
previous
owner
had
the
building
for
about
40
years.
T
In
my
experience,
living
in
Boston,
my
whole
life
I've
always
expected
with
low
rent
low
expectations.
So
we've
had
a
space
there
without
heat
and,
like
you
know,
a
few
out,
it's
and
water
in
rats
and
stuff
for
most
of
my
time,
but
and
no
lease,
and
that
was
best
we
could
ask
for
with
the
new
owners.
They've
been
pretty
communicative
about.
T
So
basically,
I've
had
you
know
I'm,
just
assuming
that
we'll
get
kicked
out
and
we'll
be
able
to
come
back
because
we
have
no
rights
at
that
point.
But
I
do
know
that
they
do
need
permits
and
they
need,
and
they
have
neighborhood
meetings
and
all
this
stuff
and
so
I'm.
Basically
here
to
ask
and
communicate
in
the
future
about
how
the
city
can
you
know,
help
prevent
displacement
of
us
there
with
leverage
with
the
develop
towards
the
developers
on
how
to
you
know,
give
them
what
they
need
without
kicking
us
all
out.
T
T
Just
for
the
first
time
in
my
43
years
on
this
planet
trying
to
ask
for
some
help
as
an
artist
in
the
city,
because
I
travel
a
lot
as
a
musician,
and
this
has
always
been
a
hard
city
to
be
an
artist
and
a
musician
and
Dudley
square,
specifically
I
love,
Dudley
square,
as
you
can
see,
I
represent
a
small
percentage
of
the
demographic
at
Dudley
square,
but
I
would
love
to
stay
in
JP
and
in
Dudley
square,
otherwise
I
definitely
have
to
move
out
of
Boston.
So
thanks
for
your
time,
thank.
T
U
Afternoon,
I'm
really
excited
to
be
here
to
make
written
being
my
favorite
movie,
I
didn't
think
Boston
would
make
the
movie
rent
so
relevant.
It
was
written
out
of
the
piano
factory
which
a
lot
of
people
don't
know,
but
to
watch
Boston
displace
their
artists
in
real
time.
That's
not
an
art
has
really
impacted
me.
I
also
lived
on
Hemingway
Street
and
I
live
on
Huntington,
so
I
live
in
affordable
housing
and
I've
been
able
to
work
my
way
out
of
being
a
juvenile
delinquent
through
the
arts.
Over
the
years.
U
My
teaching
schools
and
I
work
for
Suffolk
University
Center
for
restorative
justice,
but
if
it
wasn't
for
the
mentors
that
are
actually
located
in
the
spaces
that
you're
displacing
I
would
have
been
a
criminal
still
so
I
really
look
for
Loretta
for
Bev
Skye
ba
ba
Askia,
Toure
I
went
to
Northeastern
I'm,
a
Ujima
scholar.
I
almost
have
tears
in
my
eyes
to
stand
here
and
read
this
Northeastern.
We
can't
trust
the
universities
I'm
not
acting
for
50
years.
In
99
years,
I
went
to
Northeastern
and
watched
win.
U
The
gym
was
able
to
be
used
by
all
the
residents
and
I
watched
him
changed
area
codes.
So
now
you
got
to
live
within
the
vicinity
to
use
it.
I
asked
that,
no
matter
what
changes
are
made
that
big
grandfather
clause
din,
there
is
no
time
limit,
because
we've
seen
this
time
and
time
again
in
10
years
in
20
years,
we're
back
where
we
started.
U
I
also
was
the
only
artist
who's
actually
on
the
Boston
creates
Leadership
Council
I
penned
the
work
five
years
ago,
almost
now
to
be
able
to
keep
Boston
residents
here
we
also
pushed
for
the
1%
on
the
taxes
which
still
hasn't
been
made.
If
we
actually
got
1%
to
go
to
the
arts
right
now,
we're
selling
a
lot
of
weed
I
think
that
if
we
took
some
of
that
money
and
actually
put
it
into
housing,
I
think
artists.
We
would
have
a
win-win
on
both
ends
on
this
one.
U
All
right,
I
think
that
that's
one
of
the
major
things
that
there's
a
lot
of
money
going
into
luxury
housing
there
should
be
no
building
that
is
built
without
artists
being
included
I'm
a
poet
I,
don't
need
much
space.
Just
give
me
a
table
of
some
sunlight
all
right,
so
I
think
that,
no
matter
what
the
building
is,
there
should
be
a
guarantee
that
there's
a
certain
percentage.
I
like
what
you
said.
Not
a
number
of
units
I
could
care
less
about
the
number
of
units
I
want
percentage
in
order
for
it
to
be
fair.
U
I
also
wanted
to
look
at
the
fact
that
the
intergenerational
war,
that's
being
created
amongst
artists,
is
interfere
again.
These
are
my
mentors.
I
won't
apply
for
any
of
the
things
that
the
city
of
Boston
is
offering
or
the
housing,
because
I
have
to
take
the
stance
that
I'm
going
to
appreciate
my
elders
to
put
this
younger
Millennials
against
the
generation
of
baby
boomers
that
I
need
to
learn
from
which
is
a
big
disservice
towards
me
again
and
I'm,
also
looking
at
the
fact
that
their
Boston
artists
that
I've
already
been
displaced,
you're
late.
U
U
Ask
that
you
really
really
look
into
grandfather
clause,
II
and
all
of
these
in
looking
at
the
1%
of
taxes,
other
states
have
done
it
already,
and
it's
worked
really
really
well
and
that
that
1%
go
directly
into
housing,
so
we're
not
fighting
against
each
other,
while
people
are
moving
into
luxury
housing
across
the
street,
and
thank
you
so
much
for
just
even
holding
this
meeting
for
us.
I
appreciate
it.
Thank
you
so
much.
A
V
The
center
has
been
really
the
center
of
my
work.
Life
and
I
am
NOT
a
low-income
artist,
I'm,
not
a
high-income
artist
either,
but
I
know,
though
income
artist,
but
this
change
will
mean
that
I
paid
363
for
about
three
hundred
square
feet
and
that
is
low,
obviously
really
below
market
rates.
But
for
me
comparing
rates
in
Cambridge
and
Boston,
it
will
mean
a
major
change
to
my
lifestyle,
with
my
husband
whatever.
V
But
my
point
here
is
that
before
I
came
to
the
Boston
Center
for
the
Arts
I
I
worked
in
really
a
lot
of
isolation.
I
felt
like
I
couldn't
apply
for
grants.
I
couldn't
I
couldn't
make
my
way
the
way
a
lot
of
low-income
artists.
Some
of
them
could
make
their
way
and
I'm
not
saying
they
shouldn't
be
able
to
have
that.
They
should
definitely
but
I'm,
saying
what
the
Senate
provided
for
me
was
support.
V
V
In
some
basic
ways,
the
present
administration
and
board,
with
few
exceptions
and
I,
should
add
that
I
feel
very
grateful
to
the
Center
what
they
have
given
me
absolutely
over
the
years.
In
some
basic
ways,
the
present
administration
and
the
board,
with
few
exceptions,
appear
to
lack
any
real
understanding
of
artists
or
the
condition
which
artist
thrives.
One
of
the
major
administrators
and
a
back
of
the
plan
has
really
been
seen
by
the
artist
and
has
really
visited
the
studios.
V
Despite
claims
to
care
about
the
soon-to-be
evicted
artist,
when
another
staff
member
who
has
done
a
lot
for
the
artist
in
the
past,
was
asked
why
they
would
not
fight
for
the
artist
the
staff
member
replied,
I
have
to
fight
for
the
center.
Our
question
is:
are
we
the
artists
community
community,
not
an
essential
part
of
the
set
Center?
We
are
open
to
a
portion
of
the
building
studios
transitioning
into
residences.
V
A
number
of
empty
studios
already
exist
and
more
are
opening
up
due
to
some
artists
who
discouraged
by
this
plan
and
can't
take
the
risk
of
staying.
Why
not
up
to
date,
these
vacant
studios
and
gradually
turn
them
over
to
the
portion
of
the
building
dedicated
to
residences?
This
would
allow
the
artists
moving
out
time
to
look
for
other
studio
spaces
which
are
difficult
to
find
at
affordable
rates.
It
would
also
allow
the
artists
moving
out
time
to
dismantle
the
studios.
They
haven't
improved
and
finished,
and
to
find
the
money
for
moving
course.
V
The
current
artists,
this
has
probably
been
made
I
think
this
point.
The
current
artists
do
pay
below
market
rates,
although
such
comparisons
are
often
difficult
to
me
make
because
some
of
our
studios
are
old,
but
we
do
pay,
rent
and
yearly
rent
increases
which
are
valuable
to
the
center's
income.
Why
not
keep
these
rents
flowing
in
while
residences
open
up?
Thank
you
all
very
much.
V
A
A
W
Want
to
thank
you
for
holding
this
hearing
and
I'm
sure
we
all
agree
here
that
housing
is
a
basic
human
right.
That's
what's
brought
us
all
here,
that's
the
easy
part!
The
hard
part
is
connecting
this
to
a
larger
fight.
I
am
obviously
an
activist
I'm,
also
an
artist
a
musician
and
it's
city
life.
We
work
to
prevent
displacement,
and
that
includes
rent
control,
something
we're
working
on
for
everyone,
not
just
artists,
but
that's
part
of
the
reason
artists
are
displaced.
W
So
when
we
have
city
councilors
opposed
to
that
this
is
the
difficult
part
you're
working
across
purposes.
This
is
not
some
rationalization,
because
we
rationalize
everything
at
the
end
of
it,
we
found
nothing.
This
is
a
fact,
and
this
is
something
that
will
come
up
again.
I'm
a
20
year
veteran
of
the
piano
factory,
graduate
of
mass
art
and
I
want
to
support
all
the
artists
that
are
here
that
have
spoken
before
and
are
struggling
now.
W
I
left
the
piano
factory
after
20
years
and
I'm
now
at
Oliver,
lofts
down
the
street
in
on
the
Roxbury
JP
line,
and
there
they
pulled
a
bait
and
switch
on
us,
which
is
another
example
of
this
kind
of
displacement
where
it
took
six
months
to
go
through
the
process
of
getting
the
unit.
Nothing
was
mentioned
about
buying
or
getting
out,
but
once
we
were
in
that's
when
they
told
us
well,
you
know
we
eventually
have
to
buy
this
and
move
out.
W
Now,
as
far
as
the
history
goes,
I'm
sure,
as
I
said,
I'm
a
veteran
of
the
piano
factory
in
our
rent
wars
over
the
1990s,
which
we
won
with
the
help
of
City
Hall.
Thank
you
and
City
Council.
Thank
you
and
the
BR
a
thank
you
at
the
time.
However,
if
you
fast
forward
to
today,
the
piano
factory
did
not
get
enough
support
from
City
Hall
and
certainly
not
from
the
be
PTA
mr.
eyes
that
are
known
today,
and
this
is
part
of
the
reason
we
have
the
crisis
across
the
city.
W
Now
everyone
knows
why
we're
supporting
the
arts,
the
arts
are
part
of
culture.
The
cultural
culture
is
part
of
what
builds
our
civilization,
so
this
is
what
we're
trying
to
preserve.
So
what
we're
looking
for
in
this
case,
in
the
broader
sense,
is
cooperation,
not
competition,
sharing
of
the
city's
housing
resources
in
this
case,
not
just
for
artists
prep
for
everyone,
not
greed
and
justice
and
inequality.
W
So
we
got
to
ask
ourselves:
where
do
we
fall
in
this
fight
and
are
we
all
on
the
right
side
of
history
and
as
far
as
the
track
record
for
the
city
goes?
It's
been
mentioned
before
it's
not
good
with
a
medium
Eno
administration,
we
saw
him
giving
half
the
city
away
to
developers
and
we
were
hoping
with
a
walsh
administration
would
be
better.
Both
artists
and
the
population
at
large
in
the
city
has
suffered
as
a
result
of
this
continuing
giveaway
to
developers.
W
W
Market
forces
are
like
a
serpent
that
devours
everything
in
its
path
and
that's
what
market
forces
are
doing
to
the
city
to
the
country
and
to
the
world,
and
we
can't
live
like
this
and
I
see
this
not
only
amongst
artists
but
amongst
the
entire
population,
because
with
city
life
I'm
in
housing
court
every
Thursday,
the
people
are
distraught,
depressed,
stressed
out,
and
it's
tearing
apart.
Families,
not
just
artists,
families,
but
everyone's
family
and
who's
affected
and
affected
primarily,
is
black
and
brown
residents
of
Boston.
This
has
got
to
stop
so.
K
W
Just
not
talking
problems,
I'm,
talking
solutions,
we're
talking
about
an
interdependence
among
the
various
groups,
artists,
the
government,
the
population
at
large
cooperation,
social
justice
redistribution
in
this
case
of
housing
resources
and
to
stop
subsidizing,
wealthy
developers
and
others
and
and
their
undue
influence
on
City
Hall.
The
people
in
general
have
demonstrated
as
a
sound
mind
and
common
sense
on
this
subject.
W
This
has
not
always
been
the
case
with
the
government,
so
what
we
need
now
is
to
do
is
to
develop
a
desire
to
serve
and
replace
a
desire
for
gain
a
desire
for
justice
and
to
replace
the
divisive
greed
which
now
seizes
this
world
and,
in
some
sense,
the
city.
So,
let's
equitably
save
these
housing
resources,
not
just
for
artists
like
myself
and
others,
but
for
everyone
in
the
city
and
save
the
artists
who
were
sort
of
the
canary
in
the
coal
mine
in
this
case,
but
save
the
city
and
its
people
as
a
whole.
A
X
Name
is
Debbie
Lubar
I'm,
a
resident
of
Atherton
Street
I
am
NOT
an
artist
I'm
a
resident
located
across
from
the
am
ARP
building
when
northeastern
I've
been
a
resident
there
for
35
years
when
northeast
didn't
bought
this
building.
The
agreement
was
that
they
bought
it
with
the
condition
that
it
would
be
the
home
of
a
mark
in
July
of
2018.
X
Payment
I
would
like
the
city
to
address
the
institutional
expansion
that
has
been
destroying
neighborhoods
in
Boston
for
decades.
Here
we
in
our
in
our
neighborhood,
we
felt
we
were
getting
a
benefit,
neighbors
artists,
programming
that
was
applicable
to
residents
in
the
neighborhood
and
I'm
sure.
The
next
thing
we're
getting
is
a
dorm
which
obviously
it
will
no
longer
be
a
neighborhood
if
it's
a
dorm,
but
the
city
has
to
step
up
and
put
some
provisions
in
place
to
stop
the
institutional
advancement
into
every
piece
of
land.
That's
up
for
grabs.
It's
not
just
developers.
X
It's
all
these
institutions,
the
expansion
of
Northeastern
in
the
last
30
years,
is
enormous,
as
most
people
here
are
well
aware
of
I'm
sure
so.
I
I
came
today
to
to
speak
out,
because
I
know
that
it
is
difficult,
if
not
impossible,
for
the
mr
partes
to
speak
out
because
of
this
gag
order,
they
were
prohibited
from
using
open
suit
to
participating
in
Jamaica
Plain
hor
Roxbury
Open
Studios
last
year
as
part
of
the
gag
order.
I
think
this
is
just
ridiculous
and
there's
been
almost
no
city
action
to
prevent
any
of
it.
Thank
you.
H
Hi,
my
name
is
Bill
Madsen,
Hardy,
I
didn't
originally
plan
on
speaking,
but
I
thought
I
bring
up
a
little
bit
of
a
different
perspective.
I
am
a
real
estate.
Developer
I've
been
working
in
the
city
of
Boston
for
20
years.
I
specialize
in
affordable
housing,
particularly
special
needs
housing,
elderly
housing
and
artists.
Housing,
I
think
I've
been
involved
with
162
of
the
existing
artists
live
work
units
in
the
city,
so
I've
been
doing
this
for
a
while
and
I
want
what
people
know.
You
know
that
this
is
possible.
H
It
is
possible
to
save
some
of
these
buildings
and
preserve
them.
I've
done
it,
and
in
2003
the
city
called
and
said.
There's
a
group
of
artists
in
Brookside
who
just
got
eviction
notices.
You
know
the
building
was
purchased
by
a
market
rate
developer,
who
planned
on
raising
their
there
building
and
building
market
rate.
Condominiums
I
helped
them
buy
that
property
and
they
each
bought
a
piece
of
that
property
for
whatever
amount
of
money
they
could
afford
to
pay
for
it.
H
The
same
thing
happened
with
the
Walter
Baker
lofts
same
thing
happened
with
with
Midway
Midway
Studios.
Those
are
rental
projects,
but
those
were
properties
that
were
going
to
be
put
on
the
open
market
that
we
were
able
to
buy,
along
with
the
residents
forming
nonprofits,
where
the
residents
have
an
ownership
participation
on
the
board.
H
So
these
things
are
possible
and
a
lot
of
its
made
possible
by
the
determination
of
the
artists
themselves,
but
in
partnership
with
developers
like
me,
and
there
are
others
out
there,
you
know
willing
to
help
and
put
their
resources
and
guarantee
loans
and
make
these
things
happen.
But
all
of
those
projects
also
happened
because
of
the
because
of
the
city.
There
really
is
a
commitment
by
people
in
the
city,
at
the
BP
da
and
in
DND
to
help
make
things
these
things
happen.
Now
the
there
have
also
been
some
failures.
H
Brendan
was
here,
but
he
left
I
tried
very
hard
working
with
the
128
Brookside
folks
to
save
their
building.
Frankly,
I
think
it
could
have
been
saved
and
I
I
was
brought
into
it
too
late
and
a
pns
was
already
signed
with
another
developer.
So
there
was
really
nothing
that
could
be
done
at
that
point.
H
H
Housing
like
we,
we
developed
the
art
block
property
that
was
on
city-owned
city-owned
property
that
we'd
we
developed,
affordable,
condominiums
I
am
right
now
in
the
process
of
developing
74
artists,
housing
units
in
Dudley
square
with
a
ground-floor
that
is
entirely
work
only
and
shared
work,
space
and
work
studios
to
support
the
artists
there
and
other
artists
in
the
community.
The
the
housing
part,
the
live
work
part
is
easy.
I
can
do
that.
H
I
can
do
that
all
day
because
housing
there
are
lots
of
resources
for
housing
from
the
the
federal
government
through
low-income
housing,
tax,
credit
program
or
historic
tax,
credit
programs,
home
funds,
lots
of
resources
through
the
Department
of
Neighborhood
Development,
and
by
building
at
that
scale.
I
can
set
aside
a
lot
of
units
for
artists
that
make
nothing
up
up
to
fifty
or
sixty
percent,
which
is
where,
where
the
real
need
is-
and
we
have,
we
do
have
a
few
units
at
eighty
percent
also,
so
the
housing
is
possible.
H
The
the
hard
part
is
the
is
the
lit
is
the
work
space
there
aren't
for
the
subsidies
and
and
and
the
resource
is
available
for
work
space.
You
know
we
are
I'm
I'm
able
to
include
you
know,
maybe
two
thousand
square
feet
of
what
will
be
affordable
work
space
in
this
new
building,
but
only
because
you
know
I'm
bringing
you
know,
building
six
stories
of
of
housing
on
top
of
it
and
bringing
all
of
those
resources
to
bear
to
help
to
help
build
that
I
could
never
go
out
and
and
and
develop.
A
H
We
have
80
percent
units,
that's
it
vacant.
We
can't
rent
them
because
we
can't
find
people
who
can
afford
them.
So
you
know
it's
a
shame
you
know,
so
they
need
to
be.
They
need
to
really
need
to
be
lower
and
the
project
at
Dudley
we're
gonna,
have
a
number
we're
in
ask
me
a
quarter
at
thirty
percent
and
a
hundred
percent
of
the
rental
units
will
be
below
sixty
percent.
H
Just
one
more
quick
point:
when
I
think
mr.
malli,
you
said
something
about
having
artists
the
live,
where
the
restriction
and
that
program
be
for
low-income,
but
it's
really
it's
important
to
have
the
mix
income,
the
Midway
Studios
project,
which,
as
Kara
mentioned,
provides
the
majority
of
the
very
low
income
units
that
we
have
in
this
city.
That
was
only
possible
because
that
unit
is
is
actually
predominantly
market
rate.
H
A
Y
Hello
I'll
keep
this
very
brief.
My
name
is
Emily
foster
day
I'm.
The
acting
co-director
at
Boston
Center
for
the
Arts
I,
sent
you
a
brief
on
our
new
program.
New
residency
program,
Studio
551,
so
I
won't
go
into
the
details
of
that,
but
I.
What
I
do
want
to
say
is
that
I
appreciate
the
opportunity
to
be
here.
I
appreciate
the
opportunity
to
to
participate
in
this
discussion.
Y
What
I
also
want
to
say
is
that
we
are
at
VCA
working
very
hard
to
listen
to
our
community,
to
listen
to
the
artists
who
are
in
the
building
to
speak
with
the
city
to
speak
with
a
state
and
I
also
hope
that
we
have
the
opportunity
to
speak
with
all
of
you
over
the
course
of
the
next
few
weeks.
As
we
start
to
refine
and
sort
of
understand
the
impact
of
this
program,
ways
that
we
can
support
the
artists
in
the
transition
and-
and
we
are
very
specifically
looking
at
a
timeline
revision.
A
As
well
so
we're
gonna
wrap
up
this
hearing
now.
I
just
want
to
say,
first
and
foremost
thank
you
to
everyone
who
came
and
participated,
particularly
the
artists
who
shared
their
experiences
and,
more
importantly,
their
ideas
and
solutions.
Moving
forward,
I
want
to
make
clear
that
the
properties
that
we
have
been
discussing
the
city
is
not
displacing
anyone.
These
are
private
entities
and
I
know
that
the
city
has
stepped
up
to
try
to
intervene.
A
Certainly
individual
councillors
I
know
I've
tried
to
weigh
in
on
some
of
these
projects
that
were
happening
in
my
district
I
know.
The
mayor's
office
has
been
involved
in
some
of
these
as
well.
So
thank
you
for
that
intervention.
I
want
to
say
thank
you
to
our
chief
chief,
elliot
ortega,
as
well
as
my
shop,
for
your
participation
as
well
as
the
other
panelists
who
were
here.
A
Around
inclusion
and
diversity
on
these
projects
in
terms
of
the
ownership,
but
also
in
terms
of
who
will
live
there
and
artists
who
would
be
able
to
participate.
So
you
know
I'm
hopeful
about
next
steps
as
difficult
as
this
conversation
is
because
I
think
there
were
some
clear,
concrete
things
that
we
can
move
forward
on
from
this
hearing,
but
I
think
there's
also
an
opportunity,
as
as
more
property
has
developed
in
our
city,
to
really
use
that
as
a
way
to
promote
the
arts.
C
You,
madam
chair,
thank
you
both
for
your
incredible
partnership
and
leadership
on
this.
Thank
you
to
the
team
when
we
heard
from
and
most
importantly,
thank
you
to
all
the
artists
and
advocates
and
allies
who
spoke
so
eloquently
and
forcefully
and
clearly,
we
have
a
lot
of
work
to
do,
but
this
was
an
important
and
I
think
very
worthwhile.
First
steps
I
look
forward
to
continuing
to
partner
with
you
both
and
most
probably
the
people
in
this
room
and
the
weeks
and
months
ahead.
Thank
you
very
much.
Thank.