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"title": "Gray Area to Distribute Nearly $850,000 to Victims of the Ghost Ship Fire",
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"content": "\u003cp>The Gray Area Foundation announced Wednesday that \u003ca href=\"http://grayarea.org/press/gray-area-foundation-arts-oakland-fire-relief-recovery-resiliency-fund-announces-first-phase-allocations-criteria-donations-gathered-wake-ghostship-tragedy/\" target=\"_blank\" rel=\"noopener\">it will begin distributing $848,344\u003c/a> to those affected by the deadly Ghost Ship warehouse fire back in December.\u003c/p>\n\u003cp>Gray Area, an San Francisco-based non-profit whose mission “\u003ca href=\"http://grayarea.org/about/mission/\" target=\"_blank\" rel=\"noopener\">is to apply art and technology to create positive social impact\u003c/a>,” received the most donations — more than $890,000 from almost 12,000 online contributors — following the Dec. 2 fire that \u003ca href=\"https://ww2.kqed.org/news/2017/01/24/oakland-council-declares-ghost-ship-remembrance-day-passes-tenant-eviction-assistance-ordinance/\" target=\"_blank\" rel=\"noopener\">killed 36 people\u003c/a>. \u003c/p>\n\u003cp>The announcement came one day after the \u003cem>East Bay Express\u003c/em> ran a story about the \u003ca href=\"http://www.eastbayexpress.com/oakland/gray-area-leading-ghost-ship-fire-relief-fundraiser-hasnt-distributed-a-dime/Content?oid=5091281\" target=\"_blank\" rel=\"noopener\">group’s fundraising efforts\u003c/a> following the fire, noting that Gray Area had not yet distributed any of the money. Josette Melchor, Gray Area’s executive director and founder, said the announcement had already been in the works and was not spurred by the article.\u003c/p>\n\u003cp>“We’ve been working day and night on this whole thing and there was a deadline for this print article, so it didn’t include our press release,” Melchor said.\u003c/p>\n\u003cp>Through an online submission form, the organization received more than 400 requests for aid. After vetting those applications, Gray Area has so far approved 136 qualified recipients.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The funds will be split into three categories: relief, recovery and resiliency. The relief funds will go to help victims injured or displaced by the fire, and to families of those who died. The recovery funds will go to those who suffered financial hardships in relation to the fire, and the resiliency funds are for programs designed to create “long-term impact and community renewal.”\u003c/p>\n\u003cp>Melchor said much of the delay stems from the organization’s need to verify information collected from the applicants, which it did with help from the Red Cross. Melchor says that the nearly 300 applicants that weren’t approved for funds will get a second chance, as Gray Area will provide potential recipients with more details on what the funds may be used for.\u003c/p>\n\u003cp>“What we did was read all the stories that came in with the applications and used them to determine the criteria,” Melchor said. “We got over 400 inquiries and it helped us understand who we needed to serve.”\u003c/p>\n\u003cp>Melchor says there will be two more rounds of grant allocations, as Gray Area is still receiving donations.\u003c/p>\n\u003cp>“It’s a long-term commitment to this initiative,” Melchor said. “I think that’s why people understand our leadership in this — it’s because we are so deeply connected to it. Gray Area started as a live-work space when I was 19, and I’m really passionate about saving art spaces.”\u003c/p>\n\u003cp>Though the foundation’s efforts have been successful — Gray Area raised almost $100,000 more than the \u003ca href=\"http://oakland.athletics.mlb.com/oak/sponsorship/community_fund.jsp\" target=\"_blank\" rel=\"noopener\">Oakland Athletics Community Fund\u003c/a>, which also received support from the A’s, the Oakland Raiders and the Golden State Warriors — the work has been extremely difficult, Melchor says. Members of the Gray Area Fund found the work emotionally exhausting, especially under intense media scrutiny.\u003c/p>\n\u003cp>“This has been the hardest time I’ve had in my life,” Melchor said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To learn more about the Gray Area’s grants, \u003ca href=\"http://grayarea.org/press/gray-area-foundation-arts-oakland-fire-relief-recovery-resiliency-fund-announces-first-phase-allocations-criteria-donations-gathered-wake-ghostship-tragedy/\" target=\"_blank\" rel=\"noopener\">read the press release\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Gray Area Foundation announced Wednesday that \u003ca href=\"http://grayarea.org/press/gray-area-foundation-arts-oakland-fire-relief-recovery-resiliency-fund-announces-first-phase-allocations-criteria-donations-gathered-wake-ghostship-tragedy/\" target=\"_blank\" rel=\"noopener\">it will begin distributing $848,344\u003c/a> to those affected by the deadly Ghost Ship warehouse fire back in December.\u003c/p>\n\u003cp>Gray Area, an San Francisco-based non-profit whose mission “\u003ca href=\"http://grayarea.org/about/mission/\" target=\"_blank\" rel=\"noopener\">is to apply art and technology to create positive social impact\u003c/a>,” received the most donations — more than $890,000 from almost 12,000 online contributors — following the Dec. 2 fire that \u003ca href=\"https://ww2.kqed.org/news/2017/01/24/oakland-council-declares-ghost-ship-remembrance-day-passes-tenant-eviction-assistance-ordinance/\" target=\"_blank\" rel=\"noopener\">killed 36 people\u003c/a>. \u003c/p>\n\u003cp>The announcement came one day after the \u003cem>East Bay Express\u003c/em> ran a story about the \u003ca href=\"http://www.eastbayexpress.com/oakland/gray-area-leading-ghost-ship-fire-relief-fundraiser-hasnt-distributed-a-dime/Content?oid=5091281\" target=\"_blank\" rel=\"noopener\">group’s fundraising efforts\u003c/a> following the fire, noting that Gray Area had not yet distributed any of the money. Josette Melchor, Gray Area’s executive director and founder, said the announcement had already been in the works and was not spurred by the article.\u003c/p>\n\u003cp>“We’ve been working day and night on this whole thing and there was a deadline for this print article, so it didn’t include our press release,” Melchor said.\u003c/p>\n\u003cp>Through an online submission form, the organization received more than 400 requests for aid. After vetting those applications, Gray Area has so far approved 136 qualified recipients.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The funds will be split into three categories: relief, recovery and resiliency. The relief funds will go to help victims injured or displaced by the fire, and to families of those who died. The recovery funds will go to those who suffered financial hardships in relation to the fire, and the resiliency funds are for programs designed to create “long-term impact and community renewal.”\u003c/p>\n\u003cp>Melchor said much of the delay stems from the organization’s need to verify information collected from the applicants, which it did with help from the Red Cross. Melchor says that the nearly 300 applicants that weren’t approved for funds will get a second chance, as Gray Area will provide potential recipients with more details on what the funds may be used for.\u003c/p>\n\u003cp>“What we did was read all the stories that came in with the applications and used them to determine the criteria,” Melchor said. “We got over 400 inquiries and it helped us understand who we needed to serve.”\u003c/p>\n\u003cp>Melchor says there will be two more rounds of grant allocations, as Gray Area is still receiving donations.\u003c/p>\n\u003cp>“It’s a long-term commitment to this initiative,” Melchor said. “I think that’s why people understand our leadership in this — it’s because we are so deeply connected to it. Gray Area started as a live-work space when I was 19, and I’m really passionate about saving art spaces.”\u003c/p>\n\u003cp>Though the foundation’s efforts have been successful — Gray Area raised almost $100,000 more than the \u003ca href=\"http://oakland.athletics.mlb.com/oak/sponsorship/community_fund.jsp\" target=\"_blank\" rel=\"noopener\">Oakland Athletics Community Fund\u003c/a>, which also received support from the A’s, the Oakland Raiders and the Golden State Warriors — the work has been extremely difficult, Melchor says. Members of the Gray Area Fund found the work emotionally exhausting, especially under intense media scrutiny.\u003c/p>\n\u003cp>“This has been the hardest time I’ve had in my life,” Melchor said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To learn more about the Gray Area’s grants, \u003ca href=\"http://grayarea.org/press/gray-area-foundation-arts-oakland-fire-relief-recovery-resiliency-fund-announces-first-phase-allocations-criteria-donations-gathered-wake-ghostship-tragedy/\" target=\"_blank\" rel=\"noopener\">read the press release\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.edisoninternationalusa.com/about.html\" target=\"_blank\" rel=\"noopener\">Cheryl Edison\u003c/a> said she knew what was coming after the Ghost Ship Fire.\u003c/p>\n\u003cp>“Heads up,” Edison texted her boss the next day. “There’s been a big warehouse fire, and because our property is called a warehouse, there’s likely to be a backlash.”\u003c/p>\n\u003cp>Edison was a consultant, finding artists and makers to occupy a co-working space called \u003ca href=\"http://thefactory510.com/\" target=\"_blank\" rel=\"noopener\">Factory 510\u003c/a>, part of the \u003ca href=\"http://thegate510.com/the-team/\" target=\"_blank\" rel=\"noopener\">Gate 510\u003c/a> complex, which houses a number of retail, tech, maker, and artist spaces off Davis Street in San Leandro.\u003c/p>\n\u003cp>And Edison said her boss, \u003ca href=\"https://skbcos.com/expertise/#team_members\" target=\"_blank\" rel=\"noopener\">Steve Wong\u003c/a>, a property manager with the real estate merchant banker \u003ca href=\"https://skbcos.com/expertise/\" target=\"_blank\" rel=\"noopener\">ScanlanKemperBard \u003c/a>(SKB), based in Portland, texted her back.\u003c/p>\n\u003cp>“We have nothing to worry about. Our property is nothing like that (the Ghost Ship) property. We are concrete and steel beams, sprinklers throughout.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Edison was right. On the Monday morning after the fire, “came fire officials,” Edison said, “and representatives from the city of San Leandro, making a huge scene. I was called by tenants and members, I contacted SKB. And I said Steve, we have an issue here.”\u003c/p>\n\u003cp>\u003ca href=\"http://thegate510.com/about-the-gate/\" target=\"_blank\" rel=\"noopener\">Gate 510 \u003c/a>encompasses nearly a million square-feet of space. It was once a manufacturing plant for Dodges and Plymouths, and then Caterpillar tractors. Now there’s a Home Depot, a Ross Dress for Less and other retailers downstairs. Upstairs, SKB has built studios and offices for entrepreneurs, tech companies, artists, and makers.\u003c/p>\n\u003cp>Edison showed me around the huge modern looking space a few weeks ago. A few artists were there with her, packing their gear, because SKB terminated all the leases for Factory 510 as of Jan. 9.\u003c/p>\n\u003cfigure id=\"attachment_12644935\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/004-800x600.jpg\" alt=\"Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What happened here, is like saying we’ve got a problem with forest fires, so let’s just cut all the trees down,” said Andrew Johnstone, an artist who designs and builds huge sculptures, including the iconic Burning Man figure used at last summer’s Burning Man Festival. “That’s not how you deal with this.”\u003c/p>\n\u003cp>\u003cstrong>The City Building Official\u003c/strong>\u003c/p>\n\u003cp>But Jerry Smith Jr., San Leandro’s chief building official, said the inspection on Dec. 5 was routine and not a crackdown.\u003c/p>\n\u003cp>“There’s this perception,” Smith said in a phone interview, “because of the Ghost Ship fire, that we suddenly had this interest in the Gate. I was at the gate my first week here.\u003c/p>\n\u003cp>“It’s so complex,” Smith said. “It’s so far ahead of the code, that we regularly go through to figure out what they’re doing, how do we protect them, what’s the best way to do this.”\u003c/p>\n\u003cp>Smith is like many city officials after the Ghost Ship fire, eager to work with artists, entrepreneurs, and makers — all of whom bring innovation and taxes to their cities. “This city is pro-artist and pro-maker,” Smith said. But he added that he always worries that he could be overlooking a major safety hazard.\u003c/p>\n\u003cp>“When we do our job, nothing happens,” Smith said. “I have prevented more death and injury than any first responder in the history of mankind.”\u003c/p>\n\u003cp>Smith said what he found at Factory 510 was a neon art installation with bare wires tied to the building steel in an area designated as a refuge, a safe room to which people could go in the event of a fire.\u003c/p>\n\u003cp>“People would have gotten electrocuted,” Smith said. “And the neon was suspended over the top of the exit path. Can you imagine if we had an earthquake event. It would have shattered, you would have gotten a glass shower.”\u003c/p>\n\u003cp>Edison said Smith and the fire inspector told her that “anything that could loosely be called art was no longer something that could be permitted.”\u003c/p>\n\u003cp>Artist Nick Randell, who installed the neon said, “I did some wonderful installations here which I assure you were perfectly safe. I’ve been setting up neon in places for over 30 years and I have yet to electrocute anyone or burn anything down.”\u003c/p>\n\u003cp>Johnstone said the inspectors warned him that he had flammable paintings hanging on a wall, and he was ordered to remove them. That established, what he called, an impossible safety standard for a working artist.\u003c/p>\n\u003cp>\u003cstrong>The Landlord\u003c/strong>\u003c/p>\n\u003cp>Meanwhile SKB’s Steve Wong said in a phone interview that the inspection was only a minor factor in ending the company’s arrangement with Edison and the artists she was leasing to. “Part of Edison’s job was going away,” Wong said, “because she’d done such a good job of leasing the space.\u003c/p>\n\u003cp>“If anything the timing of it relative to the Oakland fire may have accelerated it by a few months,” Wong said. “And some of those folks leaving were short term tenants under Cheryl’s purview.”\u003c/p>\n\u003cp>Wong said SKB was happy with the work Edison did bringing in artists and tech entrepreneurs. But the company “needed to take a couple of steps back because of the additional scrutiny on fire and safety.”\u003c/p>\n\u003cp>\u003cstrong>A Plea For a Home\u003c/strong>\u003c/p>\n\u003cp>Back at Factory 510, neon artist Nick Randell takes the long view on his eviction. “This is just a temporary setback,” said Randell. “Our work is done here. Artists come in when a place is down at the heels. And once it gets successful they get rid of us.”\u003c/p>\n\u003cp>And despite losing her consultancy with SKB, Edison said “There are no villains here.”\u003c/p>\n\u003cp>The real problem, she said, is that cities still don’t understand how to take the Bay Area’s many under-used warehouses and “upcycle those buildings to allow them to be used safely and adequately for new uses.”\u003c/p>\n\u003cp>Edison paused a minute. “I’m not going to cry,” she said, tearing up for just a second.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m reaching out to the mayor of Alameda, the mayor of Berkeley, the mayor of Oakland,” Edison said. “Have you got a space for dozens and dozens of tech companies and artists, who play by the rules, who want to be safe, and need a place to make innovation thrive, and make an economy thrive? Just like we did here in San Leandro. We need a place to be.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.edisoninternationalusa.com/about.html\" target=\"_blank\" rel=\"noopener\">Cheryl Edison\u003c/a> said she knew what was coming after the Ghost Ship Fire.\u003c/p>\n\u003cp>“Heads up,” Edison texted her boss the next day. “There’s been a big warehouse fire, and because our property is called a warehouse, there’s likely to be a backlash.”\u003c/p>\n\u003cp>Edison was a consultant, finding artists and makers to occupy a co-working space called \u003ca href=\"http://thefactory510.com/\" target=\"_blank\" rel=\"noopener\">Factory 510\u003c/a>, part of the \u003ca href=\"http://thegate510.com/the-team/\" target=\"_blank\" rel=\"noopener\">Gate 510\u003c/a> complex, which houses a number of retail, tech, maker, and artist spaces off Davis Street in San Leandro.\u003c/p>\n\u003cp>And Edison said her boss, \u003ca href=\"https://skbcos.com/expertise/#team_members\" target=\"_blank\" rel=\"noopener\">Steve Wong\u003c/a>, a property manager with the real estate merchant banker \u003ca href=\"https://skbcos.com/expertise/\" target=\"_blank\" rel=\"noopener\">ScanlanKemperBard \u003c/a>(SKB), based in Portland, texted her back.\u003c/p>\n\u003cp>“We have nothing to worry about. Our property is nothing like that (the Ghost Ship) property. We are concrete and steel beams, sprinklers throughout.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Edison was right. On the Monday morning after the fire, “came fire officials,” Edison said, “and representatives from the city of San Leandro, making a huge scene. I was called by tenants and members, I contacted SKB. And I said Steve, we have an issue here.”\u003c/p>\n\u003cp>\u003ca href=\"http://thegate510.com/about-the-gate/\" target=\"_blank\" rel=\"noopener\">Gate 510 \u003c/a>encompasses nearly a million square-feet of space. It was once a manufacturing plant for Dodges and Plymouths, and then Caterpillar tractors. Now there’s a Home Depot, a Ross Dress for Less and other retailers downstairs. Upstairs, SKB has built studios and offices for entrepreneurs, tech companies, artists, and makers.\u003c/p>\n\u003cp>Edison showed me around the huge modern looking space a few weeks ago. A few artists were there with her, packing their gear, because SKB terminated all the leases for Factory 510 as of Jan. 9.\u003c/p>\n\u003cfigure id=\"attachment_12644935\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/004-800x600.jpg\" alt=\"Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What happened here, is like saying we’ve got a problem with forest fires, so let’s just cut all the trees down,” said Andrew Johnstone, an artist who designs and builds huge sculptures, including the iconic Burning Man figure used at last summer’s Burning Man Festival. “That’s not how you deal with this.”\u003c/p>\n\u003cp>\u003cstrong>The City Building Official\u003c/strong>\u003c/p>\n\u003cp>But Jerry Smith Jr., San Leandro’s chief building official, said the inspection on Dec. 5 was routine and not a crackdown.\u003c/p>\n\u003cp>“There’s this perception,” Smith said in a phone interview, “because of the Ghost Ship fire, that we suddenly had this interest in the Gate. I was at the gate my first week here.\u003c/p>\n\u003cp>“It’s so complex,” Smith said. “It’s so far ahead of the code, that we regularly go through to figure out what they’re doing, how do we protect them, what’s the best way to do this.”\u003c/p>\n\u003cp>Smith is like many city officials after the Ghost Ship fire, eager to work with artists, entrepreneurs, and makers — all of whom bring innovation and taxes to their cities. “This city is pro-artist and pro-maker,” Smith said. But he added that he always worries that he could be overlooking a major safety hazard.\u003c/p>\n\u003cp>“When we do our job, nothing happens,” Smith said. “I have prevented more death and injury than any first responder in the history of mankind.”\u003c/p>\n\u003cp>Smith said what he found at Factory 510 was a neon art installation with bare wires tied to the building steel in an area designated as a refuge, a safe room to which people could go in the event of a fire.\u003c/p>\n\u003cp>“People would have gotten electrocuted,” Smith said. “And the neon was suspended over the top of the exit path. Can you imagine if we had an earthquake event. It would have shattered, you would have gotten a glass shower.”\u003c/p>\n\u003cp>Edison said Smith and the fire inspector told her that “anything that could loosely be called art was no longer something that could be permitted.”\u003c/p>\n\u003cp>Artist Nick Randell, who installed the neon said, “I did some wonderful installations here which I assure you were perfectly safe. I’ve been setting up neon in places for over 30 years and I have yet to electrocute anyone or burn anything down.”\u003c/p>\n\u003cp>Johnstone said the inspectors warned him that he had flammable paintings hanging on a wall, and he was ordered to remove them. That established, what he called, an impossible safety standard for a working artist.\u003c/p>\n\u003cp>\u003cstrong>The Landlord\u003c/strong>\u003c/p>\n\u003cp>Meanwhile SKB’s Steve Wong said in a phone interview that the inspection was only a minor factor in ending the company’s arrangement with Edison and the artists she was leasing to. “Part of Edison’s job was going away,” Wong said, “because she’d done such a good job of leasing the space.\u003c/p>\n\u003cp>“If anything the timing of it relative to the Oakland fire may have accelerated it by a few months,” Wong said. “And some of those folks leaving were short term tenants under Cheryl’s purview.”\u003c/p>\n\u003cp>Wong said SKB was happy with the work Edison did bringing in artists and tech entrepreneurs. But the company “needed to take a couple of steps back because of the additional scrutiny on fire and safety.”\u003c/p>\n\u003cp>\u003cstrong>A Plea For a Home\u003c/strong>\u003c/p>\n\u003cp>Back at Factory 510, neon artist Nick Randell takes the long view on his eviction. “This is just a temporary setback,” said Randell. “Our work is done here. Artists come in when a place is down at the heels. And once it gets successful they get rid of us.”\u003c/p>\n\u003cp>And despite losing her consultancy with SKB, Edison said “There are no villains here.”\u003c/p>\n\u003cp>The real problem, she said, is that cities still don’t understand how to take the Bay Area’s many under-used warehouses and “upcycle those buildings to allow them to be used safely and adequately for new uses.”\u003c/p>\n\u003cp>Edison paused a minute. “I’m not going to cry,” she said, tearing up for just a second.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m reaching out to the mayor of Alameda, the mayor of Berkeley, the mayor of Oakland,” Edison said. “Have you got a space for dozens and dozens of tech companies and artists, who play by the rules, who want to be safe, and need a place to make innovation thrive, and make an economy thrive? Just like we did here in San Leandro. We need a place to be.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The lessons of \u003ca href=\"https://ww2.kqed.org/news/2016/12/26/ghost-ship-update-why-warehouse-was-invisible-trolls-target-diy-spaces/\" target=\"_blank\" rel=\"noopener\">Oakland’s Ghost Ship \u003c/a>fire haunted a forum Tuesday night in which about 50 artists met with San Francisco building and fire officials. The event at the Mission District’s Brava Theatre featured presentations on everything from how to use a fire extinguisher and how building inspectors evaluate sprinkler systems, to tenants’ rights.\u003c/p>\n\u003cp>“I don’t know enough, and I just figured if I don’t know enough and I’m on a fire task force, then certainly individuals don’t know enough when they’re working on their art in their living room.” said Spike Kahn, an artist and Director of the \u003ca href=\"http://www.pacificfeltfactory.com/\" target=\"_blank\" rel=\"noopener\">Pacific Felt Factory\u003c/a>, a studio complex she developed in San Francisco’s Mission District. “No matter whether we’re to code or not, we can be safer than we were yesterday.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.artsandmedia.net/\" target=\"_blank\" rel=\"noopener\">One artists’ group\u003c/a> was handing out free surge protectors, an alternative to extension cords, which can overheat and cause a fire. Federal officials believe an overloaded electrical system probably caused the Ghost Ship Fire in which 36 people died.\u003c/p>\n\u003cfigure id=\"attachment_12579924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579924\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-800x495.jpg\" alt=\"Pacific Felt Factory Director Spike Kahn shows off an electrical surge protector\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Felt Factory Director Spike Kahn shows off an electrical surge protector \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahn and San Francisco building and fire officials emphasized the forum was a secure space for artists to discuss fire safety, without fear they would be targeted for violations of building or fire codes.\u003c/p>\n\u003cp>But it demonstrated the anxiety artists are feeling about whether they can hold on to their studios and living spaces. Artists with questions from the audience didn’t identify themselves. Since the fire, some landlords and city officials around the Bay Area have used safety concerns and zoning rules as an excuse to \u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/artist-community-calls-on-oakland-mayor-to-stop-emergency-evictions/\" target=\"_blank\" rel=\"noopener\">evict artists from warehouse spaces\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At least a third of the complaints we receive are without merit,” said Ron Allen, the chief electrical inspector with the \u003ca href=\"http://sfdbi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Department of Building Inspection\u003c/a>, “but we don’t know that until we go out to investigate.”\u003c/p>\n\u003cfigure id=\"attachment_12579911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579911\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/001-800x600.jpg\" alt=\"Artists gather at the Brava Theater Center for a forum on fire safety and tenants' rights\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gather at the Brava Theater Center for a forum on fire safety and tenants’ rights \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>That comment struck home for one Mission District artist at the forum, who said she’d had two surprise inspections recently, one from the fire department and one from the building department, after a neighbor complained about an event she held. “This stuff makes me feel I have to go more underground,” said the woman, who asked to remain anonymous. “I don’t want to come from a place of fear. But now we’re like, oh my god, are they going to come and get us next.” The woman added that her live/work space passed both inspections without a problem, because “I’m super safety conscious.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lessons of \u003ca href=\"https://ww2.kqed.org/news/2016/12/26/ghost-ship-update-why-warehouse-was-invisible-trolls-target-diy-spaces/\" target=\"_blank\" rel=\"noopener\">Oakland’s Ghost Ship \u003c/a>fire haunted a forum Tuesday night in which about 50 artists met with San Francisco building and fire officials. The event at the Mission District’s Brava Theatre featured presentations on everything from how to use a fire extinguisher and how building inspectors evaluate sprinkler systems, to tenants’ rights.\u003c/p>\n\u003cp>“I don’t know enough, and I just figured if I don’t know enough and I’m on a fire task force, then certainly individuals don’t know enough when they’re working on their art in their living room.” said Spike Kahn, an artist and Director of the \u003ca href=\"http://www.pacificfeltfactory.com/\" target=\"_blank\" rel=\"noopener\">Pacific Felt Factory\u003c/a>, a studio complex she developed in San Francisco’s Mission District. “No matter whether we’re to code or not, we can be safer than we were yesterday.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.artsandmedia.net/\" target=\"_blank\" rel=\"noopener\">One artists’ group\u003c/a> was handing out free surge protectors, an alternative to extension cords, which can overheat and cause a fire. Federal officials believe an overloaded electrical system probably caused the Ghost Ship Fire in which 36 people died.\u003c/p>\n\u003cfigure id=\"attachment_12579924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579924\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-800x495.jpg\" alt=\"Pacific Felt Factory Director Spike Kahn shows off an electrical surge protector\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Felt Factory Director Spike Kahn shows off an electrical surge protector \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahn and San Francisco building and fire officials emphasized the forum was a secure space for artists to discuss fire safety, without fear they would be targeted for violations of building or fire codes.\u003c/p>\n\u003cp>But it demonstrated the anxiety artists are feeling about whether they can hold on to their studios and living spaces. Artists with questions from the audience didn’t identify themselves. Since the fire, some landlords and city officials around the Bay Area have used safety concerns and zoning rules as an excuse to \u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/artist-community-calls-on-oakland-mayor-to-stop-emergency-evictions/\" target=\"_blank\" rel=\"noopener\">evict artists from warehouse spaces\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At least a third of the complaints we receive are without merit,” said Ron Allen, the chief electrical inspector with the \u003ca href=\"http://sfdbi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Department of Building Inspection\u003c/a>, “but we don’t know that until we go out to investigate.”\u003c/p>\n\u003cfigure id=\"attachment_12579911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579911\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/001-800x600.jpg\" alt=\"Artists gather at the Brava Theater Center for a forum on fire safety and tenants' rights\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/001.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists gather at the Brava Theater Center for a forum on fire safety and tenants’ rights \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>That comment struck home for one Mission District artist at the forum, who said she’d had two surprise inspections recently, one from the fire department and one from the building department, after a neighbor complained about an event she held. “This stuff makes me feel I have to go more underground,” said the woman, who asked to remain anonymous. “I don’t want to come from a place of fear. But now we’re like, oh my god, are they going to come and get us next.” The woman added that her live/work space passed both inspections without a problem, because “I’m super safety conscious.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the wake of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a> warehouse fire in Oakland, cities all over the country are looking into what they can do to create more affordable housing for artists that doesn’t trade basic safety for cheap rent. One answer lies to the south, with the \u003ca href=\"http://tanneryartscenter.org/\" target=\"_blank\" rel=\"noopener\">Tannery Arts Center\u003c/a> in Santa Cruz.\u003c/p>\n\u003cp>When the \u003ca href=\"http://tanneryartscenter.org/history/\" target=\"_blank\" rel=\"noopener\">Salz Tannery closed\u003c/a> in 2001, the local redevelopment agency decided the cluster of funky, red-and-white 19th century warehouses near downtown was a perfect place to build affordable housing for artists. The agency then sought out one of the nation’s biggest developers of affordable housing for artists, \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>.\u003c/p>\n\u003cp>The nonprofit, based in Minneapolis, has helped develop 43 different projects around the country since it launched in 1979, including three loft spaces in Seattle and five in Chicago. The Tannery Arts Center is arguably its most ambitious project: a $42 million complex on eight acres, including 28 commercial art studios and 100 live/work studios.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/300923160″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Greg Handberg of Artspace, who oversaw the development of the Tannery Arts Center, explains “Artspace lives at the intersection of affordable housing needs, economic development needs, cultural facility needs, historic preservation needs. When a community is grappling with those issues, they find us.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>What Paid for the Tannery Arts Center\u003c/h3>\n\u003ch4>Public Agencies\u003c/h4>\n\u003cul>\n\u003cli>California Department of Community Redevelopment Housing\u003c/li>\n\u003cli>California Tax Credit Allocation Committee\u003c/li>\n\u003cli>City of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>City of Santa Cruz Redevelopment Agency\u003c/li>\n\u003cli>County of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>Federal Home Loan Bank\u003c/li>\n\u003cli>Affordable Housing Program\u003c/li>\n\u003c/ul>\n\u003ch4>Private Entities\u003c/h4>\n\u003cul>\n\u003cli>RBC–Apollo Equity Partners\u003c/li>\n\u003cli>J.P. Morgan Chase\u003c/li>\n\u003cli>U.S. Bancorp Foundation\u003c/li>\n\u003cli>Washington Mutual Foundation\u003c/li>\n\u003cli>Wells Fargo Foundation\u003c/li>\n\u003c/ul>\n\u003ch5>\u003cem>Source: \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>\u003c/em>\u003c/h5>\n\u003c/aside>\n\u003cp>Artspace helps cities pull together the local, state and federal funding required to develop affordable housing for artists. Handberg says every project is different, but the financing works in much the same way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The most important tool in the Tannery financial picture was something called a federal low income housing tax credit,” he says. That means companies like US Bancorp and Washington Mutual paid for much of the project in exchange for tax breaks. Grants covered the rest – and a city like Santa Cruz got a multi-million dollar complex for a fraction of the cost and a low debt load going forward.\u003c/p>\n\u003cp>Eligibility for the units is federally proscribed by US Department of Housing and Urban Development. Applicants must be making less than 50 percent of the area median income for Santa Cruz County, which was about $67,000 in 2015, according to the US Census.\u003c/p>\n\u003cfigure id=\"attachment_12579915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg\" alt=\"The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, completely out of step with 20th century safety codes, but Santa Cruz saw it as a redevelopment opportunity.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, and completely out of step with 20th century safety codes. Santa Cruz saw it as a redevelopment opportunity. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual artist \u003ca href=\"https://www.facebook.com/heejin.lee.338863\" target=\"_blank\" rel=\"noopener\">Heejin Lee\u003c/a> pays $1,224 a month for a three-bedroom unit, something that would cost her two or three times as much on the open market. “This is very safe and also peaceful place for concentrate your art,” she says.\u003c/p>\n\u003cp>\u003cstrong>A space space for creative artists\u003c/strong>\u003c/p>\n\u003cp>Lee, a soft-spoken Korean-American, has lived in Santa Cruz for 14 years and the last three have been spent at Tannery. Her studio, filled with paints and easels and work up on the walls, looks out over the San Lorenzo River. She loves that she’s surrounded by art inside her studio and outside. “We have painter, writer, dancers, musicians. We share all our thoughts and our passion together,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12579919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579919\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg\" alt=\"Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee sells her work at a gallery over in the commercial studio complex across the way. Like most residents here, she survives on a diversified economic portfolio that includes, in her case, teaching and a part-time job at a sushi restaurant.\u003c/p>\n\u003cp>Given the way real estate developers have co-opted the phrase “artist loft,” it’s easy to forget what real artists want in a live/work space. It’s not a fancy kitchen or plush carpets. A real artist’s loft is the kind of space you can make a creative mess in.\u003c/p>\n\u003cp>\u003cstrong>Spare units, filled with creative possibility\u003c/strong>\u003c/p>\n\u003cp>“They’re very simple,” explains Warren Reed, who works for the \u003ca href=\"http://jsco.net/\" target=\"_blank\" rel=\"noopener\">John Stewart Company\u003c/a>, the firm managing the Tannery Arts Center. “Hard surfaces on the floor. Easy to maintain for the residents, but also gives them the flexibility to design their space however they want to use it.”\u003c/p>\n\u003cfigure id=\"attachment_12579921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg\" alt='Greg Handberg of Artspace says affordable housing projects for artists are \"a little more complicated\" these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. \"The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.\"' width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1180x710.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Handberg of Artspace says affordable housing projects for artists are “a little more complicated” these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. “The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Of course, here being a lot of the residents are visual artists, they hang their art out in the hallways and it changes,” Reed says. “It’s like an open air gallery. So it’s kind of exciting to walk through the halls and see what’s happening.”\u003c/p>\n\u003cp>Now, why prioritize artists over other people who need help, like veterans, seniors and disabled folks?\u003c/p>\n\u003cp>Bonnie Lipscomb, Director of Economic Development for Santa Cruz, says it’s not a zero sum game. “We’ve housed over 1,200 units of affordable housing in our community in the last 20 years. So we are concerned about everyone. What we saw here was that a very specific, vital part of our community was leaving, cause they couldn’t afford to live here anymore, and that’s part of our whole cultural identity,” she said.\u003c/p>\n\u003cp>\u003cstrong>A model for others to follow\u003c/strong>\u003c/p>\n\u003cp>So is Tannery a model for the rest of the Bay Area, and beyond? Absolutely, says Lipscomb. “It’s a matter of leveraging the various sources. I think it could happen today. It might be a slightly different path, but the funding is there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tannery was the first Artspace project in California, but two more are in the works, one of them in Monterey. That said, supply will probably never meet demand. It took nearly 15 years to develop the Tannery Arts Center. The units filled as soon as they opened, and now, there are around 300 people on the waiting list.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a> warehouse fire in Oakland, cities all over the country are looking into what they can do to create more affordable housing for artists that doesn’t trade basic safety for cheap rent. One answer lies to the south, with the \u003ca href=\"http://tanneryartscenter.org/\" target=\"_blank\" rel=\"noopener\">Tannery Arts Center\u003c/a> in Santa Cruz.\u003c/p>\n\u003cp>When the \u003ca href=\"http://tanneryartscenter.org/history/\" target=\"_blank\" rel=\"noopener\">Salz Tannery closed\u003c/a> in 2001, the local redevelopment agency decided the cluster of funky, red-and-white 19th century warehouses near downtown was a perfect place to build affordable housing for artists. The agency then sought out one of the nation’s biggest developers of affordable housing for artists, \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>.\u003c/p>\n\u003cp>The nonprofit, based in Minneapolis, has helped develop 43 different projects around the country since it launched in 1979, including three loft spaces in Seattle and five in Chicago. The Tannery Arts Center is arguably its most ambitious project: a $42 million complex on eight acres, including 28 commercial art studios and 100 live/work studios.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/300923160″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/300923160″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Greg Handberg of Artspace, who oversaw the development of the Tannery Arts Center, explains “Artspace lives at the intersection of affordable housing needs, economic development needs, cultural facility needs, historic preservation needs. When a community is grappling with those issues, they find us.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>What Paid for the Tannery Arts Center\u003c/h3>\n\u003ch4>Public Agencies\u003c/h4>\n\u003cul>\n\u003cli>California Department of Community Redevelopment Housing\u003c/li>\n\u003cli>California Tax Credit Allocation Committee\u003c/li>\n\u003cli>City of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>City of Santa Cruz Redevelopment Agency\u003c/li>\n\u003cli>County of Santa Cruz Housing Trust Fund\u003c/li>\n\u003cli>Federal Home Loan Bank\u003c/li>\n\u003cli>Affordable Housing Program\u003c/li>\n\u003c/ul>\n\u003ch4>Private Entities\u003c/h4>\n\u003cul>\n\u003cli>RBC–Apollo Equity Partners\u003c/li>\n\u003cli>J.P. Morgan Chase\u003c/li>\n\u003cli>U.S. Bancorp Foundation\u003c/li>\n\u003cli>Washington Mutual Foundation\u003c/li>\n\u003cli>Wells Fargo Foundation\u003c/li>\n\u003c/ul>\n\u003ch5>\u003cem>Source: \u003ca href=\"http://www.artspace.org/our-places/artspace-tannery-lofts\" target=\"_blank\" rel=\"noopener\">Artspace\u003c/a>\u003c/em>\u003c/h5>\n\u003c/aside>\n\u003cp>Artspace helps cities pull together the local, state and federal funding required to develop affordable housing for artists. Handberg says every project is different, but the financing works in much the same way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The most important tool in the Tannery financial picture was something called a federal low income housing tax credit,” he says. That means companies like US Bancorp and Washington Mutual paid for much of the project in exchange for tax breaks. Grants covered the rest – and a city like Santa Cruz got a multi-million dollar complex for a fraction of the cost and a low debt load going forward.\u003c/p>\n\u003cp>Eligibility for the units is federally proscribed by US Department of Housing and Urban Development. Applicants must be making less than 50 percent of the area median income for Santa Cruz County, which was about $67,000 in 2015, according to the US Census.\u003c/p>\n\u003cfigure id=\"attachment_12579915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg\" alt=\"The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, completely out of step with 20th century safety codes, but Santa Cruz saw it as a redevelopment opportunity.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23458_Photo-Dec-19-9-41-40-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salz Tannery closed in 2001. It was the oldest operating leather tannery West of the Mississippi – quaint, and completely out of step with 20th century safety codes. Santa Cruz saw it as a redevelopment opportunity. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual artist \u003ca href=\"https://www.facebook.com/heejin.lee.338863\" target=\"_blank\" rel=\"noopener\">Heejin Lee\u003c/a> pays $1,224 a month for a three-bedroom unit, something that would cost her two or three times as much on the open market. “This is very safe and also peaceful place for concentrate your art,” she says.\u003c/p>\n\u003cp>\u003cstrong>A space space for creative artists\u003c/strong>\u003c/p>\n\u003cp>Lee, a soft-spoken Korean-American, has lived in Santa Cruz for 14 years and the last three have been spent at Tannery. Her studio, filled with paints and easels and work up on the walls, looks out over the San Lorenzo River. She loves that she’s surrounded by art inside her studio and outside. “We have painter, writer, dancers, musicians. We share all our thoughts and our passion together,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12579919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579919\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg\" alt=\"Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23460_Photo-Dec-19-10-46-42-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist tenants at the Tannery Arts Center are enthusiastically encouraging to install art in the hallways. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lee sells her work at a gallery over in the commercial studio complex across the way. Like most residents here, she survives on a diversified economic portfolio that includes, in her case, teaching and a part-time job at a sushi restaurant.\u003c/p>\n\u003cp>Given the way real estate developers have co-opted the phrase “artist loft,” it’s easy to forget what real artists want in a live/work space. It’s not a fancy kitchen or plush carpets. A real artist’s loft is the kind of space you can make a creative mess in.\u003c/p>\n\u003cp>\u003cstrong>Spare units, filled with creative possibility\u003c/strong>\u003c/p>\n\u003cp>“They’re very simple,” explains Warren Reed, who works for the \u003ca href=\"http://jsco.net/\" target=\"_blank\" rel=\"noopener\">John Stewart Company\u003c/a>, the firm managing the Tannery Arts Center. “Hard surfaces on the floor. Easy to maintain for the residents, but also gives them the flexibility to design their space however they want to use it.”\u003c/p>\n\u003cfigure id=\"attachment_12579921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12579921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg\" alt='Greg Handberg of Artspace says affordable housing projects for artists are \"a little more complicated\" these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. \"The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.\"' width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-1180x710.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-960x578.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23457_Photo-Dec-19-9-41-11-AM-qut-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Handberg of Artspace says affordable housing projects for artists are “a little more complicated” these days because of Governor Jerry Brown’s decision to dissolve the state’s redevelopment agencies in 2011. “The Tannery project really was led by the redevelopment agency of the city of Santa Cruz in the 2000s. But that’s not a challenge we haven’t faced in places like New York, or new Orleans, or Hawaii or Minneapolis. We just have to figure it out.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Of course, here being a lot of the residents are visual artists, they hang their art out in the hallways and it changes,” Reed says. “It’s like an open air gallery. So it’s kind of exciting to walk through the halls and see what’s happening.”\u003c/p>\n\u003cp>Now, why prioritize artists over other people who need help, like veterans, seniors and disabled folks?\u003c/p>\n\u003cp>Bonnie Lipscomb, Director of Economic Development for Santa Cruz, says it’s not a zero sum game. “We’ve housed over 1,200 units of affordable housing in our community in the last 20 years. So we are concerned about everyone. What we saw here was that a very specific, vital part of our community was leaving, cause they couldn’t afford to live here anymore, and that’s part of our whole cultural identity,” she said.\u003c/p>\n\u003cp>\u003cstrong>A model for others to follow\u003c/strong>\u003c/p>\n\u003cp>So is Tannery a model for the rest of the Bay Area, and beyond? Absolutely, says Lipscomb. “It’s a matter of leveraging the various sources. I think it could happen today. It might be a slightly different path, but the funding is there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tannery was the first Artspace project in California, but two more are in the works, one of them in Monterey. That said, supply will probably never meet demand. It took nearly 15 years to develop the Tannery Arts Center. The units filled as soon as they opened, and now, there are around 300 people on the waiting list.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Remembering the Musicians Lost in the Oakland Fire",
"headTitle": "Mixtape: Remembering the Musicians Lost in the Oakland Fire | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the mixtape of artists lost in the Oakland fire here.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Remembering_OaklandFire_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>On Friday night, Dec. 2, 2016, a fire erupted at the GhostShip warehouse in Oakland, ultimately claiming the lives of 36 people. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/honoring-those-lost-to-the-oakland-warehouse-fire-2/\" target=\"_blank\" rel=\"noopener\">The victims included artists in a multitude of disciplines, entrepreneurs, students, and teachers\u003c/a>. All of them were passionate about supporting arts and culture.\u003c/p>\n\u003cp>Many of the fire victims were musicians, who, before their passing, had graced the world with recordings. This mixtape features 11 songs from these individuals as a way of remembering their talents, and celebrating their contributions to the world of music before their tragic passing.\u003c/p>\n\u003cp>To learn more about all of the fire victims, visit KQED Arts’ full memorial page for \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\">a moving collection of remembrances\u003c/a>.\u003c/p>\n\u003cp>There are many ways to support relief efforts connected to the fire. The Gray Area Foundation for the Arts is maintaining a \u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\">Fire Relief Fund\u003c/a>, and there’s also a relief effort by the \u003ca href=\"https://www.transassistance.org/oakland-donations/\">Trans Assistance Project\u003c/a>, as well as a number of individual online fundraising efforts for victims’ families. While many benefit concerts and other events have already taken place, countless others are scheduled and surely will continue to arise over the coming weeks.\u003c/p>\n\u003cp>Our hearts remain with everyone impacted by this tragedy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo/\">Them Are Us Too\u003c/a>\u003c/strong> — “Us Now”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nacktmusic\">Nackt\u003c/a>\u003c/strong> — “Scheherazade (City Mix)”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/slanguages\">Dilatedears\u003c/a>\u003c/strong> — “Grace’s Anti-Gravity Glance”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ghostoflightning\">Ghost of Lightning\u003c/a>\u003c/strong> — “All is Fair in Dreams”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CherushiiMusic/\">\u003cstrong>Cherushii\u003c/strong>\u003c/a> — “Manic (featuring Kara Marie)”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/rmsmusick\">R.M.S.\u003c/a>\u003c/strong> — “Vinezzz”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/obsidian-blade\">Obsidian\u003c/a>\u003c/strong> Blade — “Paradam Genes”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/paralycyst\">\u003cstrong>Paralycyst\u003c/strong>\u003c/a> — “Altercation”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/symbiotixfungi\">Symbiotix.Fungi\u003c/a>\u003c/strong> — “PeopleLikeUs DEMO unmastered beta HT44v3 20140922”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/introflirtmusic\">Introflirt\u003c/a>\u003c/strong> — “Could Be Fun”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://nightmom.bandcamp.com/\">Nightmom\u003c/a>\u003c/strong> — “Drain Machine”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Many of the victims of the Ghost Ship fire were musicians, who, before their passing, had graced the world with recordings. Listen to some of their songs here. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the mixtape of artists lost in the Oakland fire here.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Remembering_OaklandFire_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>On Friday night, Dec. 2, 2016, a fire erupted at the GhostShip warehouse in Oakland, ultimately claiming the lives of 36 people. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/honoring-those-lost-to-the-oakland-warehouse-fire-2/\" target=\"_blank\" rel=\"noopener\">The victims included artists in a multitude of disciplines, entrepreneurs, students, and teachers\u003c/a>. All of them were passionate about supporting arts and culture.\u003c/p>\n\u003cp>Many of the fire victims were musicians, who, before their passing, had graced the world with recordings. This mixtape features 11 songs from these individuals as a way of remembering their talents, and celebrating their contributions to the world of music before their tragic passing.\u003c/p>\n\u003cp>To learn more about all of the fire victims, visit KQED Arts’ full memorial page for \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\">a moving collection of remembrances\u003c/a>.\u003c/p>\n\u003cp>There are many ways to support relief efforts connected to the fire. The Gray Area Foundation for the Arts is maintaining a \u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\">Fire Relief Fund\u003c/a>, and there’s also a relief effort by the \u003ca href=\"https://www.transassistance.org/oakland-donations/\">Trans Assistance Project\u003c/a>, as well as a number of individual online fundraising efforts for victims’ families. While many benefit concerts and other events have already taken place, countless others are scheduled and surely will continue to arise over the coming weeks.\u003c/p>\n\u003cp>Our hearts remain with everyone impacted by this tragedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/themareustoo/\">Them Are Us Too\u003c/a>\u003c/strong> — “Us Now”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nacktmusic\">Nackt\u003c/a>\u003c/strong> — “Scheherazade (City Mix)”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/slanguages\">Dilatedears\u003c/a>\u003c/strong> — “Grace’s Anti-Gravity Glance”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ghostoflightning\">Ghost of Lightning\u003c/a>\u003c/strong> — “All is Fair in Dreams”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/CherushiiMusic/\">\u003cstrong>Cherushii\u003c/strong>\u003c/a> — “Manic (featuring Kara Marie)”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/rmsmusick\">R.M.S.\u003c/a>\u003c/strong> — “Vinezzz”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/obsidian-blade\">Obsidian\u003c/a>\u003c/strong> Blade — “Paradam Genes”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/paralycyst\">\u003cstrong>Paralycyst\u003c/strong>\u003c/a> — “Altercation”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://soundcloud.com/symbiotixfungi\">Symbiotix.Fungi\u003c/a>\u003c/strong> — “PeopleLikeUs DEMO unmastered beta HT44v3 20140922”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/introflirtmusic\">Introflirt\u003c/a>\u003c/strong> — “Could Be Fun”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://nightmom.bandcamp.com/\">Nightmom\u003c/a>\u003c/strong> — “Drain Machine”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are no words to convey the heartbreak felt by those closest to the Oakland Ghost Ship warehouse fire. At the moment, 33 are confirmed dead, with search crews still sorting through the ashes of the site. As stories and details of the fire are shared, and while thousands await news of missing loved ones, a phrase keeps coming up: “It could have been any one of us.” \u003c/p>\n\u003cp>For those of us involved in artist spaces one way or another, the tragedy is impossible to process. \u003cem>I, too, have been inside a warehouse like that\u003c/em>, we think, \u003cem>living, working, dancing into the night\u003c/em>. According to the Oakland Fire Department, this fire has taken more lives than any in the city’s history.\u003c/p>\n\u003cp>[contextly_sidebar id=”mo8uIaEt6NK0JDeEqwRWhks0mjqhoWVB”]\u003c/p>\n\u003cp>And yet for many of us, these spaces are what have kept us alive. In a world that demands its inhabitants to be a certain way, think a certain way, or live a certain way, we gravitate to the spaces that say: Welcome. Be yourself. For the tormented queer, the bullied punk, the beaten trans, the spat-upon white trash, the disenfranchised immigrants and young people of color, these spaces are a haven of understanding in a world that doesn’t understand — or can’t, or doesn’t seem to want to try.\u003c/p>\n\u003cp>The first such space in Oakland I came across, in 1994, was Phoenix Ironworks, a giant former foundry in West Oakland cluttered with furniture, mannequins, makeshift structures, and large-scale, incredible art around every corner. A skate ramp owned by the editor of \u003cem>Thrasher\u003c/em> took up part of the space; most of it was \u003ca href=\"http://www.immortalpiano.com/ancient-history/\" target=\"_blank\" rel=\"noopener\">a labyrinth of over 50 pianos forming walls and hallways\u003c/a>. Parties at Phoenix Ironworks were the stuff of legend: bands played, and, if the mood was right, a giant Tesla coil would be wheeled out into 8th and Pine Streets to create loud, bright lightning across the sky on the furthest forgotten edge of the city.\u003c/p>\n\u003cfigure id=\"attachment_12438542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-800x413.jpg\" alt=\"Inside Phoenix Ironworks in Oakland's Bottoms, circa 1990.\" width=\"800\" height=\"413\" class=\"size-medium wp-image-12438542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-800x413.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-375x194.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-520x268.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Phoenix Ironworks in Oakland’s Bottoms, circa 1990. \u003ccite>(Images via Immortal Piano Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spent long hours inside Phoenix Ironworks, rehearsing with my band and getting to know its residents. And in the years since, I’ve lived in, been to, helped build, or performed at dozens if not hundreds of similarly unsanctioned DIY artist spaces, warehouses and punkhouses in the Bay Area and around the country — and the world. There are thousands like me who are a product of such environments. Chances are that you are, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We know the risks. We know that police and landlords can shut us down at any time. We know our creative alterations to these living spaces are not one-size-fits-all. And we are all too aware of the clashes in piling personalities of divergent backgrounds in close proximity.\u003c/p>\n\u003cp>The bigger risks, the more unlikely ones — that such a treasured place could become an inferno in mere minutes — those don’t always cross our minds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Today, I know two people on the missing list. As I scroll through news and social media for updates, hoping to see the word “SAFE” next to their names, I also see words like “death trap” and “unpermitted.” Outsiders reporting on the tragedy inevitably get it all wrong: they mischaracterize the party as a rave, the music as EDM, and implicitly criminalize the victims as attendees of an illegal event. Hours after the fire, the tragedy is politicized.\u003c/p>\n\u003cp>How can we explain?\u003c/p>\n\u003cp>They don’t understand why we don’t just live in a $3,000/mo. apartment where everything is safe and sterile and clean; why we live in a warehouse, or a garage, or an attic or shed or laundry room; why there is a mattress on the floor with a space heater where there normally would be a Queen size bed with a duvet and a nightstand and central heating. \u003c/p>\n\u003cp>They don’t understand why we congregate here at night, pushing salvaged furnishings out of the way to make room for the drum set and amps, packing our friends’ bodies in like sardines, moving as one to music that never gets played on the radio. Why we play music here for each other when we could be trying to get booked at “real” clubs. Why we avoid conventional nightclubs and their bookers, bouncers, security, soundmen.\u003c/p>\n\u003cfigure id=\"attachment_12438543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/ghostshipinline-800x500.jpg\" alt=\"Inside Oakland's Ghost Ship warehouse, before the fire.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-12438543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oakland’s Ghost Ship warehouse, before the fire. \u003ccite>(via Tumblr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They don’t understand why the floor is so rickety, the lamps don’t have shades, the wall is painted three different colors and the table is made of scrap wood. Why we forage meals from dumpsters, and eat together from huge pots of rice and vegetables and spices. Why, on Sundays, we cook up even more as a group and set up tables in the city and serve it to those in need.\u003c/p>\n\u003cp>They don’t understand why we work day jobs as little as possible, and perfect our art as much as we can. \u003c/p>\n\u003cp>They don’t understand that we do not fit into the boxes the world tries to sell us. That their world is unacceptable, and that even for all the ragged edges, we need our own world on our own terms.\u003c/p>\n\u003cp>They don’t understand how beautifully tight-knit these new worlds are; how the community around missing loved ones these past two days has supported each other in incredible ways, even amidst unimaginable grief. They don’t understand how our music scenes become families.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>I feel strange typing these words, because I no longer live in communal artist spaces like this. But they stay with you. They shape us, make us more fearless, give us confidence, validate our dreams. We never forget what those spaces gave us, especially those of us who turned those dreams into a life, and re-fit ourselves back into a once ill-fitting world.\u003c/p>\n\u003cp>The people lost to the Oakland fire will never get that chance.\u003c/p>\n\u003cp>And yes, there are conversations to be had about Oakland’s housing supply, and about the market forces that push artists into unregulated spaces. There will surely be a crackdown on the many similar warehouses in the rapidly gentrifying city, spaces with names I don’t want to publish so as not to raise their profile at a critical time. There are those discussing how to preserve them, and especially how to ensure they aren’t dangerous to residents and visitors. All of these conversations are either already happening, or will be in overdrive in the coming weeks.\u003c/p>\n\u003cp>But for now, it just hurts. For Oakland, and for many of my friends, to be sure. But for all of us who understand.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are no words to convey the heartbreak felt by those closest to the Oakland Ghost Ship warehouse fire. At the moment, 33 are confirmed dead, with search crews still sorting through the ashes of the site. As stories and details of the fire are shared, and while thousands await news of missing loved ones, a phrase keeps coming up: “It could have been any one of us.” \u003c/p>\n\u003cp>For those of us involved in artist spaces one way or another, the tragedy is impossible to process. \u003cem>I, too, have been inside a warehouse like that\u003c/em>, we think, \u003cem>living, working, dancing into the night\u003c/em>. According to the Oakland Fire Department, this fire has taken more lives than any in the city’s history.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And yet for many of us, these spaces are what have kept us alive. In a world that demands its inhabitants to be a certain way, think a certain way, or live a certain way, we gravitate to the spaces that say: Welcome. Be yourself. For the tormented queer, the bullied punk, the beaten trans, the spat-upon white trash, the disenfranchised immigrants and young people of color, these spaces are a haven of understanding in a world that doesn’t understand — or can’t, or doesn’t seem to want to try.\u003c/p>\n\u003cp>The first such space in Oakland I came across, in 1994, was Phoenix Ironworks, a giant former foundry in West Oakland cluttered with furniture, mannequins, makeshift structures, and large-scale, incredible art around every corner. A skate ramp owned by the editor of \u003cem>Thrasher\u003c/em> took up part of the space; most of it was \u003ca href=\"http://www.immortalpiano.com/ancient-history/\" target=\"_blank\" rel=\"noopener\">a labyrinth of over 50 pianos forming walls and hallways\u003c/a>. Parties at Phoenix Ironworks were the stuff of legend: bands played, and, if the mood was right, a giant Tesla coil would be wheeled out into 8th and Pine Streets to create loud, bright lightning across the sky on the furthest forgotten edge of the city.\u003c/p>\n\u003cfigure id=\"attachment_12438542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-800x413.jpg\" alt=\"Inside Phoenix Ironworks in Oakland's Bottoms, circa 1990.\" width=\"800\" height=\"413\" class=\"size-medium wp-image-12438542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-800x413.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-375x194.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks-520x268.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/PhoenixIronworks.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Phoenix Ironworks in Oakland’s Bottoms, circa 1990. \u003ccite>(Images via Immortal Piano Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spent long hours inside Phoenix Ironworks, rehearsing with my band and getting to know its residents. And in the years since, I’ve lived in, been to, helped build, or performed at dozens if not hundreds of similarly unsanctioned DIY artist spaces, warehouses and punkhouses in the Bay Area and around the country — and the world. There are thousands like me who are a product of such environments. Chances are that you are, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We know the risks. We know that police and landlords can shut us down at any time. We know our creative alterations to these living spaces are not one-size-fits-all. And we are all too aware of the clashes in piling personalities of divergent backgrounds in close proximity.\u003c/p>\n\u003cp>The bigger risks, the more unlikely ones — that such a treasured place could become an inferno in mere minutes — those don’t always cross our minds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Today, I know two people on the missing list. As I scroll through news and social media for updates, hoping to see the word “SAFE” next to their names, I also see words like “death trap” and “unpermitted.” Outsiders reporting on the tragedy inevitably get it all wrong: they mischaracterize the party as a rave, the music as EDM, and implicitly criminalize the victims as attendees of an illegal event. Hours after the fire, the tragedy is politicized.\u003c/p>\n\u003cp>How can we explain?\u003c/p>\n\u003cp>They don’t understand why we don’t just live in a $3,000/mo. apartment where everything is safe and sterile and clean; why we live in a warehouse, or a garage, or an attic or shed or laundry room; why there is a mattress on the floor with a space heater where there normally would be a Queen size bed with a duvet and a nightstand and central heating. \u003c/p>\n\u003cp>They don’t understand why we congregate here at night, pushing salvaged furnishings out of the way to make room for the drum set and amps, packing our friends’ bodies in like sardines, moving as one to music that never gets played on the radio. Why we play music here for each other when we could be trying to get booked at “real” clubs. Why we avoid conventional nightclubs and their bookers, bouncers, security, soundmen.\u003c/p>\n\u003cfigure id=\"attachment_12438543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/ghostshipinline-800x500.jpg\" alt=\"Inside Oakland's Ghost Ship warehouse, before the fire.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-12438543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ghostshipinline.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oakland’s Ghost Ship warehouse, before the fire. \u003ccite>(via Tumblr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They don’t understand why the floor is so rickety, the lamps don’t have shades, the wall is painted three different colors and the table is made of scrap wood. Why we forage meals from dumpsters, and eat together from huge pots of rice and vegetables and spices. Why, on Sundays, we cook up even more as a group and set up tables in the city and serve it to those in need.\u003c/p>\n\u003cp>They don’t understand why we work day jobs as little as possible, and perfect our art as much as we can. \u003c/p>\n\u003cp>They don’t understand that we do not fit into the boxes the world tries to sell us. That their world is unacceptable, and that even for all the ragged edges, we need our own world on our own terms.\u003c/p>\n\u003cp>They don’t understand how beautifully tight-knit these new worlds are; how the community around missing loved ones these past two days has supported each other in incredible ways, even amidst unimaginable grief. They don’t understand how our music scenes become families.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>I feel strange typing these words, because I no longer live in communal artist spaces like this. But they stay with you. They shape us, make us more fearless, give us confidence, validate our dreams. We never forget what those spaces gave us, especially those of us who turned those dreams into a life, and re-fit ourselves back into a once ill-fitting world.\u003c/p>\n\u003cp>The people lost to the Oakland fire will never get that chance.\u003c/p>\n\u003cp>And yes, there are conversations to be had about Oakland’s housing supply, and about the market forces that push artists into unregulated spaces. There will surely be a crackdown on the many similar warehouses in the rapidly gentrifying city, spaces with names I don’t want to publish so as not to raise their profile at a critical time. There are those discussing how to preserve them, and especially how to ensure they aren’t dangerous to residents and visitors. All of these conversations are either already happening, or will be in overdrive in the coming weeks.\u003c/p>\n\u003cp>But for now, it just hurts. For Oakland, and for many of my friends, to be sure. But for all of us who understand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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