# data[].attributes.body
the 10 demands:

1. We demand  that Average Median Income  (AMI)  is based on the community where housing will be built.

2. We demand that community boards are elected, not appointed.

3. We demand a rebuttal presumption requirement in the 197-A Plan process.

4. We demand an end to the 421-A tax break.

5. We demand that not one more no rent-stabilized unit is rents are destabilized.

6. We demand hands off SCRIE, DRIE, and HASA.

7. We demand no “Poor Doors”.

8. We demand alternative and creative affordable housing for all.

9. We demand the passing of The Small Business Jobs Survival Act – SBJSA Intro 0402-2014

10. We demand full transparency of Mayor De Blasio’s Housing Plan.

# data[].attributes.attachment_link.readable_text
The real estate corporations, big business elite, and the New York City political machine have banded together to build luxury housing, promote the police occupation of our neighborhoods, and destroy the cultural, social, and economic diversity of our communities all in the name of making a profit. The time is Now! for Brooklyn residents and groups to create a grassroots movement and campaign to prevent the displacement of low-to-middle income people, elders, families and mom-and-pop businesses from Brooklyn.
We Say, "Not 1 more person displaced! Not 1 more luxury development, until we have affordable housing for all!"
The following is our twelve-point platform directed at New York City and State government that serves as both our points of unity as well as goals that we are determined to win through grassroots organizing, mass-based political education, policy change and direct action. Affordable for who? Affordable for us!
BAN Demands:
1. We demand universal rent-stabilization in NYC.
2. We demand that not one more rent-stabilized unit is destabilized and an end to tenant harassment.
3. We demand hands off New York City Housing Authority (NYCHA).
4. We demand hands off SCRIE, DRIE, and HASA.
5. We demand that NYC Council pass The Small Business Jobs Survival Act- SBJSA Intro 0402-2014. Keep neighborhood businesses safe.
6. We demand that Area Median Income (AMI) is based on the community where housing will be built
7. We demand that Mayor De Blasio stop allowing NYC land and housing to be bought up by foreign investors.
8. We demand a permanent end to the 421-A and similar tax breaks that subsidize luxury development and investment of the billion dollar plus yearly giveaway in immediate construction of permanent housing for the homeless.
9. We demand an end to the construction of segregated housing.
10. We demand that community boards are elected, not appointed.
11. We demand full transparency of Mayor De Blasio's Housing Plan.
12. We demand alternative and creative affordable housing for all.
1. We demand universal rent-stabilization in NYC.
The majority of New Yorkers currently live in non rent-stabilized housing and are at the mercy of their landlords. We demand that all rental units in NYC fall under the current rent-stabilization law. The rent-stabilization laws were originally created to address a housing crisis. We are in a state of emergency, with a record number of 60,000 people in the NYC shelter system each night and the majority of New Yorkers 'rent-burdened' according to city government standards, we demand the expansion of rent stabilization to create permanent housing for all New Yorkers.
2. We demand that not one more rent-stabilized unit is destabilized and an end to tenant harassment.
Landlords use an arsenal of shady and often illegal tactics to knock apartments out of qualifying for rent stabilization. When rent for an apartment surpasses $2,700 per month, it is no longer protected by rent stabilization. Since landlords can legally increase rent 20% when an apartment is vacated, this gives them incentive to push tenants with rent stabilization out. We demand that not one more rent-stabilized apartment is destabilized. Period.
3. We demand hands off New York City Housing Authority (NYCHA).
We demand dignified and permanent public housing for all who need it. We demand the preservation of all NYCHA housing and an end to 'leasing' i.e. selling off of NYCHA land. NYCHA residents are being displaced through the warehousing of NYCHA apartments, the removal of section 8 tenants out of NYCHA housing, the deliberate withholding of basic services and repairs, and through the blatant lies of elected officials and community leaders.
4. We demand hands off SCRIE, DRIE, and HASA.
NYC Programs Senior Citizen Rent Increase Exemption (SCRIE), Disability Rent Increase Exemption (DRIE) are rent freeze programs for elderly and disabled New Yorkers. Additionally, the HIV/AIDS Services Administration (HASA) provides access to money and services for low-income people with AIDS and people who are HIV positive. These programs must be accessible, accountable and transparent and harassment-free. These programs are in jeopardy, but we demand housing for our seniors, people with disabilities, and people living with HIV or AIDS. We demand hands off SCRIE, DRIE, and HASA.
5. We demand that NYC Council pass The Small Business Jobs Survival Act- SBJSA Intro 0402-2014. Keep neighborhood businesses safe.
Huge corporations are changing the landscape of our communities with their chain store brands and pushing out the small businesses and mom-and-pop shops that have historically made Brooklyn unique. These are our neighbors. The Small Business Jobs Survival Act - SBJSA "supports a 10 year minimum lease, with equal negotiating power as the landlord for new terms, an end to the ever-changing yearly burden of landlords passing on their property tax expenses and an end to rent-gouging and exorbitant rent increases would indefinitely protect our small businesses over corporate moguls." We demand the passing of The Small Business Jobs Survival Act
6. We demand that Area Median Income (AMI) is based on the community where housing will be built
"Affordable housing" units are priced based on Area Median Income (AMI), however, AMI is calculated using the entire greater NYC region. That means income levels in Westchester and Long Island impact and raise the price of what is considered "affordable" in the Bronx, Queens, Brooklyn and working class neighborhoods in Manhattan. This actually makes "affordable" housing unattainable to low to middle income people of this city. We demand that AMI is based on the community where housing will be built. Affordable for who? Affordable for us!
7. We demand that Mayor De Blasio stop allowing NYC land and housing to be bought up by foreign investors.
City government needs to stop allowing foreign investors to gain citizenship and investment return by building luxury housing. Foreign investors are using our real estate as a way of holding their money rather than building communities. We need real affordable housing in NYC.
8. We demand a permanent end to the 421-A and similar tax breaks that subsidize luxury development and investment of the billion dollar plus yearly giveaway in immediate construction of permanent housing for the homeless.

The NYS 421-a Tax Incentive program is a partial real estate tax exemption for the new construction of multi-family rental housing, essentially used by developers as a tax break to build luxury housing. It was created in the 1970s to create an incentive to build in NYC, during a time when many people were moving out of the city to the suburbs. In 2014, NYC lost $1.1 billion in tax revenues to billionaire developers who are destroying our communities by building unaffordable housing that causes gentrification and displacement. For example, the infamous Colony 1209 (now 1209 Dekalb) in Bushwick received a 421-A tax break worth $8 million dollars-money that should have gone to public resources including schools, libraries and hospitals-for their luxury complex. The 421-a tax break expired in January 2016, pending an agreement between REBNY and construction unions. We demand a permanent end to the 421-A and similar tax breaks that subsidize luxury development and accelerate the displacement of local communities. And we demand investment of the billion dollar plus yearly giveaway to the real estate industry from 421a in immediate construction of permanent housing for the homeless.
9. We demand an end to the construction of segregated housing.
Although the 'poor door' housing policy has been eliminated due to public outrage, NYC still permits segregated housing by allowing developers of luxury housing to build their 'affordable units' separately. This segregates tenants by income to dehumanize, humiliate, and discriminate against people with lower incomes. This practice is a disgusting example of obnoxious elitism and blatant segregation. We demand an end to this practice. Stop Jim Crow - No more segregated housing in Brooklyn.
10. We demand that community boards are elected, not appointed.
Community boards are currently appointed by each Borough President and therefore are not truly accountable or beholden to the community. We want to empower community boards to be more than just advisory and to have veto power. We demand and will work to change the New York City Charter so that Community Boards will be elected.
11. We demand full transparency of Mayor De Blasio's Housing Plan.
New York's supposedly progressive mayor should know that democracy doesn't function when government operates behind closed doors. We will not accept partial transparency. This is a no-brainer. We demand full transparency of Mayor De Blasio's Housing Plan. This includes which neighborhoods are scheduled to be rezoned or upzoned, where new developments are to be built, and other crucial information that helps us prepare and protect our communities!
12. We demand alternative and creative affordable housing for all.
While New York is littered with vacant and boarded up buildings, and apartments purposely kept empty by landlords waiting for rent increase opportunities (also known as warehousing), developers insist on constructing new luxury buildings. We know the city could create an abundance of affordable housing if they weren't focused on promoting luxury buildings to the detriment of our communities. We will not accept one more person being pushed out of their home; we will not tolerate warehousing of public housing; and we will not allow one more luxury unit built until there is adequate housing for everyone-100% affordable housing! We want preservation over development. We demand alternative and creative affordable housing for all.

The Brooklyn Anti-gentrification Network (BAN) was initiated by Equality for Flatbush in 2015.

# data[].attributes.attachment_link.description
The real estate corporations, big business elite, and the New York City political machine have banded together to build luxury housing, promote the police occupation of our neighborhoods, and destroy the cultural, social, and economic diversity of our communities all in the name of making a profit. The time is Now!

# data[].attributes.attachment_link.title
Shawn Peters Presents "The Art of Dying Young" at the 2015 Creative Capital Retreat

# data[].attributes.attachment_link.description
The Art of Dying Young is a film installation and augmented reality tour that examines the lives, local histories and place-making initiatives of the Brooklyn neighborhoods of Bedford Stuyvesant, South Williamsburg and Bushwick, told through the lives of four young men who have been memorialized through murals. Read more: http://creative-capital.org/projects/view/812

# data[].attributes.headline
Heart Gallery NYC's "Through the Eyes of the Homeless" Exhibit

# data[].attributes.subject
Heart Gallery NYC's "Through the Eyes of the Homeless" Exhibit

# data[].attributes.headline
Spike Lee's Speech about Gentrification in Fort Greene

# data[].attributes.subject
Spike Lee's Speech about Gentrification in Fort Greene

# data[].attributes.attachment_link.readable_text
More than perhaps any other film-maker, Spike Lee has made urban issues his bread and butter. So what to make of the director of Do the Right Thing and Clockers using an appearance at a black history month event at the Pratt Institute in Brooklyn to rage against an audience member trying to argue for the benefits of gentrification?

Slamming the process as "Christopher Columbus syndrome" and accusing wealthier new arrivals of disrespecting the culture of the predominantly black areas that have been his stomping ground - such as changing neighbourhood names, cancelling a Michael Jackson tribute because of fears black people would make too much mess, or clamping down on the African drum sessions held in Mount Morris park for 40 years - Lee got a warm reception from the crowd. Some US news shows were less approving, accusing Lee - a native Brooklynite - of having "no right" to complain.

We're keen to hear your take on Lee's analysis. Have a listen for yourself or read the full transcript of the speech captured by New York Magazine and tell us what you think in the comments below.
Reading on mobile? Click to hear New York Magazine's recording of Spike Lee's rant about gentrification
Here's the complete transcript of Lee's speech:

[Audience member: You mentioned gentrification with some slightly negative connotations and I wondered if you'd ever looked at it from the other side? Which is that, if your family was still in that $40,000 home that's now worth $3.5m to $4m...]

Lee: Let me, let me, let me, let me just kill you right now.

[OK, go for it.]

There was a bullshit article in the New York Times saying the good of gentrification. I don't believe that.

Here's the thing: I grew up here in Fort Greene. I grew up here in New York. It's changed. And why does it take an influx of white New Yorkers in the south Bronx, in Harlem, in Bed Stuy, in Crown Heights for the facilities to get better? The garbage wasn't picked up every motherfuckin' day when I was living in 165 Washington Park. P.S 20 was not good. P.S 11. Rothschild 294. The police weren't around. When you see white mothers pushing their babies in strollers, three o'clock in the morning on 125th Street, that must tell you something.

[And I don't dispute that ... ]

Whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa. And even more. Let me kill you some more.

[Can I talk about something?]

Not yet.

Then comes the motherfuckin' Christopher Columbus Syndrome. You can't discover this! We been here. You just can't come and bogart. There were brothers playing motherfuckin' African drums in Mount Morris Park for 40 years and now they can't do it anymore because the new inhabitants said the drums are loud. My father's a great jazz musician. He bought a house in nineteen-motherfuckin'-sixty-eight, and the motherfuckin' people moved in last year and called the cops on my father. He's not - he doesn't even play electric bass! It's acoustic! We bought the motherfuckin' house in nineteen-sixty-motherfuckin'-eight and now you call the cops? In 2013? Get the fuck outta here!

Nah. You can't do that. You can't just come in the neighborhood and start bogarting and say, like you're motherfuckin' Columbus and kill off the Native Americans. Or what they do in Brazil, what they did to the indigenous people. You have to come with respect. There's a code. There's people.

You can't just - here's another thing: When Michael Jackson died they wanted to have a party for him in motherfuckin' Fort Greene Park and all of a sudden the white people in Fort Greene said, "Wait a minute! We can't have black people having a party for Michael Jackson to celebrate his life. Who's coming to the neighborhood? They're gonna leave lots of garbage." Garbage? Have you seen Fort Greene Park in the morning? It's like the motherfuckin' Westminster Dog Show. There's 20,000 dogs running around. Whoa. So we had to move it to Prospect Park!

I mean, they just move in the neighborhood. You just can't come in the neighborhood. I'm for democracy and letting everybody live but you gotta have some respect. You can't just come in when people have a culture that's been laid down for generations and you come in and now shit gotta change because you're here? Get the fuck outta here. Can't do that!

And then! [to audience member] Whoa whoa whoa. And then! So you're talking about the people's property change? But what about the people who are renting? They can't afford it anymore! You can't afford it. People want live in Fort Greene. People wanna live in Clinton Hill. The Lower East Side, they move to Williamsburg, they can't even afford fuckin', motherfuckin' Williamsburg now because of motherfuckin' hipsters. What do they call Bushwick now? What's the word? [Audience: East Williamsburg]

That's another thing: Motherfuckin'... These real estate motherfuckers are changing names! Stuyvestant Heights? 110th to 125th, there's another name for Harlem. What is it? What? What is it? No, no, not Morningside Heights. There's a new one. [Audience: SpaHa] What the fuck is that? How you changin' names?

And we had the crystal ball, motherfuckin' Do the Right Thing with John Savage's character, when he rolled his bike over Buggin' Out's sneaker. I wrote that script in 1988. He was the first one. How you walking around Brooklyn with a Larry Bird jersey on? You can't do that. Not in Bed Stuy.

So, look, you might say, "Well, there's more police protection. The public schools are better." Why are the public schools better? First of all, everybody can't afford - even if you have money it's still hard to get your kids into private school. Everybody wants to go to Saint Ann's - you can't get into Saint Ann's. You can't get into Friends. What's the other one? In Brooklyn Heights. Packer. If you can't get your child into there ... It's crazy. There's a business now where people - you pay - people don't even have kids yet and they're taking this course about how to get your kid into private school. I'm not lying! So if you can't get your kid into private school and you're white here, and you can't afford it, what's the next best thing? All right, now we're gonna go to public schools.

So, why did it take this great influx of white people to get the schools better? Why's there more police protection in Bed Stuy and Harlem now? Why's the garbage getting picked up more regularly? We been here!

All right, go ahead. Let's see you come back to that.

[I agree with every single thing you said.]

Nah, nah, nah, nah.

[I let you talk, now let me talk. My one sole point though is wealth creation in the African-American community, something that we've traditionally been locked out - you bought a house in the ghetto and in three generations the house was worth nothing in the ghetto. So, for those homeowners that did stick in in Bed Stuy - my parents moved in it was an all Jewish neighbourhood there, so I've seen it through everything - so for those people that did stick in, now we have an opportunity for wealth creation that we've been locked out of. So now while it may not help the renters, and everything you said was absolutely true, what about that one aspect of wealth creation for people that have paid those taxes, that have fought to keep the crime down on their blocks, and all the other things they did to maintain... because the white folks are not moving back because it's the ghetto, they're moving back because they are beautiful blocks full of beautiful brownstones that have been well maintained by people of colour.]

Yes, but here's a thing to deflate your answer. The people you talked about are not a great number. Number one, a lot of these people have not kept their taxes so they can't afford to keep the house. Number two, when these real estate guys come around and open a suitcase with a bunch of money they're gonna sell it. I mean these people you're talking about are elderly. And they get the money, their money goes a lot further down south. Black people by droves in New York City, it's called reverse migration. They're moving to Atlanta, they're moving to North Carolina. They got a house, they got a lawn, they got a backyard, they have less taxes... New York City's a hard place and so if you've worked all your life and you're retired, they're selling their houses and I don't blame them. I can't say to them, 'you can't sell your house'. They're like, 'Fuck you, Spike'.

You have to do some research, and look at the numbers. The black American population of New York City is going down. There's reverse migration.

What we have is that... and it's something that De Blasio's gonna... I mean he can't get the snow off the streets, but still... what we need, we need affordable housing for everybody. People can't afford, I mean, here's the thing... the further away from Manhattan. Brooklyn Heights is the most expensive neighbourhood. Then you got Park Slopes, Fort Greene, Cobble Hill, Clinton Hill and then, you know, it works like this... the rents get cheaper the further away you go from Brooklyn. And the reality is, after the sand on Coney Island, it's the motherfucking Atlantic ocean.

So, where you gonna go? Where you gonna go? Puerto Ricans say the same thing. A lot of people said 'well, we're gonna move to Bucks County. Or move back to Puerto Rico'. People can't afford to live here anymore. And if people can't afford to live then it's going to be the [words unclear] like you. There used to be a time you could... when $2 and $1, you could get by. You can't do it anymore. So, if New York City is not affordable then the great art that we have is not going to be here, because people can't afford it.

So, I know what you're saying, but I don't see a lot of good coming from gentrification for the people living in those neighbourhoods. We got a new neighbourhood in the South Bronx now, what do we call it? What? SoBro. It's a scam! It's shenanigans, trickery, people being bamboozled, leather string, run a-muck. What they call Bushwick now?

[East Williamsburg. And it starts around Rochester now, it's crossed Brooklyn.]
End of transcript.

* From Ruth Glass to Spike Lee: 50 years of gentrification
* 20 ways not to be a gentrifier in Oakland
Topics

# data[].attributes.attachment_link.title
Spike Lee's gentrification rant - transcript: 'Fort Greene park is like the Westminster dog show'

# data[].attributes.attachment_link.description
More than perhaps any other film-maker, Spike Lee has made urban issues his bread and butter. So what to make of the director of Do the Right Thing and Clockers using an appearance at a black history month event at the Pratt Institute in Brooklyn to rage against an audience member trying to argue for the benefits of gentrification?

# data[].attributes.headline
2014 Community Service Society's NYC Housing & Vacancy Survey

# data[].attributes.subject
2014 Community Service Society's NYC Housing & Vacancy Survey

# data[].attributes.attachment_link.title
The Community Service Society's Fast Analysis of the 2014 New York City Housing and Vacancy Survey

# data[].attributes.attachment_link.description
The Community Service Society's Fast Analysis of the 2014 New York City Housing and Vacancy Survey. On June 2, 2015, the U.S. Census Bureau released detailed ...

# data[].attributes.headline
Jesse's Deli Fights Back with Creative Advertising

# data[].attributes.subject
Jesse's Deli Fights Back with Creative Advertising

# data[].attributes.attachment_link.readable_text
Jesse's Deli, in Brooklyn's Boerum Hill neighborhood, has been paying $4,000 a month in rent for the last five years, owner Mohamad Itayim told BuzzFeed News Saturday. This year, however, the store's landlord decided the raise the rent to $10,000 a month.

"That's impossible to pay," Itayim said.

The prices for the ordinary-but-now-artisanal items have been raised to match the proposed rent hike.

The campaign drummed up considerable support. Jesse's has been featured in local media and customers have been posting images to Twitter and Instagram using the hashtag #jessespricedout.

"The response has been great," Itayim said. "We've been getting a lot of support and a lot of reaction to these posters."

Despite the posters, Itayim said customers still pay regular prices when they go to check out.

When asked if there was an chance of negotiating a new lease to keep the store in the same spot, Itayim - who is the son of the store's eponymous founder - wasn't optimistic.

"I don't think there's any hope for that," he said.

Jesse's moved into its current location in 1989.

However, Bilger told DNAinfo it was the deli's fault for not renewing its lease. She said she offered Jesse's "a lease renewal on very favorable terms over two years ago," but the family refused. Bilger also said the renewal offer was "well under market rent."

Bilger did not immediately respond to BuzzFeed News' request for comment Saturday.

"I believe I have been instrumental in a little way in the betterment of our neighborhood," she said in an email to DNAinfo. "In the selection of a new tenant, I will be sensitive to the needs of our wonderful community."

Rent has been a perennial concern in New York City, and parts of Brooklyn have become almost a kind of shorthand in debates over gentrification.

Just last month, The New Yorker ran a story about an abundance of shuttered storefronts in Manhattan's West Village. And in a bizarre twist, a New York Times story also from last month explored how Brooklyn's ever-higher prices are driving some people back to Manhattan.

New York City's struggles with affordability prompted Mayor Bill de Blasio last year to lay out a plan to build more housing in hopes that an increase in supply would have a moderating effect on rents.

But the problem is more widespread.

In Los Angeles - which has the most expensive housing in the U.S. when factoring in average income - affordability has been the primary driver in the now-successful efforts to raise the minimum wage. And in San Francisco, rising rents are a major impetus behind efforts to reign in Airbnb.

Itayim said rents in the entire neighborhood have gone up in recent years, but he's hopeful that he can find a location that will still keep him in business.

"The area is getting to be a little more pricy," he added, "but not as much as she's asking."

Jim Dalrymple is a reporter for BuzzFeed News and is based in Los Angeles.

Contact Jim Dalrymple II at jim.dalrymple@buzzfeed.com.

Got a confidential tip? Submit it here.

# data[].attributes.attachment_link.title
A Brooklyn Deli Was So Outraged By A Crazy Rent Hike It "Gentrified" Its Prices

# data[].attributes.attachment_link.description
Jesse's Deli, in Brooklyn's Boerum Hill neighborhood, has been paying $4,000 a month in rent for the last five years, owner Mohamad Itayim told BuzzFeed News Saturday. This year, however, the store's landlord decided the raise the rent to $10,000 a month. "That's impossible to pay," Itayim said.

# data[].attributes.headline
Gentrification as a Human Rights Violation

# data[].attributes.subject
Gentrification as a Human Rights Violation

# data[].attributes.attachment_link.readable_text
A Brooklyn-based group is arguing that the displacement of longtime residents meets a definition conceived by the United Nations in the aftermath of World War II.

Eugene Chan / Flickr

# data[].attributes.attachment_link.title
Is Gentrification a Human-Rights Violation?

# data[].attributes.attachment_link.description
A Brooklyn-based group is arguing that the displacement of longtime residents meets a definition conceived by the United Nations in the aftermath of World War II.

# data[].attributes.attachment_link.readable_text
Imagine, if you will, that you only had to pay the recommended maximum of 30% of your income on rent. For a family earning $100,000, that would be $2,500 a month. Not exactly chump change, to be sure - but still not enough to afford even a median-priced two-bedroom apartment in cities like New York, San Francisco, Washington, Boston, or Los Angeles (places where a six-figure salary doesn't stretch like it used to).

Indeed, this traditional standard of what constitutes "affordable" rent is increasingly a fantasy. More than half (51%) of all American renters are now rent-burdened, meaning they pay more than 30% of their income on housing and utilities, compared to 39% in 2000.

But for a moment, let's indulge ourselves in that fantasy: What if people only paid what they could afford in rent?

No, we're not talking about pay-what-you-want restaurants, like those Paneras. But what if people in the 100 biggest American cities paid only 30% of their income in rent - in other words, what most economists consider the highest level of rent people can afford without risking financial hardship?

In that scenario, the average renter would have an extra $6,200 to spend or save each year, according to an analysis by the National Equity Atlas. Collectively, that's $124 billion that could fuel local economies when spent on groceries, childcare, transportation, medical care, and education - things that many households are forced to skimp on to make rent.

In some areas, of course, that figure is even higher. Renters in the nation's capital would save $8,600, while renters in El Paso, Texas, would save about half that. In either case, renters all over the country are increasingly stretching themselves financially to enrich their landlords.

Meanwhile, homeownership is near a 50-year low and the number of renters has been rising since the Great Recession. That's not necessarily a bad thing in and of itself - renting can allow for more mobility to pursue better work opportunities, for example. But as home values and rents have both skyrocketed in recent years, homeowners have amassed trillions in wealth while renters have seen their housing costs spiral out of control with little to show for it. And the brunt of this burden falls largely upon minorities, as CityLab's Tanvi Misra explains:

Renters of all ages and races are being pinched to keep a roof over their heads. But the affordability crisis is, at its core, an equity issue. Homeownership-the primary way to build wealth in America-has always been set up to favor the white and the rich. Then the recession hit, dealing extra blows to people of color. So, it's not a coincidence that the black homeownership rate has seen the steepest decline, plummeting to 1994 levels; simultaneously, minorities have made up the bulk of the increase in renter household numbers in the last two decades.

So how can we get closer to this fantasy land where rent "only" devours 30% of your income? Housing experts tend to agree there's just not enough new construction underway - both for home buyers and for renters. Low inventory is driving up the cost of homes, which keeps more people renting, competing for a scant supply of affordable apartments. The National Equity Atlas also advocates for more community control over housing - such as land trusts, cooperatives, and public or nonprofit solutions for affordable homes - and full funding for the Department of Housing and Urban Development.

Until then, you could always move to Memphis - or find an impossibly benevolent landlord with a Panera-style, pay-what-you-want mentality. Maybe Radiohead's Thom Yorke has a flat to let.

Imagine, if you will, that you only had to pay the recommended maximum of 30% of your income on rent. For a family earning $100,000, that would be $2,500 a month. Not exactly chump change, to be sure - but still not enough to afford even a median-priced two-bedroom apartment in cities like New York, San Francisco, Washington, Boston, or Los Angeles (places where a six-figure salary doesn't stretch like it used to).

Indeed, this traditional standard of what constitutes "affordable" rent is increasingly a fantasy. More than half (51%) of all American renters are now rent-burdened, meaning they pay more than 30% of their income on housing and utilities, compared to 39% in 2000.

But for a moment, let's indulge ourselves in that fantasy: What if people only paid what they could afford in rent?

No, we're not talking about pay-what-you-want restaurants, like those Paneras. But what if people in the 100 biggest American cities paid only 30% of their income in rent - in other words, what most economists consider the highest level of rent people can afford without risking financial hardship?

In that scenario, the average renter would have an extra $6,200 to spend or save each year, according to an analysis by the National Equity Atlas. Collectively, that's $124 billion that could fuel local economies when spent on groceries, childcare, transportation, medical care, and education - things that many households are forced to skimp on to make rent.

In some areas, of course, that figure is even higher. Renters in the nation's capital would save $8,600, while renters in El Paso, Texas, would save about half that. In either case, renters all over the country are increasingly stretching themselves financially to enrich their landlords.

Meanwhile, homeownership is near a 50-year low and the number of renters has been rising since the Great Recession. That's not necessarily a bad thing in and of itself - renting can allow for more mobility to pursue better work opportunities, for example. But as home values and rents have both skyrocketed in recent years, homeowners have amassed trillions in wealth while renters have seen their housing costs spiral out of control with little to show for it. And the brunt of this burden falls largely upon minorities, as CityLab's Tanvi Misra explains:

Renters of all ages and races are being pinched to keep a roof over their heads. But the affordability crisis is, at its core, an equity issue. Homeownership-the primary way to build wealth in America-has always been set up to favor the white and the rich. Then the recession hit, dealing extra blows to people of color. So, it's not a coincidence that the black homeownership rate has seen the steepest decline, plummeting to 1994 levels; simultaneously, minorities have made up the bulk of the increase in renter household numbers in the last two decades.

So how can we get closer to this fantasy land where rent "only" devours 30% of your income? Housing experts tend to agree there's just not enough new construction underway - both for home buyers and for renters. Low inventory is driving up the cost of homes, which keeps more people renting, competing for a scant supply of affordable apartments. The National Equity Atlas also advocates for more community control over housing - such as land trusts, cooperatives, and public or nonprofit solutions for affordable homes - and full funding for the Department of Housing and Urban Development.

Until then, you could always move to Memphis - or find an impossibly benevolent landlord with a Panera-style, pay-what-you-want mentality. Maybe Radiohead's Thom Yorke has a flat to let.

# data[].attributes.attachment_link.description
Imagine, if you will, that you only had to pay the recommended maximum of 30% of your income on rent. For a family earning $100,000, that would be $2,500 a month.

# data[].attributes.attachment_link.readable_text
demonstrates a connection with artists and/or cultural workers

exhibits leadership in neighborhood alliance building

nurtures equitable, place-based relationships...engaging with multiple kinds of community stakeholders and demonstrating transparency in decision-making processes

reflects the geographic and social diversity of the city

The steering committee contributes by...

attending monthly meetings held at member sites throughout the city

developing programs and campaigns

expanding collective knowledge through peer exchange, capacity building and data collection

scaling up local experience for citywide application
-

Arts & Democracy
Caron Atlas, Director
Co-Director, NOCD-NY
Caron Atlas directs the Arts & Democracy Project, which supports the cross-pollination between arts and culture, participatory democracy, and social justice. She also co-directs NOCD-NY, teaches at Pratt Institute, and is a member of the Steering and District committees for Participatory Budgeting in New York. She is co-editor of two publications: BridgeConversations and Critical Perspectives, and contributor to Towards a 21st Century City for All and Beyond Zuccotti Park.
caronatlas@gmail.com | www.artsanddemocracy.org

Arts East N ew York Inc. is committed to presenting and promoting multicultural arts to address socio-economic issues that hinder the growth and development of the East New York community. AENY's innovative efforts foster entrepreneurs and cultural industries that generate jobs and income, reduce crime and recidivism, heighten the community's level of education and awareness around healthy and sustainable living, attract tourists to boost local economy, and instill pride among residents. These initiatives improve livability and encourage economic development outcomes that have the potential to radically change the future of East New York.
info@artseastny.org | www.artseastny.org

Bronx Council on the Arts
A pioneering advocate for cultural equity, the Bronx Council on the Arts nurtures the development of a diverse array of artists and arts organizations, and builds strong cultural connections in and beyond The Bronx.
www.bronxarts.org

Dance Theatre Etcetera
Martha Bowers, Executive Director
Martha Bowers is noted for her 20 years of work as an artist, activist and educator in Red Hook, Brooklyn. In New York, her choreography has been presented at the Brooklyn Academy of Music, Dance Theater Workshop, PS 122, and St. Mark's Church among others. She is a recipient of choreographic fellowships from the NEA (`84, `88, `96), the New Jersey State Council for the Arts (`84), among others. She has been the Executive Producer of the Red Hook Fest since 2000. She currently teaches Art, Activism and Public Space and as well Applied Theatre courses at NYU.
martha@dtetc.org | www.dtetc.org

El Museo del Barrio
Ana Chireno, Director, Government and Community Affairs
AChireno@elmuseo.org | www.elmuseo.org
-
-

El Puente El Puente is a community human rights institution that promotes leadership for peace and justice through the engagement of members (youth and adult) in the arts, education, scientific research, wellness and environmental action. Founded in 1982 by Luis Garden Acosta, El Puente currently integrates the diverse activities and community campaigns of its Center for Arts and Culture and its Green Light District & Community Wellness Program within its four neighborhood Leadership Centers, and its nationally recognized public high school, the El Puente Academy for Peace and Justice. www.elpuente.us

Fourth Arts Block (FABnyc)FABnyc is a neighborhood nonprofit founded by cultural and community groups to coordinate the purchase of eight East 4th Street properties as permanently affordable spaces for non-profit arts and cultural organizations. The East 4th Street Cultural District is nationally recognized as an incubator for new work and for its outstanding records for racial and ethnic diversity, free and low cost programs, and training for emerging artists and youth. FABnyc has expanded its work beyond East 4th Street to support and promote the cultural vitality of the larger Lower East Side neighborhood.
www.fabnyc.org

Greenpoint Manufacturing and Design Center
Brian T. Coleman, CEO
Brian serves as the CEO of Greenpoint Manufacturing & Design Center (GMDC), which creates and sustains viable creative manufacturing in North Brooklyn through planning, developing and managing real estate and offering other related services. Since 1992, GMDC has developed over 750,000 square feet of industrial space and currently has 120 tenants with over 500 employees.
BrianC@gmdconline.org | www.gmdconline.org

The Laundromat Project
Kemi Ilesanmi, Executive Director
With over 14 years of experience in the cultural arena, Kemi is inspired by the immense possibilities for joy and justice at the intersection of arts, activism and community. Bringing community-responsive art and artists into local coinops across the city, Laundromat Project engages and empowers communities of color living on modest incomes to dream new visions for their own neighborhoods.
kemi@laundromatproject.org | www.laundromatproject.org

THE POINT Community Development Corporation
Carey Clark, Visual Arts Director
Carey Clark is the Visual Arts Director at THE POINT Community Development Corporation, a non-profit 501 (c)(3) dedicated to youth development and the cultural and economic revitalization of the Hunts Point section of the South Bronx.
cclark@gmail.com | www.thepoint.org

Queens Museum
Prerana Reddy, Director of Public Events
As Director of Public Events, Prerana oversees Queens Museum of Art's community engagement and public art initiatives, working with a full-time community organizer to combine arts and culture with social development goals in nearby neighborhoods, such as Corona, Queens, which are predominantly comprised of new immigrants. As a collective member of the South Asian Solidarity Initiative, Reddy organizes workshops, reading groups and public forums.
prerana@queensmuseum.org | www.queensmuseum.org
-
Staten Island Arts
Monica Valenzuela, Deputy Director
Monica is a grantwriter, project manager and freelance photographer. She works closely with the diverse cultural ecosystem of Staten Island. She identifies alternative spaces for art and is Project Manager for SIA's LUMEN, a cutting-edge video and performance art festival on Staten Island's waterfront.
mvalenzuela@statenislandarts.org | www.statenislandarts.org

Urban Bush Women (UBW)
Founded in 1984 by choreographer Jawole Willa Jo Zollar, Urban Bush Women (UBW) seeks to bring the untold and under-told histories and stories of disenfranchised people to light through dance. UBW does this from a woman-centered perspective and as members of the African Diaspora community in order to create a more equitable balance of power in the dance world and beyond. UBW is a contemporary dance company creating work at the intersection of art and social change, both internationally and in their home neighborhood of Fort Greene, Brooklyn. UBW's work includes education and community engagement through programs like BOLD (Builders, Organizers and Leaders through Dance) and partnerships with groups like People's Institute for Survival and Beyond, hosting Understanding and Undoing Racism workshops for arts communities.
urbanbushwomen.org -
INDIVIDUALS
Maria Bauman, MB Dance
Maria Bauman is an artist and a community organizer. She founded MBDance in 2007, created from a desire for equity and a fascination with relationship. Bauman has danced with Urban Bush Women, Nia Love/Blacksmith's Daughter, Adele Myers and Dancers, Angela's Pulse, Mendi + Keith Obadike, and jill sigman/thinkdance, and apprenticed with Bill T. Jones/Arnie Zane Dance Company. She was with Urban Bush Women for eight seasons, recently serving as Associate Artistic Director of that company. Among other honors, she has received a 2014 CUNY Dance Initiative Residency Award, 2012-13 and 2009-10 Harlem Stage Fund for New Work via The Jerome Foundation, and a 2013 NYFA Emerging Arts Leader. Bauman works closely with the People's Institute for Survival and Beyond on Understanding and Undoing Racism workshops for arts communities and is a WOW Café Theatre collective member (theater space by and for women and transgender artists).
mbdance723@gmail.com

Gonzalo Casals
Gonzalo Casals is the Director of The Leslie-Lohman Museum of Gay and Lesbian Art. For the last decade, Gonzalo, an aspiring 'neighborhoodist', has been exploring cultural production as a vehicle to foster empowerment, social capital, civic participation and community development. Through his work at The Leslie-Lohman Museum of Gay and Lesbian Art, Friends of The High Line and El Museo del Barrio, he joins the leadership of a generation of cultural workers that are redefining the role of cultural organizations and their relationship with communities, neighborhoods and cities.
gonzalo.casals@thehighline.org

Melanie Franklin Cohn, Visual Arts Center of New Jersey
Melanie is the Executive Director of Visual Arts Center of New Jersey. She is active in arts advocacy and policy, leading Staten Island Arts as its Executive Director from 2007-2014. She has served as a New York State Captain for Americans for the Arts and on the Steering Committee of the NYC Cultural Emergency Response Network. Melanie worked in the curatorial department at the New Museum for seven years and has curated many exhibitions and edited several books including "Who Cares" (Creative Time, 2006) and "Witness to Her Art" (CCS Bard Hessel Museum, 2006).
melaco@gmail.com

Ryan Gilliam, Downtown Art
Ryan has been working with young artists to make theater since 1988. Gilliam has directed over a hundred productions, written sixteen plays, and worked with more than 1200 young artists ages 12-19 to create original theater. She has worked with local public schools and spearheaded the $4.5 million capital campaign to purchase and restore a vacant building as a youth arts center on East 4th Street. Downtown Art is a founding member of Fourth Arts Block (FAB).
ryan@downtownart.org |

Tamara Greenfield
tamaragreenfield13@gmail.com

Michael Hickey, Community Development Consultant
Michael is an independent community development consultant serving nonprofit, foundation, public sector and corporate partners in project development, strategic planning, and organizational change. He recently served as the founding Executive Director of the Center for NYC Neighborhoods (CNYCN), the nation's single largest foreclosure prevention intermediary.
mhickey001@gmail.com

Betsy Imershein, Consultant and ArtistBetsy has more than 30 years of experience engaging communities, small businesses and cultural organizations in economic development, cultural revitalization and sustainability initiatives. In addition to co-founding Croton Energy Group Inc and the Shop Small Stores program, Betsy has designed streetscape and sustainability initiatives for FABnyc and worked with the Bronx Council on the Arts to create a strategic/action plan for the South Bronx Cultural Corridor.bimershein@gmail.com

Risa is the Executive Director of Spaceworks, a nonprofit that develops space for all New Yorkers to gather and engage in their chosen cultural practices. Previously, they were the Executive Director of FABnyc, an arts services organization based on the Lower East Side of Manhattan.
risashoup@gmail.com

Milly Hawk Daniel, Vice President for Communications, PolicyLink
Milly leads the team responsible for strategically applying media, online, editorial, and special events efforts to advance economic and social equity issues, including affordable housing, transit oriented development, equitable rebuilding in New Orleans and the revitalization of older core cities.
milly@policylink.org

Jack (John Kuo Wei) Tchen, Founding Director, Asian/Pacific/American Institute at New York University
Jack (John Kuo Wei) Tchen is a historian and cultural activist who helps to give voice to individuals and communities who have been absent from our public history. He is the founding director of the A/P/A (Asian/Pacific/American) Studies Program and Institute at New York University (1996) and is co-founder of the New York Chinatown History Project (1980), now called the Museum of Chinese in the Americas.

# data[].attributes.attachment_link.description
demonstrates a connection with artists and/or cultural workers exhibits leadership in neighborhood alliance building nurtures equitable, place-based relationships...engaging with multiple kinds of community stakeholders and demonstrating transparency in decision-making processes reflects the geographic and social diversity of the city The steering committee contributes by...

# data[].attributes.body
Arts & Democracy cross pollinates culture, participatory democracy, and social justice. We support cultural organizing and cross-sector collaborations; raise the visibility of transformative work; connect cultural practitioners with activists, organizers, and policymakers; and create spaces for reflection.

# data[].attributes.body
supports artists working in social justice

# data[].attributes.attachment_link.readable_text
Als ich zum ersten Handel begann, hatte ich eine wirklich miese Handelsstrategie, die ich von irgendwo im Internet abgeholt. Dabei handelte es sich drei Indikatoren - MACD, Stochastik-Oszillator, und einfache Momentum-Indikator - zu Trades zu machen. Wenn alle drei Indikatoren in der Richtung nach unten am oberen Rand des Diagramms übereinstimmen würde, würde ich eine Put-Option nehmen. Wenn alle drei in der Aufwärtsrichtung am unteren Rand des Diagramms abgestimmt, würde ich eine Call-Option nehmen. Ich habe nicht einmal die Aufmerksamkeit auf die tatsächliche Preischart zahlen, weil ich einfach nicht wusste, wie es zu interpretieren. Unnötig zu sagen, war diese Strategie nicht nur wirkungslos, sondern auch weg Basis von gewinnen vorhersehbaren Einblick, wie der Markt funktioniert.

Um zu erfahren, wie gut zu handeln, ist es unbedingt notwendig, zu verstehen, wie die Dynamik des Markts arbeiten. Ich deckte dies in einem ziemlich guten Detailgrad in meinen jüngsten Strategie Beiträgen - das ist, wie Käufer und Verkäufer interagieren Preisbewegung zu schaffen. Und meine Gesamtstrategie ist überhaupt nicht überhaupt komplex. Es basiert auf Unterstützung und Widerstand auf dem Markt, das eine fantastische Hilfe mit 5 Strategien profitabel Binäre Optionen handeln ist in potentielle Umkehrpunkten (kurzfristig oder auf andere Weise) auf dem Markt zu helfen. Ich halte auch Trend- und Marktstrukturen sowie Basisentscheidungen meines Markts zu helfen. Ich habe mehrere Leute sagen mir habe, dass meine allgemeine Strategie hat für sie gearbeitet, oder dass sie zumindest habe in der Lage durchweg über 50% ihrer Geschäfte zu gewinnen. Nicht jede Handelsstrategie für jeden funktioniert, da jedes Gehirn Informationen anders als andere Prozesse, aber ich würde jeden ermutigen, mehr zu schauen in Richtung Preis-Aktion und Unterstützung und Widerstand (und Kleben mit dem jüngsten Trend, wann immer möglich) als Grundlage ihres Handels . Es ist einfach, sauber und wirksam, wenn sie richtig gehandelt.

Wie für andere Dinge zu helfen, Ihren Handel zu vereinfachen:
1. Stock mit der gleichen Anlage (n)
Ihr Vermögen gut zu lernen, ist eine sehr wertvolle Fähigkeit effektiv in den Handel. Es ist besser, sehr gut in einem oder nur ein paar / einige Vermögenswerte als Skipping um versiert zu werden. Auch, wenn überhaupt möglich Stick auf den folgenden „großen" Währungspaare - EUR / USD, GBP / USD, AUD / USD, USD / JPY, GBP / JPY, EUR / JPY, USD / CHF, USD / CAD, NZD / USD, EUR / GBP und EUR / CHF. Andere Paare - genannt „exotische" - bestehend aus weniger bekannten Währungen, haben weniger liquide Märkte, weil sie einfach nicht so viel gehandelt werden. Dies kann zu einigen sehr turbulenten Kursbewegungen führen und sind daher viel schwieriger, erfolgreich zu handeln.
2. Halten Sie mit dem gleichen Zeitraum
Für 10-15 Minuten expiries bedeutet dies in der Regel in einer 5-Minuten-Chart an. Die 1-Minuten arbeiten können, aber es gibt so viel Lärm und eine begrenzte Sichtfenster, das es hart sein kann gut auf diesen Zeitraum hinaus zu handeln. Ich gehe nur auf die 1-Minuten-Chart nach unten, wenn ich eine sehr Nahaufnahme Perspektive zu bekommen, wie der Kurs zu Zwecken handelt, der in einen potenziellen Handel zu bekommen. Aber insgesamt 5 Minuten ist die beste Wahl für 10-15 Minuten expiries.
3. Halten Sie Ihr Geld-Management-Konstante
Immer geben Sie sich eine absolute Obergrenze für den Betrag, den Sie bereit sind, auf jedem einzelnen Trade zu riskieren. Sie können dies herausfinden, indem die Menge des Geldes können Sie sicher zum Handel verlieren und von einem kleinen Prozentsatz, vorzugsweise 2% oder weniger multiplizieren.

Und das bedeutet nicht unbedingt , 1% oder 2% des Kontostandes. In der Tat, Ich mag nur so viel wie die Menge meines ersten Handels deponieren. Wenn kleinere Menge an Geld Wetten (unter 25 $ / £ 25 / € 25), dann einfach eine Mindesteinzahlung machen wäre in Ordnung. Es gibt nie eine Notwendigkeit , eine Menge Geld in einem Broker zu verlassen. Deponieren immer nur so viel , wie Sie benötigen . Ob Sie es glauben oder nicht, werden Sie tatsächlich psychisch besser fühlen mit einer geringeren Menge an Geld in Ihrem Konto. Ich habe immer gefunden , es eine einfache Möglichkeit , um die Spannungen abzubauen , die oft begleiten können echtes Geld gehandelt.
4. Bleiben Sie reglementierten
Handel in etwa auf die gleiche Tageszeit kann jeden Tag helfen, den Markt zu lernen bekommen Sie traden. Handel an 02.00 EST und wird sehr unterschiedlich aus dem Handel, um 9:30 Uhr EST. Der Markt wird aussehen und wirken sehr unterschiedlich. Finden Sie Ihre richtige Dosis des Handelsvolumens auf dem Markt ist wichtig. Ich selbst bevorzuge moderate Lautstärke, nicht zu niedrig, aber nicht zu hoch, die ich in der Zeit von 03.00 Uhr EST und 08.00 Uhr EST erhalten. Nach 08.30 Uhr EST, öffnet sich der US-Markt und Kreuze mit den europäischen Märkten über, so wird Volumen recht hoch sein. Das bedeutet nicht, Sie brauchen, um sich für eine bestimmte Anzahl von Stunden pro Woche täglich fünf Tagen in Ihrem Stuhl geklebt haben. wenn Einstellung Handel Warnungen bei anderen Aktivitäten, während Sie feiner handeln ist, wenn der Kurs ein potenzielles Handelsbereich nähert werden kann auf Ihrem Trading-Software-Setup.

Und im Einklang bleibt Ihre Handelsstrategie über bei der Anwendung und immer wieder, und nimmt nur die besten Set-ups Sie vor Ihnen haben - und haben weit vor der Zeit geplant - ist sehr wichtig im Hinblick auf Konsistenz, wie gut. Jedoch nie handeln, wenn Sie sich müde fühlen, gestresst, krank, geistig nach unten, oder einfach nicht in der richtigen Einstellung insgesamt. Ich habe keine Vorbehalte gegen einen Handelstag Skipping, wenn ich damit beschäftigt sein werde, oder wenn eine der oben genannten Faktoren wird mich zu beeinflussen. Selbst wenn ich Zeit Binärdateien für den Handel habe, habe ich fast nie mehr als drei Mal pro Woche handeln.

Zwar gibt es viel weniger Volatilität im EURUSD ist , wenn London oder New York nicht geöffnet ist, gibt es noch Potenzial. Nicht typischerweise eine Zeit , die ich handeln, konnte ich nicht umhin zu bemerken , wie der EURUSD die Umschläge respektiert ursprünglich diskutiert im EURUSD Day Trading-7. Oktober (und nachfolgende Beiträge) während der ruhigeren Tageszeit, nach New York schließt und Europa hasn' t noch wieder eröffnet.

Abbildung 1 zeigt ein Diagramm 5 Minuten für die mehrere Stunden Copy Trading nach der US - Sitzung (in blau). Sobald der Abwärtstrend begann respektiert sie das obere Band, das ist , wo die Verkaufsaufträge während eines Abwärtstrends (am unteren Band während eines Aufwärtstrends) platziert werden. Dies ist ein Trend - Strategie folgen, daher handelt Signale werden nur genommen , wenn es eine starke Tendenz vorhanden ist (siehe: Wenn ein Trend Trustworthy ist und wenn es nicht ist ).
Abbildung 1. EURUSD 5 - Minutenchart (Januar 23/24, Nach US Close)
Vier mögliche Kurz / Put-Trades sind markiert. Der erste Handel ist fraglich, da der Abwärtstrend noch nicht in vollem Umfang wirksam war, Copy Trading doch die etwas niedriger niedrig kurz vor der Einnahme die Position der angegebenen Preis Erfahrungen und Tipps zu Copy Trading Plattformen wurde den Kopf etwas Dampf zu verlieren.

Hätte alle diese Gewerke ausgearbeitet. Normalerweise wird diese Strategie bringt ein 3,5 Pip - Stop mit einem 6 pip Ziel; das Ziel kann , wenn die Bedingungen dies erfordern verlängert und der Anschlag wird reduziert (nur reduziert, nie erweitert) , sobald der Preis in unsere Richtung bewegt.

In Anbetracht reduziert die Volatilität, auch machen 6 Pips schwierig sein kann, ohne ein paar Stunden zu warten (nicht mein Stil). Daher ist für diesen Handel traditionellen Märkten kann der Anschlag auf etwa 2 bis 2,5 Pips reduziert und das Ziel auf 6 reduziert.

Für diesen Handel mit binären Optionen, einen Ablauf von etwa 25 bis 30 Minuten Auswahl würde 4 Gewinner von 4 Trades produziert haben.

Natürlich jederzeit gut die Markttrends Handel ist „leichter."

Der Tag war vor heikler, da es nicht viel in der Art und Weise eines Trends Copy Trading war. Mit Preisanalyse Filtersignalen zu helfen, gab es 3 Gewerke wie in Abbildung 2 gezeigt Zwei gewesen wäre profitabel den Anschlag und Zielmethode. Der Handel mit binären Optionen wäre ein Ablauf von 25 bis 30 Minuten auch in 2 Siegen und 1 Niederlage geführt.
Abbildung 2. EURUSD 5-Minuten Chart (Januar 22/23)
Warum bestimmte Geschäfte werden vermieden ausführlich in meinem Trend und Preisanalyse Artikeln behandelt wurden. obwohl kurz, wie die US-Sitzung die ersten paar Verrenkungen endet vermieden werden, weil der Markt nicht tendiert. Die unteren niedrigen Sätze auf den ersten Handel da gibt es ein Potential für einen Trend nach unten. Der Markt bewegt sich aggressiv niedriger den zweiten kurzen Handel aufzubauen. Es hält scharen und dies würde der Verlierer gewesen. Es ist eine potenziell lange Handel direkt danach (in der Nähe von 04.10 auf der Karte), aber da der Markt eine höhere hoch der Trend hat sich immer noch nicht nach unten gezeigt könnte.

Der Preis tut Rallye aggressiv, aber auf das untere Band nicht zurückziehen, daher gibt es keine Einstiegssignale. Wenn es Pullback schließlich tut, ist es erst nach einem „Doppel" mit anderen Worten zu schaffen, könnte der Preis nicht macht höhere hoch, und daher Copy Trading war der Trend in Gefahr, weshalb der Handel eines lang nicht genommen wird.

Schließlich haben wir unseren letzten Handel, die wir nehmen, weil der Preis nicht höher bewegen kann (siehe oben) und erstellt dann ein niedrigere niedrig als der Stand der Schaukel gering.
Letztes Wort
Die Möglichkeit , Preis - Aktion mit dieser Strategie zu lesen ist der Schlüssel. Während es auf dem ersten frustrierend sein kann, zu lernen , wie Preis - Aktion zu lesen ist die ultimative nächste Handel Fähigkeit Ihre eigene Mastering - Psychologie . Einige Händler können den Handel in den „off" Stunden vorziehen, da bewegt sich langsamer , weil weniger Volumen und weniger Händler in den Bewegungen beteiligt. Das bedeutet nicht , es ist aber einfach. Temper Erwartungen bezogen auf die verminderte Volatilität und Volumen. Wird der Handel Standardmärkte, stoppt und Ziele reduziert werden sollte, reflektiert Copy Trading den gegenwärtigen Bedingungen. Sie werden auch wahrscheinlich benötigen , mit einem ECN Forex - Konto für den Handel (im Grunde Null Spread, aber Sie zahlen eine Provision) , um diese 4 bis 6 Pips zu machen Handel bewegt sich lohnt. Wenn Handel mit binären Optionen, machen Sie die gleiche , unabhängig davon , wie viel sich der Markt bewegt, aber sicher sein , etwas Forschung zu tun und ein Gefühl dafür , wie lange wollen Sie die Möglichkeit , halten werden.

Ich mache noch früh am Morgen den Handel und wahrscheinlich Forex Broker für den Rest des Sommers wird. Heute gehandelt ich die GBP / JPY, die in der Regel ist meine Back-up-Option auf den EUR / USD. Aber ich hatte das Diagramm dieses Paar offen und sah Preis verweilenden um einen Bereich, in dem ein Set-up möglicherweise stattfinden konnte, so rollte ich mit ihm statt. Ich im Grunde nie mehr zu einem Zeitpunkt mehr als ein Paar handeln. Für mich ist es ein bisschen wie sensorische Überlastung manchmal, vor allem, wenn der Markt zu einem vernünftigen Clip bewegt. Sie wollen nie, sich mit zu viel Informationen zu überwältigen. Also, was gute deutsche Forex Broker sind hier gelistet Ich mag zu tun ist, nur einem Vermögenswert folgen und einen Alarm einstellen, hörbar Forex Broker sein kann, wenn ein bestimmtes Niveau auf dem Markt nähern. Es ist macht es einfach, nicht zu anstrengend, und nicht zu zeitaufwendig.

Das Schöne an dem heutigen Markt war, dass die Drehpunkte relativ eng beabstandet waren. Da die Drehpunkte sind die Aktion vom Vortag formel basieren weg, wann immer es eine Licht Handelstag des Zapfen am nächsten Tag wird eng beieinander angeordnet werden. Der vorherige Freitag war US Independence Day, ein Feiertag berüchtigt für Licht Handelsvolumen, so ist es verständlich. In der Tat war es noch nicht einmal 05.00 EST, bevor das Paar außerhalb seines Schwenkpunktbereiches begann den Handel (unter Unterstützung 3) und blieb so.

Auf der 02.40 Kerze, kam der Markt auf die Drehebene von 175,140 und lehnte es sofort. Dies ist natürlich ein Preis-Aktion Cue mir zu sagen, dass die Schwenkebene ist wahrscheinlich auf einem anschließenden Wieder Kontakt halten sollte es dazu kommen. Es ist oft geschehen, Forex Broker da die Kauf- und Verkaufsaufträge auf dem Markt sind in der Regel stärker konzentriert auf Anlenkpunkte, großes Fibonacci-Retracement-Niveau, und Unterstützung und Widerstand von früheren Preisentwicklung geschaffen werden.

Wenn die Wieder Berührung auf der 2.45 Kerze kam, bekam ich in eine Put-Option, in der Erwartung, dass die Dreh halten mich auf die Beweise würden auf die verfügbaren Informationen. Wie Sie aus der Tabelle zu beobachten, hatte ich die Grundidee - der GBP / JPY bei seiner Schwenkebene vor Abwurf halten würde - aber der Handel aus funktionierte nicht. Der Handel abgelaufen am 03.00 EST, die mit dem Ende fielen durch die grüne Kerze dargestellt, die Forex Broker einen Anstieg über 175,140 hergestellt.

In Anbetracht, dass der Preis über diesem Bereich aufgehängt - dh sich der Schwenkebene wurde nicht als Widerstandsniveau eingehalten - ich weitere Möglichkeiten für den Handel aus diesem Bereich ausgeschlossen.

Sobald der Markt begann zu Unterstützung nach unten bewegen 1 (175,020), begann ich diesen Bereich für mögliche Call-Option Set-ups Targeting. Dieses Niveau war auch als Unterstützung über vorherige Preisentwicklung von den in einer halben Stunde Strecke während der 01.00 Stunde gesehen Staue gehandelt. Nach Preis berühren und abgelehnt 175,020 auf der 03.45 Kerze, trat ich in eine Call-Option auf der 03.50 Kerze. Im Wesentlichen grün war ich setze auf der nächsten Kerze zu sein. Dennoch setzte sich der Abwärtstrend und fiel durch 175,020 auf der nächsten Kerze und wagte hinunter 2 zu unterstützen.

IkkoTrader ist ein weltweit Vermittlungsdienst mit Niederlassungen in Großbritannien, Frankreich, Luxemburg, Belgien und die Schweiz. Darüber hinaus gibt es Niederlassungen in Großbritannien und British Virgin Islands. Es ist auch eine eine der ersten Marken, die Licht online zu sehen, und auf dem Markt von Anfang an gewesen.
Melden Sie sich für IkkoTrader.com Jetzt erhalten Sie einen Willkommensbonus von 250 Euro! Ikko Trader Online-Plattform Boni und Promotionen
IkkoTrader hat hervorragende Promotionen mit www.forexaktuell.com für neue und bestehende Kunden. Für Neukunden sind ihre Aktionen basieren und risikofreien Trades und große Boni, um die Welt von binären Optionen zu entdecken, ohne zu viel Risiko einzugehen und Erfahrungen zu sammeln. Für bestehende Kunden variieren je Aktionen auf der VIP-Ebene des Händlers.

IkkoTrader bietet derzeit bis zu 100% Bonus Unlimited (auf Verhandlungen mit Ikko des Account-Manager) oder ein Minimum von 25% auf jeder ersten Einzahlung. Sie haben auch ein Angebot für Kunden, die wichtige Beträge investieren wollen, wenn Sie ein „VIP Gold" werden Sie erhalten $ 2000 oder Trades ohne Risiko.
Kontoinformationen
Händler sind verpflichtet, Online ein Konto zu eröffnen (kostenlos) und können binäre Optionen auf mehr als 60 Assets online, direkt über die Website, ohne dass das Herunterladen eine Software handeln. Mindesteinzahlungsbetrag beträgt 200 $, Handel Betrag $ 5, und Händler können von ihren Konten mit allen gängigen Kredit- / Debitkarten, Banküberweisungen, Western Union und Moneybookers finanzieren und zurückzuziehen. Wenn Händler für einen Rückzug fragen, ist er verpflichtet, Unterlagen zu schicken, um seine Identität zu beweisen.

Händler können für das iPhone verfügbar mehrere binären Option-Typen auf den Web-basierten Plattformen, sowie die Handelsplattform Anwendung handeln. Die folgenden Arten von binären Optionen stehen zur Verfügung:

a) Standard Binäre Optionen: Händler können diese Option nur Typen am Wochenende kaufen, und das ist wirklich die Up / Down - Option Auswahl.

b) One Touch - Optionen, wo Händler die handeln können Touch / No Touch binäre Option Sorten,

c) Option Builder: Mit dieser Funktion können Händler ihre eigenen Ablaufzeiten wählen, die Kontrolle Risiko und die Chancen auf Gewinn ihres Faches und maßgeschneiderte Handelsstrategien zu erstellen.

d) 60 Sekunden: Diese Funktion, die auch als „Speed-Handel" genannt, ermöglicht Händlern auf investieren sehr kurzfristig Trades. Diese Funktion ist sehr interessant für die Händler, die für schnelle Ergebnisse sehen.

e) Open Platform: Diese neue Funktion ermöglicht es Händler mit einem größeren Bildschirm und präziser Graph für den Handel und gibt auch die Möglichkeit, Geschäfte vor ihrem Ablauf (nur auf bestimmte Vermögenswerte, dh EUR / USD) zu stoppen. Wenn auf der Stop-Handel Schaltfläche klicken, erhalten Sie das System ein Preisangebot zu den Optionen, je nachdem, wie viel Sie gewinnen oder verlieren.
Plattform-Features und Märkte Angeboten
IkkoTrader bietet eine Vielzahl von Vermögenswerten für den Handel durch seine webbasierte Handelsplattform sowie seine iPhone-Handelsplattform-Anwendung. Händler können folgende Vermögenswerte handeln:

Währungen: EUR / USD , USD / JPY, EUR / JPY, AUS / USD, GBP / USD , EUR / GBP, USD / TRY, USD / ZAR, USD / CAD, USD / CHF, USD / RUB.

Aktien: Louis Vuitton, Deutche Telecom, BNP Paribas, Tata Motors, Danone SA, Saab Miller, Tesco, Barclays, Gazprom, Vivendi SA, gesamt.

Rohstoffe: Erdöl, Silber, Gold.

Stock Indices: Bombay SE, MICEX 10, FTSE100, Xetra Dax, TADWUL.
Kundendienst
IkkoTrader bietet eine 24-Stunden-7-Tage-Woche Kundendienst in Englisch, Französisch, Deutsch, Russisch, Italienisch und Spanisch.
Melden Sie sich für IkkoTrader.com Jetzt erhalten Sie einen Willkommensbonus von 250 Euro! Ist Ikko Trader ein Betrug?
Ikko Trader ist eine der beliebtesten und binären Optionen Handelsplattformen bekannten, die heute verfügbar sind. Es befindet sich in Zypern, ist Ikko Trader eine der renommiertesten Broker für binäre Optionen, wenn es um Professionalität kommt. Ikko Trader ist ein führender binäre Optionen Broker mit einem der höchsten Auszahlungen in der Branche von 80% auf Standard-Gewerke im Bereich von bis zu 500% auf den Wochen Touch-Optionen. Während Ikko Trader sehr attraktive Auszahlungen verspricht, warnen sie auch die Anleger das Risiko deutlich, in Handel mit binären Optionen und jedem raten, genau zu überlegen, bevor Sie Positionen auf der Ikko Trader Plattform zu öffnen.
Letztes Wort
IkkoTrader hat eine Vielzahl von Vermögenswerten, Handel mit binären Optionen Typen, einen 24/7 Kundenservice und tolle Prämien zu handeln. Die Plattform ist sehr intuitiv und es ist sehr einfach, die Werkzeuge für den Handel und zu nutzen. Die mobile App ist auch sehr einfach zu bedienen, und gibt Ihnen die Möglichkeit, Ihre Trades zu folgen, egal wo Sie sind.

Wer sich für ein Girokonto entscheidet, sollte darauf achten, dass Filialen flächendeckend in ganz Deutschland verfügbar sind. Nur so ist gewährleistet, dass Kunden jederzeit Bargeld abheben können. Auch sollten beim Abheben keine Gebühren erhoben werden.

Achten Sie in jedem Fall darauf, dass es sich um ein kostenloses Girokonto handelt. Sind Kunden häufig auf Reisen, ob beruflich oder privat, sollte ihnen ein gutes Girokonto ermöglichen, auch im Ausland kostenlos über Bargeld verfügen zu können. Mit einem Girokonto Test können Sie sich leicht einen guten Überblick über die aktuellen Konditionen der einzelnen Anbieter verschaffen. putzfrau von der steuer absetzen und Bar bezahlen?

Auf einen guten Dispo achten
Häufig ist ein Girokonto mit einem Dispo verknüpft. Es ermöglicht, dass finanzielle Engpässe kurzzeitig überbrückt werden können.
Allerdings erheben Banken für diesen Service sehr hohe Gebühren. Bei einem Girokonto Vergleich sollten Sie daher gegenüberstellen, welche Bank die geringsten Gebühren verlangt. Ein Dispo ist kein Kreditersatz und sollte stets nur in Notsituationen genutzt werden. Dennoch kann es immer wieder passieren, dass sie kurzzeitig in den Dispo hineingeraten.

Wer bereits im Vorfeld die Höhe der Gebühren berücksichtigt, wird ein sehr gutes Girokonto bekommen.

Ein Girokonto Test lohnt sich immer

Mit einem Girokonto Test können Sie schnell überprüfen, ob ein Anbieter für Sie in Frage kommt. Kontrollieren Sie alle zuvor genannten Punkte und stellen Sie bei Bedarf gerne Rückfragen. Je mehr Sie über die Kontoform wissen, desto sicherer können Sie sein, dass Sie sich für die richtige Variante entschieden haben.

Nutzen Sie auch das Internet, um ihren Girokonto Test noch aussagekräftiger zu gestalten.

Wie wir schon oft Binäre Optionen erklärt haben, vor allem in unserer Sektion gewidmet in Kanada mit binären Optionen , jede Provinz des Landes hat seine Regulator der Finanzmärkte. Dies ist zum Beispiel der Fall in Quebec, Ontario oder in British Columbia, wo die BCSC Binäre Optionen eine Pressemitteilung gegen den unregulierten Broker Kaiser Optionen Binäre Optionen ausgegeben hat.

Warum ist diese Art von gefährlichen Plattformen?

Letzteres wäre keine anyoption Berechtigung , in Kanada im Allgemeinen zu üben, aber vor allem in British Columbia, wo es doch aktiv mit der lokalen englischsprachigen Bevölkerung. Kaiser Optionen hat noch die illegalen und Ansatz Kunden trotzten. Wenn er Rechtspraxis hatte, könnte es noch gehen. Aber es nutzte er es Einleger zu betrügen , indem sie Geld zu stehlen, und systematisch Entnahmen Anfragen verweigern. Wenn ein regulierter Broker anyoption Test verpflichtet ist , zu Client Geld von ihnen zu trennen , ist dies nicht der Fall Imperial Optionen, die ein wenig von einem Steuerparadies finanzieren ihre Sauce ist (BVI, Tortola). Es kann sehr gut Geld von Kunden zu stehlen , die wahrscheinlich anyoption auf sein persönliches Konto.

Wenn Kaiser Optionen ist ein Betrug, der nur aktiv für die Zeit , in den englischen Markt ist, könnte es eines Tages auf dem Französisch - Markt beginnen. Er hat bereits eine Plattform , die in die Sprache übersetzt wird, und es ist daher ein Schritt in Richtung Französisch sprechenden Kanada und Frankreich. In allen Fällen bitten wir Sie , sehr wachsam bei ihm zu sein, und die Botschaft zu wenden Sie sich um, um die Online - Trading - Enthusiasten. Es ist eine Art von Unternehmen , die wirklich das Bild der binäre Option schaden. Wenn Sie echte Garantien haben wollen, empfehlen wir wirklich zu einem gehen geregelten Optionen Broker AMF .

Wie alle an der Börse gehandelten Derivaten wird die binäre Option basiert auf einem aktiven genannten „underlying". Mit anderen Worten, ist der Preis für die binäre Option abhängig vom Preis des betreffenden Vermögenswertes, der eine Aktie sein, ein Index, ein erstes oder ein Währungspaar Materie (forex). Daher die Zeit , um eine binäre Option Handel ist abhängig von der zugrunde liegenden Vermögenswert.

Termine sind abhängig von der binäre Option Broker

Wir müssen daher auf die Seite schauen, um zu sehen, welche Termine für binäre Optionen zu handeln. In diesem Fall ist der Forex verfügbar 24h / 24, 5d / 7. Allerdings ist der größte Teil des geregelten binären Optionen Broker nicht fortlaufenden Handel anbieten. Binäre Optionen auf Währungen Stopp bis 22h am Abend für die meisten Broker, zusammen mit den US-Märkten zu bewerten.

Was praktisch ist , ist , dass , wenn die Französisch Markt / Europäische schließt um 17:30 Uhr, der Broker erweiterten Handelspläne auf binäre Optionen dank US - Aktien bieten. Mit anderen Worten ist es möglich, den Abend auch den Handel von der Arbeit zurück. Einige binäre Optionen genannt „One Touch" sind auch während der Nacht, mit einer Frist dass , wie wenige Tage nach.

Es ist wirklich basierend auf 24option Ihrem Broker , dass Sie wissen , was die Zeit ist , binäre Optionen handeln. Jeder ihre eigenen Zeitplan, in Abhängigkeit von der Aktivität seiner Händler. Es ist äußerst variabel. Dann können wir nur eine der größten Broker in der Welt 24option Test zu wählen empfehlen , die viel Verkehr hat und damit die Handelszeiten erweitern. Unter ihnen 24option oder erwähnt werden Anyoption erste und OptionTime / TopOption auf dem 24option zweiten Platz (beide sind führend in der Französisch - Markt nur).

# data[].attributes.attachment_link.title
Artforchange - Regulator der Finanzmärkte

# data[].attributes.attachment_link.description
Als ich zum ersten Handel begann, hatte ich eine wirklich miese Handelsstrategie, die ich von irgendwo im Internet abgeholt. Dabei handelte es sich drei Indikatoren - MACD, Stochastik-Oszillator, und einfache Momentum-Indikator - zu Trades zu machen. Wenn alle drei Indikatoren in der Richtung nach unten am oberen Rand des Diagramms übereinstimmen würde, würde ich eine Put-Option nehmen.

# data[].attributes.body
Murals for Social Justice

# data[].attributes.attachment_link.description
New York Communities for Change, One Metrotech Center North, 11th floor Brooklyn, NY 11201 / info@nycommunities.org / 347-410-6919 Contributions and gifts to New York Communities for Change are not deductible as charitable gifts for Federal income tax purposes.

# data[].attributes.attachment_link.title
Community Action for Safe Apartments | New Settlement Apartments

# data[].attributes.attachment_link.description
A membership driven tenant organizing project. Our mission is to protect and maintain affordable and safe housing through collective action.

# data[].attributes.attachment_link.readable_text
Following the release Monday of a 13-page report critiquing Mayor de Blasio's East New York rezoning plan, local coalition Real Affordablility for All held a rally in Downtown Brooklyn - a "hyper-gentrified" neighborhood, according to the organization's press release.

After the rally, Real Affordability members and leaders headed to Lower Manhattan, where they disrupted the City Planning Commission's hearing regarding the the rezoning process for East New York. The event's timing purposefully coincided with today's beginning of the public review process for the rezoning of East New York.

Protestors chanted, "Hey! Hey! Bill de Blasio! Where are we supposed to go?"

The group wants de Blasio to overhaul his current approach and build more affordable units in the area.

"The worst gentrification and displacement seen in the rezoning of Williamsburg over the past decade will become the future of East New York, unless Mayor de Blasio implements our recommendations for creating real affordable communities," Affordability for All Campaign Coordinator Maritza Silva- Farrell said.

The rally and disruption were well documented on social media.

All across the city, tenants are being pushed out. We come together now to demand #RealAffordability! pic.twitter.com/H2F5e9aTTS

- Real Affordability (@AffordabilityNY) September 21, 2015

On our way to see De Blasio about #realaffordability. #tenantpower pic.twitter.com/A4L14jmElb - NY Communities (@nychange) September 21, 2015

"We should be able to live in our neighborhoods" Don't displace us in #ENY #RealAffordability @nychange pic.twitter.com/0nisRCEbWv

- CASA New Settlement (@CASAbronx) September 21, 2015

Disruption @NYCPlanning. ENY residents demanding @AffordabilityNY and real union jobs. pic.twitter.com/V7TyRwiGDM - Maritza SilvaFarrell (@MaritzaSf) September 21, 2015

[Photo: Real Affordability for All]

Related Stories
De Blasio's East New York Rezoning Plans Not Affordable Enough, Group Says in New Report
Mayor's Plan for Affordable Housing Will Turn East New York Into Bushwick
Public Review of Mayor's Zoning for Affordable Housing Plan Starts September 21

# data[].attributes.attachment_link.title
NYC Gentrification Rally Protests Against de Blasio's Affordable Housing Plan

# data[].attributes.attachment_link.description
Following the release Monday of a 13-page report critiquing Mayor de Blasio's East New York rezoning plan, local coalition Real Affordablility for All held a rally in Downtown Brooklyn - a "hyper-gentrified" neighborhood, according to the organization's press release.

# data[].attributes.body
The Real Affordability for All (RAFA) coalition is made up of more than 50 groups, and is working to end the housing crisis in New York City. The coalition leverages its power to address homelessness, NYCHA, the preservation of existing affordable housing, and the development of new affordable housing.

# data[].attributes.attachment_link.readable_text
A study will show that the city can drive a much harder bargain with developers

Shortly after Bill de Blasio was elected mayor in 2013, a broad coalition of advocates, workers and residents came together to begin demanding real affordability in new housing and quality job opportunities in neighborhoods that would be rezoned for residential development.

Over the past two years, members and leaders of Real Affordability for All have called on the de Blasio administration to ensure that low-income New Yorkers are not left behind.

Thousands of New Yorkers involved in this campaign agreed on something crucial: Just as de Blasio's election was a referendum on the growing inequality tied to his predecessor Michael Bloomberg's legacy, so must de Blasio's housing and rezoning plan slow the gentrification and displacement connected to Bloomberg's luxury housing boom.

Together, de Blasio's Mandatory Inclusionary Housing (MIH) and Zoning for Quality and Affordability (ZQA) are intended to boost the supply of affordable housing across the city. The two initiatives recently passed the City Council with broad support and were strengthened to increase the depth of affordability for countless struggling New Yorkers who are far from middle class, let alone rich. De Blasio's plan is an important step, but it does not cover all low-income New Yorkers-especially workers earning $30,000 or less per year, who are struggling the most to survive.

De Blasio will not fulfill his mandate as mayor to create a more affordable and livable city if housing is out of reach for working-poor New Yorkers in danger of displacement and homelessness.

To his credit, de Blasio himself has acknowledged the importance of doing more to create deeper affordability and spur local hiring in ways that empower low-income residents in our neighborhoods.

Last month, he said, "We want to look for any other ways we can go further ... We want to keep innovating. We want to find ways to do more because this affordability crisis is so real."

He was referring to a new study the city will conduct with our coalition to examine all the available tools for getting to deeper affordability and job standards in low-income neighborhoods to be rezoned.

This is where the real work begins. It's crucial to recognize that MIH and ZQA are only a baseline-a solid starting point for new affordable housing in rezoned neighborhoods, but not the end of the story.

New residential density will increase the number of apartments in many neighborhoods, and that means developers will be earning bigger profits. But instead of allowing developers to keep all of that profit, communities should be able to withhold extra density and only offer it if developers agree to build deeply affordable housing, including apartments for residents making below 30% of the area media income (AMI) and offer career-oriented jobs for low-income residents.

How density can be used to create real affordable communities is what we hope to study as part of a collaborative effort with the administration, labor unions and community groups.

This proposed study is a crucial first step toward a new model of community planning in New York City. We believe low-income New Yorkers can use the results of the analysis to drive a much harder bargain with developers and win more affordability, greater economic opportunity and job standards in neighborhoods that are rezoned.

Our goal is to put into practice additional policies and land-use strategies that can drive mixed-income developments where at least 50% of new apartments are affordable to current residents, including low-income New Yorkers who would be hired locally to build new housing they can afford.

Construction is a growing industry and more New Yorkers should be able to gain access to apprenticeship opportunities and new careers building apartments they can actually afford.

Zoning for increased residential density will reshape not just our skyline but the lives of millions of New Yorkers for decades to come. The process can and should create real affordable housing and good jobs that meet the needs of low-income New Yorkers, while still enabling new development to thrive.

Community-based developers, land-use experts, labor leaders and housing policy analysts are ready to work with City Hall to show how de Blasio's housing and rezoning efforts can live up to the bold, progressive vision of his mayoral campaign.

Let's roll up our sleeves and make it happen, together.

Maritza Silva-Farrell is campaign director of Real Affordability for All.

# data[].attributes.attachment_link.description
A study will show that the city can drive a much harder bargain with developers Shortly after Bill de Blasio was elected mayor in 2013, a broad coalition of advocates, workers and residents came together to begin demanding real affordability in new housing and quality job opportunities in neighborhoods that would be rezoned for residential development.

# data[].attributes.headline
How Mandatory Inclusion is playing out in East NY

# data[].attributes.subject
How Mandatory Inclusion is playing out in East NY

# data[].attributes.attachment_link.readable_text
Housing advocates say they are planning to disrupt a Department of City Planning committee meeting this afternoon—the first of many that will address the rezoning of low-income neighborhoods across the city, as part of de Blasio's $41 billion affordable housing plan.

"New housing under de Blasio's rezoning plan will go to wealthier, whiter outsiders: people who do not live in neighborhoods like East New York and the South Bronx," said Real Affordability For All (RAFA), a coalition of more than 50 affordable housing activist groups across the five boroughs.

East New York is the first of fifteen low-income neighborhoods scheduled to be rezoned as part of de Blasio's plan. In February, the mayor released an initial blueprint for rezoning in East New York's Cypress Hills neighborhood and adjacent Ocean Hill in Bed-Stuy, which calls for the construction of 7,000 new apartments by 2030, plus an additional one million new square feet of commercial space.

The exact affordability breakdown for East New York, which has been discussed informally since the summer, is being presented today for the first time. According to the East New York Community Plan, at least 50% of all new housing built in the rezoned area in the next 15 years—which encompasses the area around the A/C, J/Z/L Broadway Junction station—must be "affordable" to local residents.

In the case of East New York, new developments in the zone would likely require additional subsidies from the city—an incentive that de Blasio spokesman Wiley Norvell argues is necessary in order to prompt development in a neighborhood where the real estate market is not as "white hot" as, say, Downton Brooklyn or Williamsburg.

According to the mayor's office, the "first wave" of affordable housing in the neighborhood would generate 1,200 new apartments over the next two years—80% reserved for families making no more than $46,000, or 60% of the the Area Median Income (AMI), and 27% for families making $31,000 or less, or 40% of the AMI. In this case, the city defines a "family" as a household of three, with any number of earners. 50% of the units will be reserved for current East New York residents. More specifically:

For a 2 BR unit, 11% units under $583, 16% units under $777, 14% units under $971, at least 39% units under $1,165, no more than 20% units up to $1,748.

If certified by the City Planning Committee, this proposal will be subject to a seven-month review process, which will culminate in a City Council vote.

Some East New York residents are skeptical of the proposed rezoning, fearing that it accelerates, rather than stymies, gentrification. According to recent analysis by the Community Service Society, the median income in East New York is just $35,000 per year. At a May rally for fair rezoning, 49-year-old Rama Campbell, a lifelong East New York resident, told us that she was already witnessing gentrification's eastward creep.

"It is a transition right now," she said. "Rent is getting crazy. There's no more middle class. Now either you're rich, or you're poor."

In response to community skepticism this summer, the city has expanded its rezoning plan to include renovations to neighborhood parks, and a new school with 1,000 seats. De Blasio has also committed $36 million annually to free anti-eviction legal services, which Norvell, the mayoral spokesman, described as a sort of "proactive 311." Norvell was careful to stress that the displacement in East New York is not a "symptom of the rezoning," but rather a "byproduct of a very hot housing market" across the borough.

"We've listened hard," said Norvell in a statement. "That's why there will be a new school, improved park space and new economic opportunities. And that's why the city is taking unprecedented steps to protect tenants in East New York from displacement. Nothing like this have ever been done before."

Two other zoning plans going up for review today are Mandatory Inclusionary Zoning, which would require that 25-30% of apartments in new developments go to low-income families, and " Zoning for Quality and Affordability," which focuses on generating more affordable senior housing and care facilities, as well as improving the quality of residential construction.

While Councilmember Inez Barron, whose district includes a very small portion of East New York's rezoning area, is opposed to these plans—she described them as "totally unrealistic" and a "model for gentrification"—Councilmember Rafael Espinal, who represents the majority of the area, has voiced tentative support.

"Mandatory inclusionary zoning is a critical new tool to ensure permanent affordability and a tool which I welcome in areas set to be rezoned," he told reporters in August, although he has voiced support for "deeper" affordability.

The administration is NOT delivering on affordable housing. NYC needs #RealAffordability NOW pic.twitter.com/un8UQHrmKE
- Real Affordability (@AffordabilityNY) September 21, 2015

RAFA coordinator Maritza Silva-Farrell is not convinced by City Hall's assurances. "It's great that they are thinking about this in a much more holistic way," she said of the park and school concessions. "But if you think of the number of low-wage workers in our city, who are hoping to make $15 an hour, that gets you $25,000 a year. That is not what this housing plan is going to be covering."

RAFA's alternative plan, released today, calls for each of the 15 rezoned low-income neighborhoods to include a "special purpose district." In that district, developers hoping to earn city subsidies would be required to build 50% affordable units-not by citywide AMI standards, but by the standards of that particular neighborhood. For example (note that this scenario considers the AMI for a family of four, rather than a family of three as per the city's breakdown above):

If a neighborhood median income is at 40% of the citywide Area Median Income (AMI) in 2015 for a family of four ($34,520/year), at least 50% of the 8 new units will average 40% AMI - allowing for units as low as 20% AMI ($17,260 for a family of four) and up to 60% AMI ($51,780 for a family of four).

New developments in special purpose districts would also be built by local residents making union wages. This way, as Silva-Farrell puts it, "residents will be able to afford the housing that they build."

Asked to comment on Norvell's assurance that the city's proposal will protect East New Yorkers from displacement, Silva-Farrell disagreed. "The story of Williamsburg is the future of East New York," she warned.
Additional reporting by Roxie Pell.
UPDATE: After this morning's rally in downtown Brooklyn, about 35 protestors marched to 22 Reade Street, where the City Planning committee meeting was slotted to begin at 1:00. Rather than enter the meeting, the protesters crowded into the overflow room, where the hearing was being broadcast on a wall-mounted television. They chanted loudly for about 30 minutes, before leaving with a resounding "We'll be back!"

"Don't worry, they can hear us loud and clear," said one organizer who preferred to remain anonymous. A few reporters inside the hearing confirmed this.

Ironically protestors making it hard to hear questioners grilling city planning w tough points.
- Sally Goldenberg (@SallyGold) September 21, 2015

@thecitywanderer The irony is they interrupted some pretty tough questions from the commission.
- Sally Goldenberg (@SallyGold) September 21, 2015

# data[].attributes.attachment_link.title
Housing Advocates Fear East New York Is The Next Williamsburg

# data[].attributes.attachment_link.description
Housing advocates say they are planning to disrupt a Department of City Planning committee meeting this afternoon-the first of many that will address the rezoning of low-income neighborhoods across the city, as part of de Blasio's $41 billion affordable housing plan.

# data[].attributes.body
“No private development on NYCHA land! No luxury units on NYCHA land! De Blasio, do not build on our playground!”

# data[].attributes.attachment_link.readable_text
Published Oct 27, 2015 at 11:00 am (Updated Oct 29, 2015)

Holmes Towers residents continue to stand against agency's revenue plan

Photos

Residents of Holmes Towers and their allies marching from the public housing complex on East 93rd Street to Gracie Mansion to protest the New York City Housing Authority plans for a development at the site of a children's playground. Photo: Daniel Fitzsimmons

Residents of Holmes Towers and their allies marching from the public housing complex on East 93rd Street to Gracie Mansion to protest the New York City Housing Authority plans for a development at the site of a children's playground. Photo: Daniel Fitzsimmons

Public housing residents marched five blocks south to Gracie Mansion last week with a message for Mayor Bill de Blasio: hands off our land.

The residents were protesting a recently unveiled plan to build a mixture of affordable and market rate housing on playground space at Holmes Towers on East 93rd Street and First Avenue, where they live.

Under the terms of the plan, which was announced in September, the New York City Housing Authority would partner with a private developer to build 350 to 400 apartments on playground space between the two Holmes Towers, 175 to 200 of which would be affordable. The rest will be offered at market rate.

The main goal of the initiative, named NYCHA Next Gen Neighborhoods, is to close the agency's $17 billion budget gap. In exchange for residents' blessing, NYCHA is promising to make much-needed repairs at Holmes and give residents first priority when the affordable apartments are built. The agency predicts the program will generate $300 million to $600 million over the next 10 years, revenue that will be split between infrastructure needs at Next Gen sites like Holmes and NYCHA's larger capital needs. A similar program was announced in September at Wyckoff Gardens in Brooklyn.

But residents aren't going along with the plan. Holmes residents, with assistance from a public housing advocacy organization, staged a walkout at a recent outreach meeting with NYCHA officials. The residents feel as if key decisions regarding the playground space at Holmes have already been made, and that the agency is merely feigning at including them in the planning process.

With guidance from Community Voices Heard, a public housing organization made up of NYCHA tenants across the city, Holmes residents gathered at the very park space they believe will be built over at Holmes to begin their march to Gracie Mansion, where de Blasio was hosting a party for the Gracie Mansion Conservancy to celebrate the grand reopening of the mayor's residence.

"Gentrification is really what this is," said Sandrea Coleman, a Holmes resident, at a rally before the march. "Who in their right, sane mind takes away a public park for little kids?"

After the rally about 100 residents headed south on First Avenue with a light police escort before cutting east on 88th Street. Residents marched with handmade signs calling on de Blasio to nix the plan altogether, reaffirming their stance that private development has no place on public land. Some marched with canes, walkers and strollers, while children who use the park at Holmes kept step alongside their parents. Councilman Ben Kallos headed the pack with a Community Voices Heard banner, as organizers led chants along city streets.

Kallos said he was no longer welcomed by NYCHA to address residents at meetings organized by the agency concerning Next Gen NYCHA.

"The mayor said he's committed to a process but the process doesn't seem to provide a role for community members," Kallos said during an interview at the march.

Arriving at Gracie Mansion, residents were kept on the west side of East End Avenue, in a cordoned-off area across the street. About a dozen police officers kept order at the scene, while guests of Gracie Mansion stepped out of luxury vehicles at the entrance to the mayoral residence.

"De Blasio!" residents shouted from across the street, in a chant led by Kallos. "No private development on NYCHA land! No luxury units on NYCHA land! De Blasio, do not build on our playground!"

Lakeesha Taylor, a Holmes resident with two young children, one of which uses the playground at the development, said there's no reason she or her neighbors should agree to the plan.

"I don't believe it's right that they think they can just place a building in front of us and claim it's for our benefit when they're taking our air, our land, our space," said Taylor. "You're over-populating this area, which is already overpopulated. Your over-populating the schools, the subway system, everything. And you say it's for our benefit?"

Milagros Velasquez, a Holmes resident and tenant organizer, noted in an interview in September when the plan was announced that many who live at Holmes wouldn't qualify to apply for the affordable units due to the income requirements. In order to qualify for the affordable apartments, a potential resident would need to make a minimum of 60 percent of the area median income, which is equivalent to a family of three making $46,600.

As an alternative to Next Gen Neighborhoods, residents and organizers are calling on de Blasio and state and federal authorities to properly fund the agency.

When reached for comment after the march, a NYCHA spokesperson said the agency is going to continue with their community outreach efforts to engage residents in the process, and said that Next Gen NYCHA is a necessary program that will provide affordable housing and much needed revenue.

"NYCHA is proceeding with scheduled community engagement - it's critical for residents to understand NYCHA's financial crisis and the consequences of inaction," an agency spokesperson said. "NYCHA plans to use every tool available, including NextGen Neighborhoods, to save public housing and improve living conditions at Holmes. We are committed to continuing to answer questions, debunk myths and address resident concerns as the process moves forward."

Community Voices Heard pressed back against the claim that the agency's plan will save public housing or is somehow worthy of NYCHA residents' support.

"While Mayor de Blasio and NYCHA Chair Shola Olatoye say that this is the only way to raise sufficient resources to preserve the housing stock, residents believe that the lack of deeply affordable units being proposed will only exacerbate gentrification in their communities and that NYCHA residents will not get enough out of this deal," said Community Voices Heard in a press release. "Instead, given how critical the public housing stock is to our city's infrastructure, residents believe that significant resources need to be invested by the city and state, much like the recently agreed upon commitment to the MTA."

Officials at the city and state level recently agreed to a joint-funding package to close the Metropolitan Transportation Authority's $14 billion budget gap. A NYCHA spokesperson said the agency will continue to hold the outreach meetings, despite the walkout and march, to gather Holmes residents' input on where the new building should go at the development.

Please enable JavaScript to view the comments powered.

MUST READ NEWS

# data[].attributes.attachment_link.keywords[]
publication > our town (east side)  | carousel  | newsletter  |

# data[].attributes.attachment_link.description
Public housing residents marched five blocks south to Gracie Mansion last week with a message for Mayor Bill de Blasio: hands off our land. The residents were protesting a recently unveiled plan to build a mixture of affordable and market rate housing on playground space at Holmes Towers on East 93rd Street and First Avenue, where they live.

# data[].attributes.body
on debt & art education - by Caroline Woolard. what is art when it costs $120k to train?

# data[].attributes.attachment_link.readable_text
BFAMFAPhD makes Art, Reports and Teaching Tools to advocate for cultural equity in the United States. We bring people together to analyse and reimagine power relationships in the arts.

About

BFAMFAPhD is a collective of artists, designers, technologists, organizers, and educators who work in the intersection of art, technology, and political economy.

Concerned about the impact of debt, rent, and precarity on the lives of creative people, BFAMFAPhD asks: What is a work of art in the age of $120,000 art degrees? BFAMFAPhD creates reports, pedagogical tools, and movement syllabi, including Artists Report Back, Census Report, Statements and... in which nothing can be finally paid off . BFAMFAPhD's work has been cited widely by mainstream and art-centric press and has been exhibited at The Museum of Art and Design, Cleveland Art Institute, and The Brooklyn Museum. Select residencies and presentations include Triangle Arts Association, Brooklyn, NY, workshops at the Brooklyn Museum, Creative Time Summit and international weeklong intensives in Sweden and Denmark.

BFAMFAPhD Core Members are Susan Jahoda, Emilio Martinez Poppe, Vicky Virgin, and Caroline Woolard. Contributors include Pasqualina Azzarello, Ann Chen, Dia Felix, Art Jones, Ben Lerchin, Alex Mallis, Blair Murphy, Agnes Szanyi, Kieran Startup, Lika Volkova, Jeff Warren, and Zipeng Zhu.

We invite contributions to BFAMFAPhD. Email us: info [at] BFAMFAPhD.com
CV

Reports

Download Artists Report Back, 2014

As artists and art school graduates, we often find ourselves in conversations about the difficulties of continuing our practice as writers, authors, artists, actors, photographers, musicians, singers, producers, directors, performers, choreographers, dancers and entertainers. We struggle to support ourselves with jobs outside of the arts and we struggle to earn a living in the arts. Yet art school administrators and "creative class" reports assure us that arts graduates make a living in the arts. Loan officers insist that art students can afford art school tuition, repaying student loans over time by working in the arts. This is not our experience. We decided that it was time make our own report.

How many of us are there? If we are not supporting ourselves as working artists, what jobs do we work? Connecting our lived experiences to national trends, we wanted to know: What is the impact of rent, debt, and precarity on working artists and arts graduates nationally?

We looked at artists' demographics, occupations, educational attainment, field of degree, and earnings as recorded by t he Census Bureau's 2012 American Community Survey (ACS) . The ACS is the largest survey that collects data about artists, surveying roughly 1 out of every 100 persons in the nation. With this data in hand, we made this report to reframe conversations about the current conditions and contradictions of arts graduates, and to make informed decisions about the ways we live and work. At the end of the report, please see our recommendations for organizational change and interpersonal action.

We see visual artists , creative writers , architects , and many people speaking up against rising debt, racial and gender inequity, and precarious labor in the arts. We are teaching that another way is possible - solidarity art worlds. We made Artists Report Back not as an argument of economic justification - it is a reflection on the conditions of cultural work in the United States today that paves the way for cultural equity initiatives locally and nationally.

Teaching

Ways of Being is a multi-platform pedagogical project which offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Ways of Being is for arts educators who want to connect art to economy; for students who want to make artworks that reflect the conditions of their own production. Ways of Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content.

Ways of Being is published by Punctum Books and is a contribution to BFAMFAPhD from Susan Jahoda, Emilio Martinez Poppe, and Caroline Woolard. Read the Introduction and the Spaces of Learning on Art21.

A website with teaching tools, videos, and presentations to accompany Ways of Being is coming soon!

Email me when Ways of Being is available online and in print from Punctum Books

Upcoming Events

- 4:30 pm
How can we support ourselves and each other? This workshop looks at the ways in which we meet our needs for wellbeing in order to dream, practice, and work on any project. Support extends beyond the life of our projects, often shaping the ways in which we navigate the contradictions of living and wo...

Press

The Atlantic, November 6, 2014.

New York Times, October 29 2014.

The Dish, October 25 2014.

Bad at Sports, October 24, 2014.

The Huffington Post, Arts and Culture, October 24, 2014.

The Washington Post , October 21, 2014.

The New Yorker, October 20, 2014.

Hyperallergic, October 20, 2014

Resources

Join the BFAMFAPhD mailing list

# data[].attributes.attachment_link.description
BFAMFAPhD makes Art, Reports and Teaching Tools to advocate for cultural equity in the United States. We bring people together to analyse and reimagine power relationships in the arts. BFAMFAPhD is a collective of artists, designers, technologists, organizers, and educators who work in the intersection of art, technology, and political economy.

# data[].attributes.body
New Yorkers will have access to affordable, high-quality housing coupled with robust infrastructure and neighborhood services.

Thriving, Equity, Sustainability, Resilience

# data[].attributes.body
Spaceworks is a not-for-profit cultural community development organization dedicated to expanding the supply of long-term, affordable rehearsal and studio space for artists in New York City.

# data[].attributes.attachment_link.readable_text
A lifelong New Yorker, I have long equated loft spaces with living the real estate dream. The raw, yet well-partitioned apartments-not to mention what I, as a kid, perceived to be the impeccable taste of the people who dwelled in them-were my absolute ideal.

When I moved into a Bushwick loft in 2007, I thought I was made. Even as my soon-to-be roommates and I made the first visit to what would become our new home, I remember whispering, "Wow, we could actually get to live here?"

Two credit checks, one large security deposit, and lots of boxes later, we moved in. True, our lease was commercial, our windows were right above the loading dock, and only two out of three bedrooms were finished. That didn't prevent most of my friends from remarking on how spectacular our place was. People asked us if there were other available units in our building. We joked about our illegal apartment. We felt cool.

In the Bushwick of 2007, "loft law" was a mysterious code word, a secret that explained how tenants in TriBeCa and SoHo had maintained their now glamorous spaces since the more relaxed real estate days of the '70s. The initial New York City loft law was passed in 1982. It offered protection again substandard living conditions, unfair rent increases, and unreasonable eviction to tenants in previously commercial spaces.

In other words, the loft law created legitimacy for what would ultimately become an incredibly lucrative real estate development: turning formerly industrial spaces into residential ones. For people who moved in after the set tenancy period, there was no rent stabilization whatsoever. The now legal spaces could be rented out at or above market value, based on demand, and the associated cultural capital of living in them.

I am not the only person who finds loft spaces amazing. Even if the city turns every unused industrial building into legal residential spaces, the demand for loft apartments will still be greater than the supply. Loft conversions, while they do make brilliant use of underutilized real estate and create more housing in a time when it is needed, have long been linked to cycles of gentrification that are at best too rapid, and at worst, devastatingly harmful - not only to previous inhabitants to an area, who may be displaced due to corresponding rent increases in their own homes, but also to the residents who move into the lofts in the first place.

It took until February 2009 for me to shed the fear of losing my apartment at a moment's notice. My lease had expired a year earlier, and we were living month to month without a rent increase. No new lease was ever mentioned as a possibility. In a way, we had achieved a kind of anti-establishment rent stabilization: as long as we didn't complain or do anything too stupid, we would no longer have to deal with our landlord. He would routinely cash our checks weeks, if not a full month, late-but he also turned a blind eye when we paid late, or came up a little short. It was a comfortable status quo.

On June 21, 2010, the new loft law passed. Almost immediately, critics spoke out against it, citing the law's likelihood to speed gentrification - not because of the higher level of income associated with loft dwelling in contrast to standard residential apartments, but rather because the law privileged residential space over manufacturing or commercial space. In fact, in a last minute twist, thirteen out of the city's 16 industrial business zones were excluded from the law, leaving primarily three Brooklyn neighborhoods with new tenant protections: Williamsburg, Greenpoint, and Bushwick. Unsurprisingly, all three have been the recent sites of rapid gentrification and demographic shift.

February 2007 found me living in 1,000 square feet, at less than $2 per square foot, with two roommates and a commercial lease. June 2010 found me living in 1,000 square feet, at less than $2 per square foot, with two roommates, no lease, and the renewed belief that I would have to move. My fear had three main prongs: first, that my landlord would attempt to evict me so as to avoid his responsibilities to tenants who met the loft law's required tenancy period; second, that even if he didn't evict me, the cost of improvements to the building would be eaten by the tenants, resulting in a rent increase that would catapult my cost of living beyond my current means; third, that even if everything remained financially stable, code violations on the building-now on the map as a place where people actually live-would result in forced eviction by the city.

I became the poster child for loft living. Less than a week after the loft law passed (when, in truth, the specifics of the law were still a bit up in the air, as they remain until this day), I had received phone calls from reporters at the NY Post and the New Criterion. A photograph of my apartment ran in Metro New York, although I asked for my name to be kept anonymous, resulting in a series of phone calls and texts asking me if I was " Sarah."

But laws on the ground can be very different from laws on the page. We're not up to code, but over the course of the past few months, my building has acquired the following:

A banister for the stairwell, which previously had a railing on one side and smooth wall on the other. I fully support this improvement, which was constructed over the course of one afternoon by two Hasidic boys who looked about sixteen.

A security gate between the downstairs door and the second floor. This security gate, supposedly installed because the first floor of our building is still a warehouse (as it has been the entire time I've lived here), is right in the middle of the staircase, making it nearly impossible for anyone to get upstairs without two free hands for door management, let alone move a piece of furniture into or out of the building. The gate lasted in its locked state for all of three weeks, when some anonymous citizen took it upon him or herself to break the lock and tie the door back. Rather than assuming this act was a random crime, I am choosing to look at it as a tactical response to something that no one ever said they wanted.

An unprecedented increased in fliers. This may or may not be related. Some of the fliers, it's true, have been from local organizations like the Ridgewood Bushwick Senior Citizens Center, which strategically developed a special committee in their real estate office just to address loft tenancy rights and issues. Other fliers, though, just seem like an increase in awareness that my building is residential. People actually live here. People who might call car services. Or order sushi. Or vote in primaries.

Some of the things I was taught to fear by other loft dwellers have turned out to be true-sort of. When the 17-17 Troutman building was hastily evicted in 2007, one of the reasons given was the lack of fire safety in the building. What suffices for a single, open floor factory layout works less well for individual apartment units.

I had an early morning downstairs buzz a few weeks ago from the Fire Department, not because we'd called them, but because they wanted to look at the building. I spent a few moments panicking about the lack of fire escape route in our apartment (as well as suddenly questioning whether or not our sprinklers actually work) before realizing that if they wanted to see my messy living room, they would have knocked already. In fact, I never saw them inside the building, and as far as I know, they haven't been back since.

I still don't have a lease; nor has there been talk of a rent increase on my apartment. The easiest way to fund building improvements is by gouging tenants; given that I meet the tenancy period for rent stabilization, I had only assumed that my landlord would gently encourage me to move out, so that new tenants could move in, under a residential and more expensive lease. We continue to have a strange relationship.

Oddly, there was no official word from the building that the new loft law would mean anything to any of us, but suddenly I was receiving calls from a woman in New Jersey accusing me of not paying rent. Given how nice she was on the phone, and how quickly it became clear that she was only calling me because someone told her to, I don't think it qualified as tenant harassment. The calls stopped at the end of the summer, after I produced bank receipts confirming payment.

These vague combinations of change and non-change make it difficult for me to make predictions for 2011. I no longer feel as attached to my apartment as I once did; in fact, it seems to have taken on a life far beyond mine and my roommates'. As it turns out, loft apartments may be more trouble than they're worth: my home is a problematic symbol of tenuous urban change.

I'm still glad I live here, but I'm no longer in awe of it. Instead, I'm worried. The difficulty with living in a dream is how easy it can be come a nightmare. My new real estate ideal may sacrifice cool points for longevity. -Chloe Bass
Chloë Bass is an artist and community organizer based in Bushwick.

# data[].attributes.attachment_link.title
The New Loft Law, or How to Hold on to Your Loft + Let Go at the Same Time

# data[].attributes.attachment_link.description
A lifelong New Yorker, I have long equated loft spaces with living the real estate dream. The raw, yet well-partitioned apartments--not to mention what I, as a kid, perceived to be the impeccable taste of the people who dwelled in them--were my absolute ideal.

# data[].attributes.attachment_link.description
Project Row Houses is a community platform that enriches lives through art with an emphasis on cultural identity and its impact on the urban landscape.

# data[].attributes.body
Naomi Beckwith

# data[].attributes.attachment_link.readable_text
Board of Directors

BOARD MEMBERS

Naomi Beckwith

MCA Chicago

Naomi Beckwith is the Marilyn and Larry Fields Curator at the Museum of Contemporary Art in Chicago, focusing on conceptual practices in contemporary art. Her master's thesis on Adrian Piper and Carrie Mae Weems earned Distinction from the Courtauld Institute of Art in London. Her exhibitions and work have been featured in The New York Times, Artforum, T Magazine, Uptown, CODE Magazine, and Ebony Magazine where she was recently listed as a Top 100 Leader in Arts and Letters. Beckwith was a fall 2008 grantee of the Andy Warhol Foundation for the Visual Arts and was named the 2011 Leader to Watch by ArtTable. In addition to her curatorial work and service to The Laundromat Project, Beckwith has served on several host committees such as RUSH Philanthropic Gold Rush Awards, the BAMart Annual Auction, Triple Canopy and the Art for Africa auction for the Africa Foundation.

Tresell Davis, Treasurer

Ross Inc.

Tresell is an extremely passionate and accomplished retail strategist with a degree in Health Promotions and Disease Prevention Studies from the University of Southern California. She has worked in merchandising and planning roles for Ross Inc., Macy's and the May Company utilizing product and financial analytics to create business solutions, and also serves on the Fashion Deli advisory board. She is an avid supporter of the arts and believes in its transformational ability to change and elevate the landscape of communities.

Stephanie Dinkins, Co-Chair

Stony Brook University

Stephanie Dinkins is a visual artist who uses the power and potential of images to investigate subjectivity and social equity through moving image, community-centered projects and installations. Her work is exhibited internationally and has been featured at renowned and community based venues, including Institute of Contemporary Art Dunaujvaros, Hungary; Herning Kunstmuseum, Denmark; Spellman College Museum of Fine Art; Contemporary Art Museum Houston; Wave Hill, Studio Museum in Harlem; Spedition, Bremen, Germany; and the corner of Putnam Ave and Malcolm X Blvd, Bedford Stuyvesant, Brooklyn. She is an alumna of the Maryland Institute College of Art (MFA), the International Center of Photography, and Syracuse University. She is also Associate Professor of Art at Stony Brook University where she teaches digital and interactive media.

Marcus Ellington

Google

Marcus Ellington is the Head of Industry for Media and Entertainment at Google, where his team oversees Google and YouTube's cable television advertising business. Marcus has been in digital advertising for over a decade, helping marketers use digital solutions to tell brand stories, reach consumers and drive results. He began his career at CBS Television Stations in digital sales marketing where he developed campaigns for CBS On-air franchises such as March Madness, Grammy's, and US Open Tennis. Marcus then worked at Radio One as Director of Ad Sales for Interactive One where he focused on helping brands reach multicultural consumers. Marcus is passionate about new emerging trends in media and technology and loves to work with partners that have this same drive to push the boundaries and try new innovative approaches. Marcus holds a BA in communications from Temple University and in 2015 graduated from Duke University's Google Global Business Academy.

Dr. Erika Faust

Elite Orthodontics

Dr. Erika Faust is an orthodontist practicing in midtown Manhattan. She is a graduate of Spelman College and Howard University College of Dentistry. Prior to making a full-time commitment to her dental practice, she served as a part-time attending dentist and clinical instructor at Bronx Lebanon Hospital Center. She is active with Operation Smile, an international charity organization that treats facial deformities in children, and New Yorkers for Children, a charity that assists foster children as they enter college. Her professional affiliations include the American Dental Association, and the American Association of Orthodontists. Dr. Faust is a native New Yorker, is an avid supporter of the arts, and has lent her support to such institutions as the Museum of Modern Art, the Whitney Museum, The Fashion Institute of Technology, and the New York Public Library.

Ali Goldstein Norup, Secretary

CEO & Co-Founder, kpiReady

Ali is the CEO and Founder of kpiReady, which streamlines data collection and reporting so that teams, investors, and other stakeholders align on company goals from Day 1. Additionally, Ali is an Advisor to GDPRsimple-a company focused on addressing the implementation and demonstration requirements for small and medium sized businesses of the EU General Data Protection Regulation. She has over 10 years of business development and client relationship management experience. Ali previously worked for world renowned institutions, including JPMorgan's Private Bank, New York University, the University of Chicago, and The Armory Show. She has a MBA from NYU's Stern School of Business, where she focused on Finance and Strategy, and a degree in non-profit administration from NYU Steinhardt. As someone who built her career on strategically problem-solving across sectors, Ali is a highly professional and successful leader with a track record of orchestrating large team and project management efforts. She is also an avid sports fan and passionate art lover and collector.

Rasu Jilani

NEW INC

Rasu Jilani is an independent curator, cultural producer and social sculptor, who investigates the intersections between art, culture and civic engagement as a means of raising critical consciousness. The main objective of his work is to catalyze interaction between artists, cultural institutions, the local community and the wider public, in order to promote cultural awareness through exhibitions, public programs, and cultural events. Currently Rasu serves as the Director of Cultural Diversity and Strategic Partnerships at NEW INC, The New Museum's creative entrepreneurship incubator for art, tech and technology. From 2013 through 2016, Jilani worked at MAPP International Productions as the Director of Community Programs.

Dexter Wimberly

Aljira, a Center for Contemporary Art

Dexter Wimberly is Executive Director at Aljira, a Center for Contemporary Art (Newark, NJ). An accomplished entrepreneur, curator and passionate supporter of the arts, Wimberly has exhibited over 300 artists in the U.S. and internationally. He maintains a critical dialogue with emerging artists throughout the world by way of exhibitions, public programs, and lectures at galleries and institutions such as Mixed Greens Gallery, Driscoll Babcock Galleries, The Brooklyn Academy of Music, The Brooklyn Historical Society, the Museum of Contemporary African Diasporan Arts (MoCADA), The Savannah College of Art and Design, and Lower Manhattan Cultural Council (LMCC). Prior to entering the art world, Wimberly was co-founder and CEO of the pioneering youth marketing, PR, and advertising agency, August Bishop. From 1995-2008 Wimberly directed the firm's acquisition of prestigious clients including Adidas America, The Coca-Cola Company, L'Oreal USA, The Savannah College of Art and Design, Virgin Mobile USA, Guinness World Records, Sirius Satellite Radio, and Turner Broadcasting.

Curtis D. Young, Co-Chair

Ross Institute for Advanced Study and Innovation in Education

Curtis is a New York-based arts and culture enthusiast with a profound interest in politics and education technology. His passion for politics began at Hampton University, when he served as a White House Intern in the Clinton Administration. He then went on to work with Congressman Bobby Scott, Virginia House of Delegates Member Mamye E. BaCote, and both Al Gore and John Kerry's Presidential Campaigns. After years in politics, Curtis enrolled in NYU's Wagner School of Public Service in 2005. This led him abroad where he taught English in France and the West Bank of Palestine, and volunteered for the award winning NGO Tostan International both in Senegal and Guinea, assisting in efforts to end the practice of female genital cutting. He has served on the Advisory Council for American Friends of the Louvre Museum Young Patrons Circle, Young Friends of the Dream Ball (American Cancer Society), Young Ambassadors of Malaria No More, and is a member of Kappa Alpha Psi Fraternity, Inc. and the Maynor Biggers Artist Fund. Curtis currently works as a Project Director at the Ross Institute for Advanced Study and Innovation in Education.

Founder

Risë Wilson

Robert Rauschenberg Foundation

Risë Wilson first conceived of The Laundromat Project in 1998-99-envisioning "a space for people to be able to create, not just consume art." She served on the Board of Directors from incorporation in 2005 through early 2016 and remains a major champion of our work. She is currently the inaugural Director of Philanthropy at Robert Rauschenberg Foundation (RRF). As a member of the foundation's senior leadership team, Risë is leading the organization through a new phase of charitable giving-one that builds on the legacy of its founder while remaining relevant to contemporary concerns. To that end, the foundation supports initiatives at the intersection of arts and political issues, particularly those that embody the fearlessness, innovation, and multidisciplinary approach that Rauschenberg exemplified in both his art and philanthropic endeavors. RRF is particularly interested in the role of creative problem solving in achieving social change. Ms. Wilson's sixteen- year tenure in arts and culture includes roles at the Ford Foundation, Parsons: the New School for Design, MoMA, and the International Center for Photography. She holds a BA from Columbia University where she was a Kluge Scholar, and an MA from NYU, where she was a MacCracken Fellow.

Catalyst Circle

The Laundromat Project's Catalyst Circle is a diverse brain trust of creative, talented, and highly accomplished leaders who share our vision, pledging long-term investment of expertise, ideas, and funds. Our Catalysts are deeply committed to making an impact on their world through our work.

Click here to learn more about joining the Catalyst Circle.

Current Members include:

The Reading Team

Blue Hill NY

Times Square Alliance

Project Row Houses

New Museum

WestFuller Advisors

Aubin Pictures

Museum of Modern Art

Contact Fund

Keegan Fowler Companies

Center for Popular Democracy

Museum of Modern Art

Creative Capital Foundation

New York University

MAPP International

ABC Television Network

Independent Business Consultant

KPMG

Consultant

Brooklyn College

Foundational Questions Institute

Dedalus Foundation

Mote Marine

Andrew Mellon Foundation

WABC-TV

Brooklyn ARTery

The Children's Aid Society

Independent Consultant

Columbia Wanger Asset Management

Yancey Consulting

Staff & Consultants

Ebony Noelle Golden

Cultural Organizing Consultant

Ebony Noelle Golden believes "we are the ones we have been waiting for," as June Jordan's prophetic line of poetry continues to remind us. Golden, a Houston, Texas native, works at the intersecting pathways of arts, culture, and education with individuals and organizations pushing for community-powered cultural change. In 2011, Ebony funneled her passion for entrepreneurship, youth development, culture shift, justice, education and the arts into Betty's Daughter Arts Collaborative, LLC, a cultural arts direct action group based in Harlem. The company is named after her now retired mother, professor and community organizer, Dr. Betty Ann Sims. Ebony Noelle Golden earned a B.A. in Literature and Creative Writing from Texas A&M University, an M.F.A. in Creative Writing-Poetry from American University, and an M.A. in Performance Studies from New York University's Tisch School of the Arts.

Alicia Grullón

Artist Catalyst

Alicia Grullón is an artist and Artist Catalyst with The Laundromat Project's Kelly Street Initiative. A Bronx native, she explores encounters between people and how these encounters are locations where issues of race, class, gender, and activism open up. She creates interdisciplinary, often performative work, that transforms how community and history are experienced. She has been widely-exhibited, having presented work for El Museo del Barrio, The Bronx Museum of the Arts, Creative Time, Open Engagement, School of Visual Arts and the Royal College of Art. She holds a BFA from New York University and an MFA from SUNY New Paltz. She is presently serving as the Altman Foundation Fellow at Columbia University's Wallach Gallery.

Kemi Ilesanmi

Executive Director

Kemi Ilesanmi is the Executive Director of The Laundromat Project. With over 14 years experience in the cultural arena, she is inspired by the immense possibilities for joy and change at the intersection of arts, activism and community. Prior to joining The LP, she was Director of Grants and Services at Creative Capital Foundation where she supported the work of American artists making adventurous new work. From 1998-2004, she was a visual arts curator at the Walker Art Center in Minneapolis. While there, she organized several exhibitions, including The Squared Circle: Boxing in Contemporary Art, and ran the visual arts residency program. She is holds a Masters in Public Administration from New York University and a BA in Afro-American Studies from Smith College. She is also an alumna of the Coro Leadership New York program.

Melissa Liu

Development & Communications Coordinator

Melissa moved to New York in 2012 to pursue a full-time career in arts and culture. She started her journey in the arts as a program intern for the Getty Foundation through the Getty Multicultural Undergraduate Internship Program. She has also worked with the Fowler and Hammer museums in Los Angeles, the Terra Foundation for American Art in Paris, and Columbia University's School of the Arts, Center for Oral History, and Graduate School of Business. She received her B.A. from the UCLA with a major in Art History, and minors in French Language & Culture and Film & Digital Media Studies, and studied photography and cinema abroad in France. In her spare time, Melissa is engaged in her creative practice through activism, organizing, and advocacy, and has collaborated with groups such as OWS Arts and Labor, Museum Hue, The W.O.W Project, and More Art.

Emily Mock

Program Associate

Emily is a cultural programmer, educator, and artist from San Francisco and based in Brooklyn. She joins The Laundromat Project as a Center for Neighborhood Leadership apprentice and focuses on supporting community-led decision making and leadership development. Having lived in spaces such as the Outer Sunset, Western Massachusetts, Oxford, Chengdu, and NYC, she is interested in how place and identity frame each other, as well as ancestral/inherited knowledge and crafts. She is also an educator at the Museum of Chinese in America. Inspired by the youth and elder community leaders in Manhattan Chinatown where she volunteers with CAAAV and the Chinatown Tenants Union, Emily is working on a paper cut children's book about an immigrant community of color's fight against gentrification and displacement. She holds a BA from Smith College in Art History and Political Science.

Yvette Ramírez

Program Coordinator

Born and raised in Queens, NY, Yvette is an arts administrator, educator and aspiring oral-historian. She is inspired by the arts as a social agent that can build and empower communities as well as bring about transformative justice and healing. She has worked as an organizer with Latino and working class communities with Make The Road NY and New Immigrant Community Empowerment and as a fellow with the Center for Neighborhood Leadership. In addition, she has worked as an arts education assistant at The Noguchi Museum as well as alongside artist Sol Aramendi via Project Luz. She holds a BA from Hunter College in Romance Languages and Political Science where she studied past and present social movements in Latin America. As a daughter of Bolivian immigrants, she is interested in exploring identity based politics, the meaning of "home," memory, and patriarchy through her art practice.

Hatuey Ramos-Fermín

Director of Programs & Community Engagement

Hatuey Ramos-Fermín is an artist, educator, and curator based in The Bronx. He is the co-founder of meta local collaborative, a Bronx-based artist collective, and Boogie Down Rides, a bicycling and art project celebrating cycling in the Bronx. He has organized projects and made presentations at a security guard training school (in tribute to Fashion Moda), community centers, churches, restaurants, laundromats, as well as galleries and museums. He has mentored young adults at the Center for Urban Pedagogy, and The Bronx Museum of the Arts, where he also served as Curator of Education. Ramos-Fermín has also participated in the Elizabeth Foundation for the Art's Shift Residency, and The Laundromat Project's Create Change Public Artist Residency. He received his BA from the University of Puerto Rico and his MFA from St. Joost Art and Design Academy.

Ayesha Williams

Director of Strategic Partnerships

Ayesha Williams is an art professional with over a decade of experience working with visual artists, presenting programs, and generating funding for both commercial galleries and nonprofit institutions. From 2010-2016, Ayesha managed Visual Arts at Lincoln Center, a comprehensive program that provides visual art offerings and experiences to Lincoln Center's audiences and supporters. Prior to joining Lincoln Center, Ayesha was the Director of Kent Gallery. In addition to her professional experience, Ayesha is on the board of The Possibility Project and also serves as a Steering Committee member of the UN Women's Conference 2016. Ayesha received her Master's degree in Visual Arts Administration from New York University and Bachelor's degree in Political Science from University of Southern California, Los Angeles.

Faculty

The Laundromat Project works with professional teaching artists, primarily from our three anchor neighborhoods: Bedford-Stuyvesant, Harlem, and Hunts Point.

Our Supporters

INSTITUTIONAL SUPPORT
The Andy Warhol Foundation for the Visual Arts Brooklyn Community Foundation David Rockefeller Fund Dedalus Foundation
A G Foundation
EILEEN FISHER The Ford Foundation Jerome Foundation Joan Mitchell Foundation Lambent Foundation Lily Auchincloss Foundation Materials for the Arts
Distracted Globe Foundation
National Endowment for the Arts New York City Department of Cultural Affairs in partnership with the City Council The New York Community Trust New York City Council Member Rafael Salamanca, Jr. The New York State Council on the Arts
Robert Rauschenberg Foundation Rockefeller Brothers Fund The Shelley & Donald Rubin Foundation Stavros Niarchos Foundation Surdna Foundation Tecovas Foundation The Theo Westenberger Estate Variety the Children's Charity of New York

Muriel Pollia Foundation
The William R. Kenan, Jr. Charitable Trust
The W Trust

and individual supporters like you.
Banana Kelly Community Improvement Association Bronx Cultural Collective Brooklyn Community Arts & Media High School Brotherhood/Sister Sol Kelly Street Garden
COMMUNITY PARTNERS

Laundry Pro

The Laundry Room
Mothers on the Move Naturally Occurring Cultural Districts-New York (NOCD-NY)The New School Studio Museum in Harlem Workforce Housing Group
Marmy Laundromat

The Laundromat Project is a proud member of Naturally Occurring Cultural Districts-New York.
Artist & Craftsman Materials for the Arts
IN-KIND CONTRIBUTors

# data[].attributes.attachment_link.description
Naomi Beckwith MCA Chicago Naomi Beckwith is the Marilyn and Larry Fields Curator at the Museum of Contemporary Art in Chicago, focusing on conceptual practices in contemporary art. Her master's thesis on Adrian Piper and Carrie Mae Weems earned Distinction from the Courtauld Institute of Art in London.

# data[].attributes.headline
Caroline Woolard's Real Estate Investment Cooperative

# data[].attributes.subject
Caroline Woolard's Real Estate Investment Cooperative

# data[].attributes.attachment_link.readable_text
CONTEXT: This is the script that I read during a five minute presentation at the Municipal Art Society's Committee for Urban Entrepreneurship gathering that took place on March 5, 2015 at Civic Hall. It was drafted by me, Caroline Woolard, and edited by Paula Segal, lead facilitator at 596Acres.

In 2008, a bunch of friends and I built out a studio space and managed it together. We signed a 5 year lease with a 3 year option, and hoped for the best. We wanted to make our work and to innovate. This meant taking risks and failing often to finally discover new ideas and make new work, and we needed low overhead (low rent) to make this happen. Most of us got involved in the space to save money, but quickly the space became an emotional and intellectual home for some of us, and certainly for me. When I realized that over 8 years, we would pay our landlord $960,000 for a dilapidated 8,000 square foot studio space that we built out with our own money and sweat equity for years, only to be kicked out and priced out of our neighborhood, not eligible for commercial loans to purchase a building of our own, I became obsessed with affordable, equitable ownership models. I want to stay put in NYC, so I started learning about ways to preserve affordable space.

But let's back up. What do we do in a financial crisis, a networked information era, and a moment in history where there are more creative people than doctors, lawyers, and police officers combined? Remember: There are enough creative people in our nation that if we organized, we'd be larger that the US military! We should keep in mind that even if our bank accounts evaporate overnight, we will still have skills to share with one another. Those don't go away. Imagine it like this: the next time a group of you think about applying for a grant, choose to make each other's projects happen instead. Take the 40 hours you were about to spend on a grant you likely won't get, and use it to work on someone else's project, and let them work on yours. This way, you will get a grant, but it's one of mutual respect rather than institutional visibility. This is the resource sharing that I love and live for.

After co-founding and co-directing resource sharing networks OurGoods.org and TradeSchool.coop since 2008, I've seen how non-profit sharing economy platforms build resilience and mutual aid for those of us on the privileged side of the digital divide. I've also seen that online platforms are not enough. We need affordable space so that we can take risks and fail. This is the only way innovation can occur. We need affordable space so that we can all live and work in this city together, so that we are not overwhelmed with a monoculture of big business and luxury spaces. And so I started thinking: how might we utilize the strengths of a networked information era to produce options to cooperatively finance, acquire, and manage space?

Taking inspiration from the Cooper Square Committee's Community Land Trust, I saw that community based organizations insure that spaces remain affordable, in perpetuity. The Community Land Trust is a resilient and proven model, one that is thriving in the Lower East Side. The question is, how do we make room for more? I recently learned about real estate investment cooperatives. In Minneapolis, a membership share in a cooperative costs $1000; and member-owners also have an opportunity to invest additional funds. They've been able to buy multiple buildings this way, and support cooperative and local businesses.

This is a way to leverage relatively small investments made by a large group of people to purchase properties and put them into community land trusts. By becoming investors in the physical infrastructure of our communities, lots of people get a stake in the present and future of those communities. As the Northeast Investment Cooperative writes, "real estate investment cooperatives make long-term, stabilizing, and transformative investments for the mutual benefit of members and our cities."

Cooperatives can make decisions consistent with the values of their members about whether particular properties are more valuable for their present or potential uses, or for the amount that they can fetch on the market. Banding together with neighbors, people act on the faith that using space in the city is more important than selling space in the city to the highest bidder. We can chose to buy land and buildings, start businesses in them, live in them and hold them together in trust for the present and the future.

I am inspired by existing affordable space options in NYC. There are affordable commercial rental options made possible by Spaceworks and Manufacture New York. There are longterm options made possible by the New York City Community Land Initiative's capacity-building to expand New York's Community Land Trusts, which give its member-owners protection against market fluctuations. For green space, I look to 596 Acres, a land access advocacy organization that facilitates the collaborative public use of land that is already publicly owned.

So my big ideas for urban entrepreneurship are these 3:

1. Support real estate investment cooperatives that can stabilize our neighborhoods. NYC can create a Small Business Services Center, or EDC-run Incubator specifically for forms of shared real estate ownership.

2. Support the creation of community land trusts, so that land purchased by real estate investment cooperatives can be preserved for its use value in perpetuity. Integrate worker cooperatives and shared ownership across the cities economic development infrastructure, as urged by the Democracy at Work Initiative, by creating a Mayors office of Economic Inclusion, tasked with integrating shared entrepreneurship and ownership, including worker cooperatives, housing cooperatives and land trusts, into economic policy and programs across the city administration.

3. Where we already have space we hold in common, prioritize making that space perpetually responsive to the needs of our innovative and risk-loving communities. Transfer vacant city-owned land and buildings that have been sitting unused in our municipal portfolios waiting for development for decades to community land trusts.

30 hours ago, Paula Segal of 596Acres and I made a survey to gauge interest in a NYC real estate investment cooperative. We already have over $450,000 of pledges! If we organize, we can stay put. I have hope for NYC with community ownership, as community land trusts and real estate investment cooperatives give member-owners protection against market fluctuations, creating neighborhood resilience on a level that online resource sharing platforms can only dream of. I don't want to be displaced, and neither do you. Let's make sure that space isn't only affordable once, for the person who can afford to purchase it. Instead, let's buy space together and keep it affordable, in perpetuity. We hope that you'll consider joining us.

NOTE: As of March 10, we are at $750,000 in member-investor pledges. If you'd like to join, pledge here: http://goo.gl/forms/km8k2Bg4d4 What if we bought a building for the cooperative movement in NYC? Let's leverage member-owners' investments to purchase space for good.

# data[].attributes.attachment_link.title
A Real Estate Investment Cooperative for NYC - Caroline Woolard - Medium

# data[].attributes.attachment_link.description
CONTEXT: This is the script that I read during a five minute presentation at the Municipal Art Society's Committee for Urban Entrepreneurship gathering that took place on March 5, 2015 at Civic Hall. It was drafted by me, Caroline Woolard, and edited by Paula Segal, lead facilitator at 596Acres.

# data[].attributes.body
advocates for environment, housing, income

# data[].attributes.attachment_link.title
MORENYC | More Affordable Housing * Create Jobs * Stop Climate Change

# data[].attributes.attachment_link.description
New York City faces rising housing costs that are destroying its working and middle class neighborhoods year-by-year. At the same time, artificially soaring housing prices create a massive opportunity, since assessing inclusionary zoning fees on the purchase of new property in lower Manhattan can fund affordable housing for millions of current and new low-income and working class families in New York City.

# data[].attributes.attachment_link.description
Artspace is the leading developer of arts facilities - creating, owning, and operating affordable spaces for artists and small businesses.

# data[].attributes.body
El Barrio's co op with Artspace - 89 permanently affordable units exclusively for artists

# data[].attributes.attachment_link.readable_text
Sunlight streams through the tall windows and warms the spotless wood floors at PS 109, some of the most coveted apartments in Manhattan at the moment. No, these aren't new luxury skyscrapers or hipster lofts. The apartments are inside a former elementary school in East Harlem, and an incredible 53,000 people applied for the chance to lease one of the new affordable housing project's 89 units.

At a time of skyrocketing rents in New York, that absurd level of demand isn't at all unusual for a new affordable housing project. What is unique are the lucky people who will soon move into the space, where massive studios will rent as low as $494 a month and two-bedrooms for only $1,022: All future residents will be artists.

El Barrio's Artspace PS 109 is the first New York City project for the Minneapolis nonprofit Artspace, a 35-year-old organization that owns and develops affordable housing for artists at the invitation of cities all around the country, with projects financed largely by federal low-income tax credit programs and some charitable gifts.

Often the group works in struggling cities or neighborhoods that are seeking an economic facelift and think artists might help; Artspace describes itself as a leader in "artist-led community transformation." But with properties in 30 cities, it is also sometimes working on the flip side to that mission-helping to keep working artists living in their own rapidly gentrifying neighborhoods-in very expensive cities such as New York.

The premise is interesting. Artists are the leading edge of gentrification, aren't they? They move to cheaper neighborhoods and help make them hip, and soon, along come trendy coffee shops, rising rents, and new well-off residents who displace long-time ones (See: SoHo in the 1970s, Bushwick in 2014). As a neighborhood gets more expensive, they move again; paradoxically, artists are symbols of gentrification, and its victims all at once (though it's very far from clear that they actually are the cause). This is a cycle that is being repeated in neighborhood after neighborhood, not only in New York, but in other cities becoming more and more squeezed for affordable housing. Musicians in Austin, dancers in San Francisco, and painters in Seattle all struggle to stay in places they helped revitalize.

Artspace's main mission in New York is, in a small way, to break that cycle-to preserve the cultural fabric of a small corner of Manhattan that's starting to change quickly.

"The danger of a gentrifying New York is that every community starts to feel the same. The cultural ecosystems become not only less diverse, but the culture of New York as a whole becomes less vital," says Shawn McLearen, Artspace's vice president of property development and project director for PS 109. "Today, you can go in any community, and it feels like it's a community. That's the sort of thing we need to invest in."

East Harlem, also known as Spanish Harlem or El Barrio, is the traditionally Puerto Rican neighborhood where these fears are playing out. Steeped in a rich artistic heritage, the area is a comparatively poor part of Manhattan that lies just north of the ritzy Upper East Side; housing prices have been rising there for at least the last decade.

Groups like El Barrio's Operation Fightback, Artspace's local partner for the PS 109 project, once worked to claim the neighborhood back from drug dealers. Today, they are working to keep this area affordable for long-time residents amid an influx of newcomers. With the PS 109 project, the two organizations are trying to choose artists from the neighborhood as much as possible: They've promised that at least half (if not more) of the new building's residents, who start moving in as soon as this week, will be drawn from applicants who already live nearby. More than 500 local artists have applied

Artist Gloria Duque is among those who hope to win an apartment. Originally from Colombia, she has lived on the Upper East Side/East Harlem border for 27 years and has watched rents rise all around her, working as a freelance designer and caterer to make ends meet. As with many artists, her most important currency is her space and her time- the time to be creative and make art. PS 109's large live-work apartments, and the artistic community that will soon flourish there (the building will have a gallery and community space), are what attract her to the building. "With my art, I am in a stage where I need more space to grow," she says. Her sculptures and objects, she says, require large work areas that she doesn't have right now.

She first has to snag an apartment. The initial step is meeting the income qualifications (applicants must make from $19,000-$35,000 annually for one person to $38,000-$50,000 for a family of four), and then interview with a committee that determines whether she meets the artist preference criteria. (This involves demonstrating a "sustained commitment to her craft," regardless of her work's artistic merit or the income earned from it). The committee also considers an applicant's enthusiasm for participating in the community both in and outside of the building. Duque, who exhibited an installation in an end-of-construction celebration Artspace held this fall, is full of nervous energy as she waits to hear whether she'll get a spot.

Artspace pioneered the idea of building affordable housing for artists in the late 1980s with a project in St. Paul, Minnesota. Unlike many for-profit developers, it intended to keep its buildings affordable permanently rather than jack up rents in 15 to 20 years, after the requirement to keep prices low in return for receiving federal tax credits expires. By 2007, it had already developed 14 projects when the IRS, in an audit, told the organization that its artist preference policy violated the tax credit law because the buildings weren't available for general public use. In response, a national coalition successfully lobbied to revise housing law in 2008, including a new clarification that allowed preferences for tenants involved in "artistic or literary activities." Today, being an artist is the only specific occupation specifically singled out in the law.

With affordable housing in New York in such high demand, it seems like it would be controversial to set aside a building for artists. Instead, there is relatively little community opposition-a credit, Artspace's vice president of communications Melodie Bahan says, to the careful community engagement that went into the 10istration hop-year project. It took many meetings to convince local citizens and politicians that the organization was dedicated to the community and didn't want to bring in "hipsters from Brooklyn." Eventually many supported the project. It helped their case that the dilapidated PS 109 school, which had been saved from demolition by the community and preserved as a historic landmark, had already sat empty and crumbling for 10 years when the Artspace development was first proposed in 2004. The gut renovation cost $52 million, financed by a combination of federal, state, and city tax credits, and some loans and donations from private foundations.

McLearen thinks other housing developers should try to replicate the success of the project. "The innovation of this project is in its community engagement," he says. "I hope we'll see more developers agreeing that community engagement is not a risk but a benefit."

The bigger question, however, is what impact the project will make in forestalling more sweeping changes to the culture of the neighborhood. Even if it doesn't cause gentrification, it could still be "playing a zero-sum game," says Nathan Newman, an affordable housing advocate with the group MORE NYC. "If Artspace is one-off, it might not have a big splash either way," he says.

"You get so much conflict and effort expended to build one building-and then you get 52,000 applications for 100 apartments. You basically have to win the lottery, and everyone else loses out," he says, speaking of the way new affordable housing tends to work in the city. Policies that tackle the systemic barriers to creating and funding more affordable housing at a much larger scale should be the bigger focus, he argues. (NYC Mayor De Blasio's new administration hopes to build or preserve 200,000 affordable units in the next 10 years).

As Artspace's experience shows, the demand for affordable housing, for artists or otherwise, is growing in many cities, not just New York. Its current or recent projects include building in neighborhoods like the historic Treme neighborhood of New Orleans, a center of the city's music culture that is becoming more expensive. It recently built a project in Seattle. Unrelated to Artspace's work, in Austin, Texas, the first affordable housing community in the city's downtown in 45 years will reserve 10 apartments for artists and other creative types. But, there too, advocates for the creative community view it as just a drop in the bucket.

As New York becomes a more exclusive city for those who have already made it, Newman fears the loss of the experimentation and dynamism that make the city what it is. "We should be cultivating affordable housing in general, and there will always be artists who come," he says.

Artspace, of course, wouldn't disagree that bigger ideas are needed. "We could spend the rest of our lives working just in New York and Seattle," says Bahan.
[Photos: Courtesy of Artspace, Greg Foley, Greg Handberg, HHL Architects, Christopher Lopez, Shawn McLearen, Gustavo Rosado, Gary Santana, James Shanks, Emily Taylor]

# data[].attributes.attachment_link.title
In Gentrifying New York, Can Affordable Housing For Artists Change A Neighborhood?

# data[].attributes.attachment_link.description
Sunlight streams through the tall windows and warms the spotless wood floors at PS 109, some of the most coveted apartments in Manhattan at the moment. No, these aren't new luxury skyscrapers or hipster lofts.

# data[].attributes.body
On June 3rd, 2015, ArtHome will be discussing ArtBuilt Mobile Studios, a new program to create affordable mobile artist studios the vein of the Tiny House movement.

We believe innovation comes from the activation and adaptation of existing asset-building resources, applied and networked in new ways and for new constituencies. We are committed to building new opportunities by creating mutually beneficial partnerships with current asset-building practitioners; by sustainably networking these resources with the cultural community; and by replicating successful practices on an ongoing basis.

# data[].attributes.headline
DeBlasio's Plan Includes Spaces for Creatives

# data[].attributes.subject
DeBlasio's Plan Includes Spaces for Creatives

# data[].attributes.attachment_link.title
De Blasio to Unveil New Artist Housing, Workspace

# data[].attributes.attachment_link.description
In his 2015 State of the City address on Tuesday, the mayor will make affordable housing his top priority and will announce a new program for the city's artists and makers.

# data[].attributes.body
Lots of interesting stats and infor

# data[].attributes.attachment_link.description
On June 27, 2017, the NYC Rent Guidelines Board adopted renewal lease guidelines for rent stabilized apartments, lofts and hotels effective October 1, 2017 through September 30, 2018.

# data[].attributes.body
NYTimes article looking into what the real effects are on the 80/20 mixed-income luxury buildings, for low-income lottery winners, market-rate renters, landlords, and community businesses

# data[].attributes.attachment_link.readable_text
For many people, the current system is working, even with the occasional problems that inevitably crop up.

Farse Omar, 27, grew up with Mr. Deese at the Chelsea-Elliott Houses, although he, too, left public housing recently for a nearby luxury rental building, on West 28th Street. That move almost didn't happen.

Last October, Mr. Omar was walking to Public School 41 in the West Village, where he works part time as a teacher's aide, when he saw a woman handing out fliers. "I went right by her and thought nothing of it," he said. "But then, when I was halfway down the block, I thought better of it and went back and took one."

On the flier was information for a housing lottery for the AVA High Line, a sprawling development at 525 West 28th Street. The rental building is adjacent to the elevated park and features a backyard fire pit, a fitness center and an enormous lobby resembling a furniture showroom, with artfully hung mirrors, scattered seating areas and bookshelves stocked playfully with board games like Monopoly. The building, which has 710 market-rate apartments, offered 142 affordable spaces - 50 studios, 69 one-bedrooms and 23 two-bedrooms. Mr. Omar entered the lottery, setting his sights on a studio, which required applicants to earn between $19,749 and $36,120 a year.

Mr. Omar, who earns $22,000 a year, won a spot, and in June moved into a $520-a-month studio; for a market-rate apartment in the building, rent starts at $3,065 a month, according to the building's website.

Like some but not all mixed-income buildings, the AVA High Line allows all residents to use amenities such as the backyard and the lounge, although the fitness center costs an additional $500 a year, a fee Mr. Omar says he is unlikely to pay.

Though under the same roof, low-income and market-rate apartments are not identical.

"There are significant differences between affordable and market-rate rents," said Martin Piazzola, a senior vice president of AvalonBay, the building's developer. "There are of course some differences between the units in finishes - stainless steel versus solid colors in kitchens - but appliances are similar and of the same size."

Mr. Omar, who was living with his mother when the lottery wheel - actually a computer - spun his way, said renting the studio has made him more mature; he's now keeping a budget and shopping for himself, for example.

"Since moving in, I've become more independent," Mr. Omar said recently, standing among a group of summer campers as he organized a game of kickball. In addition to working as a part-time teacher's aide, Mr. Omar is also an activities coordinator at the Hudson Guild, a neighborhood community center. "I don't really know exactly what I want to do, if I want to continue working two jobs. But moving out on my own has forced me to become more responsible and to think about those things."

Ray Bell, 24, is Mr. Deese's neighbor at the Chelsea Park. Mr. Bell works in finance and moved to the building from Murray Hill last month with two roommates. He did not know, until a reporter told him, that interspersed among the luxury apartments were low-income units.

"I had no idea, no one ever told us," Mr. Bell said.

"If someone asks, I'm perfectly happy to explain it," said Adam Disick, the chief executive of the Triumph Property Group, which leases out the Chelsea Park with the Heller Organization. "I would not disclose it without being asked because I don't think it is material to leasing the apartment. It isn't like I would say, 'Hey, the person next door to you is a banker and makes $3 million,' or 'The person on the other side won a housing lottery.' It is a delicate balance, but if they ask, I'm fully transparent."

Building policies vary. For instance, the AVA High Line website notes at the bottom of a list of "social features": "Affordable housing available." And some market-rate residents are well aware that there are lower incomes under the same roof.

"It is pretty obvious," said Matt Amico, a real estate broker at Urban Compass and a market-rate tenant of the Westminster, a luxury rental at 180 West 20th Street. Some residents of the building's affordable units spend a lot of time in the lobby with their laptops, making use of the free Wi-Fi service, said Mr. Amico, who knows some of them. "It is a rental building, and you know going into it that it's an 80/20, so it isn't a big deal," he said. "And if it is a big deal, then you won't go there."

Like most New Yorkers who live in close quarters, tenants in mixed-income buildings rarely socialize beyond a polite nod of the head or a brief wave. And while they may live in the same neighborhood, they tend to patronize different stores - Mr. Omar, for example, does his food shopping at Western Beef, a grocery store on West 16th, where prices are a far cry from the $5 iced coffees at the Chelsea Market across the street.

Yet while they may not overlap often, there is occasional friction between the two groups. At the Westminster, for example, Mr. Amico said he has heard some grumbling about the tenants hanging out in the lobby, and notices have been posted reminding residents of proper lobby etiquette, although a spokeswoman for the building's owner, the Related Companies, said she knew of no complaints.

For Mr. Deese, who is African-American and stands at an imposing 6-foot-1, there have been some uncomfortable moments. He and a friend were walking out of Mr. Deese's apartment and down the hallway when a white neighbor, seeing them approach, "slammed her front door, locking all the locks," he said. "It was ridiculous, because the door locks automatically when you close it, so no one ever uses the extra locks."

Mr. Omar, who only just moved into the AVA High Line, is still a bit self-conscious of his status. "If there was a building-wide social event, like drinks or something, I would go, but I would want to bring a friend," he said. "I wouldn't want to show up and stand out, like, 'Oh, there goes the low-income guy.' "

In most of these 80/20s, the affordable and market-rate units are interspersed throughout the same building, and the two groups of tenants live cheek by jowl.

At some mixed-income developments, however, the affordable apartments and the market-rate units are in separate buildings. And then there is the so-called poor door, a separate entrance for nonmarket-rate tenants. That setup has come under fire in recent months, and the city says it is working to revamp a 2009 change in the zoning regulations that allowed 40 Riverside Boulevard, for example, to have the separate entrances.

"It reminds you of who you are," said Daisy Fermin, 34, of her living situation in the affordable low-rise component of the high-rise Edge in Williamsburg, Brooklyn. Her building, at 34 North Sixth Street, has neither a doorman nor amenities, and its small lobby is painted an institutional green, with just a few wilting houseplants and an ATM machine. It is a far cry from its sister building, a market-rate luxury tower just a few doors down, where residents enjoy unimpeded views of the water, numerous amenities and a soaring lobby with a fireplace, glossy tiles and a concierge. Douglaston Development, which declined to comment, constructed both buildings as part of a mixed-income project.

"These people have an amazing building with a pool, all kinds of amenities. I can see it through my window, but it isn't like I can go in there myself," said Ms. Fermin, who works as an eligibility specialist at the New York City Human Resources Administration. She earns $31,500 a year, and her rent is $976 a month. Her take-home pay, she said, is $1,600 a month, "and rent is almost a thousand, so it doesn't leave me much."

Because of the rising rents, and an apartment that she says features vinyl countertops that buckle when they get wet and tile floors that chip, Ms. Fermin is looking to re-enter the housing lottery and move.

But the housing lottery is a formidable process. "They tell you to submit the application by regular mail - not express, not registered mail - and you have to follow every direction perfectly or you will be disqualified," said Natalia Padilla, an agent at Citi Habitats, who has applied to the housing lottery herself and has helped clients with their applications.

When Ms. Fermin was applying for the studio on North Sixth Street, for example, she was rejected twice and appealed both times. "At one point they said I made too much, then they said I made too little, then finally they said I made the right amount. I was like Goldilocks."

With the number of mixed-income developments expected to jump - about 1,100 new affordable apartments are to come online in Downtown Brooklyn alone over the next three years, according to the Downtown Brooklyn Partnership - housing advocates, often in conjunction with developers, have begun holding tutorials to help applicants through the process.

Some are also pushing to soften the strict income cap requirements, which dictate that applicants must earn a certain amount - and not a dollar less or a dollar more - while still having strong credit and the ability to cover the rent. Another concern is that many mixed-income developments exclude very low-income New Yorkers in favor of higher earners, and that many of the buildings have studio and one-bedroom apartments, with few larger units for families.

"The perception is that developers are happy to have singles and couples, young professional types who may be income-eligible, rather than larger low-income families," said Brad Lander, a member of the New York City Council, representing the 39th District in Brooklyn. "You don't get more subsidy for larger units, but they are more expensive to build, so there is an economic incentive to build smaller apartments."

Developers also struggle with the lottery, including the painstaking process of wading through thousands of applications to find those that meet all the criteria. At the Chelsea Park, for example, 15,000 applicants made a bid for just 51 apartments. For those who make it through the sieve, the effect can be profound.

"It has changed my life," Mr. Deese said. "Some people may look at me and see this minority guy, and maybe put their head down, but I don't mind," he said. "I can't believe I'm there, that I'm 23 with my own place. I always thought I would live good, but just not this soon."

# data[].attributes.attachment_link.title
Affordable Housing in New York's Luxury Buildings

# data[].attributes.attachment_link.description
For many people, the current system is working, even with the occasional problems that inevitably crop up. Farse Omar, 27, grew up with Mr. Deese at the Chelsea-Elliott Houses, although he, too, left public housing recently for a nearby luxury rental building, on West 28th Street. That move almost didn't happen.

# data[].attributes.attachment_link.description
126th Street African Burial Ground Memorial and Mixed-Use Project

# data[].attributes.body
Section 8, also known as the Housing Choice Voucher Program, provides federal funding for subsidies for eligible low-income families to rent decent, safe, and affordable housing in a neighborhood of their choice. Families pay a reasonable share of their income toward rent and the subsidy, paid by HPD directly to the landlord, makes up the difference, within specified limits. The unit must also meet federal Housing Quality Standards and will be inspected prior to move in and once annually.

# data[].attributes.body
A common rule is that housing is considered affordable when households have to spend no more than 30% of their gross income on rent and utilities. If a family has to spend more than 30% of their income on rent, they are considered ‘rent burdened.’

# data[].attributes.body
- Wages: How to increase wages / opportunities for income

- Units: How to increase housing stock available.

Demand/Population: More people than ever want housing

# data[].attributes.headline
Wages for the City's renters have stagnated over the last 20 years, increasing by less than 15 percent, after adjusting for inflation. During the same period, the average monthly rent for an apartment in New York City increased by almost 40 percent.

# data[].attributes.subject
Wages for the City's renters have stagnated over the last 20 years, increasing by less than 15 percent, after adjusting for inflation. During the same period, the average monthly rent for an apartment in New York City increased by almost 40 percent.

# data[].attributes.body
- Department of Housing & Urban Development

- Department of City Planning

- NYCHA

# data[].attributes.body
1. The City's planning processes and land-use policies need to be revamped. To become a more affordable city, we must become a denser city, and better plan for growth by staging investments in infrastructure and services that will make our neighborhoods more livable. Such a place-based approach must be guided by early and regular input from the communities themselves.

1. Economic diversity must be a cornerstone of housing development. In future re-zonings that unlock substantial new housing capacity, the City will require, not simply encourage, the production of affordable housing in order to ensure balanced growth, fair housing opportunity, and diverse neighborhoods.

# data[].attributes.body
Area Median Income is the median income levels as modified by household size for the New York metropolitan statistical area as determined by the Department of Housing and Urban Development (HUD.) For 2013, 100% of the AMI is $85,900 for a family of four in the New York Metropolitan Statistical Area and $60,200 for a single person. For more information, visit www.hud.gov.

# data[].attributes.body
(off the NYC housing lottery)

# data[].attributes.body
(as of June 30, 2015)
29,316 Total Number of HNY Starts
$901M Total HNY City Investment

$8.83B Overall HNY Investment

38,128 Number of Households served by Section 8

665K Number of Code Inspections in FY14

# data[].attributes.body
the official NYC

# data[].attributes.attachment_link.description
Established in 1978, the New York City Department of Housing Preservation and Development (HPD) promotes the quality and affordability of the city's housing and the strength and diversity of its many neighborhoods.