![]() That’s why the legislation lays down ground rules: Locals can only rent out their primary residences, or the property they live in at least three-quarters of the year (275 days). In a city in the midst of an affordability crisis, with a shortage of housing that is sending rents through the roof, Chiu says that making sure “short-term rentals aren’t cannibalizing our housing stock” is paramount. The abuses he’s primarily worried about are landlords who are taking apartments off the market or evicting tenants to rent them out full-time using sites like Airbnb and VRBO, as well as renters who are securing “second, third and fourth” apartments to do the same thing. “From the big picture standpoint, our goal is to craft regulations that address this new kind of housing arrangement, not to shut down all activities, but to end abuses that come from it.” The sharing economy has its upsides, he says, especially for "struggling families" who are renting out their apartments to help make ends meet. “There are a variety of laws that are being violated at this time,” Chiu tells TIME. The proposed legislation from Board Supervisor David Chiu would carve out an exception in an existing blanket prohibition, protecting people like the grandma who rents out her one-bedroom to tourists twice a year when she visits the kids in Cleveland. On Tuesday, one of the city’s leading lawmakers was due to announce legislation that would legalize certain short-term rentals, while also making the process much more onerous-for everyone involved.Īs the law stands, almost any short-term rental of an apartment in the city is technically illegal and grounds for eviction, a reality that some locals who have lost their apartments know very well. In concert, she transformed into a shamanic force of nature in the studio, working with longtime Doors producer Paul Rothchild, she helped steer the ship.Īirbnb has been riding high on the unregulated sharing economy, but the Wild West-era is coming to an end in San Francisco. She loved her manager Albert Grossman, a wheeler-dealer who’d handled Bob Dylan, and she adored her audiences, whom she addressed onstage – from the Fillmore East to Newport to Woodstock – like they were old friends. ![]() She enjoyed a good book, even backstage at Detroit’s psychedelic Grande Ballroom, and scintillating conversation with the likes of director Paul Morrissey, sphinx-like Andy Warhol and singer-songwriter Tim Buckley at the legendary Manhattan watering hole, Max’s Kansas City. ![]() Janis always had a larger-than-life image that inspired girls like me, but as Elliott Landy’s photographs testify, she was multifaceted. A decade later, I was living in New York City, playing in bands and writing about music. But between seeing a colorfully garbed and articulate Janis on The Dick Cavett Show in June 1970, and hearing that bittersweet road song, in January 1971, my eyes – and ears – were opened by this singular woman with a magnificent voice. I was a 14-year-old growing up in North Carolina when Janis’ posthumous Number One single, “Me and Bobby McGee,” became a staple on AM radio.
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