By far the most popular form of common ownership is
the condominium. A condominium
is characterized by separate ownership of identified portions of the subject
property (such as individual apartments in a multi-unit building) and undivided
or joint ownership of the remainder (the common areas of that apartment
building). The most common form of
condominium is the residential, multi-unit high-rise apartment style building,
but the condominium concept is not limited to this form. Condominiums
exist in commercial real estate settings, such as office condominiums, and in
other residential forms, such as condominium townhouses. A condominium is a form of ownership, not a
type of building. Existing apartment
buildings can be turned or "converted" into condominiums, and
condominiums can be changed back into traditional apartment buildings. The condominium is generally created by a
condominium declaration, which includes, among other provisions, descriptions
of the units and common areas, and any material restrictions on the occupancy
or use of the units. The condominium is managed by the Condominium
Association, which is composed of the owners of the individual units and which
makes and enforces rules (much like the landlord of a traditional apartment
building), sets and collects the dues and maintenance fees necessary to
maintain the structure, and manages the common areas. Additionally, to some extent the rights and
duties associated with a common-interest ownership will be governed by the
state's condominium statute. All fifty states have passed statutes
governing condominiums, with some passing broader statutes governing
common-interest communities generally. A cooperative is also a form of shared or common-interest
ownership, although it is much less common than the condominium. Real estate cooperatives are formed on the
same theory and general lines as other cooperative organizations, such as
banking or credit cooperatives, which are owned by and operated for the benefit
of those using the organization's services. The major difference between
a condominium and a cooperative is that in a cooperative, each owner does not
have outright ownership of any specific, identifiable unit. Rather, title
to the entire property is held by the cooperative (usually a corporation), and
the residents own stock in the corporation. As shareholders, the residents elect directors
to manage the building, and the corporation in turn provides each resident with
a long-term renewable lease to his or her specific apartment unit.
http://realestate.findlaw.com/owning-a-home/condominiums-and-cooperatives.html
Reuters 2007 Co-operatives comprise about two thirds
of the non-rental residential units in Manhattan. Instead of owning individual apartments,
buyers own shares in the corporations, which are governed by boards. The boards have the final say on any sale and
can reject a candidate for just about any reason other than those that violate
U.S. constitutional rights. Richard
Nixon was rejected twice by Manhattan co-op boards after leaving the White
House. Mariah Carey was rejected by the
same Central Park West board that rejected buyers for Barbara Streisand's
apartment. Many candidates have found
the boards too intrusive, requiring references, payment guarantees, extensive
income histories and long tallies of assets. Even media tycoon Rupert Murdoch had to seek
co-op board approval before spending $44 million on a three-story penthouse
three years ago. The difference in
standards between co-op boards and the banks has been substantial in recent
years. Most co-op boards will reject a
candidate who plans to spend more than 25 percent of their gross monthly income
on mortgage and maintenance payments, while a bank will allow 44 percent, said Eric
Appelbaum, president and owner of mortgage brokerage Apple Mortgage. The boards also want a candidate to have one
year of maintenance payment money in the bank as a cushion, while banks require
only two months. As for down payments,
most co-op boards require at least 25 percent down and some will demand as much
as 50 percent, while banks have been allowing 10 percent down or even nothing
at the height of the recent lending frenzy.
Stringent boards might have a thing or two to teach some of the banks
and other home-loan lenders hurt by loose lending practices. Ilaina Jonas
http://www.reuters.com/article/us-manhattanapartments-coops-idUSN1030383320070812
See also Richard Nixon’s Search for
a New York Home by Ralph Blumenthal at https://cityroom.blogs.nytimes.com/2008/07/30/richard-nixons-search-for-a-new-york-home/
"Starboard" was originally
"steerboard", referring to
the side on which the steering rudder was hung on Viking ships. The
"port" side used to be called "larboard" in earlier times. The term "larboard" was officially
dropped in favour of "port" by international agreements in the 19th
century, to avoid confusion between the similar-sounding calls. The term "posh" (meaning wealthy or
upper-class) originated as an acronym P.O.S.H. (standing for "Port Out, Starboard
Home") used by booking staff on British cruise-liners to describe the
cabin arrangements for rich passengers wanting the sunny (southern) side of the
ship on Atlantic crossings out to America and back. http://www.eudesign.com/mnems/portstar.htm
" . . . we always make the most remarkable journeys
deep down inside ourselves, where there is no time or space." "All the sea offers us is the
unexpected." A Treacherous
Paradise, a novel by Henning Mankell
Henning Mankell
(1948-2015) was born in Stockholm. When
Henning was barely two years old his father, Ivar Mankell, was offered to serve
as a court judge in a small town in the north of Sweden called Sveg, where Henning
spent his childhood. We were not rich,
but we did not lack anything either.
Nevertheless, his childhood was also affected by the fact that he grew
up without a present mother. My mother
did what many men do, she left. Hence,
Ivar Mankell raised his children himself and he always encouraged them to read,
but he never told them what to read. So
Henning Mankell read a lot about the African explorers and imagined that the
logs in Ljusnan, the river that runs through Sveg, were crocodiles in the
Congo. Africa was the most exotic place
I could imagine--the end of the world--and I knew I would go there one
day. He also learned that imagination
could be an instrument of survival, not just of creativity. When Henning Mankell was thirteen his family
moved to Borås, a city 50 km north west of Gothenburg on the Swedish west
coast. Henning Mankell was soon bored
with secondary school and left at the age of 16 for Paris. Shortly after he left Paris to work as a
merchant seaman. He worked for two
years as a stevedore on a Swedish ship ferrying coal and iron ore to Europe and
America. I loved the ship’s decent
hard-working community. It was my real
university. It was also a romantic
Conradian dream of escape, though there were long, boring times too. After having signed off Henning Mankell
settled in Paris in 1966. He stayed
there for a year and a half in a constant shortage of money, although he
experienced the activism and political debate.
Thereafter he went to Stockholm to work as a stagehand.
While working as a stagehand he wrote his first play, The Amusement Park, about Swedish colonial
interests in the 19th century’s South America. In 1973, shortly after his father died,
Henning Mankell’s first novel The Stone Blaster was released. It tells the story of the workers’ union
movement and is still in print in Sweden.
It is about an old man looking back on his life and on Swedish society
and the need for solidarity, a theme that is frequently recurring in Henning
Mankell’s works and in his life. Since then Henning Mankell has spent a great part of
his life on the African continent. After
living in Zambia and other countries, he was invited in 1986 to run the Teatro
Avenida in the capital of Mozambique, Maputo.
Since his arrival in 1986 he spent at least half the year in Maputo
working with the theatre and writing, gaining another perspective on Sweden and
Europe. Read much more at http://henningmankell.com/author/biography/
An IndyStar editorial cartoon retweeted August 15, 2017 on President Trump’s
account and later deleted is an altered version of a cartoon originally
published in January, 2017. The original
image, created by IndyStar cartoonist Gary Varvel, depicted a
Democratic donkey trying to hold back the Trump train. The altered image shows a CNN logo
covering the donkey's face and includes the words "fake news can't
stop the Trump train." A
White House official later told the New York Times that the tweet of
the train was posted inadvertently and was deleted as soon as it was noticed. The real cartoon: Cartoonist
Gary Varvel: Stopping the Trump train
“We don’t know who altered
Gary’s original cartoon, but we’re looking into it,” said Jeff Taylor, editor
and vice president for news of The Indianapolis Star and IndyStar.com. “The cartoon was altered without anyone’s
knowledge or permission at The Star."
Justin L. Mack http://www.indystar.com/story/news/2017/08/15/president-donald-trump-retweets-fake-indystar-cartoon/568133001/
We honor
the King of Rock and Roll, Elvis Aaron Presley, on the anniversary of his death (August 16, 1977). What better way to celebrate the legacy of
Elvis than by exploring the foods he enjoyed while he was alive? Now, when most people think about Elvis and
food, the first thing that comes to mind is peanut butter and banana
sandwiches. He enjoyed a wide variety of
rich Southern foods, and also acquired a taste for sauerkraut and sausage while
stationed in Germany during the war. Find a list of food items that had to be on
hand for Elvis every day at Graceland (Source: “Life and Cuisine of Elvis Presley” by David
Adler) and a recipe for buttermilk skillet cornbread at http://toriavey.com/toris-kitchen/2011/08/what-elvis-ate-southern-skillet-cornbread-2/
http://librariansmuse.blogspot.com Issue 1755
August 16, 2017 On this date in
1858, U.S. President James
Buchanan inaugurated the new transatlantic telegraph cable by
exchanging greetings with Queen
Victoria of the United Kingdom. However, a weak signal forced a shutdown of
the service in a few weeks. On this date in 1930, the first color
sound cartoon,
called Fiddlesticks, was made by Ub Iwerks.
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