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Long-Term Viability of Affordable Housing Threatened
Written by AZoBuildMay 24 2007
Significantly increasing operating costs are putting in financial jeopardy hundreds of affordable apartment communities across the country that were built using Low Income Housing Tax Credits (LIHTC), according to a new study by the National Association of Home Builders (NAHB). Adding to the threat is a recent change in the data used by the U.S. Department of Housing and Urban Development (HUD) to calculate income limits. This change in data methods has artificially frozen both the maximum income limit requirements of eligible residents and the rents that can be charged in a large number of areas across the county. In these areas, it's impossible to offset rising costs though increases in rents that would normally occur as the result of ordinary inflation.
"It is definitely a Catch-22," said Steve Lawson, an affordable housing developer from Newport News, Va., and chairman of NAHB Multifamily's Housing Credit Group, which represents private owners and developers of tax credit properties. "The very income restrictions meant to ensure that these properties are available to serve people in need of affordable housing are actually threatening the long-term sustainability of many of these projects."
Changes in the data used by HUD to calculate income limits, which in turn determine rent ceilings, has resulted in LIHTC rents in some areas of the country being frozen for the past five years, according to Paul Emrath, Ph.D., NAHB assistant staff vice president for Housing Policy Research, who led the study. NAHB found nearly 200 counties across the country where flat income limits had completely frozen rents at tax credit properties since 2001. Over that time period, utility costs across the country have risen by an average of almost 27 percent.
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Moreover, problems created by the large data-related changes in 2007 will keep LIHTC rents frozen in many areas for years to come. To measure the severity of the problem, NAHB calculated a "critical gap" to see how far HUD's median family income estimate in an area must increase before the income-rent limits also start to increase. NAHB found that 1,748 counties had a critical gap of at least $1,000. Under HUD's current system of calculating income limits, the majority of those counties will see little or no increases in allowable gross rents for LIHTC properties in 2008. In more than 700 other counties, the situation is even worse--the critical gap is at least $2,000; in 175 other counties, it is at least $4,000, and in 48 counties, the critical gap is $6,000.
In the most extreme cases, Emrath said, some counties are looking at flat income limits--and therefore flat tax credit rents--for the next decade. "Because some LIHTC projects lack the resources to deal with the problem of flat rents for an extended period, these projects could be lost from the stock of low-income housing," Emrath said. "Additionally, the prospect of flat rents in the future will hinder the program going forward, preventing some of the most-needed projects from being built."
"The situation is so dire that seeking a legislative or regulatory solution to the income limits problem has become a top priority for NAHB's Housing Credit Group," said Lawson. "We must find a way to keep these projects viable so that they can continue to provide much-needed affordable housing to America's lower-income families."
The Low Income Housing Tax Credit program is the primary vehicle for financing construction of affordable rental apartments and is credited with creating more than 1 million affordable housing units since it was enacted by Congress in 1986.
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Everybody complains about celebrities, but nobody does anything about them.
People, it's time to stop fretting about whether we're a celebrity-obsessed culture—we are, we have been, we're going to be—and instead take practical steps to clean up the celebrity-obsessed culture we've got. Rather than furtively following the exploits of assorted clap-ridden Britneys and Parises and Lindsays while pretending we're not interested, let's attack the problem head-on. What we need are fewer and better celebrities. When it comes to stars, we've gotta have 'em, so why not make sure they're prime stock?
Let's say we've already accomplished Step 1, with the use of helicopters and high-powered rifles, and our celebrities are now milling around in their enclosure. Step 2, Health Inspection, poses some specific problems. How do we judge the health of a celebrity? Not personal health, that is—nobody cares about that—but star health. A star is healthy when it's capable of fulfilling the function of a star, which is to be fascinating, so fascinating it casts an attractive glow on everything around it, the movie it's in, the talk shows it appears on, the people it dates, the products it shills for, etc.
Right away we know how to start Thinning the Herd, don't we? Somehow we've allowed a slew of low-wattage bores to become celebrities and hang around for years eating free food. Now they've got to go: Ben Affleck, Halle Berry, Jude Law, Ashley Judd, James Franco, Beyonce, Jennifer Lopez, Demi Moore, Kevin Costner, Ethan Hawke, Charlize Theron, Kate Hudson, Matthew McConaughey, Patrick Dempsey, Keanu Reeves…well, there are too many to name. But fortunately they're dumb and slow; we can pick them off at our leisure.
Before we can even take aim at yawn-inducing Richard Gere, though, we've got a crisis to deal with: an outbreak of Mad Star Disease. It's a pernicious menace threatening the entire celebrity herd—nay, even the human population could be at risk! More infectious than syphilis, this toxic fungi infiltrates the celebrity host's brain and, if left untreated, spews its poison spores out of every orifice, increasing the celebrity's innate obnoxiousness a thousandfold, and covering everything near them in repulsive stinking rot. Nothing infected stars touch can stay attractive for long: not gorgeous co-stars, not spectacular film and TV projects, not the noblest cause ever espoused by humankind. Even restaurants and clubs they go to, just for the opening, are tainted forever.


My God, this woman is the devil.
Hopped on the Vespa on a chilly 38 degree morning and rode to the trainer. What I failed to realize is that what I thought was a nice lady is a devil woman who lives to cause me pain.
Somehow, this woman (who is way too goddamned cheerful for what she causes) knows how to isolate the absolute weakest muscle in each part of my body and then torture it endlessly.
She is doing a good job. Monterey road trip today! As much as I want to take the 'chaser, weather compels me to enjoy the GTI.


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Q: Hacking my profile and changing it I noticed a few weeks ago that my StackExchange profile had been hacked, and that my original one line of text had been overridden and replaced with malicious text.
Earlier today I over-wrote that malicious text with an extended 2991-character new profile, but now I've found that that the cockroach (program??) had shit on my brand new profile again, and with the same malicious text.
I had really been looking forward to working with other StackExchange members in the (currently) nine SE websites that I'm registered in, but with a cockroach on the loose happily deleting and replacing my profile with the cockroach's poop, the only alternative I can see is for me to click on the SE icon on my desktop, pull that icon down to that "wastebasket" icon down there in the lower right hand corner of my desktop, and drop the SE icon into it.  Then next, I will delete the SE program entirely from my computer.
I really have liked SE, but I've been personally attacked in the Russian Language forum by a cockroach going by the name of "Artimex", who may or may not be the source behind the malicious attack on my Profile.  But be that as it may, I'm not taking any chances on the cockroach that's running around in your program corrupting the rest of my computer.
Any help before I say "au revoir" and "доствданя" to  you all, and then delete SE from my computer?

A: If you think you have been hacked, please use the Contact Us button in the footer to contact the SE team directly.
Note that they will require you to provide sufficient proof of ownership of the account.
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Mahan Seva Sansthan (MSS) is a non-profit, non-governmental voluntary organisation that has been working in the tribal districts of Southern Rajasthan for over 25 Years. Working with over 20,000 families and with a particular emphasis on community participation, MSS�s projects focus on education, child rights, health, child protection, women�s empowerment, self-governance, natural resources and livelihoods. Through key programmes such as Bal Panchayats, Child Protection Committees, Self Help Groups, and tackling child malnutrition, over 17,000 children have been empowered to take a role in the decision-making processes in their communities, over 15,000 children have been enrolled into school, over 3,000 children and almost 2,500 mothers have been immunised against common diseases, over 1,300 women are members of SHGs and almost 300 children have been removed from child labour. MSS�s work in natural resources has benefited over 5,000 families, including through planting over 130,000 trees, covering of thousands of hectares with soil and water conservation projects and introducing higher-yielding varieties of crops.


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The strange fates of pillaged mummies
Mummy of Ukhhotep, Egypt. Detail. c.1981-1802 B.C.E. Wood, cartonnage, paint, linen, human remains, obsidian, gold, alabaster. Image and data provided by The Metropolitan Museum of Art.
In an 1898 article for Scientific American, a chemist describes his process for working with a powdered material that smelled of myrrh and meat extract:
On heating the powder turns dark brown black, with a pleasant, resin-like odor of incense and myrrh, then throws out vapors with an odor of asphaltum; it leaves a black glossy coal which leaves behind when burnt 17 percent of ash with a strongly alkaline reaction, evolving plenty of carbonic acid when sprinkled with acids. In the closed tube vapors of acid reaction are obtained. With hot water a yellow brown solution of neutral reaction is obtained which smells like glue and extract of meat when inspissated…"
The powder in question was in fact the ground desiccated corpse of an ancient Egyptian, heated for the purpose of creating commercially-produced oil paint. Shocked? Let us treat you to a short history of the many strange fates of pillaged mummies between the sixteenth and early twentieth centuries.
Philips Galle, after Maerten van Heemskerck. The Pyramids of Egypt (from The Eight Wonders of the Ancient World). c. 1572. Engraving. Image and data provided by The Illustrated Bartsch.
Although interest in ancient Egyptian culture would peak in the nineteenth century, its early roots can be traced back to the Renaissance, when scholars rediscovered Classical accounts of the civilization. The limited available knowledge led to some unfounded beliefs. In "Egypt and Egyptian Antiquities in the Renaissance," Karl H. Dannenfeldt describes the travel memoirs of Spanish historian Pedro Tafur, who upon visiting the pyramids postulated that "beasts of burden went up these 'granaries of Joseph' and unloaded the grain through 'windows and so they fill the granaries to the top.'"
Incomplete knowledge also led to a misunderstanding of mummies. Bitumen, a naturally occurring black resinous material, was used in Middle Eastern medicine for centuries prior and was sold under the Persian name mummia or mumiya. Because of the similarities in nomenclature and visual characteristics between bitumen and mummy–the blackened flesh of mummies resembled bitumen, and bitumen was documented as one of several ingredients sometimes used in the mummification process–the medieval European translation of the word mummia erroneously came to include both bitumen and the flesh of mummies. They became interchangeable forms of medicine, believed both to cure a diverse set of ailments from internal bleeding to hiccups.
Mummy was widely stocked in European apothecaries where it could be purchased in several forms, including powdered and chopped preparations. The high demand for raw materials led to gruesome creativity on the part of unscrupulous mummy dealers, who began creating fakes by embalming and drying the stolen corpses of recently deceased slaves and criminals, and selling them to unwitting buyers. The dead were selected without regard for cause of death, and it is possible this practice may have helped spread the plague.
Not everyone believed in the healing powers of powdered mummy, however. Dannenfeldt describes one sixteenth century doctor who condemned its use due in part to foul side effects, which included "the paine of the heart or stomacke, vomiting, and stinke of the mouth."
Meanwhile, the versatile mummy became a popular material for another application: paint pigment. Painters commonly applied mummy brown, a sheer black-brown wash, to their canvases between the sixteenth through nineteenth centuries. The paint's composition varied greatly and conservationists have struggled to identify specific examples of its use through chemical testing. It is said Martin Drolling used large quantities in Interior of a Kitchen (1815). Eugene Delacroix documented adding the grisly color to his palette sometime between 1824 and 1854, and it may have been used in painting Liberty Leading the People (1830). The pigment was also believed to be popular with the Pre-Raphaelite painters–although not all were aware of its origins. Upon discovering his tube of mummy brown contained human remains, painter Edward Burne-Jones requested his nephew Rudyard Kipling help him give it a proper burial.
As the field of Egyptology–and the rise of Orientalism–grew during the early nineteenth century, interest in mummies began to spread. Their appeal was broad: not only did museums collect them, but travelers in search of exotic souvenirs for display in their homes purchased them in markets, or paid to take part in staged expeditions where they stumbled upon caches of pre-pillaged mummies placed conveniently for discovery.
Linen mark, Wah. ca. 1981-1975 B.C. Image and data courtesy the Metropolitan Museum of Art.
The truly curious could further explore the intrigue of mummies at unwrapping parties. One such event was held in 1833 by surgeon and antiquarian Thomas Pettigrew at Charing Cross Hospital, and attracted a prestigious crowd of fellow doctors, archaeologists, and the British Museum's keeper of antiquities. Not all such parties were held for researchers, however. The general public could purchase tickets to dramatized unwrapping performances held in theaters, after which the discarded cloth wrappings served as take-home favors.
Today we treat mummies with a bit more reverence, focusing on their history and culture rather than their eerie appearances. But our strange relationship with mummies from centuries past still surfaces occasionally: two pigment shops noted they had mummy parts in storage as late as 1964 and 1980, and in 1999 the Head of Corporate History for Merck Pharmaceuticals was surprised to find long-forgotten medicinal mummy parts in storage.
–Megan O'Hearn, Education & Outreach Manager
"Miscellaneous Notes and Receipts." Scientific American 78, no. 17 (1898): 266. http://www.jstor.org/stable/26118483
Dannenfeldt, Karl H. "Egypt and Egyptian Antiquities in the Renaissance." Studies in the Renaissance 6 (1959): 7-27. https://www.jstor.org/stable/2857179
Rogers, Beverley. "UNWRAPPING THE PAST: EGYPTIAN MUMMIES ON SHOW." In Popular Exhibitions, Science and Showmanship, 1840-1910, edited by Kember Joe, Plunkett John, and Sullivan Jill A., 199-218. Pittsburgh, Pa: University of Pittsburgh Press, 2016. http://www.jstor.org/stable/j.ctt1djmj49.17.
Languri, Georgiana M., and Jaap J. Boon. "Between Myth and Reality: Mummy Pigment from the Hafkenscheid Collection." Studies in Conservation 50, no. 3 (2005): 161-78. http://www.jstor.org/stable/25487742
Dannenfeldt, Karl H. "Egyptian Mumia: The Sixteenth Century Experience and Debate." The Sixteenth Century Journal 16, no. 2 (1985): -16380.
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