text:
Mortgages made simple
Becca Stanek, Staff Writer
December 1, 2022, 12:25 PM ·4 min read
A hundred dollar bill. Illustrated | Getty Images
Kiplinger personal finance
The term "mortgage" gets thrown around a lot, but what exactly does it refer to and how does this type of loan work? Here's everything you need to know about this often critical part of the home-buying process.
What is a mortgage exactly?
Put simply, a mortgage is a loan used to buy a house (or another type of real estate) or land on which to build a property. The lender agrees to give the borrower the money needed to make the home purchase, and the borrower agrees to pay back that money over a set period of time. During this period, known as the loan's term, the borrower makes regular monthly payments on both the amount they borrowed (known as the principal) and the interest charged for taking out the loan. Other costs are often added to monthly mortgage payments, such as property taxes, homeowner's insurance, and if applicable, private mortgage insurance, explains the Consumer Finance Protection Bureau (CFPB).
If the borrower fails to make their monthly payments to the lender, they could lose their house. This is because in a mortgage, the home serves as collateral, which means the lender has the right to take possession of the home to recoup their losses if the borrower stops making payments on the loan.
How does a mortgage work?
Let's say you want to buy a house, but you don't have the cash to cover the full purchase price, which is often the case. That's where a mortgage can come into play. Instead, you'd offer a portion of the home's cost upfront in what's known as a down payment, and then apply for a mortgage to cover the remainder of the home's cost.
To qualify for a mortgage, you must meet the lender's requirements and go through an intensive process known as underwriting so the lender can assess their risk. "If the risk is deemed too high, an underwriter may refuse coverage," explains Investopedia. But if you're approved, you will agree to certain terms, including the interest rate you'll pay on the money borrowed and how long you'll have to pay back the loan.
Each month, when you make a payment on the mortgage, a portion of your payment will go toward the principal, reducing how much you still owe, and another part will go toward covering interest charges. Over time, the amount of your payment that goes toward the principal versus interest will shift: At first, when your loan's balance is high, more of your payment will go toward paying interest. But as you chip away at your loan balance, "you owe much less interest, and most of your payment goes to pay off the last of the principal," explains the CFPB.
Are there different types of mortgages?
Yes. A few common types of mortgages you might encounter include:
Conventional loans: Per the CFPB, "'conventional' just means that the loan is not part of a government program." Most mortgages fall under this category. These loans can have steeper requirements compared to other types of mortgages, which can make them more difficult to get.
FHA loans: FHA loans, on the other hand, can be easier to get because they have lower credit score requirements. Additionally, they allow for smaller down payments. The downside is they tend to cost more than conventional mortgages. FHA loans are backed by the Federal Housing Administration (FHA), which is a government agency.
Special program loans: There are a number of different types of special program mortgage loans, though these loans are only available to those who meet eligibility guidelines. There are VA loans intended for veterans, servicemembers, or surviving spouses, and USDA loans for borrowers in rural areas who meet income requirements. Additionally, there are state and local programs that target first-time homebuyers, public service employees, and low- and middle-income borrowers.
The length of a loan term, or how much time lenders give you to pay back the money you've borrowed, can also vary. Typically, loan terms are 15 years or 30 years. "Shorter terms will generally save you money overall, but have higher monthly payments," explains the CFPB.
Another key mortgage option is the interest rate type. Interest rates for mortgages are either fixed or adjustable. A fixed rate, as the name suggests, means the interest rate does not change over the loan term. However, fixed rate mortgages generally have higher interest rates than adjustable rate mortgages. But with an adjustable rate, you'll face the uncertainty of your interest rate fluctuating based on market conditions.
This article is in part based on information first published on The Week's sister site, Kiplinger.com
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The Badger Meter M3000 electromagnetic flowmeter provides non-intrusive flow measurement in almost any conductive fluid or slurry. Combining a flow detector and amplifier, the M3000 is a versatile, user-friendly flow metering system for a variety of industrial and municipal applications. The M3000 is FM approved for Class I, Div 2 hazardous locations as well as being CSA certified and CE and FCC compliant.
The Badger Meter M3000 flow detector-- which includes the flow tube, isolating liner and measuring electrodes-- is available in sizes from 1/4" (0.02 to 5 gpm) to 24" (180 to 53,778 gpm). Designed, developed and manufactured under strict quality standards, the M3000 detector has no parts in the flow stream resulting in no pressure loss. Also, accuracy is not affected by temperature, pressure, viscosity, density or flow profile. With no moving parts there is practically no maintenance required. A wide selection of liner and electrode materials helps ensure maximum compatibility and minimum maintenance over a long operating period.
The Badger Meter M3000 amplifier-- which is the electronic device responsible for the signal processing, flow calculation, display and output signals-- features sophisticated, processor-based signal conversion with accuracies of ±0.25%. Programmable parameters of the amplifier include: calibration factors, totalizer resets, unit of measure, analog and pulse output scaling, flow alarm functions, language selection, low-flow cutoff, noise dampening factor, and excitation frequency selection. Flow data and programmable parameters as well as diagnostic messages are displayed on the backlit 4-line x 16-character LCD. The display also serves to guide users through the simple programming routines. The amplifier can be either meter or remote mounted.


text:
package it.unitn.ing.rista.diffr;

import java.io.*;
import java.lang.*;
import java.util.*;

import it.unitn.ing.rista.util.*;
import it.unitn.ing.rista.awt.*;

import java.net.*;
import java.awt.*;
import javax.swing.*;

/**
 *  The Calibration is a class
 *
 *
 * @version $Revision: 1.6 $, $Date: 2006/01/19 14:45:54 $
 * @author Luca Lutterotti
 * @since JDK1.1
 */

public class Calibration extends it.unitn.ing.rista.diffr.XRDcat {
/*	protected String[] diclistc = {"_riet_meas_datafile_format"};
/*	protected String[] diclistcrm = {"_riet_meas_datafile_format"};

	protected String[] classlistcs = {};
	protected String[] classlistc = {};*/

  public double calcoeff[] = null;
  public int numbercalcoeff = 0;

  public double calibrationData[] = null;
  public int datanumber = 0;

  public Calibration(XRDcat aobj, String alabel) {
    super(aobj, alabel);
  }

  public Calibration(XRDcat aobj) {
    this(aobj, "Calibration file x");
  }

  public Calibration() {
  }

/*	public void initConstant() {
		Nstring = 1;
		Nstringloop = 0;
		Nparameter = 0;
		Nparameterloop = 0;
		Nsubordinate = 0;
		Nsubordinateloop = 0;
	}

	public void initDictionary() {
		for (int i = 0; i < totsubordinateloop; i++)
		  diclist[i] = diclistc[i];
    for (int i = 0; i < totsubordinateloop; i++)
      diclistRealMeaning[i] = diclistcrm[i];
		for (int i = 0; i < totsubordinate - totparameterloop; i++)
		  classlists[i] = classlistcs[i];
		for (int i = 0; i < totsubordinateloop - totsubordinate; i++)
		  classlist[i] = classlistc[i];
	}

	public void initParameters()
	{
		super.initParameters();
	}*/

  public String getFileName() {
    return new String("");
  }

/*	public BufferedReader getReader() {
		try {
			return new BufferedReader(new FileReader(new File(getDirectory() + getFileName())));
	  } catch (IOException fe) {
			try {
				return new BufferedReader(new FileReader(new File(RelativeURL.getURL(getFileName()).getFile())));
	  	} catch (IOException e) {
				try {
					return new BufferedReader(new FileReader(new File(getFileName())));
	  		} catch (IOException ie) {
					System.out.println("Second trial fail!");
	  		}
				System.out.println("File not found: "+ getFileName());
	  	}
	  }
	  return null;
	}*/

  public void readall() {
  }

  public void initData(int number) {
    datanumber = number;
    calibrationData = new double[datanumber];
  }

  public void initCoeff(int number) {
    numbercalcoeff = number;
    calcoeff = new double[datanumber];
  }

  public Instrument getInstrument() {
    XRDcat parent = getParent();
    while (parent != null && !(parent instanceof Instrument))
      parent = parent.getParent();
    if (parent != null)
      return (Instrument) parent;
    else
      return null;
  }

  public double calibrateData(double intensity) {
    return intensity;
  }

  public double calibrateData(DiffrDataFile datafile, double x, int index) {
    return 1.0;
  }

	public void calibrateX(DiffrDataFile datafile) {
		int datanumber = datafile.getTotalNumberOfData();
		updateParametertoDoubleBuffering(false);
		for (int i = 0; i < datanumber; i++)
			datafile.setCalibratedXDataOnly(i, ((Instrument) getParent()).getCorrectedCoordinate(datafile.getXDataForCalibration(i)));
	}

	public double calibrateX(DiffrDataFile datafile, double value) {
		return ((Instrument) getParent()).getCorrectedCoordinate(value);
	}

	public double notCalibrated(DiffrDataFile datafile, double x) {
		return x;
	}

	public boolean validX(DiffrDataFile datafile, double x, int index) {
		return true;
	}

	public String getTtheta() {
    return null;
  }

  public String getTtheta(double twotheta) {
    return getTtheta();
  }

  public double getTthetaValue(DiffrDataFile datafile, double twotheta) {
    return twotheta;
  }

  public double getEtaValue(DiffrDataFile datafile) {
    return 0.0;
  }

  public double getDetectorDistanceValue(DiffrDataFile datafile) {
    return 1000.0;
  }

  public JOptionsDialog getOptionsDialog(Frame parent) {
    JOptionsDialog adialog = new JCalOptionsD(parent, this);
    return adialog;
  }

  public class JCalOptionsD extends JOptionsDialog {

    public JCalOptionsD(Frame parent, XRDcat obj) {

      super(parent, obj);

      principalPanel.setLayout(new FlowLayout());
      principalPanel.add(new JLabel("No options for this model"));

      setTitle("Options panel");
      initParameters();
      pack();
    }

    public void initParameters() {
    }

    public void retrieveParameters() {
    }
  }

}

redpajama_set_name: RedPajamaGithub


Lancer's Uniform Policy is one of many measures utilized to assist students in developing skills such as being well groomed, following rules, self-discipline, and avoiding negative peer pressure that are necessary to become productive citizens.
Students are to be in uniform every day, except on scheduled non-uniform days or when special permission is granted by school authorities for sports and/or Celebration days. Parents will receive advanced notice of sports and/or Celebration Days. Additionally, parents will be notified about appropriate apparel for these days.
Special Dress Days: Students must comply with expectations or wear regular uniform. Clothes that expose skin, see-through, too revealing, too tight, ripped or torn as well as unsafe shoes are always prohibited.
For Boys- Ear piercing, Tattoo and long hair is strictly prohibited.
For Girls-Henna, Nail polish, Tattoo, Jewellery and stylish hair cut not allowed.
Jewellery: Small articles of jewellery (earrings, necklaces, bracelets, watches) are permitted as long as they do not cause a distraction within the learning environment. Please be advised that the school cannot be responsible for lost, stolen or misplaced articles of jewellery.


text:
Q: $A_3=\{x\in \mathbb Z: (x+2)/5\in \mathbb Z\}$, $A_7=\{2,3,4,6,8,9,12,16,...\}$. What is $A_3\setminus A_7$? $A_3=\{x\in \mathbb Z: (x+2)/5\in\mathbb Z\}$
$A_7=\{2,3,4,6,8,9,12,16,...\}=\{2^a3^b:(a,b\in \mathbb Z)\cap(a,b\ge0)\}$
The solution is going to be $\{...,-12,-7,-2\} \cup (x+2)/5$ is not even, but I don't really know how to write this in more standard set notation.

A: Certainly negative numbers do not belong in $A_7$ therefore $A_3 - A_7$ contains all the negative numbers in $A_3$ which can be written as $\{5x-2 : x \leq 0\}$.
Apart from that, it remains to be seen which positive numbers in $A_3$ are not of the form $2^a3^b$ and add them in. Now , any positive integer is not $2^a3^b$ for $a,b \geq 0$ if and only if it has a prime factor which is not $2$ or $3$. This can be checked using the fact that every positive integer has a unique prime factorization.
That is, if $P$ denotes the set of primes, then $\mathbb N - A_7= \{x \in \mathbb N : \exists p \in P - \{2,3\}, p | x\}$ (note : $p|x$ means $p$ divides $x$).
Now, it is clear that $A_3 - A_7 = \{5x - 2 : x \leq 0\} \cup \{5x-2 : x \in \mathbb N, \exists p  \in P - \{2,3\} , p | 5x-2\}$ from the negative positive break up.
We may also combine using the logical "or" written as $\vee$ to get
$$
A_3 - A_7 = \{5x- 2 : (x \in \mathbb Z : x \leq 0) \ \vee\  (x \in \mathbb N : \exists p \in P - \{2,3\} , p | 5x-2)\}
$$

redpajama_set_name: RedPajamaStackExchange


ORIGINAL HELMETS PAGE 2 Updated 31 March!
SS CLOTH AND METAL INSIGNIA March 25 Update!
UNIFORMS, HATS AND ACCOUTREMENTS Update Today, 20 April!
NOTICE OF DISCLAIMER: This Website is dedicated to researchers, archivists and collectors of historical military memorabilia. This site carries no affiliation whatsoever with any political ideology, especially of hate or intolerance. Any visitor to this site does so with the understanding that it is strictly for the purposes of historical collecting and research as stated above.
Thanks to my friends and customers for making 2018 a great year ! The Show of Shows was great. It was one of the best-attended (especially by the general public) that I've seen in 20 years of attending those. Good job OVMS! And as always,the best part is the good times and collecting with all our friends!
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Kelly Hicks, 50 Years Ago; 40 years ago; 30 years ago; 20 years ago; 16 years ago.
Kelly Hicks has collected WWII artifacts for over 50 years and has written five original works and many contributions toward other books regarding the collecting of helmets of the German Wehrmacht and SS. His offerings in these pages include the sharing of important information regarding SS and other helmets, especially providing in-depth knowledge of the characteristics of original helmets and what to look for in the latest fakes. Armed with the right information, especially in today's collector market, collectors can make quality decisions about what they purchase, at the same time protect themselves from becoming victims of fraud.
In the "featured helmet of the month" section, collectors will find a complete write-up, including detailed photographs, of a particular helmet. There may also be period photos displaying the wearing of the helmet in its historical context.
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(Please note: Sale prices do not include postage. Domestic and international postage and requested special handling expenses, unless otherwise negotiated, will be the responsibility of the purchaser. Payment for items can be made by personal check, money order or PayPal. PayPal address is kellyhicks@hotmail.com) Mailing Address: SS-Steel, LLC * 935 Heritage Groves Dr. * Brandon, Florida * USA 33510.


Retail Property for Lease. In great location on Greenwood Road with easy access to I-20.
Lease rate is subject to terms acceptable to Owner.
Also available for sale. See LACDB listing #30278444.
Space Description: Lease rate is subject to terms acceptable to Owner.


You may know about the virtual storage space called cloud storage. You may also be using a cloud storage service like many other people. However, do you know several reasons due to which individuals or work teams utilize cloud storage? If not, then here are some details to let you know about the gains they receive from cloud.
High accessibility: This is one the major benefits that people receive from storing their documents online on cloud. They are not only able to upload their files easily, but are also able to access the stored stuff quickly. All their stored data is available for use at all moments.
Ease of data access: While the data is highly accessible, it is also easy to access it on any of your devices. One can check, modify and store their data from anywhere and at anytime.
Data security: Many times, people face disastrous circumstances and lose all their data stored on computers and laptops. Storing it on cloud can save them from any such trouble, as no data is ever erased or lost from this online storage system. Additionally, cloud is safe to use because nobody else can access your data. Cloud storage is considered to be quite a reliable way to store data.
Quick data sharing: Cloud offers wonderful options to users who may want to share their stored data with others on varied platforms. While cloud provides an option to make specific data public, it also lets you share your files with defined individuals who may have the authority to act on it. Thus, collaboration is possible with cloud storage.
Low storage costs: Cloud is not only safe to back up your data in an organized way, but is also low on storage costs. A certain level of storage space is usually available for free on almost all cloud services. Beyond that level may also be purchased at a minimal price. All this is actually popularizing cloud storage.


we took our first step forward with the Jump-Start Program.
The heart of the Jump-Start Program focuses on a sustained effort as a means of ensuring greater success. The plan is to continue to work with and assess these same students for five years as they work their way through elementary school to the completion of sixth grade.


text:
HomeMarket AnalysisCME Group Plans Micro Ethereum Futures
CME Group Plans Micro Ethereum Futures
CME Group has announced today that it will offer Micro ETH futures trading beginning in December.
ETH futures trading began on the CME in February and the demand for these products has grown.
The move might be considered a further step toward broad institutional demand and adoption.
CME Group, the world's leading derivatives marketplace, has announced that it will offer Micro ETH futures starting December 6, pending regulatory approval. Micro ETH futures are one-tenth the size of one ETH and may provide a more efficient and accessible method for investors, both institutional and retail, to hedge their portfolios.
Micro ETH Futures' Bright Future
CME Group, which includes the Chicago Mercantile Exchange, the Chicago Board of Trade, and the New York Mercantile Exchange, among other subsidiaries, has announced that it will begin offering Micro ETH futures contracts beginning December 6 of this year. CME previously launched ETH futures trading in February and while demand for the product has increased, so too has the price of ETH; this has had the effect of making normal, full-size ETH futures contracts less accessible for many. The Global Head of Equity Index and Alternative Investment Products at CME Group, Tim McCourt, has said that the growth in liquidity of ETH futures has been seen "especially among institutional traders."
CME Group has this year greatly expanded its cryptocurrency derivatives offerings. Since February, over 675,500 ETH futures contracts have traded, equivalent to roughly 33.8 million ETH (the entire circulating supply of ETH is currently around 118.1 million). Since CME launched Micro Bitcoin futures in May, more than 2.7 million contracts have been traded. Micro ETH futures will add to CME's growing list of Micro products that have traded in more than one billion contracts and include products ranging from oil to metal to currency.
While futures might seem obscure to many retail traders and investors, they are prominent derivatives products used by both institutions and individuals. This is true not only in the traditional financial world but increasingly in crypto markets, including the second-largest cryptocurrency by market capitalization, Ethereum.
The announcement comes only weeks after the first Bitcoin futures ETFs in the U.S. began trading. It became one of the most heavily traded opening days ever for an ETF.
Disclaimer: At the time of writing, the author of this feature held BTC, ETH, and several other cryptocurrencies.
This news was brought to you by Phemex, our preferred Derivatives Partner.
The information on or accessed through this website is obtained from independent sources we believe to be accurate and reliable, but Decentral Media, Inc. makes no representation or warranty as to the timeliness, completeness, or accuracy of any information on or accessed through this website. Decentral Media, Inc. is not an investment advisor. We do not give personalized investment advice or other financial advice. The information on this website is subject to change without notice. Some or all of the information on this website may become outdated, or it may be or become incomplete or inaccurate. We may, but are not obligated to, update any outdated, incomplete, or inaccurate information.
You should never make an investment decision on an ICO, IEO, or other investment based on the information on this website, and you should never interpret or otherwise rely on any of the information on this website as investment advice. We strongly recommend that you consult a licensed investment advisor or other qualified financial professional if you are seeking investment advice on an ICO, IEO, or other investment. We do not accept compensation in any form for analyzing or reporting on any ICO, IEO, cryptocurrency, currency, tokenized sales, securities, or commodities.
See full terms and conditions.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Prediction Of Protein Subcellular Localization
Now, while your salary is still safe, is the time to pay off as much debt as you can. While details are impossible to figure out this far out, we will provide more data as we receive it. The West Coast was very wet in the winter of 1995-1996, while the Northeast and portions of the Southeast were slightly above average in precipitation. IndiaWhere is the wettest place on Earth and what is its average rainfall? This is the most inhospitable continent on Earth for several reasons, the most obvious of which is the cold temperatures. As the mid-level chart from October 11th shows above, the system brought its strongest impacts to the Dakotas and Northern Plains, though I suspect that won't be completely the case this time around. Because the phrase United Kingdom is too long to type every time I mention the model, I will refer to this forecasting system as the UKMET, its official model name.
This season's cycle is roughly 57 days, which is why we have highlighted December 7th as the connection date for this October 11 system. Now that we have been tracking the models for the past several days, and have taken the Lezak Recurring Cycle into account, we are getting some returns on possible tracks for this storm system. The GFS model has this storm system actually becoming two storm systems, though it is the northern-most one that drops snow across the Plains. The GFS model puts down totals in excess of one foot across North Dakota, much of Minnesota and a slight portion of Wisconsin. Lower amounts greet the other half of the Dakotas, the rest of Minnesota and the upper half of Wisconsin. This model puts down snow from Montana to Wisconsin, also allotting some snow to the Dakotas, Minnesota and Canada. Active suppression kept down the number fires and quickly extinguished most of the ones that did start. And we decided to expand our homes and recreation in to the forests, endangering the new residents and initiating many fires. Degraded forests, where huge amounts of "fuel", enhanced by slash left on the ground by careless logging, became primed for huge, catastrophic fires.
But we can fix our forests, improving the fire/smoke situation today and preparing for the greater warming that is undoubtedly in our future. Warming from increasing greenhouse gases is surely making the situation a bit worse, and its impact will undoubtedly escalate when the real warming occurs later in this century. But the real show stopper was the Big Burn of 1910, which destroyed 3 million acres and killed 87 people, a vast area encompassing parts of eastern Washington, northern Idaho, western Montana, and parts of BC. Fire history and effects are described for grassland and shrubland ecosystems, and the range of forested communities by plant series: Ponderosa Pine, Douglas-fir/White fir/Grand fir, Lodgepole pine, Western hemlock/Western redcedar, and subalpine fir/Mountain hemlock. On many days that were otherwise clear the sun was almost entirely obscured by excessive smoke from forest fires, which extended over a great part of the eastern, as well as the entire western section of the state. There is a known correlation that indicates storm systems or ridges of high pressure over East Asia can be reciprocated in the United States 6-10 days after the event's occurrence in East Asia.
This does look to be a rather substantial event, should current forecasts verify, with plowable snow extending across a wide majority of the far northern states. But today, global warming is a relatively small element of the current wildfire situation, particularly in the slow to warm Pacific Northwest. And the reason that current inhabitants of the region think smoke is an outlier is because of nearly a century of fire suppression in the West. Smoke and fire was part of life here in the Northwest before the period of near-total suppression began around approximately 1940. Native Americans started fires to encourage the productivity of the land. The early settlers of the region experienced one major fire (with lots of smoke) after another. At first, our technology and organization was not up to the job and major fires continued, such as the Dole Valley Fire of 1929 that burned over 300,000 acres in Clark and Skamania counties.
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The Federal Deposit Insurance Corporation (FDIC) is an independent agency created by the Congress to maintain stability and public confidence in the nation's financial system. Learn about the FDIC's mission, leadership, history, career opportunities, and more.
Learn More About the FDIC
Podcasts / January 24, 2023
Relationship Lending in the Digital Age
Press Release / January 5, 2023
New Members of FDIC Board of Directors Sworn in
Agencies Issue Joint Statement on Crypto-Asset Risks to Banking Organizations
Press Release / December 13, 2022
FDIC Proposes to Modernize the Use of the FDIC Official Sign and Advertising Statement
The FDIC provides a wealth of resources for consumers, bankers, analysts, and other stakeholders. Browse our collection of financial education materials, data tools, documentation of laws and regulations, information on important initiatives, and more.
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The FDIC is proud to be a pre-eminent source of U.S. banking industry research, including quarterly banking profiles, working papers, and state banking performance data. Browse our extensive research tools and reports.
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FDIC National Survey of Unbanked and Underbanked Households
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FDIC Releases 2021 National Survey of Unbanked and Underbanked Households
Event / September 8, 2022
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The FDIC publishes regular updates on news and activities. Keep up with FDIC announcements, read speeches and testimony on the latest banking issues, learn about policy changes for banks, and get the details on upcoming conferences and events.
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How Can We Help You? I am a... Bank Customer Banker Consumer Small Business Owner Analyst/Researcher/Student Legal Professional Bank Regulator Press/Media Vendor/Contractor Legislative Staff Member Jobseeker Court Clerk Prosecutor/Probation Officer Investigator Select the information you wish to explore based on who you are I want to...
The F.D.I.C. and the Loans
By Andrew Gray
Andrew Ross Sorkin (Dealbook column, April 7), in his criticism of the Legacy Loans Program, accuses the Federal Deposit Insurance Corporation of ''mission creep'' and of enabling ''enormous leverage'' with ''virtually no oversight by Congress.'' We disagree.
The F.D.I.C. is providing financing and operational support for a Treasury program to remove troubled assets from bank balance sheets. The leverage contemplated under the Legacy Loans Program is significantly less than that of banks relying on F.D.I.C.-insured deposits.
The F.D.I.C. is seeking public comment on the program and has reached out to Congress, bankers and investors, as we did with the Temporary Liquidity Guarantee Program.
Both programs draw on tools authorized by Congress to address systemic risk in concert with the Treasury and the Federal Reserve.
We expect that the Legacy Loans Program will have zero net cost after losses covered by equity investments, collateral and the fees collected. Our accounting is consistent with the law, principles of business accounting and budgetary treatment of other government guarantees.
If the F.D.I.C. ultimately incurs losses, the statute requires repayment of shortfalls through assessments on the entire banking industry. Zero net cost should not be confused with the absence of risk. We have never said the program is without risk.
Without a mechanism to remove troubled loans from banks, we can expect more to fail, with the cost of those failures to be borne by the industry-backed deposit insurance fund.
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In this article we will introduce you to Moodle, a course management system or a virtual learning environment.
This section will explain how to install and log in to Moodle 2.3.
Moodle 2.3 can be installed through Softaculous with little effort. This article will explain how to install Moodle through the cPanel Softaculous application.
This tutorial explains the steps for logging into the Moodle Dashboard.
If you've forgotten your Moodle password, the following articles will help based upon your current scenario.
To change the username and/or password for your Moodle Login, you can log in the Moodle Dashboard and change it in the Admin Profile.
Forgot your Moodle username or password and the forgot password link is not sending the email for the login credentials. This will show how to change the password in PhpMyAdmin.
This section will discuss updating, editing and changing the home page in Moodle 2.3.
This tutorial will focus on editing the Moodle 2.3 Front page settings.
By default, Moodle has no text on the frontpage summary. This tutorial will explain how to add content to the Moodle 2.3 Frontpage.
Moodle 2.3 has the capability of not only editing the Frontpage with a WYSIWYG editor, but adding code to the page itself. This tutorial will explain how to add an iframe to the Moodle Frontpage.
This tutorial will briefly explain the Moodle 2.3 Question Bank and what it is used for.
Moodle has its own back up feature where the site can be backed up through the Moodle dashboard. The following article will outline the process of backing up Moodle through the Moodle Dashboard.
Once the backup is created through the Moodle Dashboard, like what was outlined in the Creating a backup of Moodle tutorial, the backup can be restored through the Moodle Dashboard. This article will demonstrate how to import or restore the backup created by the Moodle dashboard.
The My Profile Settings are available in Moodle 2.3 for editing and adding information to the users profile. The following tutorials will focus on the "My Profile settings" in the Moodle Settings section.
Users can edit their profiles within the My profile settings of the Settings section in Moodle 2.3. This tutorial will briefly explain the User profile settings.
Moodle 2.3 has the capability to message users when certain actions occur on the site. This article will discuss how to configure the incoming message notification methods.
Moodle 2.3 has the ability to incorporate multiple Languages. This section will explain how to change the Language settings in Moodle.
Moodle includes a vast array of Language packs that can be installed or removed, allowing the site to be viewed in multiple languages. This article will focus on installing a language pack for Spanish in Moodle 2.3.


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About - current page
What's Next for COMPPARE?
Expand Study Details Submenu
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A Message from Dr. Nancy Mendenhall - Fall/Winter 2022-23
COMPPARE Consortium Spotlight: The MUSC Hollings Cancer Center
Once Again, A Lapse in Screening Can be Costly
Expand COMPPARE Newsletter Archive Submenu
COMPPARE Newsletter: Spring/Summer 2022
COMPPARE Newsletter: Summer 2021
COMPPARE Newsletter: Spring 2021
COMPPARE Newsletter: Winter 2021
COMPPARE Newsletter: Fall 2020
Patient Accrual Closes, Participant Surveys are Collected, and Data Analysis Begins
In 2017, a research team led by Nancy Mendenhall, M.D., medical director of the UF Health Proton Therapy Institute, was awarded a five-year, $11.9 million grant from the Patient-Centered Outcomes Research Institute (PCORI) to directly compare the potential benefits and harms of proton therapy to standard radiation therapy when treating prostate cancer.
PCORI funds comparative clinical effectiveness research (CER), which compares two or more medical treatments, services, or health practices to help patients and other stakeholders make better informed decisions. As UF Health reported, the study was selected for funding through PCORI's Pragmatic Clinical Studies Initiative, an effort to produce results that are broadly applicable to a diverse range of patients and care situations and can be more quickly taken up in routine clinical practice. COMPPARE was one of just 14 studies chosen through a highly competitive review process in which patients, caregivers and other stakeholders joined scientists to evaluate the proposals.
With the PCORI grant – one of the largest ever received by University of Florida scientists – Dr. Mendenhall's team of physicians, researchers, patient stakeholders, caregivers, prostate cancer advocacy groups, insurers, and minority engagement groups then got to work.
Four years later, thanks to the efforts of more than 50 partner sites across the U.S., the team has successfully enrolled a total of 2,524 prostate cancer patients. Now, it's up to participants to continue to complete COMPPARE's Quality of Life and Side Effects Follow-up Questionnaires.
The methods of collecting data for a comparative research study are similar to other methods of research. For COMPPARE, participants must complete questionnaires before radiotherapy, three months after radiotherapy, and then annually for at least three years. COMPPARE also collects participant PSA data and physician reported data from participating sites.
Three-year COMPPARE data results must be submitted to ClinicalTrials.gov by June, 2026. Next, a draft final research report must be submitted to PCORI one month later, in July, 2026. A final revised research report is then expected in April, 2027.
The COMPPARE team hopes to acquire additional funding in order to continue data collection until patients are ten years post treatment.
"Efforts are now focused on strategies to retain patients in the study and acquire complete data on quality of life, toxicity, and disease control," said Mendenhall. "It is critically important to retain patients in the study as late outcomes may be more important than, and different from, early outcomes."


Side-impact car accidents (also know as T-bone accidents) are the result of the front of one vehicle hitting the side of another vehicle. Side-impact car accidents are actually the second most deadly type of car accident, and nearly 9,000 people die every year due to this type of auto accident.
Side-impact car accidents commonly happen at intersections, where drivers make unsafe or illegal lane changes. If a vehicle runs a red light or stop sign, there's an increased chance that they will hit an oncoming car, resulting in a side-impact collision. And, unfortunately, because few vehicles are equipped with side airbags, side-impact crashes are inherently more dangerous than some other types of car accidents.
The only real ways to protect yourself and your family from serious injury due to a side-impact crash is to 1) have side-impact airbags installed in your vehicle and 2) to strengthen the side structures of your vehicle. These precautions will help cushion passengers in the event of a side-impact crash and provide extra support should you be hit by a larger vehicle.
If you or someone you know has suffered injuries in a side-impact car accident that was not their fault, seek the advice of a qualified Milwaukee car accident lawyer like Karl Gebhard. Milwaukee auto accident lawyer Karl Gebhard offers free legal consultations, and because he works on a contingency basis, he will not accept any fees for his legal services until he successfully wins a case.


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What Democrats' Policing Bill Says About School Resource Officers
Your Education Road Map
Politics K-12®
ESSA. Congress. State chiefs. School spending. Elections. Education Week reporters keep watch on education policy and politics in the nation's capital and in the states. Read more from this blog.
By Evie Blad — June 08, 2020 4 min read
As protests continued around the country over police treatment of black Americans, congressional Democrats unveiled a bill Monday designed to increase accountability and transparency for local law enforcement officials around the country, including school police officers.
House Democrats, led by the Congressional Black Caucus, announced the Justice in Policing Act of 2020, which would create a national registry to track police misconduct, ban chokeholds nationwide, lower the bar for lawsuits over alleged civil rights allegations by law enforcement officers, and mandate training on discriminatory profiling for all law enforcement.
In 2017-18, 58 percent of American schools reported having a sworn law enforcement officer on campus at least once a week, federal data show. Civil rights activists have long been concerned that black students are arrested and referred to law enforcement at higher rates than their peers, and that police are sometimes involved in routine discipline that should be handled by school administrators.
Here's how the bill that would affect school police.
Nationwide School Police Standards
If passed, the bill could lead to more consistent standards for school resource officers, which operate under a patchwork of state and local laws and policies. Some activists have complained that many officers don't have adequate special training to work with young people in educational environments.
The Justice in Policing Act would require the U.S. attorney general to recommend "the adoption of additional standards that will result in greater community accountability of law enforcement agencies and an increased focus on policing with a guardian mentality." Those would include national standards for juvenile justice and school safety, the bill says.
The attorney general would make those recommendations in consultation with police accreditation agencies and after reviewing the 2015 recommendations made by President Barack Obama's 21st Century Policing Task Force, which he assembled after police shot and killed black teenager Michael Brown in Ferguson, Mo. Among that task force's recommendations: School police shouldn't be involved in routine discipline, officers should work to build positive relationships with young people, and there should be a multi-sector approach to tackling youth justice issues.
The bill would create federal grants for pilot programs to develop new strategies around areas like recruiting, training, and retaining officers, including school police.
Among the issues that grant would cover: "The development of uniform standards on juvenile justice and school safety, including standards relating to interaction and communication with juveniles, physical contact, use of lethal and nonlethal force, notification of a parent or guardian, interviews and questioning, custodial interrogation, audio and video recording, conditions of custody, alternatives to arrest, referral to child protection agencies, and removal from school grounds or campus."
Military Equipment for School Police
The Justice in Policing Act would place new limits on a federal program that transfers military equipment to local law enforcement agencies, including many school police departments. The program, known as 1033, is a section of the National Defense Authorization Act.
Among those new requirements: a ban on transfers of items like grenade launchers and mine-resistant vehicles, both of which have been previously acquired by school police departments under the 1033 program.
As we wrote recently, several lawmakers in both major parties have proposed eliminating that program all together. Most recently, Democratic Sen. Brian Schatz of Hawaii tweeted that he would call for the end of 1033 after photos spread of heavily armed local police at recent protests.
It is clear many police departments don't train and supervise for restraint and de-escalation, and some officers are just plain racist and violent. Combine this with a President who appears enthusiastic about making it worse, and weaponry transferred from DOD, and here we are.
— Brian Schatz (@brianschatz) May 31, 2020
Support for the Bill
It's unclear if the bill, which has more than 200 Democratic cosponsors in the House and Senate, will win support from lawmakers on the other side of the aisle.
White House Press Secretary Kayleigh McEnany said Monday President Donald Trump is studying "a number of proposals" for police reform. The administration does not support parts of the Democrats' bill, she said, including a provision that would curb immunity for police officers in the case of reckless misconduct. Attorney General Bill Barr fears that provision would lead to "police pulling back," McEnany said.
The bill comes as student activists around the country hope to seize the momentum of demonstrations over the death of Minneapolis man George Floyd to push for the removal of officers from their schools. Some leaders, including Chicago Mayor Lori Lightfoot, have said the officers are necessary for school safety.
Follow us on Twitter @PoliticsK12. And follow the Politics K-12 reporters @EvieBlad @Daarel and @AndrewUjifusa.
Evie Blad
Evie Blad is a reporter for Education Week who covers education politics and policy.
Dr. Rochelle Walensky, director of the Centers for Disease Control and Prevention, left, and Dr. Anthony Fauci, chief medical adviser to the president, testify at a Senate hearing about the federal response to COVID-19.
Greg Nash/Pool via AP
Federal Citing Educator and Parent Anxieties, Senators Press Biden Officials on Omicron Response
Andrew Ujifusa, January 11, 2022
Three Oakland County Sheriff's deputies survey the grounds outside of the Crumbley residence while seeking James and Jennifer Crumbley, parents of Oxford High School shooter Ethan Crumbley, on Dec. 3, 2021, in Oxford, Mich.
Jake May/The Flint Journal via AP
Federal Miguel Cardona Should Help Schools Push Parents to Store Guns Safely, Lawmakers Say
Andrew Ujifusa, December 15, 2021
Federal In Reversal, Feds Seek to Revive DeVos-Era Questions About Sexual Misconduct by Educators
Equity & Diversity Students Embrace a Wide Range of Gender Identities. Most School Data Systems Don't
Benjamin Herold, January 4, 2022


In the mid-eighteenth century, access to Southwest Virginia was difficult due to the climb up the Alleghany Ridge south of Salem. The area beyond the Alleghany was first settled at Draper's Meadows near Blacksburg in 1745. A new road was blazed from Staunton south to the New River near Blacksburg with the mark of "two notches and a cross." By 1800, an alternate road to the east of it, running from Salem through Christiansburg, won out as the preferred route to the southwest. It crossed the New River at Ingles Ferry (now Radford), and corresponds closely to Rt. 11 and I-81. Known as the Ingles Ferry Road, it became the great corridor of migration to the west after the American Revolution, when thousands of immigrants poured through the New River and Holston valleys on their way to newly opened territories in Kentucky and Tennessee.
An important lead mine was developed near here as early as 1757 and served as a principal source of lead during the American Revolution. Stephen F. Austin, who moved west and became known as "the Father of Texas," was born at the mines in 1793. The tall limestone Shot Tower, dating from before 1800, was built into the bluff along the New River above a seventy-five-foot deep shaft. Lead was hoisted to the top of the tower, melted, and then poured through a sieve. The lead droplets hardened into round shot during the 150-foot descent into a kettle of water near the river's edge.
The Martha Washington Inn is a historic hotel located in Abingdon, Virginia. The unusually elegant and substantial house was built in 1832 by General Francis Preston, hero of the War of 1812, for his family of nine children. The building has served since then as a women's college, a Civil War hospital and barracks, and as a residence for visiting actors of the Barter Theatre. The hotel has been restored in recent years and, with the nearby Barter Theater, forms the centerpiece of downtown Abingdon.
The Tavern, the oldest of Abingdon's historic buildings and thought to be one of the oldest structures in Washington County, was built in 1779. Originally known as Yancy's Tavern, it has had such guests as Henry Clay; Louis Philippe, King of France; President Andrew Jackson; and Pierre Charles L'Enfant, designer of Washington D.C. Today it is a fine restaurant.
General Evan Shelby (c. 1720–1794), was born in Wales and took part in the French and Indian War. He commanded a company of militia from Sullivan County at the battle of Point Pleasant, and was the leader of the famous Chickamauga expedition. Shelby moved to the Bristol area in about 1773. He served as brigadier general of the militia of the frontier district of North Carolina. His very unusual coffin-shaped cast-iron monument is located in Bristol's East Hill Cemetery.


Juju gives the amazing gift of peace of mind.That is a gift that cannot be undervalued by anyone, and I do not believe this can be overstated. There is nothing more valuable to someone who is suffering from any type of defect or health situation, then Tranquility, protection, and compassion. It can be really hard to think of how we can offer these things to people, these supports that are so important and vital, and cannot be overdone. How can we protect someone that we care about in a in a way that is totally meaningful? How can we provide the opportunity for tranquility with in somebody's existence that is being negatively affected by factors beyond our control and beyond their control? And, how can we protect people? How can we offer our support in a way that is constant and Powerful and how we keep those that we love defended from things that they can help puppy vulnerable to ? These are things that I think about all the time. I do think that these are essential, and as if you're trying to think of a gift for somebody with cancer, somebody that is suffering from breast cancer or any type of cancer, or somebody who is even suffering from something that is less severe with can't answer, or less severe than cancer, but it's still having a really negative effect on their day-to-day life, or their existence as a whole, and is making their experience with mortality less of a gift?
Photo filter applications: Boon or bane?


Reaper 5.971 [Crack + Keygen] & Serial Key With (x86/64 bits) 2019!
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Download and unzip the REAPER Crack file.


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I Only Have Two Eyes: 2014 Edition
Screen capture from Warner DVD of Macao
We're already well into the 2015 film-going year, but it's not too late to take time to reflect on the cinematic character of 2014 before it recedes into memory too far. One major release bucked trends by bringing 35mm and 70mm projectors back to life in a few cinema spaces. Otherwise, 35mm screenings of new films all but disappeared from the Frisco Bay screening landscape, with only the 4-Star in San Francisco and the Bluelight Cinemas in Cupertino by year's-end still regularly playing whatever new commercially-available films they're able to track down prints for from the studios still striking them. Remaining film projectors at a place like the Opera Plaza were so under-utilized in the past twelve months that learning that the venue just the other day removed them from all but one of its tiny screening rooms (installing DCP-capable equipment into its two comparatively "larger" houses) felt completely unsurprising and barely disappointing at all to me. It's safe to say that film festivals are no longer a home for 35mm either; as far as I'm aware the only new films that screened in that format at any local fests in 2014 were the throwback short Broncho Billy and the Bandit's Secret at the Broncho Billy Silent Film Festival in June, and Yoji Yamada's The Little House at Mill Valley in October.
Most of the major local festivals have only kept the embers of sprocketed film warm in 2014 either by showing 16mm works by "experimental" artists still employing celluloid, or by showing a few revival titles in 35mm. Indeed, revivals and repertory houses are now where almost all of the action is at for those who like to view light passing through 35mm strips onto screens. Frisco Bay still has venues where this is a major component of programming, as well as a growing contingent of cinema spaces finding creative ways to attract audiences out of their home-viewing patterns (which are shifting themselves) by embracing digital-age developments. I'm eager to see what 2015 will bring to the cinephiliac landscape in San Francisco and its surroundings. Changes are afoot; the Pacific Film Archive in Berkeley will be closing midyear to prepare for a move to a new, more transit-connected space; meanwhile the biggest DCP advocate among its programming team has just retired. The Alamo Drafthouse is expected to open its first branch in the region in 2015 as well, at a site within walking distance of several cherished repertory haunts. As highlighted in the new Film-Friendly Links section of the Film On Film Foundation website, Alamo CEO Tim League appears committed to involving 35mm in his company's continued expansion. I'm excited to see how that shakes out.
My annual "I Only Have Two Eyes" survey of local cinephiles' favorite screenings of revival and repertory films may have more mentions of digital screenings than ever for 2014, but as you'll see as I unveil the various contributions over the next week or so, there is plenty of diversity of format, venue, and of course the films themselves, in their selections. I'm so pleased to have gotten a strong turnout for this year's poll, including many participants from the past seven years when I've conducted it, as well as new "faces". Enjoy perusing their lists and comments as more are added!
January 26: Veronika Ferdman, who writes for Slant Magazine, In Review Online and elsewhere.
January 26: Lucy Laird, Operations Director for the SF Silent Film Festival.
January 27: Michael Hawley, who blogs at his own site film-415.
January 27: Jesse Hawthorne Ficks, educator at the Academy of Art & MiDNiTES FOR MANiACS
January 28: Margarita Landazuri, who writes for Turner Classic Movies & elsewhere.
January 28: Ben Armington, Box Cubed Box Office guy for many Bay Area Film Festivals.
January 29: Terri Saul, a visual artist who posts capsule reviews on Letterboxd.
January 29: Lincoln Spector, the proprietor of Bayflicks.
January 30: Michael Guillén, schoolmaster of The Evening Class and contributor to other publications.
January 30: David Robson, editorial director of Jaman and caretaker of The House of Sparrows.
January 31: Jonathan Kiefer, critic for SF Weekly and the Village Voice.
January 31: Adrianne Finelli, artist, educator, and co-curator of A.T.A.'s GAZE film series.
February 1: Haroon Adalat, a designer, illustrator and video editor.
February 1: Maureen Russell, cinephile and Noir City film festival volunteer.
February 2: Ryland Walker Knight, a writer and filmmaker with a new short at SF IndieFest.
February 2: Carl Martin, film projectionist and keeper of the FOFF Bay Area Film Calendar.
February 3: Claire Bain, an artist, filmmaker and writer.
February 4: Brian Darr, a.k.a. yours truly.
Posted by Brian Darr at 4.2.15 0 comments
Labels: 4-Star, Alamo, Bluelight, film vs. video, guest contributor introductions, IOHTE 2014, lists, MVFF, Niles Essanay Film Museum, Opera Plaza Cinema, PFA, Year-end wrap-up
IOHTE: Brian Darr
First, a hearty thank you to the seventeen other participants in 2014's "I Only Have Two Eyes" survey of Frisco Bay repertory and revival screenings; please check the final update of the hub page for links to each of their exceptionally diverse entries. I don't believe any film was mentioned by more than three participants, but there are certain trends; I feel like film noir was represented more than ever this time around, in keeping with its status as the Bay Area's seeming favorite repertory film genre.
As for my own list. More than in other years, the bulk of it is made up of films I had little or no expectations for when I entered the cinema to see them. A good half of them were made by directors whose other work as director has eluded me so far, and I hold relatively few auteurist preconceptions about some of the other half's directors, either. I don't know why I cherished these surprises more than I did years-in-the-waiting screenings such as Don't Look Now at the Castro, other than to guess that expectations built up over too long a period of time can be impossible to fulfill; I did find Don't Look Now to be devastating and remarkable and if I'd seen it an earlier year I might well have placed it on my list even if the competition from other screenings was fiercer. But this year, I just feel more attached to the following screenings:
Never Open That Door (Carlos Hugo Christensen, 1952), Castro Theatre, January 30th, 2014. 35mm. Introduced by Eddie Muller.
Noir City's 2014 festival was my favorite edition ever of Frisco Bay's highest-profile annual exhibition of cinema heritage. The international theme wasn't just window-dressing but a meticulously-crafted argument against the jingoistic notion that film noir was in essence a Hollywood construction, and I couldn't resist attending, for the first time, every single film shown during those ten days, including the Japanese and British films I'd seen on the Castro screen before or the ones I'd recently watched to prepare my Keyframe Daily preview. Among the festival's high points was a final-day showing of Martin Scorsese's personal 35mm print of Josef Von Sternberg's Orientalist nightmare The Shanghai Gesture, but my very favorite experience of the 10-day chiaroscuro marathon was seeing the first of the three Argentine noirs presented for their first gringo audience in decades- if not ever. Never Open That Door is an elegant fusing of a pair of complimentary (one urban, one rural, etc.) Cornell Woolrich adaptations that simply oozed tenebrific dread and reminded me that John Alton spent several years working in Buenos Aires before making his mark on Hollywood; I don't know if this film's cinematographer Pablo Tabernero ever crossed paths with Alton, but I'm intrigued by his background; he appears to have been a German exile named Paul Weinschenk, who changed his name while making documentaries for the loyalists during the Spanish Civil War before heading to Argentina. I'm thrilled to learn via the Noir City Annual #7 that this film is being restored with English subtitles (this screening was soft-titled) and better yet, reunited with another Christensen/Tabernero Woolrich adaptation called If I Die Before I Wake, and that screening foreign-language films at Noir City is not a one-year oddity but a new tradition.
Rich Kids (Robert A. Young, 1979) Roxie Cinema, March 8th, 2014. 35mm. Introduced by Mike Keegan & Jesse Hawthorne Ficks.
San Francisco's longest-running cinema the Roxie has for various sensible (and regrettable) reasons moved away from screening much 35mm and 16mm in the past year, putting its energy into creative approaches to running a digital-era cinematheque with programs like this upcoming one. But for five days, in anticipation of the local release of The Grand Budapest Hotel, the Mission venue threw a 35mm feast of daily Wes Anderson features. This heartbreakingly hilarious and touching portrait of New York preteens from aristocratic but broken homes, an obvious touchstone for Anderson and/or frequent screenwriting partner Noah Baumbach, was nestled into the program one afternoon, and was a uniquely big-screen experience, as this reputed sole surviving widescreen print contains sequences cut from any panned-and-scanned video copies you might see floating around. Though directed by Young it was produced by Robert Altman when he was at the peak of his clout, and its approach to childhood feels more alien to modern filmmaking than Altman's own approach to environmental catastrophe that year (Quintet), and its showing helped set me on a path of Altman research and rediscovery that continued throughout much of the year and will pick back up again this month at Yerba Buena Center for the Arts.
Passage à l'acte (Martin Arnold, 1993) New Nothing Cinema, March 26th, 2014. 16mm. Introduced by Mark Wilson.
As usual, a sizable portion of my viewing in 2014 was of the experimental film variety; screenings presented by familiar organizations like Oddball Films, the Exploratorium, the Pacific Film Archive and SF Cinematheque each had a distinct impact on my wider appreciation of cinema history. But there's nothing like a new venue, even if it's one that's been around for a while like New Nothing in SOMA. I'd heard about this space for years, but it wasn't until last March that I learned exactly where it was, what it might screen, and how I might find myself there. The occasion was the second in a year-long series of salons presented by Canyon Cinema filmmakers invited to draw from the collection of prints held by this stalwart film institution (which ended 2014 with some wonderful momentum). I attended far too few of these programs, but I'm so glad I made it out for my friend Mark Wilson's presentation of short investigations of human movement on screen. Martin Arnold in particular was a figure I'd long heard of but never seen for myself (like New Nothing) and to experience his optically-printed appropriation of an iconic Hollywood movie amidst great films by Ed Emshwiller and Jeanne Liotta felt like the ideal introduction to a master filmmaker's work. Although I do wonder how I would have reacted if I'd seen it when it was made in 1993, at a time I was immersing myself in industrial and other collage-oriented music but had yet to see my first Robert Mulligan film.
The Good Bad Man (Allan Dwan, 1916) Castro Theatre, May 31, 2014. 35mm with piano accompaniment by Donald Sosin. Introduced by Dr. Tracey Goessel.
As I noted in my preview piece on the 19th San Francisco Silent Film Festival, the SFSFF has been slowly but surely funding and presenting new restorations of the early collaborations between beloved superstar Douglas Fairbanks and still-neglected auteur Allan Dwan (they ultimately completed eleven films together, culminating in the 1929 part-talkie The Iron Mask.) The third of these restorations is the earliest of the collaborations presented so far; The Good Bad Man was only the second Fairbanks/Dwan picture, after The Habit of Happiness, but the restoration looked impeccable for a 98-year-old film screening at only 16 frames per second; it surely didn't hurt that pianist Donald Sosin performed the musical accompaniment as if he were trying to show up all of the weekend's other fine musicians after a year on the bench (I think he succeeded). It also happens to be the best movie of the three, a perfectly balanced synthesis of Wild West action and romantic comedy. I've barely glimpsed Dwan's non-Fairbanks films, but with this I'm starting to get a sense of his spatial and structural sensibilities. It just so happens that another Dwan silent, this one starring Gloria Swanson rather than the King of Hollywood, screens this Saturday at the Niles Essanay Silent Film Museum. Tempting...
Screen capture from Music Box DVD of The Story of Film
Crucified Lovers: a Story from Chikamatsu (Kenji Mizoguchi, 1954) Pacific Film Archive, July 30th, 2014. 35mm.
Mizoguchi made some of the most emotionally potent political films ever, and this one, which I'd never seen before at all, edged ahead of my first 35mm viewing of his 1939 masterpiece The Story of the Last Chrysanthemum as the summit of my visits to the Pacific Film Archive's hearty director retrospective last summer. The inexorability of unfolding events, each peeling another layer off the rotten onion of patriarchal feudalism, held me transfixed to the screen.
Only Yesterday (John M. Stahl, 1933) Stanford Theatre, August 31st, 2014. 35mm.
It seems incredible that two entirely different films could both share the same title; I saw Isao Takahata's coming-of-age animation from 1991 and put it on my IOHTE list two years ago, and now I've caught up with this pre-code Hollywood employer of the same English-language title, as part of a Stanford Theatre World War I weepie double-bill with Random Harvest. Calling Stahl's Only Yesterday a melodrama in today's age sounds like a dismissal, but in this case the heightened emotions of its characters, particularly the sublime Margaret Sullivan (in her debut screen role!) are transmitted directly to the audience, making for an intense experience akin to that conveyed by its later, more famous remake Letter From An Unknown Woman, (which I also saw at the Stanford in 2014).
¡O No Coronado! (Craig Baldwin, 1992) Artists' Television Access, September 19th, 2014. 16mm. Introduced by Craig Baldwin and Steve Polta.
In 2014 my only "official" filmmaker interview was a mind-melting discussion with underground archivist and iconoclast Craig Baldwin, who summons the Other Cinema screenings most Saturday nights at the increasingly incongruous (and thus culturally valuable) Valencia Street microcinema Artists' Television Access. I also finally caught up with most of his films that I hadn't seen before (I'm still on the hunt for the elusive Stolen Movie). I was able to see a majority of them on the A.T.A. screen, either as part of its 30-hour marathon (of which I survived about fifteen hours of before the dawn showing of Damon Packard's brilliant Reflections of Evil sent me stumbling home for much needed sleep- or was it sanity) or this pair of programs. ¡O No Coronado!, Baldwin's 40-minute sub-feature made to commemorate commiserate the Quincentenary of Christopher Columbus's famed voyage (by presenting the story of a very different conqueror), employs perhaps his most elaborate and "effective" staged footage, shuffled together with ludicrous and expensive Hollywood detritus. His juxtapositions pull the rubber mask off the history-as-mythology industry that seems to dominate our collective understandings of the past.
Screen capture from Kino DVD
Little Fugitive (Morris Engel, Ruth Orkin & Ray Ashley, 1953) Yerba Buena Center for the Arts, September 22nd, 2014. 35mm. Introduced by Lynn Cursaro.
Full disclosure: of all the repertory/revival series of 2014, the one that loomed largest for me personally was one that I was honored to be chosen to be involved with myself: Joel Shepard of YBCA's gracious "Invasion of the Cinemaniacs!" series, the film component of the museum's triennial Bay Area Now focus on local artists and art communities. Shepard selected eleven local cinephiles (including six previous IOHTE contributors) to present a carte-blanche choice of a film at the YBCA's technically excellent, intimate screening space. I was humbled to be chosen, and humbled again to find that my buddy Ryland Walker Knight mentioned my selection (Altman's The Company) in his own IOHTE wrap-up this year. A few of the other Cinemaniacs selections have been cited by IOHTE 2014 participants such as Carl Martin and David Robson, but I'd like to single out a few that have been left unmentioned: Adam Hartzell's informed presentation of Korean drama Madame Freedom, Robson's lustrous program-closer The Brides of Dracula, and most importantly Lynn Cursaro's selection Little Fugitive, a wonderfully poetic, American-neorealist exploration of Coney Island through the eyes of a child who fears he might never be able to return home. Though co-directed by three filmmakers I was previously unfamiliar with, it's a film I've been waiting to see on the big screen for many years, ever since learning it was an early entry on the Library of Congress's National Film Registry. Watching a 35mm print in a room (half) full of cinema devotees was worth the wait; this is clearly one of the great films of its time (when television was just growing out of being a seductive novelty) and place (on the opposite end of the country from Hollywood).
The Puppetmaster (Hou Hsiao-Hsien, 1993) Pacific Film Archive, November 14th , 2014. 35mm. Introduced by Kathy Geritz and Richard Suchenski.
This is the largest exception to the trend I mentioned in my introductory paragraphs: another film I'd been waiting for years to see on the big screen, in this case made by a director I already considered myself a committed fan of. In fact I'd hoped to see much more of the traveling Hou Hsiao-Hsien series brought by Richard Suchenski to the PFA in the last months of 2014 than I did; I'd have liked to attend every screening but scheduling consigned me to seeing only five films in the program. The Puppetmaster was the most revelatory for me of the five (although The Boys From Fengkuei came close) in terms of my understanding of Hou, and indeed (as I noted on twitter), in terms of my understanding of biographical storytelling modes in general. This no-admission screening was nearly full, which was especially gratifying after Suchenski noted that he'd essentially built the Hou series around his desire to see this film in 35mm, that it'd taken two years to negotiate to show it, and that it (and City of Sadness) would certainly become completely unavailable to view on that format after the tour concludes at the end of this year. Which has me giving sidelong glances to airfares after looking at the rest of the schedule...
Screen capture from Cohen Media Group DVD
The Book of Mary (Anne-Marie Miéville, 1985) Pacific Film Archive, November 29th, 2014. 35mm.
My favorite new film seen in 2014 was Jean-Luc Godard's 3D Goodbye To Language, which I saw three times (once for each dimension?) at the Rafael Film Center, the only Frisco Bay cinema it played in time for me to put it on my Top Ten list in time for Fandor's poll. (It screened at Berkeley's Shattuck Cinema in mid-December, and finally has its first showing in San Francisco at the Castro Theatre tonight). But my 2014 Godard experience was not limited to his newest work; the Pacific Film Archive provided many opportunities for me to fill gaps and revisit old favorites throughout the year, and I only wish I'd taken advantage of more of them (on the bright side the series is continuing through April.) Some of the films felt more impenetrable than wonderful, but they all had a touch of both qualities. Most pleasantly surprising, however, was the fact that my very favorite entry in the whole series was directed not by Godard, but by his longtime collaborative companion Anne-Marie Miéville, and screened, as it customarily does, before his 1985 release Hail Mary. It's a perfectly-realized short film, simultaneously naturalistic and expressionistic in its presenting a young girl's perspective on her parents' crumbling marriage (don't ask me why this theme recurs on this list.) Miéville is particularly gifted at framing her subject's body in motion, as in the above-pictured scene where she moves along to a section of Mahler's 9th Symphony. I attribute to The Book of Mary's effectiveness as a prelude the fact that I found Hail Mary to be my own favorite of the Godard films I saw at the PFA last year.
Labels: Argentine cinema, Artists' Television Access, Craig Baldwin, Douglas Fairbanks, IOHTE 2014, Jean-Luc Godard, Mizoguchi, New Nothing, Noir City, PFA, Roxie, Silent Film Festival, Stanford, YBCA
IOHTE: Claire Bain
"IOHTE" stands for "I Only Have Two Eyes"; it's my annual survey of selected San Francisco Bay Area cinephiles' favorite in-the-cinema screenings of classic films and archival oddities from the past year. An index of participants can be found here.
Contributor Claire Bain is an artist, filmmaker and writer. She is a frequent contributor to the Artists Television Access blog, and most of the links below lead to her writings on the screenings there.
Screen capture from Frameline DVD
Screaming Queens: the Riot at Comption's Cafeteria (directed by Susan Stryker & Victor Silverman, 2005), A.T.A. January 25, 2014
30 hour marathon, A.T.A. September 5-6, 2014
Marya Krogstad, A.T.A. July 14, 2014
U-Matic Night, A.T.A. July 3, 2014
Fred Alvarado, A.T.A. April 4, 2014
Thick Relations, A.T.A. March 21, 2014
Speaking Directly, Alley Cat Books presentation from SF Cinematheque. February 14, 2014
Reaching For the Moon, A.T.A. August 21, 2014
And one last one, not from a blog:
Screen capture from Warner DVD
One cool Saturday April morning I drove my tired ass to meet a friend at the Balboa Theater's Popcorn Palace, their true Saturday matinee ("matin" means morning in French) where 10 bucks gets you admission and endless popcorn. I met a friend who is a Ray Harryhausen fan, to see The Valley of Gwangi. I expected kids to be running up and down the aisles, but there were only adults, more than a handful of fully mature ones. The movie had a compelling mix of intense characters, including a badass cowgirl boss, a miniature horse, and then some dinosaurs. The epic battle near the end had spellbinding cinematography and nicely blended (not digital, no no no this was long before) effects that occasionally had alluring rhythms that made me think of loops in the optical printer (analog re-photographing apparatus for creating/blending special effects on film). Hilariously creative, it's a movie worth seeing, especially if you can catch it in a theater on some rare occasion. But I do recommend the Balboa Theater's Popcorn Palace!
Labels: Artists' Television Access, Balboa, IOHTE 2014, Ray Harryhausen, SF Cinematheque
IOHTE: Carl Martin
Contributor Carl Martin is a film projectionist & keeper of the Film On Film Foundation's indispensable Bay Area Film Calendar.
jan 22 @ the castro: the fortune: taking its place among the best '70's prohibition-era-nostalgia pictures (at long last love, the night they raided minsky's), this screwball delight channels preston sturges, embracing the escalatory power of the long take. in one memorable scene, jack nicholson, warren beatty, and stockard channing get upstaged by a flying sandwich.
jan 28 @ the castro: death is a caress (døden er et kjærtegn): presented as a norwegian noir, its characters are damned by their own choices, not by fate or censorship board. a refreshingly frank film.
feb 7 @ pfa: strange impersonation: strange indeed. a dozen b-picturesworth of absurd plot contrivances are packed into one movie. the female scientists are guileful and beguiling, the men all bumbling fools. surely it can't be real!
march 26 @ the roxie (16mm): the argyle secrets: this is a mean and nasty little movie! when the hero's progress is impeded by a perfectly innocent woman--and he knows she's done nothing wrong--he punches her lights out. whoa!
june 1 @ the castro: harbor drift (jenseits der straße): i only remember bits and snatches of this slice of society's underbelly: a necklace, a man reading the paper. but it was dynamic and beautiful and it moved me.
Screen capture from Blue Underground DVD
aug 15 @ ybca: vigilante: i checked and i didn't include this one in 2009. in this underachieving year, it makes the cut. once again william lustig's violent revengesploitation film bowled me over. robert forster is a badass and rutanya alda, as his ill-fated wife, is revelatory.
sept 19 @ the castro: coal miner's daughter: sissy spacek, beverly d'angelo (who both do their own singing), the ever-reliable tommy lee jones, and, in his debut dramatic role, levon helm, all turn in stellar work in this most excellent of musical biopics. if there's a sugar coating it's a thin one.
nov 3, private screening: point break: finally caught up with this one. patrick swayze mesmerizes as the leader/guru to a band of new-agey wave riders in kathryn bigelow's strange, mythic vision of surf culture.
Screen capture from Anchor Bay DVD
nov 7 @ the castro: minnie and moskowitz: this filled a hole in my cassavetes viewing. seymour cassel is a madman. in one intense scene, he seems genuinely surprised at his own impulsive action, which ends up messing up the continuity of the picture. no matter, it's a hell of a moment. bonus points for the timothy carey scene.
dec 5 @ roxie (16mm): crime wave: john paizs's wildly inventive, budget-transcending tale of a screen-writer's travails, seen through the admiring eyes of a 13-year-old girl, manages to be sweetly innocent and yet not at all innocent. he avoids solipsism and even steps into lynchian territory, around the time that lynch himself is just dipping his toes in.
Labels: Castro, IOHTE 2014, Noir City, PFA, Roxie, Silent Film Festival, YBCA
IOHTE: Ryland Walker Knight
Contributor Ryland Walker Knight is a writer and filmmaker.His latest short film Inside Voices screens at SF IndieFest this month.
Screen capture from Winner World Korea DVD
My favorite repertory screening in 2014 was seeing Streets of Fire at The Castro on 35mm. Somehow, I'd never seen this Walter Hill classic before, and I can easily say it was the most fun I had at the movies in that last calendar. A couple beers helped, as did the presence of my best friend, but the film is a welcome antecedent to whatever it is Tarantino's up to with his "Westerns", except this one is pure fantasy in dramaturgy as well as genre tropes.
The other great experience was re-seeing Robert Altman's The Company, which I have our host to thank for, and a big thanks it is. The last time I saw the film was on a DVD, before I "came of age" in my cinephilia, and as such it felt like a whole new film for me. I want to say I saw it in theatres, but I cannot say that with confidence, so I'm going to tell myself this was the first time I saw it on film, and I love those early-aughts digital films printed to celluloid for how the process transformed the quite common artifacting into rare textures of emulsion—a blown out light source becomes a flash of burnt celluloid where the white bleeds blue and red in an instant. It's a mistake in a lot of professional registers, I suppose, but what a lovely index of pure presence, announcing the document and its artificiality equally.
My greatest regret when it comes to my 2014 repertory notebook is how thin it is, as seems the case with me each year this decade. I feel at fault, indebted so much to this art, not doing my part to sustain my ardor, especially when the PFA ran so many Godards on 35. Then again, we see what we want to, and I cannot complain about what I did venture forth to seek on screens.
Labels: Castro, Indiefest, IOHTE 2014, YBCA
IOHTE: Maureen Russell
Contributor Maureen Russell is a cinephile and Noir City film festival volunteer.
There is a lot of noir on my list for 2014.
Screen capture from Strand DVD of Victims Of Sin
1) Noir City 12– The Castro Theatre, Jan. 24 – Feb. 2
The theme of international noir brought rarities and classics from around the globe. Seeing French alongside American, British, rare Argentinian and European selections provided great context, as filmmakers adapted what others were doing and made their own mark. Highlights include the Kurosawa directing Toshiro Mifune double feature Stray Dog (1949) with Drunken Angel (1948) and the wildly fun Mexican musical noir Victims of Sin / Victimas del Pecado (1951) with great music and dance numbers.
2) SF Silent Film Fest
Highlights: the creative Russian film The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, USSR (1924). Musical Accompaniment by the Matti Bye Ensemble
Underground, UK (1928). Directed by Anthony Asquith, Musical Accompaniment by multi-instrumentalist Stephen Horne. This love triad turns dark, set in working class London with beautiful cinematography.
Also Dragnet Girl, Japan (1933). Directed by Yasujiro Ozu, Musical Accompaniment by Guenter Buchwald
3) The French Had a Name for It / French Film Noir 1946-64 San Francisco's Roxie Theatre from November 14-17
Great festival with many sold-out screenings. My favorite was Witness in the City (Un Temoin Dans La Ville) (1959) for its story, characters, tension, location shooting and chase scenes through the streets of Paris, and beautiful cinematography.
4) A Hard Day's Night (1964) New 4K restoration for the 50th Anniversary – The Castro Theatre
A double bill with Richard Lester's next film, The Knack…and how to get it ('65). Seeing the beautiful restoration, I wasn't sure if I'd even seen this on the big screen. The audience seemed to be thoroughly enjoying the Fab 4 as much as I was. The Knack is a farce set in Swinging London.
5) Marketa Lazarova (1967) – the Roxie 7/14 – new 35mm print Czechoslovakia I hadn't heard of this classic Czech film before. Medieval setting shot using inventive technique.
6) Double feature at I Wake Up Dreaming noir festival, 5/25 – The Roxie
Brainstorm. Directed by William Conrad. (1965)
The Couch. Directed by Owen Crump. (1962)
7) The Unknown (Director Tod Browning, 1927, USA, with Lon Chaney and Joan Crawford)
SFIFF – The Castro 5/6/14 – Silent film with live accompaniment by Stephin Merritt
Shown with Guy Maddin's short Sissy Boy Slap Party (1995)
I'd seen this film before: great characters, visuals and acting, with darkness and humor that Chaney and Browning can give.
8) Inland Empire (2006)
The Roxie 7/22
David Lynch's own 35mm print screened. I had never seen this and was waiting to watch it on the big screen.
Screen capture from Celestial DVD
9) King Boxer (Five Fingers of Death) – Hong Kong, 1972
CAAM Fest – Great Star Theater 3/14/14 – Run Run Shaw Tribute
Released in the USA by Warner Bros. in March 1973, the film was responsible for beginning the North American kung fu film craze of the 1970s.
10) Burroughs at 100: The Films of William S Burroughs
February 3, 2014. City Lights Bookstore, with commentary by Mindaugis Bagdon.
A screening of the William S Burrough's films Towers Open Fire, The Cut-Ups, and Bill and Tony. (early 60s). It was great to be able to see entire short films using the cut-up technique, even if at least one film tested your patience.
Labels: CAAM Fest, Castro, City Lights Books, I Wake Up Dreaming, IOHTE 2014, Noir City, Roxie, SFIFF57, Silent Film Festival
IOHTE: Haroon Adalat
Contributor Haroon Adalat is a designer, illustrator and video editor.
From my perch now, my previous year could be characterized as one of recoil. Programming in the area was overwhelmingly lavish: for one, the Pacific Film Archive presenting the majority of works from Satyajit Ray, JL Godard and Kenji Mizoguchi on 35mm certainly left me feeling spoiled! And yet, 2014 was the year I kept my moviegoing to a (relative) minimum. Between a steady increase in digital projections, a constant lack of funds, and -- quite simply -- exhaustion, I stuck to the old-reliables or stayed home; and upon reflection, I missed things I regret immensely now...
Normal Love image provided by contributor
But, what do I remember? In 2014, there were several radiant and sublime and quite singular "discoveries". Sometime in October, Jerome Hiler (not unlike Nathaniel Dorsky) ushered in that magical, sweet, sustained silence that falls on rare screenings at the PFA. Much earlier across the bay, Jack Smith was twitching to life on new prints at the YBCA throughout January. I learned that there is often treachery when returning to objects of our past. I find the word "restoration" to be a bit dubious now. Of the films I revisited -- some for the very first time on a large screen -- my opinion of many slipped (yet, for others my affection renewed and doubled: Fellini Satyricon, the numerous Resnais films that graced local screens). In 2014, I settled on a drag name, GRETA GARBAGE (no, she doesn't have much of a personality or any gigs yet). She does possess a cache of images to cull from, though: few pleasures match the sight of Gene Tierney's darling face lit by Von Sternberg in The Shanghai Gesture, or Marlene Dietrich's supreme swagger as she races atop a man's back across a saloon during a rowdy flashback from Rancho Notorious (lessons to be learned, certainly...). I used "recoil" earlier as my suggestion for all those many things I avoided or merely ignored, but the following list should stand for the strands I still find enriching and confounding - the type of stuff that had me smiling on my bus commute last summer, or helped me pass time while waiting at a bar for a friend the day after that torrential storm in mid-December. In other words, the delightful things.
Screen capture from Cinema Guild DVD
Los Angeles Plays Itself
(2003; Thom Anderson; Castro Theatre; digital)
Flaming Creatures
No President
Normal Love
(1963-1967; Jack Smith; YBCA; 16mm)
In the Stone House
New Shores
(1967-2012; Jerome Hiler; PFA; 16mm)
Fellini Satyricon image provided by contributor
(1966; Andy Warhol; Castro Theatre; dual 16mm projection)
Fellini Satyricon
(1968; Federico Fellini; Castro Theatre; 35mm)
Je t'aime je t'aime
(1968; Alain Resnais; Castro Theatre; 35mm)
Rancho Notorious
(1952; Fritz Lang; Castro Theatre; 35mm)
Johnny Guitar
(1954; Nicholas Ray; Castro Theatre; DCP)
Lovers on the Bridge
(1984/1991; Leos Carax; Castro Theatre; DCP/35mm)
Screen capture from Sony Pictures Classics DVD of Apu Sansar
Pather Panchali
Aparajito
Apu Sansar
(1955/1957/1959; Satyajit Ray; PFA; 35mm)
Shanghai Gesture
(1952/1941; Josef von Sternberg; Castro Theatre, Noir City; 35mm)
The Exile
Letter From An Unkown Woman
(1947/1948; Max Ophuls; YBCA/Stanford; 35mm)
Labels: Castro, IOHTE 2014, Noir City, PFA, Stanford, YBCA


A Survival Kit is a handy portable container holding a variety of emergency equipment.
A ship's Emergency Locker contains an almost identical assortment of tools, equipment, and supplies.
Imperial safety regulations require that one survival kit be carried for each passenger aboard all starships.
One per kit, Negligible wt.
Eight half-liter cans of distilled water. 6kg.
A thirty day supply of dietary supplements and food concentrates for one person. 1.5kg.
30 tubes, when flexed they give off a soft light for 24 hours. The light cannot be turned off once started. 0.3kg.
A combination long range radio (500 km) and signaling transponder. One per kit. 1.5kg.
4 per kit. Signaling devices which, when activated, emit a colored smoke and bright light for 15 minutes. 1 kg.
A light-weight rifle which disassembles into three basic components: barrel, action, and hollow stock in which the other two may be stored. A five round magazine inserts into the rifle, forward of the trigger guard, and one round is fired per pull of the trigger. The weapon comes with 500 rounds of ammunition. 2.5kg (including ammunition).
2mm diameter x 300 m length, suitable for snares, and so on.
1 cm diameter x 50 m length, suitable for climbing and so on.
A lightweight three-pronged hook, used in climbing, when attached to a rope.
24 lightweight metal spikes for climbing steep rock faces, and a hammer for driving them in. Cord, rope, hook, spikes, hammer: 1.5 kg.
Used in cutting vegetation to clear a path, campsite, etc. 0.35kg.
A loose fitting garment with facemask, gloves, and hood which can be used with a battery operated heat pump to provide protection from all but the most extreme conditions of heat and cold.
Used with the above. When activated, the self-contained battery is good for an average 30 days continuous operation. The heat pump can also be used to heat or cool a shelter, such as a tent or small cave, but its duration is reduced considerably. Suit and pump: 2 kg.
A small distilling apparatus, filters, and chemical purification tablets, capable of removing harmful components from water and rendering it potable. 1 kg.
An inflatable raft capable of keeping one person (or 120 kgs) afloat in water. 0.5kg.
A compass, fishhooks and line, matches, etc. Negligible weight.
A hand held portable microfilm reader with self-contained instructions for survival under many adverse conditions. 0.1 kg.
50 x 40 x 15 cm. 0.1 kg. Total kit weight is 23 kilograms.
Survival Kits are stocked on most life boats and smallcraft.
Loren Wiseman. Marooned/Marooned Alone (Game Designers Workshop, 1981), 4.
Greg Porter. Central Supply Catalog (Imperium Games, 1996), 30,34.
This page was last modified on 25 December 2018, at 20:14.