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...much the government will spend administering TARP (it had already spent nearly $4 million in administrative costs by the end of 2008): "...if Treasury maintains possession of all or most of the purchased assets, the administrative costs of operating the program could amount to more than $1 billion per year." (Contracts to companies outside the government include: $20 million to Bank of America to administer the portfolio of assets the Treasury Department may buy; $395 to the Washington Post to list "vacancy announcements"; $75,850 to Colonial Parking for the lease of parking spots...
...like to earn more than the few thousand bucks they've been reeling in. "Guys are struggling," says Ken Wick, an FLW pro. "If anything, can't the [fantasy] prizes be maybe $50,000 for the tournaments, and $250,000 for the big one? That's still a good amount of money for playing around on your computer...
...maybe ten or twelve things I could teach you / After that, well, you’re on your own.” Closer “All of My Days and All of My Days Off” is beautifully direct and manages to remain effective despite the enormous amount of times Newman sings the song’s title. These highlights are best enjoyed on their own, though, as they tend to merge together with the weaker songs when not culled from the lot. “Get Guilty” is not a bad album and might have...
...Tuvia Bielski’s hopeful ideals and undying strength. As such, the death and defeat of the Holocaust is overcome onscreen by Tuvia’s message of possibility and faith. Composers Joshua Bell and James Newton Howard weave a brooding tone into each scene. Though a surprising amount of humor is sprinkled throughout the film, the weeping violins speak to the constant melancholy of the woods, winter, and persecution. Even moments of happiness and hope, such as the wedding scene between Asael and his wife Chaya (Mia Wasikowska), are interspersed with scenes of Zus’s bloody...
...determine the effects of the shriveling market on the film industry, disappearing funds and dwindling deals have raised fears across Hollywood. Current filmmakers have said they plan to choose their future projects by focusing on scripts with the most box office potential. “There is an intense amount of focus on the projects that are truly worthwhile,” said producer Benjamin S. Forkner ’01, whose film “The Killing Room” premiered at this year’s Sundance. But growing uncertainty in Hollywood is not enough to curb...