Word: poorness
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Dates: during 1970-1979
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...limited sense, he is right. Decontrol, however, can at best provide but little relief; it should not be the centerpiece of any energy policy. Moreover, the costs of decontrol are high and can only be offset by a strong windfall profits tax giving relief to the poor and funding new government energy programs. Carter says he wants the tax enacted but has already as good as killed it by failing to make decontrol of oil prices contingent on Congressional approval of the tax. Carter is either optimistic about the chances of Congress passing a strong windfall profits tax or believes...
...energy policy. Convinced of the merits of decontrol, Carter did not link decontrol and his windfall profits tax; this may cost consumers $32 billion over the next two years, while producing only limited energy savings. Under a comprehensive windfall profits tax, that money could go to relief for the poor, funding for new energy programs and--for those profits oil companies would be allowed to retain--investment in domestic oil production. Carter's proposed tax, however, is much too weak, providing insufficient funds for the poor and allowing the oil companies to retain too high a percentage of their windfall...
...rejection would be to move the rent control battle back into Cambridge. Landlords have strongly opposed rent control, which was adopted nine years ago, because they think it keeps them from making fair profits, but tenants and other residents have said the limits on rent are necessary to protect poor and elderly residents...
...have angered Stuart because he made Martha's nose awfully big and didn't even stick around to finish the portraits. Even so, the paintings are nice and all, but Gilbert Stuart, the artist (who is very famous) isn't even from Boston (he was born in Rhode Island, poor devil) and George came to Boston with his army only a couple of times. So does Boston really have a claim...
...boon to audiences like Boston's is huge. The seven productions the Met has taken on tour this year represent the best of its repertory. Boston audiences still must endure the conditions of Hynes Auditorium--universally referred to as a "barn," with poor acoustics and bad sight lines. But in 1981 the Met in Boston will move to the refurbished Music Hall, and the last major advantage the New York house can claim will disappear...