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Each of the strategies they have identified could prevent a total of 25 billion tons of emissions by 2056. (We're now adding 7 billion tons annually, and that figure would double by 2056 without some action.) They are all so-called stabilization wedges, which lower the angle of the line representing carbon-emissions growth and together would reduce CO2 emissions enough to stabilize the carbon concentration in the atmosphere. Efforts to reduce energy use form one kind of wedge. So does improving power plants. Another wedge addresses alternative energy...
...total, foreign citizens, students with dual citizenship with the U.S. and another country, and U.S. permanent residents make up roughly 19 percent of the admitted class, about the same as last year...
This is a far cry from the “blanket policy” of which the targeted divestment campaign has been accused. We have never advocated for “total divestment.” We recognize that it would be both impossible and harmful to the people of Sudan. Our policy is narrowly tailored to ensure that only companies that are funding the genocide and doing nothing to stop it—just like Petrochina and Sinopec—are targeted. Harvard has already decided two companies of this type merit divestment for their role in the genocide...
...there was one Hollywood figure who appreciated Hutton's talents, and who matched her drive with his, that would be Frank Loesser. As lyricist or total songwriter he authored dozens of movie hits before graduating to Broadway and composing the scores for Guys and Dolls, A Most Happy Fella and How to Succeed in Business Without Really Trying. He's also the subject of a toe-tappingly terrific new bio-doc, Heart & Soul: The Life and Music of Frank Loesser. But in the '40s he was under contract to Paramount, and there he wrote many of Hutton's signature songs...
...price of a ticket. And that says nothing about the attendant hysteria of their plots. These were stories for grown-ups, who do not go much to mainstream movies these days. The result is that these dramas wandered off into glamour-trash TV (remember Dallas?) and then into total disuse. Something like Bier's film (or the much darker Danish film, The Inheritance of a few years back) reminds us of what we're missing. It's not just the elegant country houses we revel in. It's the sense these movies convey that money - the giving and withholding...