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Over the years, as the musical "Rent" has reached milestone after milestone—playing around the world in more than 200 productions from Boise to Little Rock to Reykjavik—the thousands of people who have been affected by this vibrant, gritty and compassionate work may well wonder what its creator, Jonathan Larson, would have thought of it all. Another milestone came on Monday night. The original Broadway production of "Rent" opened at the Nederlander Theater l0 years ago this Saturday. That production, directed by Michael Greif, was an almost-intact transfer of the initial production at the New York Theater Workshop, which had opened three months earlier. To celebrate the anniversary the original cast members reassembled, rehearsed for two days and performed the show in a semi-staged version at the Nederlander on Monday. The event was a benefit for the New York Theater Workshop, for Friends in Deed (a support organization that gave comfort to several of Mr. Larson"s friends dealing with H.I.V. infections), and for the Jonathan Larson Performing Arts Foundation, which was set up by his family after the enormous success of "Rent". Before the performance, the co-chairmen of the benefit told the star-studded audience that more than $2 million" had been raised. Also addressing the crowd were Senator Charles E. Schumer and Mayor Michael R. Bloomberg, who praised "Rent" as a timeless work exemplifying "culture, community and creativity", in the mayor"s words, and saluted the show"s vast contributions to New York"s theatrical life. Once again you could only think, "Would Jonathan ever have imagined all this" Mr. Larson, who wrote the music, lyrics and books for his stage works, struggled for more than 10 years to get a producer to take a shot at one of his shows. Now he was being posthumously thanked for giving Broadway a creative and economic boost. "Rent" is the seventh longest running show in Broadway history. I count myself among those who were personally affected by Mr. Larson"s work. Because of the inadvertent role I played in the last hours of his life. In 1996 an editor at The Times tipped me off to the opening of a rock musical, inspired by. "La Boehme", which transplanted Puccini"s struggling bohemians from Paris in the 1830"s to the "East Village in 1990"s. So on Jan. 24 I went to the New York Theater Workshop m see the dress rehearsal of "Rent", which was scheduled to open in February. That performance was pretty ragged, with technical glitches and a misbehaving sound system. But I was swept away by the sophistication and exuberance of Mr. Larson"s music and the mix of tenderness and cleverness in his lyrics. After the show Mr. Larson and I sat down for an interview in the tiny ticket booth of the theater, the only quiet space we could find amid the post-rehearsal confusion. For almost an hour, this sad-eyed and boyish, creator talked about his approach to songwriting, his determination to bring the American musical tradition to the MTV generation, and about friends snuggling with H.I.V. infection who had inspired the show. Another milestone in the first paragraph refers to______.
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"I was a lover, before this war". Those are the fast words sung on TV on the Radio"s "Return to Cookie Mountain", one of the most widely praised albums of 2006. Whatever the line means within the band"s cryptic lyrics, it could also apply to the past year"s popular music. Thoughts of romance, vice and comfort still dominated the charts and the airwaves. But amid the entertainment, songwriters—including some aiming for the Top 10—were also grappling with a war that wouldn"t go away. Pop"s political consciousness rises in every election year, and much as it became clear in November that voters are tired of war, music in 2006 also reflected battle fatigue. Beyond typical wartime attitudes of belligerence, protest and yearning for peace, in 2006 pop moved toward something different: a mood somewhere between resignation and a siege mentality. Songs that touched on the war in 2006 were suffused with the mournful and resentful knowledge that—s Nell Young titled the album he made and rush-released in the spring—we are "Living With War", and will be for some time. Awareness of the war throbs like a chronic headache behind more pleasant distractions. The cultural response to war in Iraq and the war on terrorism—one protracted, the other possibly endless—doesn"t have an exact historical parallel. Unlike World War Ⅱ, the current situation has brought little national unity; unlike the Vietnam era, ours has no appreciable domestic support for America"s opponents. Iraq may be mining into a quagmire and civil war like Vietnam, but the current war has not inspired talk of generation wide rebellion (,perhaps because there"s no draft m pit young against old) or any colorful, psychedelically defiant counterculture. The war songs of the 21st century have been sober and earnest, pragmatic rather than fanciful. Immediate responses to 9/11 and to the invasion of Iraq arrived along familiar lines. There was anger and saber-rattling at first, particularly in country music: the Dixie Chicks" career was upended in 2003 when Natalie Maines disparaged the president on the eve of the Iraq invasion. There were folky protest songs about weapons and oil profiteering, like "The Price of Oil" by Billy Bragg; in a 21st-century touch, there were denunciations of news media complicity from songwriters as varied as Merle Haggard, Nellie McKay and the punk-rock band Anti-Flag. Rappers, who were already slinging war metaphors for everything from rhyme battles to tales of drag-dealing crime soldiers, soon exploited the multitude of rhymes for Iraq. While some, like Eminem and OutKast, also bluntly attacked the president and the war. In 2006 songwriters who usually stick to love songs found themselves paying attention to the war as well. "A new year, a new enemy/another soldier gone to war", John Legend sings in "Coming Home", the song that ends his 2006 album, "Once Again". It"s a soldier"s letter home, wondering if his girlfriend still cares. "It seems the wars will never end, but we"ll make it home again", Mr. Legend croons, more wishful than confident. According to the first paragraph, the most popular songs of 2006 are about EXCEPT______.
At the end of last year, a town called Friendship Heights, in Maryland"s Montgomery County, approved America"s (and thus the world"s) strictest tobacco policy. Town officers courageously banned smoking on all public property, including streets, pavements and public squares. "It"s a public health issue", said the mayor, Alfred Muller, who is also a doctor. "We don"t have the right to outlaw tobacco, but we"re doing what we can within our rights". This newspaper has expressed disgruntlement with the element of intolerance that is increasingly manifesting itself within America"s anti-tobacco movement. It must be said, however, that brave Friendship Heights has discovered an approach that liberals can embrace. Private property is its owners" sanctuary, but the public rules in public spaces. Undeniably, the streets belong to the government; what happens in them, therefore, is the government"s business. On this worthy principle, smoking should be merely the beginning. For example, it is clear that the consumption of fatty foods contributes to heart disease, strokes and other deadly disease. Besides, eating junk makes you fat and ugly. What people do at home is their own affair, but why allows them to abuse the public streets for this gluttony America"s pavements and boardwalks are overridden with persons, many of them overweight, who amble along licking ice cream or gobbling chips. In many cities, hot dogs are spread, quite openly, on the pavement itself. All this should be stopped. Not just in Friendship Heights but in other enlightened districts, it should be illegal to eat anything but low-fat foods in public zones. Because Americans consume too little by way of fruits and vegetables, in time (it is best to move slowly, because people"s rights must be respected) streets should become strictly vegetarian. More can be done. Shrieking newspaper headlines create stress for those who may not wish to view them. People who want to buy and read papers should therefore be required to do so in private. America has long and justly sought to prevent the entanglement of religion with public life. What people do in church or at home is their business. However, praying, sermonizing or wearing religious garb in the streets surely compromises the requirement that the public will not be dragooned into supporting religion. There is the environment to consider, as well. That people exhale carbon dioxide in public places, thus contributing to global warming, is probably inevitable, and America"s politicians would be wise to permit it. But methane, too, is a greenhouse gas, and an odiferous one. Its emission in public places, where it can neither be avoided nor filtered, seems an imposition on both planetary hygiene and human comfort. Breakers of wind, surely, can be required to wait until they can answer their needs in private; and prosecuted when they fail. Fame, then, to Friendship Heights. Other towns should take note. If they intend to fulfill their responsibilities to the health and welfare of citizens, to public order, and above all to the public streets and parks whose rights the authorities are sworn to uphold, then the way ahead is clear. Alfred Muller"s words imply______.
Over the years, as the musical "Rent" has reached milestone after milestone—playing around the world in more than 200 productions from Boise to Little Rock to Reykjavik—the thousands of people who have been affected by this vibrant, gritty and compassionate work may well wonder what its creator, Jonathan Larson, would have thought of it all. Another milestone came on Monday night. The original Broadway production of "Rent" opened at the Nederlander Theater l0 years ago this Saturday. That production, directed by Michael Greif, was an almost-intact transfer of the initial production at the New York Theater Workshop, which had opened three months earlier. To celebrate the anniversary the original cast members reassembled, rehearsed for two days and performed the show in a semi-staged version at the Nederlander on Monday. The event was a benefit for the New York Theater Workshop, for Friends in Deed (a support organization that gave comfort to several of Mr. Larson"s friends dealing with H.I.V. infections), and for the Jonathan Larson Performing Arts Foundation, which was set up by his family after the enormous success of "Rent". Before the performance, the co-chairmen of the benefit told the star-studded audience that more than $2 million" had been raised. Also addressing the crowd were Senator Charles E. Schumer and Mayor Michael R. Bloomberg, who praised "Rent" as a timeless work exemplifying "culture, community and creativity", in the mayor"s words, and saluted the show"s vast contributions to New York"s theatrical life. Once again you could only think, "Would Jonathan ever have imagined all this" Mr. Larson, who wrote the music, lyrics and books for his stage works, struggled for more than 10 years to get a producer to take a shot at one of his shows. Now he was being posthumously thanked for giving Broadway a creative and economic boost. "Rent" is the seventh longest running show in Broadway history. I count myself among those who were personally affected by Mr. Larson"s work. Because of the inadvertent role I played in the last hours of his life. In 1996 an editor at The Times tipped me off to the opening of a rock musical, inspired by. "La Boehme", which transplanted Puccini"s struggling bohemians from Paris in the 1830"s to the "East Village in 1990"s. So on Jan. 24 I went to the New York Theater Workshop m see the dress rehearsal of "Rent", which was scheduled to open in February. That performance was pretty ragged, with technical glitches and a misbehaving sound system. But I was swept away by the sophistication and exuberance of Mr. Larson"s music and the mix of tenderness and cleverness in his lyrics. After the show Mr. Larson and I sat down for an interview in the tiny ticket booth of the theater, the only quiet space we could find amid the post-rehearsal confusion. For almost an hour, this sad-eyed and boyish, creator talked about his approach to songwriting, his determination to bring the American musical tradition to the MTV generation, and about friends snuggling with H.I.V. infection who had inspired the show. The fact that the original production was an almost-intact transfer of the initial production at the New York Theater Workshop implies that______.
传奇针织厂是一家注册资本5000万元的生产企业，是增值税一般纳税人。2012年度相关生产经营业务如下：(1)企业厂区坐落在某县城，全年实际占地10000平方米，其中，厂房占地8000平方米，办公楼占地1200平方米，厂区内部道路及绿化占地800平方米。(2)该厂拥有货车10辆(每辆净吨位10吨)，客货两用车5辆(每辆净吨位2吨、乘4人)，接送职工上下班用的大型客车3辆(每辆乘50人)，5座小型客车15辆。(3)当年销售自产针织衫、内衣等共计8000万元(不含税价格)；购进原材料，取得增值税专用发票，注明购货金额3000万元、进项税额510万元，原材料全部验收入库；支付购货的运输费用300万元，装卸费和保险费60万元，取得运输公司及其他单位开具的普通发票；收购农民种植的良种棉花，在经主管税务机关批准适用的收购凭证上注明的买价累计为1000万元。(4)全年应扣除的销售产品成本5000万元，发生财务费用200万元、销售费用1200万元、管理费用600万元(不含应计入管理费用中的税金)。(5)全年实发工资总额为900万元，并按照实发工资和税法规定的比例计算提取了职工会经费、职工福利费和职工教育经费，取得了缴纳工会会费的相关票据。(6)2月份，该厂接受A公司赠予的机器设备一台并于当月投入使用，发票所列金额为400万元，企业自己负担的运输费、保险费和安装调试费50万元；全年计入成本、费用的固定资产折旧为60万元，企业采用直线折旧法，期限为10年，残值率为5%。(7)所发生的财务费用中包括支付银行贷款的利息120万元和向甲企业(非金融企业)支付借款1000万元的本年利息80万元(同期银行贷款年利率为6%)。(8)所发生的销售费用中含有实际支出的广告费1500万元。(9)所发生的管理费用中包含业务招待费58万元。(说明：城镇土地使用税每平方米税额3元，载货汽车年纳税额每吨40元，大型客车年纳税额600元，小型客车的年纳税额400元。)根据上述资料，请分析并计算。 计算该企业2012年度应缴纳的企业所得税(印花税忽略不计)。
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