Final performance of ‘Once on This Island JR’ added | Musical Box

(xxii) – approving the assumption of any liability not foreseen in the Company’s budget in amount exceeding R$250,000,000.00 (two hundred and fifty million reais);

Dominique Morisseau, Best Book of a Musical, Ain’t Too Proud"The one thing I’ve always told my cast is that we’re storytellers first, and the mission is to serve the people we are telling stories about. So in this case, that’s Detroit, Otis Williams, and the legendary group The Temptations. So this recognition makes me feel like we’re doing our jobs. And I want to add an extra, ‘Hell yeah! Go Detroit!’”

The fair value of an asset or a liability is measured using the assumptions that market participants would use when pricing an asset or liability, assuming that market participants act in their best economic interests.

A complaint filed in late December by law firm Bernstein Leibhard LLP, for example, says the company received the Form 483 between Aug. 6 and Aug. 14 but did not disclose that fact in regulatory filings with the Securities and Exchange Commission. 

The fine imposed by ANATEL and appealed by Telefónica Brasil is about 211 million reais which, along with the updates of the value of the currency and the accrued interest, currently amounts (December 2018) to about 482 million reais.

Interest on shareholders’ equity declared based on Telefônica Brasil’s 2018 net profit totaled R$4,550 million. The remaining R$2,469 million were classified as proposed additional dividends and will be submitted to the approval of the 2019 General Shareholders Meeting of the Company.

This group is composed of Nicole Moudaber, one of the most passionately followed DJ-producers in the world; Paco Osuna, a DJ with more than 20 years of making electronic music under his belt; and, of course, the well-known DJ Dubfire. All three are known for their imaginations for mixing and tonal diversity, making them each industry leaders in their own right. —Alexander Harring

While Tarantino’s films tend to provide audiences with much evidence of where the auteur’s love of Hollywood’s lurid lore finds root (in blaxploitation, World War II dramas, kung-fu movies, or spaghetti westerns), Once Upon a Time…in Hollywood gets the closest of any to giving us the complete picture. In this sense, the film is nothing less than Tarantino’s magnum opus—a sweeping statement on an entire generation of American popular culture and an almost expressionistic rendering of the counterculture forming at its margins, gradually growing in influence. It’s an uncharacteristically thoughtful and sobering film for Tarantino, while somehow also being his funniest, and most casually entertaining.

In March 2018, ANATEL denied Telefônica’s requests to reverse fines associated to Administrative Proceedings which were part of the TAC.

When questioned about how and when the company expects to talk with the FDA during a prolonged government shutdown that has affected the agency’s ability to conduct such meetings and conversations, another company exec said they "don’t have full clarity on that."

Pursuant to Resolution No. 4,373, an investor residing outside Brazil that is willing to invest pursuant to the mechanism described in the previous paragraph must: (i) appoint at least one financial institution or an institution authorized to operate by the Brazilian Central Bank as representative in Brazil that will be responsible for complying with the registration and reporting requirements and reporting procedures of the Brazilian Central Bank and the CVM; (ii) register as a foreign investor with the CVM; (iii) appoint one or more custodians authorized by CVM; (iv) register the foreign investment with the Brazilian Central Bank; (v) appoint a tax representative in Brazil; and (vi) obtain a taxpayer identification number from the Brazilian federal tax authorities

The film’s most painful passages pertain to Frank’s relationship with Pablo and perhaps explain why he was uncomfortable with this project in the first place. Suffering from mental illness, Pablo committed suicide in his 40s, and Frank made films about his son’s problems and about their tormented relationship, which suffered under Frank’s work ethic. Fox samples Frank’s films, and one is left with an uncomfortable impression regarding the classic riddle of the relationship between documentarians and their subjects: Should the former film their sources of concern or intervene to improve the latter’s circumstances? Fox doesn’t pretend to have an answer, as filmmaking is, for Frank and for many others, a fashion of attempting to reach someone, though it’s inescapably on the artist’s own terms. For his part, Frank doesn’t let himself off the hook, and he speaks of his guilt with a searing confessional intimacy.