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Preferred shares are also entitled to full voting rights if the Company fails to pay the minimum dividend to which they are entitled for three consecutive financial years and this right will be kept until payment of said dividend.

Market size by Product : 18 Note Mechanical Movement 2030 Note Mechanical Movement 4572 Note Mechanical Movement 100160 Note Mechanical Movement

Under Brazilian Corporate Law, adjusted net income is an amount equal to our net income adjusted to reflect allocations to or from (i) legal reserves, and (ii) contingency reserves for anticipated losses, if any.

Cisco Ferreira, better known as the Advent, is a London-based techno artist. Since his college days, the Advent has been adamant about working in the music industry, landing a position as an assistant sound engineer straight out of college. In 1994, he signed a record deal with Colin McBean for 12 EPs and three albums, the beginning of a collaboration that would set the bar for underground electronic music. —Amanda Sinishtaj

Starting as an engineer and host of "Deep Space Radio," an electronic music show on Detroit’s WGPR, DJ Minx has had her fair share of time in the music industry. In 2001, she established her own record label, "Women on Wax Recordings," which became a platform for her to share her own productions and help local talent. Claiming a spot in Mixmag’s "20 Women Who Shaped the History of Dance Music," Minx has certainly made her mark and will continue to shape Detroit’s dance music scene. —Amanda Sinishtaj

“I think if an artist wants to pontificate, he ought to get off in another area than his own shop. I don’t believe that a professional is the best critic; I believe in amateurism and an amateur approach to criticism — and to everything.” —Orson Welles, The Paris Interview, 1960

Joint control is the contractually agreed sharing of a control, only existing when decisions about relevant activities call for unanimous agreement by the parties sharing control.

We declare and pay dividends and/or interest on shareholders’ equity as required by Brazilian Corporate Law and our bylaws. The declaration of annual dividends, including dividends in excess of the mandatory distribution, requires approval by the vote of a majority of the holders of common shares, and depends on many factors. These factors include our results of operations, financial condition, cash requirements, future prospects and other factors deemed relevant by shareholders. Our shareholders have historically acted on these matters based on recommendations by the board of directors. Within the context of tax planning, we may determine in the future that it is to our benefit to distribute interest on shareholders’ equity.

In 2014, Brazil enacted a law, which we refer to as the Civil Rights Framework for the Internet, setting forth principles, guarantees, rights and duties for the use of the internet in Brazil, including provisions about internet service provider liability, internet user privacy and network neutrality. In May 2016, further regulations were passed relating to the privacy and network provisions set forth in the Civil Rights Framework for the Internet. However, unlike in the United States, few legal precedents relating to the Internet Act exist and existing jurisprudence has not been consistent, especially with respect to the application of the network neutrality principle. Legal uncertainty arising from the limited guidance provided by current laws in force allows for different judges or courts to decide very similar claims in different ways and establish contradictory jurisprudence. This legal uncertainty allows for rulings against us and could set adverse precedents, which individually or in the aggregate could seriously harm our business, results of operations and financial condition. In addition, legal uncertainty may harm our customers’ perception and use of our service.

In December 2016, the migration of the Visão TGestiona and Vivo Prev plans to the Visão Telefônica Plan was approved. In March 2017, this migration process to the Visão Telefônica plan was completed, which impacted 5,829 (or 64%) of the participating employees.

Much less easy to parse, in terms of intentionality and of classification, is the film’s proximity to the musical genre. An early scene features a suite of songs—sung theatrically by French indie-pop group Kid Wise’s Augustin Charnet—that play over a series of stoical tableaux shots of Prudhumme’s armor-clad Joan, looking pensively into the camera. Dumont briefly seems to be up to something rather brilliant here, reconfiguring the musical tropes of his Joan of Arc saga as a means to manifest the “voices” that the Joan of historical record claimed she heard in her head. But that interpretation gets ever more foggy as the filmmaker goes on to present various musical-esque scenes, but in fractured and recontexualized forms. The most jarring example of this is a lengthy, wordless interlude that features a battalion of soldiers on horseback moving in elaborate patterns, dance-like, a sequence which Dumont shoots in a way that recalls Busby Berkley musicals, with shots from above of the choreographed horses.

The new lot is operated digitally and records license plates as cars enter the garage. That information feeds into the database, so the museum can track exactly who is visiting, and for how long, as well as calculating the right payment. Holmes said the license plate recognition also will allow the museum to quickly calculate parking charges for visitors who lose their parking tickets.