Gonchi camino de felicidad

domingo, 15 de abril de 2018

Demand Notes are Very

A demand note is a promissory note that is callable or payable on demand. Unlike most bonds and long-term loans, no default or cause is required for the lender to demand repayment of the loan. A demand note has no fixed term or specified maturity date and can be used for short- or long-term loans. They are typically provided as unsecured, subordinated debt. The interest rates on demand notes are set at the beginning, but generally vary according to contractual terms with periodic adjustments.

Function

Demand notes, in which the corporation is the borrower and the bank or other large financial institution is the lender, provide their borrowers with flexibility, but the borrower must have enough financial resources to repay the note when called. An inability to repay on demand can put the company into financial distress, so demand notes work best when banks and other lending institutions are not motivated to call the loan. As an alternative, many municipalities and publicly traded corporations issue demand notes to the public to raise funds and provide investors with another investment vehicle.

Corporate Demand Notes

Many corporate demand notes are structured as short-term subordinated debt and offered to investors in a format similar to money market accounts. Buyers can often invest with as little as $1,000, obtain check-writing privileges and make smaller follow-on investments of as little as $50. Buyers can also make unlimited purchases and redemptions as long as they do not fall below account minimums. Many of these corporate demand notes, like money market accounts, offer a floating interest rate and daily compounded interest. In general, yields on corporate demand notes exceed that of money market accounts.

Risk Reduction

By issuing demand notes to a number of entities and individuals, municipalities and corporations reduce the risk that all of the proceeds or principal will be called in one lump sum. Institutional and individual investors can purchase these corporate or municipal demand notes directly or through their brokers after reviewing a prospectus. As an investor, there is the risk that the investment could be lost if the corporation issuing the demand notes encounters financial difficulties.

Demand Notes Las Espaldas Verdes

A Demand Note is a type of United States paper money that was issued between August 1861 and April 1862 during the American Civil War in denominations of 5, 10, and 20 US$. Demand Notes were the first issue of paper money by the United States that achieved wide circulation and they are still in circulation today, though they are now very rare. The U.S. government placed the Demand Notes into circulation by using them to pay expenses incurred during the Civil War including the salaries of its workers and military personnel.

Because of the distinctive green ink on their reverse, and because state-chartered bank and Confederate notes of the day typically had blank reverse, the Demand Notes were nicknamed "greenbacks", a name later inherited by Legal Tender and Federal Reserve Notes. The obverse of the Demand Notes contained familiar elements such as the images of a bald eagle, Abraham Lincoln, and Alexander Hamilton, though the portraits used on Demand Notes are different from the ones seen on U.S. currency today.

When Demand Notes were discontinued, their successors, the Legal Tender Notes, could not be used to pay import duties, a large part of the U.S. federal tax base at the time, and thus Demand Notes took precedence. As a result, most Demand Notes were redeemed, though the few remaining Demand Notes are the oldest valid currency in the United States today.

50 sisters escaping marriage contracts, takes refuge in a sumptuous Italian villa

A Runaway bride, one of 50 sisters escaping marriage contracts, takes refuge in a sumptuous Italian villa. Undoing her wedding dress, discarding everything underneath, she is a woman released, jumping into a bathtub, to be cleansed, unchained at last.

This is how the show at the Long Wharf Theater in New Haven begins. And it is a show that is really a show. It isn't only a play. ''Big Love'' is the simple, direct, important, easy-to-remember title of a fanciful theater piece you will never forget.

The woman named Lydia and her 49 sisters have sailed away from Greece. No sooner has the boat docked than a helicopter lands, bearing the jilted grooms, all brothers. Wearing military fatigues, as if armed for the marriage wars, they have come to claim their rightful possessions. Tuxedos under uniforms signal presumed victory. A deal is a deal, the brothers insist. The sisters resist. This deal denies their will; it represents prenuptial entrapment, not agreement, they protest. It is rape.

If all this sounds far-fetched, so it is, and it invites flights of the mind. Truth be told, only three brides and three grooms appear, but there is no question that 47 sisters and 47 brothers are waiting in the wings.

''Big Love,'' which is big, (mighty, actually), and about love (justice too) is a fable (as in fabulous), a myth (its origin), an MGM musical in technicolor, a circus and, believe it, a Greek tragedy.

Mozart, Mendelssohn and Wagner (in a light moment) contributed to the music. Rodgers and Hart too. Not that more modern idioms are overlooked. ''You Don't Know Me,'' the brides belt in show-stopping girl-group defiance.

The more outlandish the show gets, the more immediate its impact. Plot should not be revealed, though the theater's program and newsletter spill it all. Better to let ''Big Love'' just happen to you. Read background material, some written by the playwright, Charles L. Mee, later.

For here is surprise, astonishment and adventure, restored to theater. It should come as no surprise that the show rocking Long Wharf derives from an ancient Greek play, ''The Suppliant Woman,'' and a tragedy at that.

Yet it is Mr. Mee's own special creation. Besides, he took over where Aeschylus might have left off. No one knows the remaining plays in a lost cycle. Practically speaking, it is likely that today's theatergoers will talk of ''Big Love'' for a long time, and remain clueless about ''The Suppliant Woman.''

But it is important to note Greek drama as inspiration. For ''Big Love'' is not about little things. In its beginnings, drama did not bother with common neuroses, bad marriages, dysfunctional families. There were primal themes (revenge, passion, courage) and real issues (good and evil, right and wrong) and they were enacted at gut level.

In theatrical scale, intellectual size and stylistic scope, ''Big Love'' bravely traverses expansive terrain. These men and women all of them right, all of them wronged, represent a search for truth and freedom; the hope for a safe place, a society at peace, a fulfilling universe. Though of the contemporary world, they are not mundane or self-righteous.

It is easy to think that here is the core of feminism, sexism, entitlement. Mr. Mee's questions go deeper. What does it mean to be a man, a woman, a human being, a displaced person?

Remarkably, his leap of boundless imagination has refashioned tragedy into a theatrical statement that is comedic, gymnastic, musical, sensual, shocking and redemptive.

And why is it so joyous when, in the end, frivolity is over? Perhaps Les Walters, whose staging overflows with euphoric, erotic, madly tumultuous sequences, can explain.

But then the answer is in the experience, in wonder, in the agility and grace of lovely actors. Most are repeating roles originated in the show's premiere at the Humana Festival in Louisville last year. Next stop: Berkeley. Coming up: Chicago and Brooklyn. There is no stopping ''Big Love.''

''Big Love'' by Charles L. Mee. Long Wharf Theater. 222 Sargent Drive, New Haven. Performances through April 1. Box office: (203) 787-4282.

Comedy, entertainment, but a whole lot more is served up in Big Love

Comedy, entertainment, but a whole lot more is served up in Big Love at the Pacific Resident Theater. This modern update of Aeschylus’ The Suppliant Women shares little with the numerous other theater offerings this season which rewarm old material. Perhaps the fact that the parent play is not taught in every introduction to literature class helps make the material fresh, or, perhaps, this talented playwright simply has a fresher approach to life and writing. (For an able summary of the plot see Suzanne Weiss’ review of the Berkeley Rep production of Big Love)

Big Love references pop culture as comfortably as the classic. Actors burst into song such as "Bewitched Bothered and Bewildered," a Greek chorus of a different sort. Charles Mee easily fits commentary on gender issues, societal pressures, and commercialism into a humorous, athletic and never didactic frame.Each role is at once an archetype, be it feminist, valley girl or male chauvinist pig.Yet no archetype is totally good or bad. Each speaks the truth as well as the extreme. Perhaps this is best expressed by an older woman, pressed into service as a judge.

Fifty young Greek women who are being forced against their will to marry their cousins agree to slay their husbands on their wedding night. All but one carries out her promise. The fiftieth finds she loves him after all and does not kill her groom. The others accuse her of betrayal and a trial is hastily assembled. The old woman’s verdict takes note of the betrayal, the brutality of the crimes and the appalling circumstance that motivated the women and says she will render "no justice for the sake of peace." Think about it. It is a profound statement that rings true in light of current world tensions. More bloodletting would not solve anything.

Polio shaped Charles Mee’s view of the world. To people under 50 polio may be an historic artifact. To those who can recall the 1940’s and 50’s, the word strikes even more fear than the current talk of small pox. Parents gave their children dire warnings: avoid public swimming pools, don’t share eating utensils, stay away from public places, etc. and it was the rare family who did not know someone who was severely crippled by the disease or perhaps had died. Images of people on iron lungs for the rest of their lives were everywhere in the press.

One night in 1953, Mee was a football loving, dinner jacket clad, 15 year old living an idyllic middle class life in Barrington Illinois, outside of Chicago, on his first date, hoping for his first kiss, when his legs began to give way. "This night was the beginning, and the end, of my adolescent entry into the world of sex ," he wrote in A Nearly Normal Life. The intensity of the adolescent and the perspective of an extraordinary man who has viewed life on crutches for the next 46 years inform his writing with energy, enthusiasm and wisdom.

The dialogue of Big Love is so brisk and clever, the athleticism of the cast as they literally throw themselves at the padded floor to express rage is so entertaining, that the hard political commentaries can almost slide by. But they are there and worth reflecting upon.One senses that this is how Mee handled the challenge that polio dealt him: with humor, wit, a keen eye, incredible energy and distrust of platitudes.

Big Love Fifty brides flee their fifty

Big Love Fifty brides flee their fifty grooms and seek refuge in a villa on the coast of Italy in this modern re-making of one of the western world's oldest plays, The Danaids by Aeschylus. And, in this villa on the Italian coast, the fifty grooms catch up with the brides, and mayhem ensues: the grooms arriving by helicopter in their flight suits, women throwing themselves over and over again to the ground, pop songs and romantic dances, and, finally, unable to escape their forced marriages, 49 of the brides murder 49 of the grooms-and one bride falls in love. About the same odds as today. “The three plays come from my life with Laurie Williams, who is an actress with whom I lived for the past five years. So all these thoughts, relationships and strange and beautiful and painful things are from the life we had together. I think she was my first love in life, in spite of my advanced age when I fell in love with her, which was 57. She was certainly my true love. It happened suddenly, in a millisecond. And it ended just as suddenly about six months ago. I think the plays have in them the reasons we found each other and the reasons we broke apart.”

Big Love is base on THE SUPPLIANT WOMEN

Mee has made a mark not by merely updating the works of the great Greek dramatists, but instead by beating them up, throwing them against a wall, ripping them to shreds, reassembling them, and blasting them off into the present day to see if they still speak to society. Big Love(which bears no relation to the HBO series about polygamy) is based on Aeschylus' The Suppliant Women, one of the world's oldest surviving dramas. In Mee's hands, it's scary how relevant it is.

Big Love begins with Lydia (Rebecca Naomi Jones) making a run for it. Stripping naked from her tattered wedding dress and slipping into a bathtub, she and her 49 sisters (represented only by three on stage, also played by Libby Winters and Stacey Sargeant) have arrived at a villa on the Italian coast in order to escape their arranged marriages to their 50 cousins. This arrangement denies them their free will; they wish to be taken in by estate holder Piero (Christopher Innvar) as refugees from rape. Shortly thereafter, their grooms (Bobby Steggert, Ryan-James Hatanaka, and Emmanuel Brown) arrive via helicopter and land on the property. All bets are off.

In keeping with Mee's signature experimental style, Big Love is more of a collage than a play, a compendium of moments that form a whole rather than traditionally plotted with a linear storyline. It's a work that traffics in extremes. "Happy" and "sad" aren't emotions present on stage; "jubilant" and "suicidal" are more where Big Love lives. The women and men use the set in physical ways, throwing themselves against the walls and floors of Brett J. Banakis' gorgeous art installation of a set in a series temper tantrums. They sing "You Don't Own Me" at the top of their lungs in acts of defiance. Landau's unapologetically chaotic vision, which also includes summer-chic costumes by Anita Yavich and cool Mediterranean lighting by Scott Zielinski, is the perfect complement to Mee's text, a well-run circus that is seemingly spinning violently out of control.

Landau also brilliantly utilizes the whole stage space to her advantage, setting the action all around the theater thanks to Banakis' fourth-wall-breaking designs. We enter the theater through what resembles a Jewish chuppah filled with wedding photos. A flower garden hangs upside down over our heads. A mural on the upstage wall depicts the crystal blue waters of the sea. Expansive video projections by Austin Switser fill the white walls amid Kevin O'Donnell's intense sound design. Fight directors Rick Sordelet and Christian Kelly-Sordelet provide frenzied physicality that extends into the auditorium.

It would be easy for actors to get lost within such great madness, but Landau skillfully guides her first-rate company through this crazy world. Even when the characters are types, the cast members find unique nuances. Winters is hilarious as a dumb blonde with more to offer than her dimness. Sargeant is a force to be reckoned with as the man-hating sister. Lynn Cohen is a loveable old Italian mama. Steggert delivers beautifully as Nikos, Lydia's betrothed, who just wants to make it work. As Lydia, Jones, a musical theater character actress, finally gets to take on a leading role and show off her brave and quirky dramatic chops.

In the end, it's almost shocking to realize the contemporary relevance of Big Love, especially when women are still fighting for proper widespread recognition and respect. Thankfully, Mee crafts a well-rounded argument, one where both sexes are properly represented on stage. As in life, there are no easy answers to these big problems, but sometimes you just have to believe that love will see you through.

The Runaway of 59 Sisters escaping the marriage Contracts