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Interview with Jeff Grace
Film Music Institute > Film Music Magazine (Current) > Industry Spotlight > Interview with Jeff Grace
Posted on: 07 Jun, 2021
Film Music Magazine (Current), Industry Spotlight, Uncategorized
(Jeff Grace photo by Nelson Bakerman)
With his talent for often evoking homespun, rustic darkness from the terrifyingly intimate residences of "The House of the Devil" to "The Innkeepers," the twisted families of "Cold in July" and "We Are What We Are," an unforgiving western landscape in "Meek's Cutoff" and the beast-prowling environs of "The Roost" and "The Last Winter," composer Jeff Grace has been building an especially chilling and unforgiving repertoire. Beginning his career assisting Howard Shore on his "Rings" trilogy and "Gangs of New York," the NYC-based Grace would find a gifted filmmaker to further lead him into the darkness with Jim Mickle. First teaming for the vampire apocalypse of 2010's "Stake Land," Grace's evocative, western-tinged score evoked both a future's impossible horror as well as the emotional bond between master killer and a newfound son of sorts.
SWEET TOOTH (L to R) CHRISTIAN CONVERY as GUS in episode 101 of SWEET TOOTH Cr. Kirsty Griffin © 2021
Now, after a continued partnership of twisted familial relationships and comically debauched noir, Mickle and Grace's partnership takes a decidedly unexpected and almost shockingly gentle (at times) trip back into familiar territory as given a new, older family viewing spin with Netflix's "Sweet Tooth." Based on the DC/Vertigo comic series by Jeff Lemire, "Sweet Tooth" sets up an unexpectedly relevant post-pandemic future where "The Sick" has decimated much of America's population, let alone its humanity. But one shining spot is the fawn boy Gus (Christian Convery), a hybrid who's sheltered by the man he calls father (Will Forte). But when he comes to a sad end, a "Big Man" (Nonso Anozie) appears to very reluctantly lead Gus on a quest through a Mad Max-esque landscape to find his mother. Like an ersatz Pinocchio, the ever-optimistic, antlered adolescent will find Lost Kids and his fellow manimal children, with virus-twisted adults and their armies seeking to experiment on these seemingly magical begins.
Working in a far more emotional, and often kinder musical level than before, Grace infuses "Sweet Tooth" with a child-like sense of magical wonder that doesn't shirk the incredible danger Gus is always in. Walking across a primitive, often beautiful landscape to the wonderfully coarse strains of James Brolin's omniscient narration, "Sweet Tooth" works on several levels. It's an evocative, strumming western score, seamlessly segueing to darker, dog-eat-dog percussion of a cruel, desperate world, then once again lyrically evoking the desire for hearth and home as a lush orchestra sweeps us into its mythmaking. Tying together the stories that steadily come together over eight episodes, "Sweet Tooth" brings a new, expansive vision to Grace and Mickle's own creative bond as it finds a touchingly melodic heart in the pandemic darkness for an impossible boy with a show whose biggest power is in its unvarnished hope.
Jeff Grace (L) and Jim Mickle (R)
How did you first meet Jim Mickle? And why do you think your creative relationship has kept going for so long?
I met Jim through filmmaker Larry Fessenden. I had been working with Larry's company Glass Eye Pix a lot doing films like Ti West's "The House of the Devil," "The Innkeepers" and Larry's film "The Last Winter." Glass Eye were producing Jim's second feature "Stake Land" and he was looking for a composer. I think we just have a really good sense of each other and really appreciate each other and that just improves the more we work together. When we first started working together we immediately clicked. He actually has the same birthday as my brother! Jim is an awesome guy who is fantastic to work with. He's a great combination of clear vision with a strong appreciation for the people around him, so he knows what he wants, but he's also open to collaboration.
Communication is also really important. We've always communicated well, and that just keeps improving the more we work together. Jim loves music and plays a little bit himself, so he can speak effectively about it with ease. We also know each other's sensibilities really well and share a lot of those same sensibilities. His constant growth as a filmmaker is also a great and inspiring challenge. Everything is always fresh, which keeps me on my toes. I certainly think I've done a lot of my best work with him and I don't think that's a coincidence.
What was your reaction when Jim told you he was adapting "Sweet Tooth?" And once you got the assignment, did you look at the Vertigo comic book? And if so, what struck you about it?
I thought it sounded fantastic! First, I thought it was a great fit for him. And then I thought it offered a great world for music to play in. Jim's got a lot of talent and I've seen him really grow as a writer, director, and showrunner over the years. He's shown that he can handle such a wide range of things, this world just really seemed perfect for him, and him for the material.
The show is really so many different things all under one roof. One of the reasons I got into doing music for film and tv was because I love so many different styles of music. This show calls for a lot of different things. It's got a wide range and scope. It was a great challenge. And being a dad myself, this show has had me tap into something a little different. For kids looking with wide eyes and open hearts, the world and life can feel so big and bring out such big emotions. My kids have really shown me things I didn't see before, or really forgot about. Gus is very much that way.
When Jim told me it was going to happen, I actually waited a bit before reading the comic. We've done several literary adaptations before ('Cold in July" and the "Hap and Leonard" series were from Joe R. Lansdale novels). Adaptations always require some changes going from page to screen. They're just different mediums that have different strengths in storytelling and you're up against time limits on screen. So I didn't want to get too far ahead of myself just going off my own interpretation of the comics. I wanted to get a clearer picture of where this particular interpretation was headed and sort of let that sink in first, then go back to the source material. I knew I was going to have the scripts fairly early, so I had time to read the scripts and then go back.
I think a big part of my job is to bring the audience into the world of the film or show with music, which starts with really establishing an effective tone. With "Cold" and "Hap" I read the books before I got the scripts, so I already had my own impression of the books in mind. But things always change when you're going from prose and a reader's interpretation to a script and then actually images. You end up recalibrating a bit. Even script to shooting to editing usually makes for increasing layers of specificity.
I usually start writing themes once Jim has a script and a greenlight. So, I'm usually doing something when he's shooting. Most of the stuff usually makes it into our projects. Sometimes it's right on. Sometimes I have to make arrangement adjustments. If I had read the comics first for this, I think I would have leaned into the darkness more and probably too much. In going script, then comic and then getting some dailies I think it kept me closer to where we needed to go for what the show became. I think I thought more about the weird fairy tale quality of things.
"Sweet Tooth's" production ironically got shut down because of the pandemic. What changed about the show when production resumed?
I don't know that all THAT much changed for the story. I think it was more schedule and protocols, etc. Because we were shooting in New Zealand, things got back up and running fairly quickly. We were fortunate in that regard. In terms of the story, we had done the pilot before the pandemic hit, and the pilot is more of a prologue for the story, then the road nature of things takes off in episode 2. So there's a certain intimacy and stability establishing who Gus is for a good amount of the first episode and then the score expands as Gus' world expands, or the outside world pushes in. But the intensity of threat from the virus is established in the pilot and it is much more immediate and palpable than what we've been experiencing with COVID. Pretty much anyone who gets it dies and it brings about the collapse of civilization. There were some small things we see in some episodes that might mirror things we see in our lives today, distancing signs, some masks, etc. But I actually didn't want to lean into that. As an audience, we already know what that is, so it felt like it didn't need any help from the score.
Would you say that the western-styled, "father"-son relationship during a vampire apocalypse of "Stake Land" helped set the tone of "Sweet Tooth" in its way?
There are some similarities between both stories. They're both road stories in post-apocalyptic times. They both have a young central character shepherded by a protector. Both stories involve a search for a promised land. But Jepperd is a reluctant participant for much of the first season and he's gradually stepping in for Gus' dad who the audience gets to know decently. As the show goes on, we realize increasingly how special and unique Gus is. "Sweet Tooth" is a more complex and nuanced story that gets to explore the father/protector-son/ward relationship to greater effect. But really "Sweet Tooth" has a lot more wonder and hope for much of it. "Stake Land" is bleaker in most ways. I guess there is a little sparkly hint of fairy tale in "Stake Land" as well. TV just offers more room to develop story points over a longer period of time.
The Birch
Another thematically related show you scored before "Sweet Tooth" was "The Birch" for Facebook's Crypt TV, about a creature in the woods who protects a young girl. Did that also put you in good company for this?
I had actually done the pilot for "Sweet Tooth" and then "Birch" and then the rest of "Sweet Tooth." But the protector in "The Birch" is a maternal figure who is much more sinister and self-serving. A more analogous element between the two stories is probably from the Singh storyline in "Sweet Tooth." How far would you go to project (or avenge) a loved one? Where is the line of what is ok?'
Like the first season of Netflix's "The Witcher," "Sweet Tooth" is about bringing most of the characters together at the very end. Did that make the music particularly important in making everyone's respective "mission" cohesive?
I'm always looking for ways that I might be able to help pull things together with music. With the different storylines and then knowing it is a sort of fairy tale, Jim and I talked about using music to connect things where we could. Between the three main storylines, the Gus/Jepperd storyline is closest to the Aimee storyline, especially with her involvement with hybrids and The Preserve. So that was an easier connection to make. And like Jep, she is a protector. But the Singh storyline is darker and a bit less fantastical in many ways. They're trying to hang on to the past more.
The big thing that spans across all the threads is family and it can be different types of families: Singh and his wife; Gus and his mom, his dad, and then finding Jep and then his own kind – the hybrids; Jep's lost family and then giving into Gus's appearance in his life; Bear and her quest for her lost sister. So, there is a lot of attention to the family elements in the score.
"Sweet Tooth" struck me with its fairy tale nature that seems like a mix between Peter Pan and Pinocchio. How did you want the score to capture that aspect, and "see" through the kindness and innocence of Gus, and the humanity he reawakens in the people he meets?
That was one of the first things we started talking about. Some of those consideration I usually find are sound palette and instrumentation and some are the musical ideas – notes. What's tricky is, Gus has been sheltered all his life and is then thrust into this chaotic world. So there's a certain amount of wonder, but also threat at the same time. He's looking at the world for the first time with fresh, curious eyes. But that can get him into trouble. Again, it all plays into the fairy tale vibe. So in the pilot it was his curiosity about the forbidden outside world that eventually pushes in on his world. Then it becomes his sense of wonder at the world he's discovering with that simultaneous threat. And he has this great optimism and excitement for things – a lot of hope. The adults and even the teenaged Animal Army don't share those same sentiments. They're more jaded, but Gus' optimism and hope rub off on those around him. So we talked about having a personality for the score and making some different choices. Some of the score is more intimate at times and sometimes sort of sparkly.
James Brolin provides the omniscient narration for "Sweet Tooth" in a wonderfully gravelly way that gets more emotional as the show progresses. What do you think that kind of "storyteller" gravitas gave to the score?
To me, that highlights the fairy tale aspect of the story. And it also gives a certain thread to the story telling. So where possible I tried to stick with our more fairy tale sounding parts of the score and also help with that threading of the story. You can hear those themes with celeste, etc in a bunch of those places. But I usually tried to bring stuff back in those spots.
With its wide-open vistas, did it make it natural that "Sweet Tooth" would get a "western" instrumentation in parts?
The sound evolved a bit, but yes. I think it's the look, scope, and the journey/adventure nature of it all. We found the show was really asking to have the music provide that certain personality. The western flavor helped with that in places. We did the pilot first with Gus living his very sheltered life. Only at the end does he start to head out into the world. So, we really established a lot of the fairy tale sound and intimacy in that episode, which is more of a prelude to the larger story. Then the real journey starts in episode two and I think that's where the western vibe starts to set in. Episode two also introduces a lot of different characters and other parts of the show. The scope widens quite a bit, with some of the visuals as well.
Tell us about scoring The Animal Army, as well as the playful "jungle" approach to the hybrid's temporary sanctuary in the zoo?
The Animal Army stuff was sort of tricky. I had to find a balance of sometimes leaning into the Animal Army, but also think about keeping the journey moving forward, which felt better leaning into the Gus and Jepperd aspect at sometimes. TV can be a bit different than film sometimes. You might have more frequent opportunities to play a particular thing up, but they're probably going to play out shorter most times in TV. That said, this show sort of splits the difference and a bit feels like 8 mini-movies.
The Animal Army is this band of teenaged rebels who take care of themselves and take care of business. Their mission is to project Hybrids. They can be violent when they need to be. And they all pick an animal that represents them each personally, so they're dressed in skins and masks. It asked for an exotic feel or slightly other-worldly feel. They're also a clan, so having a tribal feel to some of it felt right. Then there is the leader of the Animal Army, Bear (Stefania LaVie Owen) who has a more developed emotional character arch. That whole part of the story called for a lot of different moods. It was fun!
And with the zoo, again, it just felt like the show and score were asking for some personality. The Hybrids have a sort of exotic feel. It felt like it needed to be organic, innocent, and sort of futuristic all at the same time.
Could you talk about scoring Dr. Singh (Adeel Akhtar ), who ends up becoming a most reluctant, Dr. Mengele-like figure?
The Singh storyline is a great contrast to the others. He's a former doctor living in a suburban neighborhood with these people trying to live life like before the outbreak. First it shows us how barbaric even 'civilized society' has become when a neighbor is discovered to have the virus. They just execute him in the harshest of ways. But matters are complicated by Singh's wife, whom he loves deeply. She has The Sick and has only been kept alive by the work-in-progress research for a cure done by Singh's former colleague. Eventually, Singh is forced back into practice in order to continue this research, which is in real ethically dubious territory. All the while he's got to hide his wife's illness from the others.
So, there is all this darkness juxtaposed with this very loving relationship between Singh and his wife. It begs the question "how far would you go for someone you love?" Some of it felt like electronic elements worked really well, but some of it needed a more organic touch. Sometimes it's very intimate and sometimes it gets very dark and intense, horrific even. And it seems like it could all fall apart at any moment. You feel for his struggle to stay human and humane.
Given your past films, how did you want to treat the more horrific parts of "Sweet Tooth?"
Being more of a fairy tale and having a really wide scope, I wanted to make sure we could get back to the softer and lighter moments in the story and have everything sit under one roof. So we have things on both ends of the spectrum, but lots of stuff in the middle as well. Sometimes those turns were quicker or harder to navigate and just required some extra attention. The show is also intended for a wider and potentially younger audience, so I just had to find the right balance. But I thought it really paid off. It gives a certain familiarity of feel to some classic fairy tales. With Gus, a lot things feel either very intimate or larger than life. So, the darker stuff gets inflated a bit for him, or might have more of an emotional aspect to it. The Singh storyline is more just the adult world, so there is a coldness or inhumanity to it more.
SWEET TOOTH (L to R) CHRISTIAN CONVERY as GUS and CHRISTIAN TESSIER as MEATBALLS in episode 101 of SWEET TOOTH Cr. KIRSTY GRIFFIN/NETFLIX © 2021
While parts of the series get quite intense for an apocalyptic show that could have been quite a bit more barbaric, it skirts on a "TV-14" to get a younger audience. Did that rating make you pull back on how menacing the score could have gotten?
With the pilot being completed before moving on to the other episodes, we had a certain jumping off point. That first episode being much more about Gus in isolation, it doesn't push the darkness as intensely as the other episodes. Jim did a great job of making it extremely engaging, but in terms of content it's not as dark or intense as some of the later episodes. From there we were able to rachet things up when we went on to subsequent episodes. There was some discussion about how dark to make things. The network initially wanted it to shy away from the intense stuff a bit more, but pretty early on they reversed course on that. No one ever said to me 'we're aiming for this rating'. It was more about that challenge of the proper balance – wonder and threat. Because Jim did a great job of establishing tone and then the juxtaposition of the different elements, most of it sort of balanced itself, to be honest. You put in the time and it becomes pretty obvious when it feels right.
Could you talk about musically developing the relationship between Big Man and Gus, which has him at first gruff and beyond reluctant, but by the end has him completely opening up emotionally to the son he didn't try to claim until it was too late.
When we first meet Jep (aka Big Man), we don't know what to think of him. He's a mysterious character who could very well be up to no good. So, it's more tense. As Gus tries to tag along with Jep, he annoys Jep, so the score takes on more of the playful tones introduced in the pilot when Gus is playing with his imaginary friends. But as Jep spends more time with Gus he becomes more endeared to him. Jep starts to identify with Gus emotionally more. Eventually, some of the themes that originate with Gus' father end up playing between Gus and Jep. Gus and Jep eventually start to fill a role for each other that had gone missing in their respective lives. So musically, a lot of that starts out peppier, more plucked instruments and maybe some more pace and then is gets intimate and emotional as they get to know each other more…. When they're not trying to break in somewhere or escape from something.
One particularly striking sequence where we get to see what Big Man is capable of is in episode two where he demolishes a squadron of Last Men trying to invade an abandoned National Park Visitors Center.
I love when Rusty's dad, George, tells Jep (who is a former NFL player) "I gotta admit, it was awesome to see you still got it…" after that fight. But I think the build-up Jim engineered for that is fantastic. There is all of this intimate stuff about Gus and his search for his mom, this new family welcoming him in. Gus meets a boy his age, then the realization that Jep is trying to bolt and ditch him, then the slow build of intensity as The Last Men surround them …. And then BOOM – Jep lets loose…. with a huge bear trap, no less. It can be tricky to try to tackle those turns with existing themes as opposed to just writing all new material, but I think the unity it provides really pays off. It's fun to work with stuff that is really well directed!
It's particularly impactful that the series closes on "Auld Lang Syne," which we hear being sung by the neighborhood people as they immolate the sick. The "new year's" tune is transformed when it plays over Gus finally meeting the hybrids, with the song segueing to your score at lush orchestral force an especially moving touch.
That particular arrangement of the song works great for the story there and the voiceover helps tie it all together. Having heard it earlier in the context you mention does give this occurrence this odd sense of closure, if only for a moment. When I heard it I realized it could play into one of the Gus themes really easily. I just needed to figure out how to connect the two, so I ended up doing a little string arrangement behind the end of the song so could carry on and become the theme. And that's another section that is about family.
SWEET TOOTH (L to R) CHRISTIAN CONVERY as GUS in episode 107 of SWEET TOOTH Cr. KIRSTY GRIFFIN/NETFLIX © 2021
Was it surreal to compose for "Sweet Tooth" during the pandemic? And how were you able to score the show during lockdown? You'd hardly hear any duress with how well the music sounds.
It was great to get back to work. We were lucky we were shooting in New Zealand. Zoom and all of that made some things a little easier. At the end of the day, even on bigger projects like this it's really mainly Jim and I cranking on things together. When we're ready we let everyone else in. We had done the pilot and set a certain sound before COVID hit. And I'm able to do modest sized sessions at my studio with distancing in place. I would have liked to do some larger recording sessions, but after all the indie films I've done I've become adept at making smaller things sound bigger and have higher production value. It can just be a little tough with TV schedules. Things move pretty quick. Not having my assistant (Thomas Chabalier) on site made for some added challenges, but he did a great job.
I'm a bit of a stickler for detail and sound, so I like things to be as good as they can. Not everyone involved in a show has a musician's ears, so you have to figure out a way to strike a balance of making it as good as it can be and just getting it done, no matter what's happening. The personal side of it was a bit stressful at times in its own way. New York was a weird place for a while there. Normally I wouldn't think twice about walking home late at night, but things were different for a while. Figuring out getting vaccinated – luckily, I wasn't too bad with side effects. Thinking about keeping your family safe, etc. Kids doing school online. My poor wife getting stuck with two boys! That's a TV series right there.
Needless to say the show ends on a giant cliffhanger. How do you see the score developing when the series hopefully returns?
That's something Jim and I have been talking about, even though we just finished about 2 weeks ago. With season two of "Hap and Leonard" we both thought I was basically going to have to start over again. It didn't seem like a lot would carry over. It was in a different location with a whole new set of characters. It turned out that, outside of "Hap and Leonard," music was the biggest thing that let the audience know it was the same show and thread everything together.
The next chapter of "Sweet Tooth" obviously has a bunch of changes. They're not roaming the countryside anymore. Gus won't be on the move, at least not to start. Singh can't hem and haw anymore. Amy and Jep aren't staying in the shadows anymore. Plenty of changes. But I'm sure we'll find a way to let people know it's the same world while keeping the journey moving forward. That's the challenge and the fun part.
Though there are no costumed superheroes are such in "Sweet Tooth," but there are definitely super-powers as such. Given that, what was it like for you to do your first comic book movie?
I loved it. There is this "larger than life quality" sort of operatic quality to many comics and while readers of the comic will note differences, I think the show achieves that quality really well. To me, it's all about the world you're creating with the film or show and bringing the audience it that. This type of dystopian fantasy/fairy tale is great fodder for that. And again, the scope and variety of things it asked for was really appealing to me.
You keep getting drawn into unique, often rustic genre projects. How do you think "Sweet Tooth" has expanded on that? And given the stage of Netflix and the wider audience this will get, what do you want people to take away from your score and what you can do in this field where you've made your mark?
Good genre material has you caring about the characters. Otherwise, who cares when something happens to someone? With "Sweet Tooth" the show asks for many flavors musically and has many threads going in different directions. So, I hope people will feel that I helped bring them into and establish the world of the show, helped keep them there, and was able to do it handling a wide variety of musical demands with the right emotional impact. The show is a lot of different things that come together under one roof. I hope the score helped accomplish that.
Watch "Sweet Tooth" on Netflix now, and get Jeff Grace's score on WaterTower Music HERE
https://www.amazon.com/Sweet-Tooth-Season-Soundtrack-Netflix/dp/B096TBT6J5/ref=sr_1_1?dchild=1&keywords=sweet+tooth+jeff+grace+soundtrack&qid=1624632224&sr=8-1
Find Jeff Grace's soundtracks HERE
https://www.amazon.com/s?k=jeff+grace+soundtrack&ref=nb_sb_noss
Visit Jeff Grace's web site HERE
http://www.jeffgrace.net


New Home Sales, Median Prices Fall in Feb.
Home » Blog » Construction » New Home Sales, Median Prices Fall in Feb.
New home sales fell by the biggest amount in almost nine years in February while home prices declined for a fourth straight month, raising concerns that the once high-flying housing market could be in for a rougher-than-expected landing.
The Commerce Department reported Friday that sales of new single-family homes dropped by 10.5 percent last month to a seasonally adjusted annual sales pace of 1.08 million homes.
It was the second straight monthly decline, following a 5.3 percent fall in January, and marked the biggest one-month drop since April 1997.
The slowdown in sales further depressed home prices with the median price for new homes sold in February falling to $230,400, 1.6 percent below the January level. It marked the fourth straight month that the median, or midpoint for home prices, had fallen since hitting an all-time high of $243,900 in October.
Analysts, who had been forecasting a much more moderate drop of around 2 percent in February sales, said the big decline and downward revisions to sales activity in the previous three months could be signaling that housing will slow more this year than had been expected.
A crash in home prices is seen as one of the biggest threats to economic growth. Some analysts are worried that five straight years of record home sales, fueled by the lowest mortgage rates in a generation, spurred a speculative fever in housing similar to the forces that created a bubble in stock prices in the late 1990s.
The bursting of the stock market bubble in early 2000 wiped out $7 trillion in paper wealth and contributed to pushing the country into a recession in 2001.
With mortgage rates being pushed higher as the Federal Reserve raises rates to fight inflation, the worry is that home sales will slow further and put more pressure on prices. In addition, homeowners who stretched to buy homes with adjustable rate mortgages could be forced into foreclosures if they cannot meet the higher monthly payments as their mortgage rates readjust.
"The housing market is fading fast and the prospect is it will weaken further as rates move higher," said Mark Zandi, chief economist at Moody's Economy.com.
But other analysts said they believed the February decline overstated the weakness. They noted a report on Thursday showed that sales of previously owned homes actually rose by 5.2 percent last month, although that gain came after five straight declines in existing home sales.
David Seiders, chief economist for the National Association of Home Builders, said he still believed that sales of new homes will post a moderate decline of around 8 percent this year with home price gains slowing from double-digit increases of around 12 percent to about half that level.
He said that some of the hottest sales markets in areas such as California, Nevada, Arizona and California could see a bigger slowdown because a larger percentage of that sales activity has been driven by investors who might start dumping houses back on the market.
"If it pans out like we think it will, we will have a moderate slowdown and not a housing collapse," Seiders said.
Sales of new homes have fallen in four of the past five months with the sales rate of 1.08 million units in February the slowest pace since May 2003.
The slowdown in sales pushed the inventory of unsold homes up to a record of 548,000 homes at the end of February. At the February sales pace, it would take 6.3 months to sell all of the homes on the market, up from 5.3 months in January.
Analysts believe that the growing backlog of unsold homes will add to downward pressure on prices in the months ahead.
By sector of the country, sales were down by the largest amount last month in the West, a drop of 29.4 percent in February. Sales fell 6.4 percent in the South but they rose 12.7 percent in the Northeast and 5.2 percent in the Midwest.
In other economic news, the Commerce Department reported that orders to U.S. factories for big-ticket manufactured goods rose by 2.6 percent last month, the biggest gain since November. The strength reflected a 52.5 percent surge in demand for commercial aircraft, which rebounded following a big drop in January.
Outside of the volatile transportation sector, orders actually fell by 1.3 percent, but economists said the underlying trend for manufacturing remained strong.


Ohno Y, Iguchi A, Shinzato C, Gushi M, Inoue M, Suzuki A, Sakai K, Nakamura T. Calcification process dynamics in coral primary polyps as observed using a calcein incubation method. Biochemistry and Biophysics Reports 9:289-294. 2017.
Copyright (C) 2016 National Institute of Technology, Okinawa College. ALL rights reserved.


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What are the Latin phrases in law?
Legal Phrases & Sentences | Latin
actio in personam
"action against a person"
amicus curiae "friend of the court"
bona fide "in good faith"
de jure "according to law / by right"
Dura lex, sed lex. "The law is hard, but it is the law."
Why are Latin phrases used in law?
Most lawyers love to throw around Latin phrases. The reason for this is that ancient Rome's legal system has had a strong influence on the legal systems of most western countries. After all, at one time, the Romans had conquered most of Europe, the Middle East, and North Africa.
What Latin words are still used today in law and government?
Explore some of the most common Latin legal terms.
Ad Idem. An ad idem is a good thing.
Ab Initio. Ab initio means from the beginning.
Ad Hoc. In Latin, ad hoc means for this.
Ad Infinitum. To infinity and beyond!
Ad Litem. As regards the action is the meaning of ad litem.
Affidavit.
Alibi.
Alieni Juris.
What is the Latin term for criminal act?
actus reus
actus reus – A criminal act. ad initio – lawyer Latin for "from the start," as "it was legal ab initio."
What is the Latin term for tort?
Tort comes from the Latin word tortum, meaning "wrong." When someone has done some wrong to you, you can seek justice (in the form of payment) by taking them to court.
What does habeas corpus mean literally?
You shall have the body
The literal meaning of habeas corpus is "You shall have the body"—that is, the judge must have the person charged with a crime brought into the courtroom to hear what he's been charged with.
Law is divided into four broad categories. These types of law are tort law, contract law, property law and criminal law.
How is parricide committed?
In general, parricide is usually committed by males and done to males (meaning son-on-father crime), but recently that trend has been shifting. Though the ratios change depending on the study cited, some generalizations we can make include: sons kill their fathers more often than their mothers.
What is another word for tort?
synonyms for tort
crime.
evil.
immorality.
offense.
violation.
What are the 3 types of torts?
Torts fall into three general categories: intentional torts (e.g., intentionally hitting a person); negligent torts (e.g., causing an accident by failing to obey traffic rules); and strict liability torts (e.g., liability for making and selling defective products – see Products Liability).
What is a synonym for habeas corpus?
habeas corpus, writ of habeas corpusnoun. a writ ordering a prisoner to be brought before a judge. Synonyms: writ of habeas corpus.
What are the grounds for habeas corpus?
When a person is imprisoned or detained in custody on any criminal charge, for want of bail, such person is entitled to a writ of habeas corpus for the purpose of giving bail, upon averring that fact in his petition, without alleging that he is illegally confined.
What are some Latin legal phrases?
The Latin legal maxims like a quo (from which), a priori (from earlier), ad hoc (for this), affidavit (he has sworn), i.e. (that is), etc., are commonly used in various professions than only in legal profession. One such phrase is fiat justitia ruat caelum.
What are the most common Latin phrases?
Dictionary of Latin Phrases. The most commonly used Latin Phrases and their english translations; phrases like ad hominem, in vino veritas, summa cum laude, cui bono, and ipso facto will be found below.
What are some common Latin law terms?
15 Latin Legal Terms Every 1L Should Know Ad litem – for the suit. Courts appoint attorneys ad litem, generally as a matter of law, for parties that have a legal interest in a case but that Amicus curiae – friend of the court. If a non-party to a proceeding has an interest in the case (or the law) before the court, the non-party can ask Certiorari – to be more fully informed.
What is 'law' in Latin?
Law Latin was the language in which the legal opinions of English courts were recorded at least until the reign of George II. Under his reign, the Proceedings in Courts of Justice Act 1730 (effective from 1733), mandated that all records of legal proceedings in England were to be made in English rather than Latin.
Which colors go well with peach?
What is Medicare Code A9270 Gy?

redpajama_set_name: RedPajamaCommonCrawl


text:
Insureds Score a Big Win at the SCC
Blog Canadian Appeals Monitor
McCarthy Tétrault LLP
Canada September 22 2016
Policyholders recently won a key victory at the Supreme Court of Canada in Ledcor Construction Ltd. v. Northbridge Indemnity Insurance Co. as the Supreme Court clarified the interpretation of a standard form faulty workmanship exclusion clause common in builder's risk policies. The decision has wide-reaching significance to other insurance coverage disputes and to contract law generally.
The Supreme Court confirmed that only the cost to redo the faulty work is precluded from coverage by such an exclusion. Builder's risk, or "course of construction" insurance policies seek to insure against certain defined risks which may occur during the construction process. Such policies generally provide coverage for the owner of the property under construction, the general contractor, and all contractors and subcontractors working on the project. The exclusion at issue in this decision excluded from coverage "the cost of making good faulty workmanship", but provided an exception for resultant damage (the "Exclusion Clause").
Background and Decisions Below
Ledcor Construction Limited ("Ledcor") was the general contractor for the construction of the EPCOR Tower ("Tower"), an office building in Edmonton owned by Station Lands Ltd. ("Station Lands"). The Tower's installed windows were dirtied during the construction process and Station Lands hired Bristol Cleaning ("Bristol") to clean the windows prior to completion of construction. Due to the use of improper tools and cleaning methods, Bristol's work caused scratching to the Tower's windows, which ultimately had to be replaced at a cost of approximately $2.5 million. Ledcor and Station Lands both claimed the cost against the Policy through their insurers at the time. The insurers denied the claim on the basis of the Exclusion Clause.
At trial, it was determined that Bristol's cleaning work constituted "workmanship" and that it had been faulty. However, the trial judge found the Exclusion Clause ambiguous and applied the rule of contra proferentem against the insurers, finding that the "cost of making good" encompassed only the cost of redoing the cleaning work and not the resultant damage.
The Alberta Court of Appeal reversed the trial judge's decision, declaring that the damage to the Tower's windows was excluded from coverage.
The Supreme Court of Canada Decision
Standard Form Contracts are Unique
The Supreme Court of Canada allowed the appeal. Before addressing the interpretation of the Exclusion Clause, Wagner J. (writing for the eight Justice majority) took the opportunity to clarify how its previous decision, Sattva Capital Corp. v. Creston Moly Corp., 2014 SCC 53, applies to the interpretation of standard form contracts. Sattva held that contractual interpretation is a question of mixed fact and law as it requires the application of contractual interpretation principles to the words of the written contract, considered in light of the factual matrix, and is therefore owed deference on appeal.
The Court in Sattva stated that the correctness standard of review is reserved for the rare occasion where it may be possible to identify an extricable question of law in contractual interpretation, such as the application of an incorrect principle, the failure to consider a required element of a legal test or the failure to consider a relevant factor.
The Supreme Court recognized an exception to its holding in Sattva, concluding that where the "appeal involves the interpretation of a standard form contract, the interpretation at issue is of precedential value, and there is no meaningful factual matrix specific to the particular parties to assist the interpretation process, this interpretation is better characterized as a question of law subject to correctness review" (para 46).
In recognizing this exception, the Supreme Court also noted that there may be certain circumstances under which the interpretation of a standard form contract may be a question of mixed fact and law, warranting deferential review on appeal. Such circumstances include cases where the factual matrix of a standard form contract that is specific to the particular parties assists in the interpretation, and situations where the parties negotiated and modified what was initially a standard form contract.
Cromwell J., concurring in the result, disagreed with the above exception. He concluded there is no reason to exclude standard form contracts from the general principles that apply to appellate review in civil cases and as such the applicable standard of review was palpable and overriding error. Applying this standard, Cromwell J. saw no reviewable error in the trial judge's analysis.
The Exclusion Clause was Ambiguous and Interpreted in Favour of the Insured
The Supreme Court then turned its attention to the proper interpretation of the Exclusion Clause. Both parties argued the Exclusion Clause was unambiguous, yet arrived at completely different conclusions as to its meaning. The insureds argued that only the cost of redoing the faulty work, i.e. the cleaning, was excluded from coverage. The insurers, on the other hand, argued that both the cost of redoing the work and the cost of repairing the property that is the subject of the faulty work, were excluded. The insurers contended that the resulting damage exception referred to consequential damage to some other part of the insured property or project.
The Supreme Court, while slightly favouring the interpretation of the insurers, found the clause had two plausible interpretations and was therefore ambiguous. Using general principles of contractual interpretation to resolve the ambiguity, the Supreme Court concluded "the faulty workmanship exclusion serves to exclude from coverage only the cost of redoing the faulty work, as the resulting damage exception covers costs or damages apart from the cost of redoing the faulty work" (para 63). As such, only the cost to reclean the windows was excluded; the replacement cost of the damaged windows was covered by the Policy.
The Supreme Court resolved the ambiguity in reliance on three general principles of contract interpretation, rendering resort to the contra proferentem rule unnecessary:
First, the Supreme Court found support for its interpretation with reference to the reasonable expectations of the parties. The Supreme Court drew on the purpose behind builder's risk policies as a reflection of the reasonable expectations of the insurers and insureds. Such policies provide broad coverage for construction projects in order to reduce the need for litigation between the various contractors over liability for repairs. To preclude coverage under the faulty workmanship clause merely because the damage occurs on that part of the project the contractor was working on would undermine the purpose behind builder's risk policies.
Second, this interpretation accords with the commercial context in which insurance contracts occur. The broad scope of coverage creates economies and certainty for both insureds and insurers. Such an interpretation does not transform the policy into a warranty, as the costs to redo the faulty work are excluded from coverage.
Third, an interpretation limiting the scope of the faulty workmanship clause to the cost of redoing the faulty work is consistent with prior jurisprudence, including interpretations generally given by courts in faulty design cases.
This decision confirms that the faulty workmanship exclusion clause and the "resulting damage" exception to that exclusion is restricted to denying only the cost of redoing the faulty work. Resulting damage generally will not be excluded.
This decision also clarifies that, generally speaking, the interpretation of standard form insurance contracts is a question of law. This will make such interpretations more amenable to summary judgment and provide for less deference of such interpretations on appeal.
Finally, this decision serves as a good reminder of basic principles of interpretation employed to resolve ambiguity: to the extent it is supported by the language of the policy, the interpretation should be consistent with the reasonable expectations of the parties; it should not give rise to unrealistic results or those that do not accord with commercial reality; and it should be consistent with the interpretations of similar insurance policies. Resort to the contra proferentem rule will only be necessary if the ambiguity remains after applying these principles.
Ledcor Construction Ltd. v. Northbridge Indemnity Insurance Co., 2016 SCC 37
File No: 36452
Date of Decision: September 15, 2016
McCarthy Tétrault LLP - Ariel DeJong, Geoff R. Hall, Hovsep Afarian and Lindsay Burgess
Standard form contract
Exclusion clause
Acumen v. Ojanen: just cause and the potential costs of an unfair dismissal *
IIROC guidance clarifies expectations regarding supervision of work from home arrangements and registration of business locations *
U.S. Proposes New Anti-Money Laundering Rule in Respect of Unhosted Virtual Currency Wallets *
The Supreme Court of Canada's Rules are changing *
Fintech Regulatory Developments: 2020 Year in Review *
More from Canadian Appeals Monitor
A Question of Attribution: UK Supreme Court Clarifies Law on the Illegality Defence and the Quincecare Duty Owed By Financial Institutions
B.C. Court of Appeal Upholds and Clarifies Rectification Remedy in Canada
A New Era in Journalist Source Protection: The Supreme Court of Canada Clarifies section 39.1 of the Canada Evidence Act
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Related Canada articles
Supreme Court of Canada Considers Builder's Risk Policy "Faulty Workmanship" Exclusion Clause *
The Correct Approach to the Interpretation of Boilerplate Policy Wording in Canada *
Ledcor Construction Ltd. v. Northbridge Indemnity Insurance Co. and the "Faulty Workmanship" Exclusion under Builders' Risk Insurance Policies *
Alabama Supreme Court reverses course, finds insurance coverage for faulty workmanship claims * - USA
Florida Supreme Court holds that defective work is an occurrence under a CGL policy but costs for repairing defective work are not property damage * - USA
Update: Moda Furniture LLC v. Chicago Land Trust Co. * - USA
Dr Jürgen Fegbeutel
Legal Services Director
BMW (South Africa) (Pty) Ltd
"Lexology is a quick and useful indicator of developments in the legal sphere. It alerts me to changes taking place in the legal environment in South Africa that I may not otherwise have spotted or had immediate access to as a company lawyer. It definitely serves as a trigger for me to investigate such changes in the legal landscape in South Africa as they may affect my work and that of my employer. I believe that receiving Lexology provides me with a competitive advantage."


Blog strategy is another way of saying goal planning. Therefore, it is a very important first step! The purpose of this lesson is to help you pick a direction for your blog.This lesson will help you decide the kind of blog you should start. Once you complete your blog strategy exercise, you will be able to determine the best way to make money on your blog.
You will need a tablet and a pencil for this course.
There are millions of different kinds of blogs that can be started! Therefore, anyone can aimlessly start a blog. However, learning how to start a blog that will help you reach your goal is the goal. Therefore, you must know how you want the blog to end up. There are 3 case studies provided for you to see the point.
A chef may start a recipe blog. Initially, he may blog about different foods and simple recipes. Later, he can decide to categorize, combine, and photograph some of his best recipes. He can then design and sell different recipe ebooks.
An aspiring travel blogger may write sightseeing, restaurant, and tour group reviews for their local area. Over time, they are able to charge a marketing fee for local establishments to advertise their business on the local travel blog.
And lastly, a nail blogger decides that she wants to make and sell nail polish to monetize her blog. The young lady starts blending beautiful nail polish colors and places them on her blog for retailing to customers.
The three blogs sound simple enough, right? Well, let's take a closer look.
#1 The chef could end up with a completely automated international digital product business. Since it is automated, his online business can run itself for a period of time. In addition, he can move and travel with no real difficulties or concerns.
#2 Meanwhile, the aspiring traveler just started a local advertising business. Therefore, moving or traveling may have an effect on their blog marketing income. As a result, they will need another income plan before they start traveling full-time.
#3 And lastly, the young nail blogger just started a solo manufacturing and shipping company. She potentially just created a new job for herself. A job that will likely require her to work 40+ hours a week. She can relocate if needed. However, she will need employees to keep the business going if she gets busy.
Can you see how each blogger took their blog a different direction?
Each blog can end up with a different outcome depending on the direction YOU take it. Before you get blinded by the shiny lights on your blog's dashboard, decide what you want your end result to be. This is the best blog strategy. To figure out what kind of blog you need, determine why you really want to start a blog. Ask yourself, what problem(s) do I want my blog to alleviate?
Congratulations! You have just completed the blog strategy course!


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Sophie Francesca Wright
Founder/Artistic Director/Artist
Born in London, though spending much of her early years in Australia where she was an Associate of The Queensland Ballet Company, Sophie gained a place at Elmhurst School in its inaugural year at Birmingham, in 2004. She subsequently won a scholarship to attend Rambert School of Ballet and Contemporary Dance where she graduated with a first class BA honours degree.
It was Sophie's ambition to form her own company and The London Ballet Company was founded in 2010 with the aim of providing a performance platform for up and coming artists to produce original, collaborative works based on popular culture and topical events, to invigorate new audiences.
The London Ballet Company provides a diverse performance experience for its dancers who have enjoyed travel overseas to perform with pianist Maksim Mrvica - China tour, Basement Jaxx - American and British tour, in theatres and for bespoke events. Now in its 8th year, Sophie has extended the education programme of T.L.B.C. to provide Workshops, Easter and Summer Intensives, an Associates Programme giving insight into the collaborative creative process, to develop strength, nurture confidence and ensure versatility. The vital elements required to sustain a career in dance which she herself developed at the Rambert School. Sophie established the TLBC School in 2018 for young artists, promoting Artistry, Creativity, Versatility, Performance!
Sophie is a qualified and certified Progressive Ballet Technique Teacher.
Fran Mangiacasale
Creative Coordinator/Artist
Born in Genoa Italy, Fran Mangiacasale , trained with a variety of National and International teachers in ballet, contemporary, acting and singing. In Italy he performed with Koine's Dance Company, J.Nuova Partenza, and the Alyat Dance. In 2000 he moved to London where he has danced in numerous companies touring around the world including The Lindsay Kemp Company, National Dance Company of Wales, Fabulous Beast Dance Theatre, Smallpetitlkein, YDance Unstructured Light, LoCommotion, The Royal Opera House, English National Opera and Nederlandse Reisopera. Fran was also assistant Choreographer and Dance captain in many Opera productions in London, Spain and Germany.
In 2013 he was assistant choreographer and guest soloist with the Azerbaijan State Academy Ballet in Shadow of Gobustain choreographed by Maxine Braham.
Fran is also a freelance choreographer and has created work with companies in the UK and in Europe.
Joining The London Ballet Company in 2011, Fran's skill in music and dance has enriched the wonderful, original repertoire created and crafted in collaboration with The London Ballet Company. An expert in sourcing wonderfully evocative music to suit all occasions, and as a result of one of our performance reviews, Fran's talent was recognised by a media company who commissioned The London Ballet Company to feature Fran in a documentary in recognition of his undisputed and unique talent.
Tasha Bertram
Ballet Mistress/Guest Artist
Tasha began her career at the Legat School of Russian Ballet, leaving at eighteen to join Liliana Cosi and Marinel Stefanescu in Italy. It was with this company that she first established herself as a young soloist. Returning to England led to an offer with The London City Ballet where she remained for the next nine years under the direction of Harold King, establishing herself as one of the companies principal soloists. As her dancing career came to a natural end, Tasha found herself playing TV and film roles as an actress and also devoted much of her time to her two children.
She travelled a great deal with her son working on different film sets and through this, fell into producing her own films. In 2006 she formed her own Jazz band; 'Winnet' - "A joyous display of jazz and blues". She still performs today at various London Jazz venues. Her work over the last ten years as freelance teacher of Ballet and Character, has lead to ongoing opportunities including Central School of Ballet and The London Ballet Company. Last year she was appointed examiner for The Russian Ballet Society, standing for Nicolai Legat and his system.
Alice Oakley-Jones
Alice started dancing from a young age at her mother's dance school The Oakley School of Dancing, where she studied Ballet and Contemporary technique. Later gaining a place at the Royal Academy of Dance she studied her teacher training BA in Ballet Education, and the teachers LRAD Certificate, whilst also achieving her Advanced 2 RAD Ballet and studying for the Solo Seal award. She then went on to establish her career as a dance teacher, teaching across south west London locations, whilst continuing her professional training under Cuban National Ballet ex-professional Miss Heredria. She has since began to fulfill her dance career performing in a variety of collaborative neoclassical choreographies, and joining The London Ballet Company as an Intern in August 2013. Alice was promoted to Company Artist in August 2014.
Abigail Bulfin
Abby trained at Central School of Ballet, graduating in 2014 with a BA (Hons) in Professional Dance and Performance. In her final year she toured the UK with Ballet Central, performing in a variety of pieces from classical ballet to jazz and contemporary. Since graduating Abby, has combined performing with teaching and choreography. In 2014 she choreographed her first musical theatre production, Seussical, followed in 2015 by Hairspray and Legally Blonde. She is also a freelance teacher and studying Benesh Notation. Abby performed with the London Ballet Company at Canary Wharf in July 2015 and initially joined the company as an Intern. Abby has since accepted a promotion as Company Artist in May 2016.
Jo Elisabeth
Jo, born in Nottingham, attended classes from a young age at a local dance school. Realising her passion for dance she decided to pursue a career in the Arts. She was accepted as an associate at the Birmingham Royal Ballet and then went onto train full time at Tring Park (formally The Arts Educational School). She then continued her training at Rambert School for Ballet and Contemporary Dance.
Jo has had a very varied career since graduating in 2010. She has performed at Large events all around the world including Morocco, Dubai, Uganda, Qatar, Egypt, all over Europe and the UK.
She has appeared in commercials for Royal Navy, British Swimming, The Natural History Museum and Honda, which received multiple awards, as well as big films such as 'The Kingsman', 'Guardians of the Galaxy', 'Man from Uncle' and most recently 'Star Wars'. Between her dancing and film work she is also a Model and regularly works on catwalk shows, photoshoots and exhibitions.
One of TLBC's first members, Jo has been dancing with the company since early 2011. She has performed in many of the company's theatre productions as both ensemble and Soloist dancer. Credits include '00 and 7', 'An Olympic Dream', 'Jubilation', 'Eve's Journey', 'Poppy', 'Ghost' and Most Recently as Madame in 'The Snow Queen'. As well as her involvement in TLBC's theatre productions she was also chosen to perform with Basement Jaxx on their tour at both Koko and The 02 arena.
Georgina Egan
Georgina Egan, born in Queensland, Australia started her early ballet training aged 3. She completed her full time training in the Vagnova method at The Noosa Professional Dance Academy, gaining distinctions in all her exams. She was privileged to be assisted in this with teachers Michelle Buckley, Renee Dekuyper, Wim Broeckz, Mark Brinkley, Paul Boyd and Karen Donovan.
In 2013 Georgina performed the leading role with the Brisbane City Ballet and aged 15 she was invited to dance at The Prix de Lausanne in Switzerland. This experience led to an offer of a year's placement at the Princess Grace Ballet Academy in Monaco.
Georgina joined The London Ballet Company as Company Artist in September 2016 and is very much looking forward to developing her ballet journey.
Tamra Burke
Tamra was born in Melbourne, Australia and has been dancing since the age of 3. She began her dance training under Lynn Mcnabb in Kilsyth. She then moved to Boyd Academy of Dance and went through to complete her Advanced 2 RAD examination. Tamra performed with the youth contemporary company, 'Project Y' in their performance of 'The Gallery' in 2011. She continued her training for 3 years full time with Ballet Theatre Australia, under the direction of ballet masters, Leeanne Rutherford and Oleg Timursin. Tamra studied in the Russian Vaganova method where she completed her Advanced Diploma of Elite Performance (Dance) and performed in many professional productions including Giselle, The Red Sails and Diversity. Most recently, Tamra moved to London after receiving a scholarship to dance with The London Ballet Company as an Intern.
Louise Buck
Louise started dancing at the young age of three, training locally at the Lambert School of Dance under the direction of Marie Lambert. When she discovered her passion, at nine Louise continued her training and received a junior and senior scholarship with the British Ballet Organisation being taught by the Royal Ballet's Anita Young and Brenda Last.
At fifteen she started training with the London Senior Ballet at the London Studio Centre.
One year later Louise moved away from home to start her three year vocational training at KS Dance in Warrington where she toured with Allegro Dance and performed the lead role as Cinderella in her 3rd year.
Louise graduated with a National Diploma in Professional Dance bringing home merit, tap and all round dancer awards.
Since graduating in 2010 she started her career dancing in the production shows with Carnival Cruises sailing around America, the Caribbean and Australia.
Louise joined The London Ballet Company in 2012 where she made her debut in the production 00 and His 7. Since retiring from ship life in 2016 she has performed in Poppy and Ghost and looks forward to continuing to grow with the company.
Rafal Minkiewicz
Born in Opole in Poland, Rafal began dancing at the age of fourteen. He trained with coach Elzbieta Podejko-Duda and modern dance team Adena, which specialized in jazz, modern and show dance. He performed in many dance championships and shows in Poland and internationally, including Choice (2009), Peter Pan (2011), Cottage (2011), Secrets of the Fire King (2011), and Empty Walls (2012). Rafal gained a degree in Cultural Animation and Art Therapy from the University of Opole.
In 2012 Rafal moved to London to train full-time at Rambert School of Ballet and Contemporary Dance, where among many achievements he performed in a piece by Darren Ellis, worked with Christopher Bruce, and danced in La Bayadère, graduating in 2015.
Rafal has travelled to Japan and Canada, where he trained with Kenny Pearl (Martha Graham Company), Meredith Dincolo (Hubbard Street Dance Chicago), Herve Courtain (Les Grands Ballets Canadiens), Francois Chirpaz (Ballets Jazz Montréal), Honji Wang (Company Wang Ramirez), and Tatiana Tchernova (National Ballet of Canada). He has also taken workshops at Broadway Dance Center in New York.
A passionate and versatile artist, Rafal loves creating performance pieces. He finds inspiration in watching people in their everyday lives, and particularly enjoys collaborating with artists working in other media such as fashion, film, and the visual arts.
Having performed in Snow Queen in 2016, Rafal is very excited to have joined The London Ballet Company in January 2017.
Christian Carnio
Christian Carnio was born in Venice, Italy and started Ballroom and Latin dancing at the age of six. He competed at a national level in these disciplines and completed a FIDS degree. At the age of 18 he started concentrating on Modern, Contemporary and Jazz dance amongst other styles including Ballet.
His varied dance background has allowed him to excel in versatile roles, including dancing in the film Casanova with Heath Ledger, the opera La Piccola Volpe Astuta at the renowned Teatro Regio in Turin, and the musical Don Bosco in Rome.
Christian moved to London in 2016, and has recently featured in the Emmi music video You Said You Loved Me. He is now a Company Artist with The London Ballet Company. Christian's most recent role in the Company has been playing Kai in the production of The Snow Queen. He continues to pursue diverse roles to develop his career as a professional dancer in the UK.
Imogen Browne
Imogen was born in Melbourne, Australia where she trained in ballet, contemporary and jazz at the Gay Wightman School of Ballet. She won 1st place Australia wide with Honours in the BMAAD Intermediate and Advanced ballet exams. In 2011 Imogen was an apprentice with Melbourne Ballet Company where she performed for Clinique and with Deakin University Motion Laboratory as a trainee.
After completing her high school diploma she accepted a position at the Joffrey Ballet School, New York in their full time trainee program commencing in 2012. Her highlights include performing the roles of the Ugly Step Sister in Cinderella, Arabian
Princess in The Nutcracker, Big and Little Swan in Swan Lake and also as a soloist in Gerald Arpino's Birthday Variations.
Since graduating Joffrey's program she has worked with Ballet Popular and performed in their first performance as a company presenting the Manon pas de deux. She then went on to spend a year as assistant director at the Joffrey Ballet School for their performances of The Nutcracker and Sleeping Beauty. During that time she also performed with Mei/Co directed by Meggie Pinones in The Hatch Series and for the Microsoft Corporation at their 5th Avenue, New York, Flagship Store.
Imogen moved to London to pursue her love of ballet and is looking forward to the new adventure that TLBC has to offer.
Ella Marjorie Betts
Born in Newcastle Australia, Ella began her training with Susan Shiner (RAD syllabus). She attended the Hunter school of the Performing arts and was a member of the NSW State Dance Company and various ensembles and troupes. At the age of 15 Ella was given a scholarship to attend the McDonald College for classical ballet and complete her HSC and her Royal Academy of dance examinations. She performed in many productions with the college, and numerous ballets such as The Sleeping Beauty, Swan Lake, and Don Quixote, as a member of the Premier state ballet company run by directors Allan Cross and Josephine Jason. Ella has also performed in the annual Evening of classical ballet held in the Sydney Opera House, and also performed as an extra in the Australian Ballets Sydney season of Manon (also held in the Sydney Opera House). She later graduated from the Australian International Ballet Academy with a distinction under the direction of Jacquie Dumont. Ella then took a position as a company Trainee with the Ajkun Ballet theatre in New York City. Whilst with the company, she performed many ballets choreographed by Leonard Ajkun and Dr.Chiara Ajkun. Whilst in America Ella performed a season contract with the Albany Berkshire ballet and went on tour with the company's production of the Nutcracker. Ella was an assistant teacher for the Ajkun ballets Young Dancers program and in her spare time completed her yoga teaching certification. Ella then moved back to Australia and taught at numerous schools, primarily based in Newcastle at Susan Shiner Dance academy and Newcastle Ballet Theatre. Whilst in Australia she ran the auditions for the Ajkun Ballet theatre in Melbourne and Sydney. Ella joined The London Ballet Company as an Intern in 2016 and has recently been promoted to Company Artist in 2017.
Ellie Wilson
Ellie started dancing when she was three, at a local ballet school in her hometown of Swindon. During her early teens, Ellie attended Associate Classes at The Tring Park School for the Performing Arts while completing her ballet exams in which she was awarded Distinctions in all. She then went on to join English National Ballet's Youth Company in which she danced at many venues, including The Coliseum with English National Ballet in their production of Petrushka within their Tribute to Nureyev in 2013. At the same time, Ellie gained Russian Ballet training from Chika Temma and Yuri Demakov with annual performances including Cinderella; performing a pas de deux with Arionel Vargas, before joining Rambert School in 2013. During her time at Rambert she had wonderful performance opportunities and worked with Choreographers such as Antonia Franceschi before graduating with a BA (Hons) in July 2016. After Graduating, Ellie worked with Mark Baldwin performing 'The Creation' with Rambert Company at Garsington Opera in Oxfordshire followed by a month creation period and a weeks performances at Dulwich Picture Gallery in their Winifred Knights Exhibition with Dane Hurst and Company. Ellie is excited to be joining The London Ballet Company as an Intern and is looking forward to expanding her abilities with the Company.
Laura Glare
Laura started ballet at age 4 in a small country school in Ballarat, Australia. In the years that she was there she attended many competitions and discovered a true passion for being on stage and performing. Aged sixteen, Laura started full time Vaganova method classical ballet training at Ballet Theatre Australia. Whilst there, she received exceptional training and was given opportunities to perform repertoire from Giselle, Le Coursie, and many original classical and neoclassical works by Oleg Timursin, Leeanne Rutherford and Karalyn Rutherford. In 2015 Laura moved to Sydney to train with Tibor Horvarth at Studio Tibor. Whilst there, she performed the principal role in La Esmeralda and performed soloist roles in Le Coursie, Swan Lake, and Tarentella. In 2016 Laura moved to Europe to dance with Brussels International Ballet School under the direction of Anderson Santana where she further strengthened her classical technique as well as expanding her contemporary repertoire knowledge, performing soloist roles in the Brussels International Ballet Junior's production of Swan Lake. Laura also performed the principal role in the school's production of "Parcours" a piece involving high level acting skills and contemporary repertoire by Mats Ek. Laura is now very excited to be performing with The London Ballet Company for their 2017 season of '00 And His 7.'


A brave soul transitioned yesterday, 11 October 2011. In true Frank fashion, he left us on National Coming Out Day here in the U.S.
In 1969, I met Dr. Kameny, who was a hero in what we then called the "homophile" movement. I was impressed with his clear conviction that civil rights should be afforded to everyone. Through all the changes in history in the years since the 1950s, when he was outed and then became an activist, he continued the fight, and he was always a supporter of the ministry of MCC.
Dr. Frank Kameny was a fearless pioneer for gay rights, in the days before Stonewall. I met Dr. Kameny when he and the late Barbara Gittings came to speak at Allegheny College, when I was 19 years old, over 40 years ago. Their courage astounded me, even as I struggled to understand how their story was my story.
I was still closeted then, even to myself, but their honest, open telling of their stories was the first clue I had that there were others like me. There are not adequate words to express the impact on my life of their visit to our small, liberal arts, religiously-connected school. I know that Dr. Kameny was the first publically open gay man that many of us ever met.
Dr. Kameny faced unbelievable discrimination, scorn, and opposition, but he became single-minded in his devotion to civil rights. He and others picketed the White House in 1965 and pushed to have the American Psychiatric Association stop labeling gay people as mentally ill. Along with Rev. Troy Perry, and a handful of others, his courage and determination changed the world for all of us.
All of the people in MCC around the world today owe a debt of gratitude to Dr. Kameny, and together we mourn his passing.


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Q: Feedback regarding isolation practices on a 5V/Mains PCB I am currently designing a PCB for a project including PID-control of a heater. The heater runs on mains (220V) and is controlled using zero-crossing switching to regulate the power and minimize EMI and THD.
I already designed multiple PCBs , also ones with mains, but never low and high voltages on the same board. By now I have e prototype-design, where I made the following safety considerations:

*

*strict separation (HV,leftside - LV, right side, see line on top silk layer)

*connection HV-LV only via optotransistor/-triac (U1 and U2) and a switching converter U6 including a isolation transformer

*further protection with MOV(R6), fuse (F1) and use of a snubberless triac Q1

*copper planes of LV part start only after the last everything is converted to LV

Since I do not really have any space constraints I designed everythig with a lot of clearence (grid is 1mm) and used 2mm traces for the AC-powerlines. The PCB is then mounted in a metal box connected to PE or in one out of isolation material.
My main concern is that there are three JST plugs on the LV side (U4,7,8) that connect to rotary encoders, screens,etc, that are accessible to the user. While I am confident about the isolation on the PCB I still wanted to get second takes on the design, especially regarding the connections to the user-accesible features. Are there additional considerations to make in this case?
Any feedback regarding any part of the design is appreciated!

A: I have the following feedback on your layout, roughly ranked by importance:

*

*Your PE trace is far too thin. In the case of a live-earth short downstream of your board, you run the risk of vaporizing this trace before the fuse or a breaker / GFCI trips. You want mains traces as short and as fat as possible; of these PE is the most important for safety.

*You could increase the clearance between the different mains traces. HV - LV isolation is top priority, but L-PE and N-PE are also important, and if you can manage, L-N clearance is also good. I would aim for at least 4mm clearance wherever feasible. I realize that's not possible everywhere, but there is room for improvement.

*Consider making a slot in the PCB below U1 and U2, between the HV and the LV side. This further increases the creepage between HV and LV.

*Keep mains traces as short and fat as possible; to keep resistance low. In case of a fault, you want a low resistance so a breaker/fuse trips decisively. Use top and bottom traces if appropriate. Your L trace is a bit too long for my taste. Keeping traces short also helps with EMI. I would prioritize keeping the traces "on the power path" (between P1, P2, F1, Q1, R6) over those "on the signal path" (dealing with R1, R4, R5, U1, U2).

*Clearance between the pins of Q1 is particularly low. I like using a footprint with the pads further apart, and spreading the triac's legs out before soldering. See e.g. this answer.

*Are you using huge footprints for R1 and R5 for clearance and power dissipation? You can also use several smaller resistors in series to achieve that. Use similar value resistors, assume voltage distributes equally over them so you can add their voltage ratings, and derate generously. Like a factor 3 or so.

A: I've printed PCB's with HV/LV split and mostly avoided the issue by far exceeding the requirements for clearance/creepage and used an isolation transformer. I'm sure you've already looked up the distances but here's a reference:
https://www.smpspowersupply.com/ipc2221pcbclearance.html
Also if you're worried about spikes blowing your equipment and getting back to the user, you could add an inline fuse where the HV comes in and then a thyristor to ground directly after to shunt the fuse to ground if there's a spike. It will blow the fuse to isolate the circuit.

redpajama_set_name: RedPajamaStackExchange


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WhatsApp Messenger is currently the most popular Instant messaging app. You can find it on the Play Store. Also Android users have installed this app amongst the most basics for their devices. But now the green-logo app brings us a new variant for their app. That's why we will present a short guide to you on how to use Watsup Web (WhatsApp).
If you are looking for an expansion for your apps WhatsApp Messenger now offers its new feature beyond the smartphone: WhatsApp Web. This new feature enables the current user of the IM app to also interact with family and friends comfortably from their PCs or their tablets. For those of you who have yet to experience this new variant of the popular application, here tutorial is very useful.
This communications app will be even more popular with this addition, especially in a social media era. The amount of benefits that brings the possibility to use WhatsApp from one computer is significant to let this one pass. For starters, WhatsApp Web will bring comfort for those accustomed to a PC. If being mobile is not the current concern, the bigger screen and wider keyboard will come very handy when sending messages to all your contacts through the app.
Also, the pictures and videos will be available at a better viewing resolution. But that's not all. If you are sitting in your office and do not want your boss to catch you updating your status on the Family group, there's a solution. However, WhatsApp Web will display the contacts and chat tabs right on your desktop to best sort through them without the hassle of having to hide your phone every two minutes.
The first thing you would need to do is to open your PC o tablet's web browser. Next enter the following address on the navigation bar: https://web.whatsapp.com/. The page will display a QR code that you will scan using the WhatsApp from your smartphone. From the apps main screen, tap on the Menu icon and select "WhatsApp Web" from the dropdown menu.
Carefully scan the QR code on the screen of your PC and wait for the webpage to load your WhatsApp account on your browser. Just as you have it on the phone. From this point on, sending text and voice messages, making calls and receiving notifications is just as having it on the phone. Also, consider the fact that all the actions you apply on the PC will be mirrored on the phone without additional actions. Therefore, there will be no need for further contraptions, patches or updates.
Now you are all set. Finally, you will notice that the chats and groups tab will show as a column. On the left side of the screen. Also, if you select any of them, on the right side of the screen the conversation will appear without hiding the chats and groups column.
This feature brings a very convenient and comfortable display. Just a few clicks away for those who need to work on the PC or desire a better looking experience of the long famous app.
WhatsUp or WhatsApp is the ideal messaging application to stay in touch with all the people who appreciate fast and immediate. The reality is that right now we can communicate with them only to have an internet connection, so it is best that you know very well everything about his performance. Today it is one of the most complete applications and no doubt millions of people around the world consider it as an excellent element so that you download, conversations and enjoy this great game. I want to tell you all about How to use WhatsUp and which will become a very good tool for mobile messaging and be sure to take it into account.
We have to start talking about download whatsUp this can do so directly from the mobile application store. Another point to point is that you need to have versions of supported operating systems, internet access and course that had an account to perform the download immediately. WhatsApp is totally free, don't let you carry, because it offers one alternative more than ideal so that you continue communicating quickly.
You have to take into account that the download will take a couple of minutes and after doing this is that you can start to register your account. Open a WhatsUp is very fast, you will have to add your contact name, register your phone, and then receive a verification code so that your account is ready and you don't have any kind of complications to communicate.
Finally at the time of registration, you will have to have a phone that has a signal so you can receive the message, should you not receive it, it is essential that you add this code so that you can continue to use, you add people, among other things.
This is very simple to add to a contact, this can do so directly from the directory of your device and then this is that you will have that you see within the contacts section that appears on WhatsApp, it will take you several minutes to do so and since you added it, you may select it to open the chat and you begin to communicate with him or her.
Send an audio in WhatsUp is simple on the right side where we write, see us a blue microphone, where to select it can talk and share all what you feel. Do not forget to take into account that we have these alternatives as complete so you quickly communicate based on audio.
Finally sharing images is rather simple, you only have to press an arrow in form of "+" where you can choose to take a photo or choose files you have on your device. Thus it is that you will have at least one basic concept to make you realize How to use whatsup.


text:
/ BUSINESS
APC Group set to drill two wells in Kalinga geothermal prospect
posted September 22, 2014 at 11:01 pm by Jenniffer B. Austria
APC Group Inc., a listed holding company partly owned by retail tycoon Henry Sy, may start commercial operations of a planned geothermal power project in Kalinga, Apayao by 2019 or 2020, depending on the outcome of exploration.
APC Group executive vice president and chief finance officer Jackson Ongsip said in an interview during the annual stockholders' meeting the company would drill two exploration wells to determine the reserves of the geothermal prospect.
"If the exploration wells will prove the existence of a commercial source, we will start the construction of a power plant soon after. Construction of power plant may take two to three years to complete," Ongsip said.
He said exploration activities would be completed by 2016 and that the power plant might come on stream by 2019 to 2020.
Ongsip did not give details on the planned geothermal power plant and the capital investment requirement.
Data from the Energy Department indicate that construction of a 100-megawatt geothermal power plant could cost $300 million.
APC Group is trying to obtain an environmental clearance certificate from the Environment Department and conducting engineering works before it could start drillings.
APC Group has investments in mining and geothermal assets. Belle Corp., controlled by Sy, owns 49 percent of APC Group. The company earlier teamed up with Chevron Geothermal Philippines Holdings Inc. and Guidance Management Corp. of businessman Jack Rodriguez to explore the geothermal reserves.
Ongsip said the partnership with Chevron would give the company the financial muscle to undertake the huge project.
Harm reduction seen to stem Asia's smoking epidemic
The Voice Kids in concert plus album
SM Prime's income grew 16% to P19.3 billion in first half
Stocks jump, enter bull market
Remittances increased 5.7% to $2.6 billion in May


text:
Home /Public News/ More than great…
More than great music!
Alex's Story – from volunteer to paid employment
Alex Montague was one of the volunteers on our volunteering programme a year ago. Suffering with depression and anxiety since a young age, Alex came to The People's Orchestra with no recent experience and no references or long-term employment. With most of his employment history being from his education, Alex faced the daunting task of filling a large gap in his CV. TPO helped make the impossible very possible for Alex.
In his few months with us he was Project Coordinator for The People's Orchestra and our sister company The Change Consortium. Alex was given endless opportunities to learn new skills, make new friends, learn what it means to work as part of a team in a professional environment and expand on any previous skills from his education employment.
"Through the work experience at The People's Orchestra everything changed."
Alex grew not only professionally, but also as a person. His confidence grew rapidly and he was doing things that he had previously thought he wouldn't be doing. Alex was actively involved in all areas of our volunteer programme and took advantage of every opportunity. He was involved in researching, writing for projects, volunteering to help at TPO concerts, preparing videos and scripts, and had the chance to be an assistant director for the media team.
"At the end it paid off with the job that I was after. It gave me a spring board for my career."
Alex felt at home in our office with our team – friendly, professional and fun! Whilst building his skills, Alex also enjoyed getting to know the staff and have them get to know him. He looked forward to coming in everyday, enjoying a good laugh and chat with our team. At TPO we want our volunteers to be part of the team and not feel like outsiders, and we achieved this with Alex. His skills and abilities never went unnoticed, they were analysed and appreciated at all times. With the support of our team Alex built a solid base in his employment gap. He found the motivation to persist with job applications, adding to his CV and attending interviews.
"I was helped to achieve what it was I came to achieve."
"Every moment of my time I spent there it was adding to my skills. It was improving me as a person."
Sarah Marshall (Managing Director) also invested into Alex. TPO and everything we stand for believe in investing in our volunteers and developing them in every way we can in order to prepare them for the world of work. Sarah put faith in Alex's skills and abilities, further trusting him on projects he was involved with.
"I would seriously recommend anyone to volunteer here. Anyone who came here will add to their life one way or another, and especially to their CV."
Alex successfully found work after volunteering with us at TPO. He now works in a customer service role where he helps the company run their stock folios and administers parts of their company they cannot manage, alongside also providing top-quality customer service.
Before volunteering with us Alex felt that you have to be confident and believe it. He didn't believe this, but after volunteering with us he came to believe it. With much personal persistence and support from the team Alex achieved his goals.
Join our volunteering programme and become part of a legacy of success stories.
Play | Inspire | Achieve
SuccessSupportUnemployment


text:
package ryz.compiler;

import java.io.File;
import java.io.IOException;

import java.net.URL;
import java.net.MalformedURLException;
import java.net.URLClassLoader;
import java.util.logging.Logger;

/**
 * Utility class which is pretty much a wrapper for the compiler.
 * The point of this class is to avoid having same code repeated all over the
 * test classes and have some handy methods.
 */
class TestUtil {

    private static final Logger logger = Logger.getLogger(TestUtil.class.getName());
    private final RyzC ryzc;
    private final ClassLoader classPath;
    private final File output;

    public static TestUtil createWith( File output )
                throws MalformedURLException {
        return new TestUtil( output);
    }
    private TestUtil( File output ) throws MalformedURLException {
        this.output = output;
        ryzc = RyzC.getCompiler();
        ryzc.outDir(this.output);
        this.classPath = new URLClassLoader(new URL[]{
            new URL(output.toURI().toString())
        });
    }

    Class assertExists(String className)
            throws ClassNotFoundException {

        if( className == null ) { return null; }
        Class<?> aClass = classPath.loadClass(className);
        assert aClass != null;
        return aClass;
    }

    void assertMissing(String className) {
        if( className == null ) { return; }
        try {
            classPath.loadClass(className);
            throw new AssertionError("Should have throw " +
                                    "ClassNotFoundException for: "+ className);
        } catch (ClassNotFoundException e) {
            // ok, that was expected
        }
    }

    public void compile(String ... files) throws IOException {
        ryzc.compile( files );
    }

    @SuppressWarnings({"ResultOfMethodCallIgnored"})
    public void deleteFromOutput(String file ) {
        logger.finest("file to delete = " + file);
        if( file == null ) { return; }
        new File( output.getPath()+"/"+file).delete();
    }

    public void addSourceDir(File sourceDir) {
        ryzc.sourceDirs(sourceDir);
    }

    public void classPath(String ... classPath) {
        ryzc.classPath(classPath);
    }
}

redpajama_set_name: RedPajamaGithub


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