text:
//-----------------------------------------------
// Copyright 2009 Wellcome Trust Sanger Institute
// Written by Jared Simpson (js18@sanger.ac.uk)
// Released under the GPL
//-----------------------------------------------
//
// SGAlgorithms - Collection of algorithms for operating on string graphs
//
#include "SGAlgorithms.h"
#include "SGUtil.h"
#include "CompleteOverlapSet.h"
#include "RemovalAlgorithm.h"
#include <iterator>

// add edges to the graph for the given overlap
Edge* SGAlgorithms::createEdgesFromOverlap(StringGraph* pGraph, const Overlap& o, bool allowContained)
{
    // Initialize data and perform checks
    Vertex* pVerts[2];
    EdgeComp comp = (o.match.isRC()) ? EC_REVERSE : EC_SAME;

    bool isContainment = o.match.isContainment();
    assert(allowContained || !isContainment);
    (void)allowContained;
    for(size_t idx = 0; idx < 2; ++idx)
    {
        pVerts[idx] = pGraph->getVertex(o.id[idx]);

        // If one of the vertices is not in the graph, skip this edge
        // This can occur if one of the verts is a strict substring of some other vertex so it will
        // never be added to the graph
        if(pVerts[idx] == NULL)
            return NULL;
    }

    // Check if this is a substring containment, if so mark the contained read
    // but do not create edges
    for(size_t idx = 0; idx < 2; ++idx)
    {
        if(!o.match.coord[idx].isExtreme())
        {
            size_t containedIdx = 1 - idx;
            assert(o.match.coord[containedIdx].isExtreme());
            pVerts[containedIdx]->setColor(GC_RED);
            pGraph->setContainmentFlag(true);
            return NULL;
        }
    }

    if(!isContainment)
    {
        Edge* pEdges[2];
        for(size_t idx = 0; idx < 2; ++idx)
        {
            EdgeDir dir = o.match.coord[idx].isLeftExtreme() ? ED_ANTISENSE : ED_SENSE;
            const SeqCoord& coord = o.match.coord[idx];
            pEdges[idx] = new(pGraph->getEdgeAllocator()) Edge(pVerts[1 - idx], dir, comp, coord);
        }

        pEdges[0]->setTwin(pEdges[1]);
        pEdges[1]->setTwin(pEdges[0]);

        pGraph->addEdge(pVerts[0], pEdges[0]);
        pGraph->addEdge(pVerts[1], pEdges[1]);
        return pEdges[0];
    }
    else
    {
        // Contained edges don't have a direction, they can be travelled from
        // one vertex to the other in either direction. Hence, we
        // add two edges per vertex. Later during the contain removal
        // algorithm this is important to determine transitivity
        Edge* pEdges[4];
        for(size_t idx = 0; idx < 2; ++idx)
        {
            const SeqCoord& coord = o.match.coord[idx];
            pEdges[idx] = new(pGraph->getEdgeAllocator()) Edge(pVerts[1 - idx], ED_SENSE, comp, coord);
            pEdges[idx + 2] = new(pGraph->getEdgeAllocator()) Edge(pVerts[1 - idx], ED_ANTISENSE, comp, coord);
        }

        // Twin the edges and add them to the graph
        pEdges[0]->setTwin(pEdges[1]);
        pEdges[1]->setTwin(pEdges[0]);

        pEdges[2]->setTwin(pEdges[3]);
        pEdges[3]->setTwin(pEdges[2]);

        pGraph->addEdge(pVerts[0], pEdges[0]);
        pGraph->addEdge(pVerts[0], pEdges[2]);

        pGraph->addEdge(pVerts[1], pEdges[1]);
        pGraph->addEdge(pVerts[1], pEdges[3]);

        // Set containment flags
        updateContainFlags(pGraph, pVerts[0], pEdges[0]->getDesc(), o);
        return pEdges[0];
    }
}

// Find new edges for pVertex that are required if pDeleteEdge is removed from the graph
void SGAlgorithms::remodelVertexForExcision(StringGraph* pGraph, Vertex* pVertex, Edge* pDeleteEdge)
{
    assert(pVertex == pDeleteEdge->getStart());
    double maxER = pGraph->getErrorRate();
    int minLength = pGraph->getMinOverlap();

    CompleteOverlapSet vertexOverlapSet(pVertex, maxER, minLength);

    vertexOverlapSet.removeOverlapsTo(pDeleteEdge->getEnd());
    EdgeDescOverlapMap addMap;
    EdgeDescOverlapMap removeMap;
    EdgeDescOverlapMap containMap;
    vertexOverlapSet.computeIrreducible(NULL, &containMap);

    vertexOverlapSet.getDiffMap(addMap, removeMap);

    //assert(removeMap.size() == 0);
    for(EdgeDescOverlapMap::iterator iter = addMap.begin();
        iter != addMap.end(); ++iter)
    {
        //std::cout << "Adding edge " << iter->second << "\n";
        createEdgesFromOverlap(pGraph, iter->second, false);
    }

    // Set the contain flags based on newly discovered edges
    updateContainFlags(pGraph, pVertex, containMap);
}

// Find new edges for pVertex that are required if pDeleteEdge is removed from the graph
void SGAlgorithms::remodelVertexForExcision2(StringGraph* pGraph, Vertex* pVertex, Edge* pDeleteEdge)
{
    assert(pVertex == pDeleteEdge->getStart());
    // If the edge is a containment edge, nothing needs to be done. No edges can be transitive
    // through containments
    if(pDeleteEdge->getOverlap().isContainment())
        return;

    double maxER = pGraph->getErrorRate();
    int minLength = pGraph->getMinOverlap();

    EdgeDescOverlapMap addMap = RemovalAlgorithm::computeRequiredOverlaps(pVertex, pDeleteEdge, maxER, minLength);
    for(EdgeDescOverlapMap::iterator iter = addMap.begin();
        iter != addMap.end(); ++iter)
    {
        //std::cout << "Adding edge " << iter->second << " during removal of " << pDeleteEdge->getEndID() << "\n";
        createEdgesFromOverlap(pGraph, iter->second, false);
    }

    /*
    // Set the contain flags based on newly discovered edges
    updateContainFlags(pGraph, pVertex, containMap);
    */
}

// Set containment flags in the graph based on the overlap map
void SGAlgorithms::updateContainFlags(StringGraph* pGraph, Vertex* pVertex, EdgeDescOverlapMap& containMap)
{
    for(EdgeDescOverlapMap::iterator iter = containMap.begin(); iter != containMap.end(); ++iter)
    {
        updateContainFlags(pGraph, pVertex, iter->first, iter->second);
    }
}

//
void SGAlgorithms::updateContainFlags(StringGraph* pGraph, Vertex* pVertex, const EdgeDesc& ed, const Overlap& ovr)
{
    assert(ovr.isContainment());
    // Determine which of the two vertices is contained
    Vertex* pOther = ed.pVertex;
    if(ovr.getContainedIdx() == 0)
        pVertex->setContained(true);
    else
        pOther->setContained(true);
    pGraph->setContainmentFlag(true);
}

// Calculate the error rate between the two vertices
double SGAlgorithms::calcErrorRate(const Vertex* pX, const Vertex* pY, const Overlap& ovrXY)
{
    int num_diffs = ovrXY.match.countDifferences(pX->getSeq().toString(), pY->getSeq().toString());
    return static_cast<double>(num_diffs) / static_cast<double>(ovrXY.match.getMinOverlapLength());
}

// Infer an overlap from two edges
// The input edges are between X->Y Y->Z
// and the returned overlap is X->Z
Overlap SGAlgorithms::inferTransitiveOverlap(const Overlap& ovrXY, const Overlap& ovrYZ)
{
    // Construct the match
    Match match_yx = ovrXY.match;
    match_yx.swap();
    Match match_yz = ovrYZ.match;

    // Infer the match_ij based match_i and match_j
    Match match_xz = Match::infer(match_yx, match_yz);
    match_xz.expand();

    // Convert the match to an overlap
    Overlap ovr(ovrXY.id[0], ovrYZ.id[1], match_xz);
    return ovr;
}

// Returns true if, given overlaps X->Y, X->Z, the overlap X->Z is transitive
bool SGAlgorithms::isOverlapTransitive(const Vertex* pY, const Vertex* pZ, const Overlap& ovrXY,
                                       const Overlap& ovrXZ, const double maxER, const int minOverlap)
{
    // Ensure the overlaps are in the correct order, the overlap with Y should be at least
    // as large as the overlap with Z
    assert(ovrXY.getOverlapLength(0) >= ovrXZ.getOverlapLength(0));
    assert(pY != pZ);

    // Compute the overlap YZ
    Overlap ovrYX = ovrXY;
    ovrYX.swap();
    Overlap ovrYZ = SGAlgorithms::inferTransitiveOverlap(ovrYX, ovrXZ);

    // If ovrYZ is a containment, then Z is not transitive wrt Y
    if(ovrYZ.match.isContainment())
        return false;

    // If the overlap between Y and Z is not long enough then Z is not transitive
    if(ovrYZ.getOverlapLength(0) < minOverlap)
        return false;

    // Finally, check that the error rate is below the threshold
    double error_rate = SGAlgorithms::calcErrorRate(pY, pZ, ovrYZ);
    if(isErrorRateAcceptable(error_rate, maxER))
        return true;
    else
        return false;
}

// Move the transitive edges from pOverlapMap to pTransitive
void SGAlgorithms::partitionTransitiveOverlaps(EdgeDescOverlapMap* pOverlapMap,
                                               EdgeDescOverlapMap* pTransitive,
                                               double maxER, int minLength)
{
    SGAlgorithms::EDOPairQueue overlapQueue;
    for(SGAlgorithms::EdgeDescOverlapMap::iterator iter = pOverlapMap->begin();
        iter != pOverlapMap->end(); ++iter)
    {
        overlapQueue.push(*iter);
    }

    // Traverse the list of overlaps in order of length and move elements from
    // the irreducible map to the transitive map
    while(!overlapQueue.empty())
    {
        SGAlgorithms::EdgeDescOverlapPair edoPair = overlapQueue.top();
        overlapQueue.pop();

        EdgeDesc& edXY = edoPair.first;
        Overlap& ovrXY = edoPair.second;

        assert(!ovrXY.match.isContainment());

        SGAlgorithms::EdgeDescOverlapMap::iterator iter = pOverlapMap->begin();
        while(iter != pOverlapMap->end())
        {
            bool move = false;
            const EdgeDesc& edXZ = iter->first;
            const Overlap& ovrXZ = iter->second;

            // Four conditions must be met to mark an edge X->Z transitive through X->Y
            // 1) The overlaps must be in the same direction
            // 2) The overlap X->Y must be strictly longer than X->Z
            // 3) The overlap between Y->Z must not be a containment
            // 4) The overlap between Y->Z must be within the error and length thresholds
            if(!(edXZ == edXY) && edXY.dir == edXZ.dir && ovrXY.getOverlapLength(0) > ovrXZ.getOverlapLength(0))
            {
                move = SGAlgorithms::isOverlapTransitive(edXY.pVertex, edXZ.pVertex, ovrXY, ovrXZ, maxER, minLength);
            }

            if(move)
            {
                //std::cout << "Marking overlap: " << iter->second << " as trans via " << ovrXY << "\n";
                if(pTransitive != NULL)
                    pTransitive->insert(*iter);
                pOverlapMap->erase(iter++);
            }
            else
            {
                ++iter;
            }
        }
    }
}

void SGAlgorithms::removeSubmaximalOverlaps(EdgeDescOverlapMap* pOverlapMap)
{
    SGAlgorithms::EDOPairQueue overlapQueue;
    for(SGAlgorithms::EdgeDescOverlapMap::iterator iter = pOverlapMap->begin();
        iter != pOverlapMap->end(); ++iter)
    {
        overlapQueue.push(*iter);
    }

    // Traverse the list of overlaps in order of length
    // Only add the first seen overlap for each vertex
    pOverlapMap->clear();
    VertexIDSet seenVerts;
    // the irreducible map to the transitive map
    while(!overlapQueue.empty())
    {
        SGAlgorithms::EdgeDescOverlapPair edoPair = overlapQueue.top();
        overlapQueue.pop();

        EdgeDesc& edXY = edoPair.first;
        if(seenVerts.count(edXY.pVertex->getID()) == 0)
        {
            seenVerts.insert(edXY.pVertex->getID());
            pOverlapMap->insert(edoPair);
        }
    }
}

// Return a descriptor of the edge describing ovrXY
EdgeDesc SGAlgorithms::overlapToEdgeDesc(Vertex* pY, const Overlap& ovrXY)
{
    EdgeDesc edXY;
    edXY.pVertex = pY;
    edXY.comp = (ovrXY.match.isRC()) ? EC_REVERSE : EC_SAME;
    edXY.dir = ovrXY.match.coord[0].isLeftExtreme() ? ED_ANTISENSE : ED_SENSE; // X -> Y
    return edXY;
}

// Return true if XZ has an overlap
bool SGAlgorithms::hasTransitiveOverlap(const Overlap& ovrXY, const Overlap& ovrYZ)
{
    Match match_yx = ovrXY.match;
    match_yx.swap();
    Match match_yz = ovrYZ.match;
    return Match::doMatchesIntersect(match_yx, match_yz);
}

// Construct an extended multioverlap for a vertex
MultiOverlap SGAlgorithms::makeExtendedMultiOverlap(const StringGraph* pGraph, const Vertex* pVertex)
{
    CompleteOverlapSet overlapSet(pVertex, pGraph->getErrorRate(), 1);
    EdgeDescOverlapMap overlapMap = overlapSet.getOverlapMap();

    MultiOverlap mo(pVertex->getID(), pVertex->getSeq().toString());
    for(EdgeDescOverlapMap::const_iterator iter = overlapMap.begin();
        iter != overlapMap.end(); ++iter)
    {
        mo.add(iter->first.pVertex->getSeq().toString(), iter->second);
    }
    return mo;
}

//
void SGAlgorithms::makeExtendedSeqTries(const StringGraph* pGraph, const Vertex* pVertex, double p_error, SeqTrie* pLeftTrie, SeqTrie* pRightTrie)
{
    double lp = log(p_error);
    CompleteOverlapSet overlapSet(pVertex, pGraph->getErrorRate(), 1);
    EdgeDescOverlapMap overlapMap = overlapSet.getOverlapMap();

    for(EdgeDescOverlapMap::const_iterator iter = overlapMap.begin();
        iter != overlapMap.end(); ++iter)
    {
        // Coord[0] of the match is wrt pVertex, coord[1] is the other read
        std::string overlapped = iter->second.match.coord[1].getSubstring(iter->first.pVertex->getSeq().toString());
        if(iter->second.match.isRC())
            overlapped = reverseComplement(overlapped);

        if(iter->second.match.coord[0].isRightExtreme())
        {
            overlapped = reverse(overlapped);
            pRightTrie->insert(overlapped, lp);
        }
        else if(iter->second.match.coord[0].isLeftExtreme())
        {
            pLeftTrie->insert(overlapped, lp);
        }
        else
        {
            // ignore substrings
            //assert(iter->second.match.coord[0].isLeftExtreme());
        }
    }
}

//
EdgeDesc SGAlgorithms::getEdgeDescFromEdge(Edge* pEdge)
{
    return pEdge->getDesc();
}

//
EdgeDesc SGAlgorithms::getEdgeDescFromPair(const EdgeDescOverlapPair& pair)
{
    return pair.first;
}

void SGAlgorithms::printOverlapMap(const EdgeDescOverlapMap& overlapMap)
{
    for(EdgeDescOverlapMap::const_iterator iter = overlapMap.begin(); iter != overlapMap.end(); ++iter)
    {
        std::cout << "  Overlap:" << iter->second << "\n";
    }
}


Location & Directions | Pet Estates Inc.
After 2 miles on Fogarty Road , you will approach a bend to the right. In front of you, you will see a white picket fence in front of a yellow house. At this point take a left onto North Pole Rd.
Follow through into the village of Waterford until you approach a stop sign, where you will take left on Broadway.
Go straight through the village over the bridge onto the Troy side of the river.
At the 1st. traffic light take a left toward the Hannaford.
Take first exit toward Troy Rt. 7 (Alternate 7). Cross the Hudson River onto the Troy side of the bridge.
Stay on true on Cooksboro Road bear to the right at the fork this keeps you on Cooksboro.
At the first stop sign go straight across onto North Pole Rd.


text:
Tony Mauro graduated from the Art Institute of Pittsburgh in 1991 with a degree in visual communications and a major in airbrush illustration. Tony spent the the first 3 years of his career as an airbrush illustrator for a profession sports apparel company where he designed and illustrated t-shirts for all of the pro-football, baseball, basketball and hockey franchises. This was where Tony refined his airbrush skills and learned many of the techniques that he applies to his digital illustrations today.
In 1994 at the age of 23 Tony left the city of Buffalo,NY where he grew up and spent most of his adult life bound for the west coast to pursue his career as an illustrator. He landed in Los Angeles in November of 94′ and began working in the entertainment industry as an illustrator and designer.
The first several years in Los Angeles was where Tony made his transition into digital art and began developing the style that he uses today. For about two and a half years Tony worked almost exclusively on designing posters, calendars, book covers, and video box covers for the hit show "The X-Files". Being a huge fan of the show this was a dream come true and truly an opportunity of a lifetime. His next step was his big break into the entertainment industry and movie poster design. This transition was a life altering break that led him to designing movie posters for every major film studio in Hollywood from 1997-2005. Some of the campaigns he is credited for designing are The Pirates of the Caribbean Intl, M. Knight Shyamalans The Village, The Pink Panther, Friday Night Lights, The Chronicles of Narnia and Black Christmas to name a few. Eventually the 14 hour days and 7 day work weeks became old and it was yet again time for a change.
Tony left Los Angeles in 2005 and returned to his home town of Buffalo, NY to focus more of his time on his fantasy art and to explore new avenues for his work. It wasn't long after that that the publishing industry started calling in response to Tony's work being featured in the Spectrum Fantasy Art books.
Today he keeps very busy designing book covers for numerous Bestselling authors for Penguin Books, Simon and Schuster, Random House and many others. Of all of the industries Tony has worked in he often says how he finds the book cover work to the most rewarding and challenging work has had the privilege of working on.

redpajama_set_name: RedPajamaCommonCrawl


text:
1 dead, 3 injured, after out of control car mounts sidewalk in New Taipei City
December 28, 2021 December 29, 2021 Phillip Charlier 0 Comment New Taipei City
An elderly woman selling vegetables on the roadside died, and two pedestrians were injured, after a driver accidentally stepped on the gas, sending his car careering onto the sidewalk in Xindian District, New Taipei City, this evening, December 28.
According to reports in Liberty Times, and United Daily News, at around 5:50 pm, a 70-year-old man, named Zheng, stopped his car to allow his wife to exit to purchase some vegetables. Zheng was preparing to execute a U-turn when his two-year-old grandchild fell out of his child safety seat. Zheng quickly turned around to take care of the child, and his foot accidentally pressed on the accelerator.
Zheng's car careered across the road, and ran over a 68-year-old woman who was selling vegetables on the kerb, before mounting the raised sidewalk and hitting two pedestrians.
Paramedics found the vegetable vendor to have lost vital signs at the scene of the accident, and she was declared dead after being rushed to Tzu Chi Hospital. Two pedestrians were sent to Cardinal Tien Hospital with non-life-threatening injuries. Mr Zheng was treated for a bruise to his head, and the two-year-old child was found to be uninjured after a medical examination.
Police breath-tested Mr Zheng and found that he was not affected by alcohol.
← Belize-registered ship aground in Penghu Islands after drifting crewless for four days
Explosion at key defense aerospace company kills 1, injures 6 →


text:
<?php
   session_start();
   if(isset($_SESSION['Manager']))
   {
        require_once('../core/init.php');
        include('../core/logic.php');
        include('includes/head.php');
        require_once('../core/controllers/expenses-controller.php');
   }
   else
   {
     header("Location:../login.php");
   }
?>

      <?php include 'includes/sidebar.php'?>

All Overdue Debts

New Expense

                        <?php if($e_trans==''){?>
                          <?=$efeedback?>
                        <?php } else{ ?>

All Unpaid Debts

ID	Name	Description	 Price

                              <?=$e_trans?>

Overall Debts Price	R <?= number_format($tot_exp,2,","," ")?>

                        <?php }?>

                      <form class="form-horizontal" enctype="multipart/form-data" id='expenceForm' method="post" action='allexpence.php'>
                        <fieldset>
                          <?=($efeedback)?$efeedback:""?>
                          <legend class="inlegend">Expense Information</legend>

                            Expense type :

                              <select class="selectpicker form-control" id='expense_t' type="text" name ="ei_type">
                                  <option style="backgroud:#aaa" value="">--Select--</option>
                                  <option value="p">Payment</option>
                                  <option value="r">Refund</option>
                              </select>

                              <input id="s_supplier" type="radio" name='s_choose' value="yas">Suppler
                              <input id="s_other" type="radio" name='s_choose' value="no" selected='true'>Other

                              <input id="c_client" type="radio" name='c_choose' value="yas">Client
                              <input id="c_other" type="radio" name='c_choose' value="no" selected='true'>Other

                            Supplier:

                              <input id="supplier" list="suppliers" class="form-control" name="supplier_no"required></input>
                              <datalist id="suppliers">
                                <?=($suppliers_dd)?$suppliers_dd:""?>
                              </datalist>

                              Specify:

                                <input id="other" list="other" class="form-control" name="other" required></input>

                              Client:

                                <input id="client" list="clients" class="form-control" name="client_no" required></input>
                                <datalist id="clients">
                                  <?=($clients_dd)?$clients_dd:""?>
                                </datalist>

                              Name :

                                <input required placeholder="A4 transpotation" class="form-control" id='expense_name' type="text" name ="ei_name"/>

                              Reference :

                                <input required placeholder="#0056" class="form-control" id='ref' type="text" name ="ref_no" row='15' col=''></input>

                               Description:

                              <textarea required placeholder="Mr John Sith- 50 A4 pack Deliviries" class="form-control" id='details' type="text" name ="ei_description" rows="5" cols="10"></textarea>

                            Date :

                              <input required placeholder="2017-05-09" class="form-control" id='t_date' type="text" name ="ei_date" row='15' col=''></input>

                            Payment type:

                            <select class="selectpicker form-control" title="Please select" id='program_name' type="text" name ="ei_payment_type">
                              <option style="background:#aaa" value="">--None--</option>
                              <option value="cash">Cash Payment</option>
                              <option value="card">Card Payement</option>
                            </select>

                            Category :

                              <select class="form-control" name="category_id">
                                <option style="background:#aaa" value="">--None--</option>
                                <?=$categories_dd?>
                              </select>

                            Amount :

                              <input type="text" class="form-control" name="ei_amount" value="" id="amount" required>

 Link this expense to a project

                            Project:

                              <select class="form-control" name="project_no">
                                <option style="background:#aaa" value="">--None--</option>
                                <?=$project_dd?>
                              </select>

                                Expense Attachemnts?

                                  <input id="yes" type="radio" name='choose' value="yas">Yes
                                  <input id="no" type="radio" name='choose' value="no" selected='true'>No

                                Please choose a file pdf/png/jpg/

                                  <input type="file" class="form-control-file" name="attachment" required/>

                            <button type="submit" class="btn btn-block btn-primary"id="save_expense" name="save_expense">Create Expense</button>

                      </fieldset>
                    </form>

      <?php include('includes/footer.php'); ?>

redpajama_set_name: RedPajamaGithub


When someone we love dies, we crave their physical presence. We crave a connection with them. Unfortunately, there is no guidebook that gives us the 5-step process on how to cultivate this relationship, but the cool thing about that is we get to discover it for ourselves. I believe figuring this out is part of the grieving process. Part of the self-discovery. Part of the invitation we receive when someone we love so very dearly leaves their physical body.
In the early days we cannot even breathe. Every moment is difficult and we have little bandwidth for this big monster of grief. I remember so well going to sleep and waking up with tears running down my face because I discovered another day and the reality remained, Ethan isn't physically here.
I have come to believe there is a universality to grief. That it actually looks more alike than we care to admit and there is a thread through all of our stories that sews us together. In the early years I would have hated this sentiment. I think what we are actually articulating is that the relationship we have with the one we love who has died is unique. They are a unique being. Our story of how this terribleness all went down is unique. Yes, that story needs to be told, heard and validated many, many times over. That's why we need a community of those we have walked a similar journey. Seeing ourselves in others and sharing the communion of grief with them is powerful and unifying.
I have also observed that there is something universal about the deep pains of this world. Sitting with nearly 100 women through the retreat I created, Restoring a Mother's Heart, I have seen the uniqueness of stories and paths, but the universal pain and love that these women hold.
If you are reading this and someone you love has not died, don't stop reading. My words may help you help a friend or yourself one day. Also, one of the gifts of grief is self-discovery (if we let it). Grief asks us to dig in so deep, to ask the deepest questions of our hearts and to connect with the deepest part of ourselves. And when we do we see in ways we haven't before: the beauty from the ashes, the light in the dark, the realizations after a long, dark night. That is where I have found God.
So if you are in this place, don't loose heart. Don't give up on the work, the discovering. Remember that love is driving all this. We hurt so deeply because we love so deeply.
One of my all time favorite pictures of Ethan and I.
How do I stay connected to Ethan? What do I do to feel his presence?
In the natural world, Ethan and I were closer than close. We had a spiritual connection. We still do. He is my oldest, so I didn't know that there was anything unique about my connection with him. But there was. Profound. Deep. Spiritual. Strong and dense enough to span Heaven and Earth.
I find Ethan in the quiet. When I am still. When I listen to myself. Not to the me in my head, but the me in my heart, in my soul. When I sit in that space I feel him. I talk to him. I ask him to help me. On the rare occasions that I take a walk by myself I imagine he is walking with me, holding my hand. I talk to him. I ask him to pull me towards what I'm called to. I just feel him with me. But I need to get quiet in my body and spirit to do that. As the years have passed and life is going at a pace of mach 5 every day, I need to carve out this time for quiet and connection with him.
I make Ethan part of our life. If my boys are doing something that Ethan liked I tell them so. If one of them does something funny or with some idiosyncrasy, I will say, "Ethan did the same thing. You are certainly brothers". We celebrate his birthday, we talk about what he would want for his birthday. We keep him alive in our home, in the minds of our boys. I am sure that will change as they get older. But I want them too to have a relationship with Ethan. I remind Blake especially that Ethan is with him. They have a special bond since Blake and Ethan shared the most time on earth together. I want to help Blake cultivate a relationship with him because I know he needs Ethan as he grows up. A little brother needs his big brother.
If I'm feeling disconnected from Ethan or myself, I will sit down with a pen and journal, get really quiet and just listen. I close my eyes and breathe. I write down what comes. I sometimes start with Dear Mom, and see what Ethan says to me. I believe Ethan is in the presence of God, in the fullness of love and peace. Some people who have never thought about connecting with someone they love who has died may feel uncomfortable based on their beliefs about God. So if this is you, I ask you to spend some time examining what you believe about God and get clear about who God is to you. For me, I know God loves me and Ethan and so of course loves that we have this very special connection that spans time and space.
I find Ethan in the work that I do. When we get quiet, when we listen, when we connect with ourselves and with God we can experience a deep inner knowing about what we are called to do in this world. If you've been reading this blog, you know I believe we are called to create in and through our pain. For me grief has been a huge catalyst. I've allowed it to be. When I am clear about my work in this life, I feel close to Ethan. I know for certain he is part of it.
As the years have gone on, I see Ethan less and less through the lens of his disease. In the early days, I felt connected to Ethan through the congenital heart community. After all, his illness was a huge part of our lives. It shaped us in the most beautiful ways. But Ethan is not congenital heart disease. Yes, he helped us to see and love people in this space. That which you see, you cannot unsee. You will find a piece of your calling in your willingness to see. But as I continue to cultivate my relationship with Ethan I am clear that he is not his illness. He is in what his illness opened our eyes to see. Love, compassion or for the hurting, for those without resources, who are in the thick of the thick of life. I am in the place where my work with the foundation is not a memorial to Ethan as much it's a calling received through the life Ethan lived. He was the catalyst for it, but I don't need to do this work to memorialize him.
I wrote this post about what I believe our loved ones want for us. They want us to be our best selves. That is what they desire for us. To live into our full potential. To be, do, and create to our highest potential. If that involves their disease, that is great. If not, that is great too. We build their legacy by who we are and what we do. But the inside job of self-discovery is most important.
I think to myself, if I died what would I want for the people I love to do? I'd want them to knock it out of the park. To loose their fears and to do what they are called to do. I'd want them to become the best version of themselves. If that came through doing work around a cause, that is great. If not, that is fine too. So think about that for yourself. What would you want people to do to honor you? It's probably pretty close to what your loved one wants for you too.
Grief is complicated and there are many, many layers to it. I'm certainly not addressing them all here. But I do want to bring up one important topic in closing. If you have not wrestled with what you believe, please do. The death of someone we love is an invitation to dive deeply into what and who we believe God to be. Even if you feel settled in your beliefs, be open to learning new ideas. Wrestling with my faith, with God, with what I believe, shedding painful beliefs about all kinds of things have been the most important part of my journey over the last nearly seven years. It is okay to ask the really hard, maybe unanswerable questions. It is okay to entertain any question that graces your mind. It is okay to wonder if there is a God or if you are loved. But don't stop there. Keep wrestling.
I hope that something I wrote this week touches even a couple of you. There is nothing easy about this process. But the person you loved that has died loves you and desires a connection with you, obviously different that the one you desperately want, but one even still. So, do the work, ask the questions, get quiet and commit to becoming the best version of yourself. You will find them right in the middle of those spaces.
Questions about what I wrote here? Feel free to ask.


Doing better than last year?
Has anyone sourced an IT Candidate and made a placement using a Tweet?
"Maybe a good follow up article could be the story of candidates that accept counteroffers, then get fired by their employers once that "critical project" is completed. Just a thought."
"Yes, night and day difference. Revenues are up 3-4x over last year, and anticipate 2011 to be even better!"
"This article is fantastic becasue it will stir the emotions of many recruiters that work for Recruiting Agencies. For that alone my man, congrats. Unfortunately your logic is flawed because your article could have or should have been titled…"
I have recently heard from many DFW professionals in the IT Staffing and Solutions business that tell me their business is back in a big way and are seeing dramatic increases in Job Requisitions both on a contract and direct hire basis.
Mirror, mirror on the wall, am I the best candidate of all?
Thanks for accepting my invite. I find RecruitingBlogs an excellent resource for tools; techniques; articles; opinions; and, "best practices" from some of the best in our profession.


universal android system gps autoradio support wifi bluetooth !
– MT3561 Quad Core,ARM A53 1.3GHz standard DDR3 2GB, 16GB Internal Memory	– Multi- point capacitive Touch screen,HD 1024*600 Resolution displaying screen.
– Support read and edit Official Software, WORD/EXCEL/POWERPOINT/PDF/TXT.
-Support Steering wheel control,You can control the function from your steering wheel button.
saved in GPS card automatically, and you can play saved record on this unit directly.
NOTE: Russia Usually do not need to pay tariffs ,but do not guarantee 100% A small number of parcels are subject to Customs checks to pay tariffs.


When science meets fashion, anything can happen. To wit, a bottle of wine can even be turned into a dress. The Micro'be' project by contemporary textile artist and lecturer Donna Franklin, and scientist Gary Cass, explores fashion and technology's newest frontier: garments made from the bacterial fermentation of wine and beer.
The project's eureka moment came about through a vat of Australian red wine that had become contaminated with microbes and, essentially, spoiled. "At my friend's winery, in Western Australia, I noticed a skin-like layer on the surface of the wine in the vat; it was micro-fibre cellulose - chemically similar to cotton. Assuming that the skin-like material was microbial cotton and cotton is used for clothing, [we thought] we could easily start producing garments from it!" Cass exclaims.
The innovative Micro'be' project could change the production system of woven materials.
When making the clothes, the Micro'be' researchers use vats of different sizes and shapes, suitable to the garment they have in mind, and fill them with cheap Australian "goon" (an Aussie term for cask wine). How does the fermentation process work? A culture of living acetobacter is added to a vat. Then, within a few days, the culture ferments the wine into Mother of Vinegar - a soft, skin-like cellulose sludge that forms in fermented alcohols.
In 2007, the very thin skin extracted from a vat was fashioned into the first dress prototype. Using 2-D mats, the team draped the cellulose layer over an inflatable mannequin so that when it was deflated, they were able to remove a ready-formed dress. "We have now perfected a culturing technique that will allow the bacteria to form a 3-D garment that will be seamless; it can also be formed to fit the wearer like a second skin," Cass adds.
The colour of the fabric depends on the wine used in the process: fermented red wine results in a red material (the darker the red (e.g. shiraz), the darker the colour), while white wine results in translucent fabric. The Micro'be' team also produced an amber-coloured, opaque dress from Guinness beer, which they brought to the Techno Threads future fashion exhibition at the Science Gallery in Dublin, in 2008. The show exhibited cutting edge products from all over the world that were manufactured by combining bio- and nano-technology with traditional craft and haute couture skills. However, in the long term, "fermented fabric" made from Guinness beer is likely unviable. The beer's thickness (which makes it a delight to drink) results in a cellulose material that is too stiff and brittle to be worn. "We have had most success from good old cheap Australian goon wine," elaborates Cass.
Although you can't get inebriated from your dress, you do risk walking around town smelling like a hangover. A main disadvantage of the fermentation process is the fabric's very pungent smell. But Cass reassures prospective wearers, "After a few chemical trials, the aroma of stale alcohol happens to go away, the same way the problem of weak flexibility of the fabric will be chemically solved very soon - by producing a more resistant garment suitable for the market."
So what are the benefits of fermented fashion? Aside from producing its own colour and structure, it's also biodegradable. The innovative Micro'be' project could change the production system of woven materials. Synthetic fabrics may well be replaced with organic, low-cost ones and, when the 3-D seamless dress is available, the use of weaving machines and labour costs could be reduced as a result of not requiring the patterning, cutting and stitching associated with normal garment production.
The new wine dress is expected to be released later this year or in early 2013. Cass and his team hope that when it does leave their laboratory it will take the fashion industry by storm, as well as inspire other disciplines, such as medicine, engineering, dentistry and architecture. "We have processed and are researching the fermented fashion as a medical bandage. The advantage of the microbial cellulose as a dressing is that it has nano-porosity which will keep a wound sterile from outside infections but one can still see how the wound is healing under the dressing. And one of its biggest advantages is that it doesn't need any adhesives; it covers the skin and wound so closely - as it shrinks it holds its own position on the body. It is also very cooling for burns," he explains.
When the wine dress is officially on the market, the traditional interaction between body and clothing will surely evolve. Microbial bio-products might seem unusual at first, but it may well be one more fashionable way to preserve the environment. Who knows, it might not be long until we see Cabernet Sauvignon and Chardonnay fermented collections parading down the runway.


text:
近々発売
+ その他...
ヘビーメタル
エレクトロニカ
ラップ/ヒップホップ
ソウル/ R&B
ニューエイジ・ミュージック
オルタナティブ・ロック
ラテンポップ/ロック
ゴスペル
クラシックアーティスト
クリスマスボーカル
インディーロック/ポップ
アーバンミュージック
キッズ・ビデオ
ビッグバンド
ボックス·セット
インダストリアル/ゴシック
ユダヤ教
ケルティック
ワールドビート
レーベル会社
スペシャルティー
米国外盤
新譜
限定版
ダウンロードカード
カラー盤
デラックス版
ボックスセット
ピクチャディスク
特別版
Eddy Howard Collection 1939-55
レーベル検索 Eddy Howard
リリース 2017/10/13
ミュージックジャンル Jazz
フォーマット CD
Eddy Howard, although not necessarily a household name these days, was a hugely popular and successful singer and bandleader during the 1940s and early '50s, racking up more than 40 Billboard pop chart hits from 1946 to 1955, having already had half-a-dozen hits as vocalist with Dick Jurgen's Orchestra during the war years. As a singer, he was a classic crooner, competing for chart honours with the likes of Dick Haymes, and he scored two landmark No. 1s with the ballads "To Each His Own" in 1946 and "It's No Sin" in 1951. They are naturally included in the great-value 52-track collection, which selects recordings from his Vocalion sessions with Dick Jurgens and his solo singles for the Majestic and Mercury labels through into the '50s, as well as some classy jazz titles for Columbia where he records with Teddy Wilson, Charlie Christian, Benny Morton and Bud Freeman among others. It is packed full of hits, featuring just about every one of his chart entries, including with more than twenty Top 10 successes. It's a worthy tribute to an artist who has not received the recognition that his success during that era merited, and is a must for lovers of the style that characterised what many regard as the golden era of popular music.
アーティスト: Eddy Howard
タイトル: Eddy Howard Collection 1939-55
ジャンル: Jazz
レーベル: Acrobat
ディスクの数: 2
フォーマット: CD
バーコード: 824046321420
Eddy Howard


LIKE NEW home in RED OAK ISD! Right by a park with a pond so the kids have plenty of room to play and is great for a morning or evening walk! The large windows throughout the home make for excellent natural light and a very open feel! Come check this one out today!


text:
Site approved for 1GW-plus Australian hybrid
7 June 2018 by Craig Richard
AUSTRALIA: The Queensland government has granted development approval for Lacour Energy's 195-turbine Clarke Creek project, which has the potential to be the largest wind farm in the country.
The future site of Lacour's Clarke Creek hybrid project in Queensland (pic credit: Lacour Energy)
Clarke Creek, which is currently in its final feasibility stages, will have a capacity of more than 800MW.
The developer will also include an up-to 400MW solar farm and an unspecified battery storage facility at the site near Queensland's west-central coast. Construction is due to begin early next year, Lacour stated.
It received approval for the solar component of the project from Isaac Regional Council earlier this year.
Lacour has not yet specified a preferred turbine supplier for Clarke Creek, but it is set to use 4MW+ turbines.
The site runs adjacent to transmission system operator Powerlink's existing 275kV transmission network, the developer stated.
Each year, the entire Clarke Creek facility will generate renewable electricity equivalent to about 3% of Queensland's electricity demand, Lacour claimed.
Queensland aims to source 50% of its energy from renewable sources by 2030. In June 2017 the state announced it would invest A$1.16 billion ($875 million) towards improving its energy system.
To date, it has just two small wind farms in operation, according to Windpower Intelligence, the research and data division of Windpower Monthly.
But the state has approved Windlab's plans for an up-to-1.2GW hybrid wind-solar-storage plant, AGL's plans for the 115-turbine, 453MW Cooper's Gap site; and Neoen's Kaban Green Power Hub, which could have a wind capacity of up to 160MW and battery storage up to 100MW.
As of 1 June, Australia had just over 4.5GW of installed wind capacity, according to Windpower Intelligence. Its largest operational wind farm is the 420MW Macarthur project in Victoria.
Mixing it up -- how wind and solar can work together
Vestas to open manufacturing facility in Australia
Three wind farms successful in Victoria's first tender
Plans approved for New South Wales hybrid project
Australian investment tops $9bn in 2017
Swiss investment firm to fund 1.3GW Australian pipeline
Neoen's Kaban hybrid site approved
New projects 'could provide A$1.6 billion boost'


text:
Carotol was first isolated by scientists Asahina and Tsukamoto in 1925.  It is one of the primary components found in carrot seed oil comprising approximately 40% of this essential oil.  This sesquiterpene alcohol is thought to be formed in carrot seeds (Daucus carota L., Umbelliferae) during the vegetation period. Additionally, studies have shown that carotol may be involved in allelopathic interactions expressing activity as an antifungal, herbicidal and insecticidal agent.

Biosynthesis
It has been proposed that there is a direct cyclisation of farnesyl pyrophosphate (FPP) to the carotol (carotane backbone). This type of cyclisation is unconventional for the typical chemistry of sesquiterpenes.  The only other proposed mechanism requires a complex ten-membered ring with a methyl migration.  This latter reaction, regardless of how plausible it may appear to be on paper, is energetically undesired, and through the diligent work of M. Soucek and coworkers, it was shown that the cyclization from FPP to carotol is the most probable biosynthesis route.

The formation of farnesyl pyrophosphate is via the mevalonate pathway. An additional five-carbon IPP unit is added in the same manner to GPP.

The cyclization of FPP proceeds via a synchronous reaction of trans-antiparallel additions. This leads to the trans carbocation intermediate. Further cyclisation occurs yielding the 5 and 7-membered ring carbocation.  This is followed by a 1,3-hydride shift and subsequent deprotonation to the diene.  It is suggested that the carbocation elimination is directed to retain the proper structure of the isopropyl group.   Based on the work of Soucek it is then proposed that a stereospecfic hydration will then take place leading to the enzymatic introduction of the hydroxyl group.

References

Sesquiterpenes
Tertiary alcohols
Azulenes

redpajama_set_name: RedPajamaWikipedia


text:
← August 2022
October 2022 →
Posted on September 5, 2022 by Rick Anderson
Josef Mysliveček
Complete Violin Concertos (reissue; 2 discs)
Shizuka Ishikawa; Dvorák Chamber Orchestra / Libor Pešek
Supraphon (dist. Naxos)
This set brings together two recordings originally made in the 1980s by the brilliant violinist Shizuka Ishikawa, then in her mid- to late teens. Working with the Dvorák Chamber Orchestra under the baton of Libor Pešek, Ishikawa delivers limpid and sweet-toned accounts of the great Bohemian composer Josef Mysliveček's eight violin concertos. Playing on modern instruments, both the soloist and the orchestra deliver these exemplary examples of high classicism with all the lightness and charm one would expect, deftly showcasing Mysliveček's unusual gift for extended melodic invention and logical form. On the beloved G major concerto, dubbed the "Pastoral," Ishikawa's playing is especially playful and sweet, as befits the overall bucolic mood of the piece. This is a thoroughly delightful release that would make a fine addition to any library collection.
Anton Eberl
3 String Quartets op. 13
casalQuartett
Solo Musica (dist. Naxos)
Moving from the high classical period to the emergence of the Romantic, we turn now to the world-premiere recording of three string quartets by Anton Eberl, a friend and student of Mozart in Vienna. Eberl died young and is best remembered as a composer for the piano, but these quartets (published when he was 35 years old, only six years before his death from scarlet fever) show that he was a master of that form as well. His music was often mistaken for that of Mozart and his writing had a significant impact on Beethoven, with whom he was also close friends. These pieces are played (on modern instruments) with masterfully restrained passion by the casalQuartett, who handily convey the tension between classical structure and deep emotion that was present in so much of the music of this important transitional period.
Cappella Amsterdam / Daniel Reuss
PTC 5187 001
This stunning disc features the Cappella Amsterdam ensemble on a world-premiere recording of David Lang's The Writings, a cycle of choral works based on selections from the Hebrew Bible. Each of the scriptural extracts is associated with a different Jewish holiday, the work as a whole creating a sort of map of the Jewish liturgical year from Sukkot (a weeklong holiday during which ancient Israelites were expected to travel to the temple in Jerusalem) to Tisha B'Av (which commemorates the destruction of both Solomon's Temple and the Second Temple). The music is, as one might expect, solemn in tone and cyclical in structure; perhaps a bit more surprisingly, it is also consistently consonant and tonal — though the mood is often dark and brooding, there is always light peeking through, and the performances by Cappella Amsterdam are absolutely exquisite.
Gity Razaz
The Strange Highway
Various Performers
BIS (dist. Naxos)
BIS-2634
Iranian-born, New York-based composer Gity Razaz is a truly exciting talent, a woman who is already exhibiting, while still in the early stages of her career, a remarkable musical vision and facility with a broad array of styles and instrumental formats. This disc focuses on chamber works: the grimly bustling title piece (for an ensemble of cellos); a duo work for violin and piano; a programmatic piece (based on an Azerbaijani legend) for cello and electronics; and a contemplative work for solo viola. But it ends with a larger-scale piece, Metamorphosis of Narcissus, for chamber orchestra and electronics. All of the works here are impressive, but this one was my favorite — it manages to be dense and ethereal at the same time (I know, that makes no sense, but give it a listen), and alternates moments of intense emotionalism with sweetly but eerily lyrical passages. Razaz is a major young talent to keep an eye on.
The Gesualdo Six / Owain Park
Hyperion (dist. Integral)
CDA68388
This remarkable album is conceived around the concept of grief, and the complexity of the emotions that the overarching designation "grief" always entails. Part of what makes this collection of pieces so unusual and so engaging is the fact that, rather than drawing on compositions from the whole length of musical history, it focuses on two periods: the 16th-17th centuries and the 20th-21st. Thus, Thomas Tallis's setting of In ieiunio et fletu segues directly into Donna McKevitt's gorgeous Lumen, which is followed by a funerary piece by John Tavener; Henry Purcell's Thou Knowest, Lord, the Secrets of Our Hearts is followed by Owain Park's highly unusual setting of the Welsh poem "In Parenthesis," in which sung and spoken word are woven together. As always, the singing of the Gesualdo Six is simply stunning, and the overall mood of the album is deeply somber with a subtle but undeniable undertone of hope and faith. Strongly recommended to all libraries.
Sean Shibe
Pentatone (dist. Naxos)
PTC5186988
Classical recordings for solo electric guitar are, as one might imagine, pretty few and far between, so this release caught my attention. And rewarded it — beginning with a stunning arrangement of Hildegard of Bingen's serene plainchant O viridissima virga and ending with Julius Eastman's luminous but challenging Buddha, guitarist Sean Shine takes us on a musical tour that stops at multiple stylistic destinations: adaptations of works by Meredith Monk, Armando Core, Moondog (whose pieces offer some of the most touching and lovely moments on this album), Olivier Messiaen, and jazz pianist Bill Evans. Shibe's uses outboard effects and extended techniques to create an equally wide variety of tones, textures, and soundscapes, and the result is a beautiful album that will be unlike any other you've heard.
Daisy Press
You Are the Flower: Music from Hildegard von Bingen – Vol. 1
Storysound
SSS-047
And speaking of Hildegard von Bingen: libraries may find the packaging frustrating (a CD in a cardboard sleeve accompanied by a 7.5″ x 9.5″ pamphlet), but trust me, this release is worth it. On You Are the Flower, singer Daisy Press delivers highly personal interpretations of sacred songs by the 12th-century abbess. Hildegard has been enjoying a decades-long renaissance since Gothic Voices reintroduced her to the world with their 1982 album A Feather on the Breath of God, and many ensembles have interpreted her plainchant compositions in a variety of ways. Press's approach is to sing them by herself (sometimes creating overdubbed backing vocals) with a variety of subtle and tasteful instrumental accompaniments — a shruti bowl here, a piano there, an electric bass elsewhere. Her vocal approach wouldn't be called "authentic," but it's not willfully modern either — she just shares what these sacred songs mean to her, and the result is quietly ravishing. Highly recommended to all libraries. The "Vol. 1" subtitle is reassuring.
Ana Nelson
Self-released
On her debut album as a leader, saxophonist/clarinetist/composer Ana Nelson delivers an outstanding program of original tunes that are both elegantly constructed and powerfully delivered. "Wanderlust" is a lovely slice of modern (but accessible) jazz with a deceptively simple-sounding head supported by a floating chord structure and a gentle Latin groove; "LCB"'s sweet and lilting lyricism is followed by the yearning jazz waltz "Blue Flower"; "NelBapChoro" is exactly what its title suggests — a choro written as a duet for Nelson (on clarinet) and pianist Nelson Baptiste. And when the string quartet makes an appearance on "Let the Light In" (Nelson was a classical musician before falling in love with jazz), the effect is stunning; the decorous tones of the quartet contrast beautifully with Nelson's bluesy clarinet lines. This is one of the loveliest jazz releases I've heard all year.
Charlton Singleton
Baxter Music Enterprises
BME1002CD
Trumpeter/composer Charlton Singleton and saxophonist Mark Sterbank like to say that in their work together, they strive to achieve the kind of chemistry that exemplified the collaborations of Harry "Sweets" Edison and legendary tenor man Ben Webster — and of Miles Davis and John Coltrane (and, later, Wayne Shorter) as well. Listening to this all-original disc, you'll find yourself thinking that honestly, they're just about there: on the heads they sound like a single person playing two instruments; when they trade solos, they sound like brothers. The rest of the band is just as good, and drummer Quentin Baxter's gospel-derived (and New Orleans-informed) style brings a fun and unusual flavor to the proceedings. Highlights include the moving ballad "Nett and Root" (written for Singleton's parents), and the sweetly popping "1000 Nights." Highly recommended.
Ben Sidran
Swing State
Bonsai/Nardis
BON220501
Sixty years into a celebrated career, Ben Sidran is perhaps better known as a singer than as a pianist, and this is in fact the first all-instrumental album he's made. I wish he hadn't waited so long. His witty, hard-swinging playing is beautifully showcased here as he leads a trio that includes bassist Billy Peterson and Sidran's son Leo on drums. The title tune, a jaunty blues, is the only original on this program; the remainder is given over to mostly familiar standards — some of them downright hoary: "Ain't Misbehavin'," "Laura" (two takes), "Over the Rainbow," even (believe it or not) "Tuxedo Junction." Sidran demonstrates facility in multiple styles, going deep into stride territory on "Ain't Misbehavin'" and getting quirkily interpretive on his slowly loping version of "Stompin' at the Savoy." He never gets pyrotechnical or wild, but Sidran's good humor and deep love of the repertoire shine through consistently on this outstanding album.
Columbia Icefield
Pyroclastic
Columbia Icefield is an avant-jazz project led by trumpeter/composer Nate Wooley, and the group's second album continues its sonic exploration of themes related to the vastness and, it must be said, the sometimes overwhelming forbiddingness of the Pacific Northwest. Wooley creates tone poems that sound both like an ode to these spaces and an expression of existential dread. "I Am the Sea That Sings of Dust" is long and skronky; "A Catastrophic Legend" is unsettled and unsettling, but relatively lyrical; "A Catastrophic Legend" is mournful and introspective. Between the conventionally titled pieces are brief interludes titled only "(…..)" (using ellipses of varying lengths). Mary Halvorsen's unique, pitch-shifted guitar style and the steel guitar of Susan Alcorn are both intrinsic to the architecture of these compositions, while bandleader Nate Wooley's trumpet is all over the place, tonally — sometimes recognizable as a trumpet, sometimes not, but always defining a large emotional space within which his collaborators create statements, lamentations, and commentaries all their own. This is not an easy album, but it's a highly rewarding one.
Bass Extremes
VIX010
Jazz-pop fusion isn't normally an easy sell for me. I don't think it's snobbery (at least I hope not) — it's more that I love jazz and I love pop, and when you try to combine them I find that usually what you end up with is both mediocre jazz and mediocre pop. But there are exceptions, and the now-30-year-old Bass Extremes project is one of them. The musical brainchild of A-list bassists Victor Wooten and Steve Bailey, it's a bass-led duo project that incorporates virtuosic guest musicians playing low-end instruments from across the stylistic spectrum — that's Béla Fleck playing bass banjo on "Home Bass," and elsewhere we hear Howard Levy on bass harmonica, Mike Stern on six-string bass guitar, and Jeff Coffin on bass clarinet and bass flute, as well as illustrious straight-up bassists like Ron Carter and John Pattitucci. And there are enough higher-register instruments to keep everything from sounding muddy. Instead, it all sounds fun and funky and joyful.
Tall Poppy String Band
In the old-time music tradition, there is no lineup more venerated than the fiddle-banjo-guitar trio. Tall Poppy String Band (fiddler/vocalist George Jackson, guitarist Mark Harris, banjoist/vocalist Cameron DeWhitt) breathes new life into that tradition on its self-titled debut album. The music is almost entirely traditional, and the playing wouldn't be called avant-garde or experimental in any meaningful sense, but there are quiet and tasteful innovations everywhere. For example, only a fellow banjo player would be likely to appreciate fully DeWhitt's virtuosic and unusual playing on "The Coo Coo," while the band's take on the bluegrass standard "The Train That Carried My Girl from Town" is given a playful gender tweak. Their quiet but intense rendition of "The Last of Sizemore" is perhaps my favorite track on this disc, but the whole thing is wonderful.
Mountain City Four
OVCD-501
Before they became a Canadian folk-pop institution on their own, Kate and Anna McGarrigle were part of a folk quartet called the Mountain City Four ("Mountain City" being a reference to Montréal) with Peter Weldon and Jack Nissenson. This collection brings together fifteen previously unreleased recordings made by the group between 1963 and 1970, and they're everything you'd hope: covers of Arthur "Big Boy" Crudup and "Blind" Willie Johnson; bluegrass standards; an English sea shanty; Quêbecois folk songs; and, inevitably, "Shenandoah" — that last track recorded live in 2012, just a couple of years after Kate's death. There is also, equally inevitably, a singalong. There's also some stuff you wouldn't have dared hope for, such as a 17th-century Samuel Scheidt hymn that leads seamlessly into "Will the Circle Be Unbroken." My favorite moment is Kate and Anna's duo performance of the sweet and gorgeous Québec song "En filant ma quenouille," which they would revisit on a later album in a more sophisticated arrangement but which sounds marvelous here with just their two voices and a guitar. For all libraries.
Apple & Setser
BBR9089
Mandolinist Brad Apple and multi-instrumentalist Pam Setser have been working together as a duo for the past five years, and this is their first recording together. Both are also fine singers and songwriters, and the album features a mix of traditional songs and originals — and some fusions of both, such as Setser's touching "Grandma Danced with the Arkansas Traveler," a composition that incorporates the popular fiddle tune into a story-song. Stylistically, the program is an amalgam of bluegrass ("Hand Me Down My Walking Cane," "I'll Love Nobody but You") brother-duet style guitar-mandolin tunes ("A Friend You'd Never Met"), country weepers ("Too Far Gone"), and even a dulcimer-driven contradadance tune ("Hayes' Hoedown"). All of it sounds comfortingly familiar, but at the same time none if it is quite like anything else you've heard in the country/folk/Americana genre.
Chris Korda
More Than Four (vinyl & digital only)
Chapelle XIV
Experimentation and avant-gardism in pop music can take all kinds of interesting forms. When those tendencies are manifest in the context of dance music, they tend to be particularly interesting. On this slyly titled release, Chris Korda takes the surface signifiers of dance and club music — shimmering synths, steadily thudding techno percussion, vocoder, etc. — and puts them to work in the service of complex rhythmic structures that undermine those signifiers in subtle ways. Each track is composed of different strands written in different time signatures: on the title track, for example, the synth part is in 7/4 while the piano part is in 6/4, setting up a phase-shifted effect. When lyrics enter the picture, they're subversive as well — the dour anti-natalism of "Planet Broke" contrasting with the usual "party all night" hedonism of most dance music lyrics. If you like your dance music challenging and complex, then this one's definitely for you.
Jonathan Richman & The Modern Lovers
Jonathan Richman & The Modern Lovers (reissue)
Rock'n'Roll with The Modern Lovers (reissue)
Usually I recommend releases in CD HotList both because I believe they're worthy of consideration for library collections and because I love them. But once in a while I recommend them not because I love them, but because I recognize their quality and/or importance and therefore think they should be considered for acquisition by libraries. Jonathan Richman is one of those guys I've always been able to appreciate more than enjoy. And of course there's no question about the significance of his work: there's a clear through-line from his style and delivery to that of, for example, Talking Heads — and his band at times included Cars drummer David Robinson as well as future Talking Heads guitarist/keyboardist Jerry Harrison. Now the mighty (and well named) Omnivore label is reissuing Richman's early albums, including these two: an eponymous 1976 debut and 1977's Rock'n'Roll With. The debut, with its live-sounding spoken asides and wobbly singing, is particularly baffling — songs like "Abominable Snowman in the Market" and "Here Come the Martian Martians" are obviously meant to be funny, but how are we supposed to receive the album-closing version of "Amazing Grace"? The second album opens with a Chinese folk song and proceeds to offer more of the first album's either sweetly ingenuous or deeply ironic fare: "Rockin' Rockin' Leprechauns," "Dodge Veg-o-Matic," etc. — also, "Egyptian Reggae," which was actually something of a hit. Also another gospel song. The sound is, if anything, dodgier than it was on the first album. But is it fun? Well, yes. And it's, you know, important.
M. Geddes Gengras
Expressed, I Noticed Silence
Hausu Mountain (dist. Redeye)
HAUSMO 127
The Hausu Mountain label has staked out a fairly specific musical territory: avant-pop music that tends to be instrumental and is usually brash, busy, loud, and sometimes (though not always) abrasive. Even at its most consonant and accessible, music from this label tends to be exhausting. The latest Hausu Mountain release from the prolific and stylistically promiscuous M. Geddes Gengras bucks that general trend; it's a lush and beautiful instrumental soundscape that is a bit too dense and involving to be considered ambient, but is probably too abstract and floating to be considered anything else. His history of dubwise production (under the name Duppy Gun Productions) is well in evidence here, but there's nothing reggae-ish about any of these tracks; the album harks back most explicitly to his label debut I Am the Last of That Green and Warm-Hued World, and is a definite departure from his most recent release on the label, the experimental dance album Time Makes Nothing Happen. Lovely stuff.
Do You Need a Release?
Innovative Leisure (dist. Redeye)
IL2095
I'm going to file this one under "Indie Pop," though the seven-and-a-half-minute-long opening track had me momentarily wondering if I was going to have to file it under "Prog." (Gratefully, no.) In fact, I'd go a bit further and slot this into "Indie Pop Bordering on Dream Pop" — those gauzy vocals! Those swooning melodies! But then something like "New Summers" (those 80s handclaps!) or "Validation" (those Kraftwerky synth bleeps!) pops up, and one starts thinking "Wait, is this just old-school synth pop?". Of course, you and your library patrons probably don't care about all the muso genre nit-picking. You want to know if it has hooks and if it's fun. Yes, and yes. I'd recommend this album to just about any library, and now wish I'd done so at the beginning rather than at the end of beach season, because this is one for the convertible.
S8jfou
OpEcho (vinyl & digital only)
PARA 014CD
I've mentioned previously my love of grumpy electronica. Here's another great example of what I mean. For his latest album, the apparently Breton producer/composer S8jfou (whose website does not reveal his exact location or birth name, but does provide intriguing information about his lifestyle) decided he would make all of his music using only two digital tools, both part of the Ableton suite: a synthesizer program called Operator and the delay effect Echo. And what he does with those tools is quite amazing: the music is warm, supple and highly varied, while still maintaining a generally dark and grumbly mood. "Waves" hints at drill'n'bass; "Interpolation" weaves woozy synth lines around a steadily throbbing rhythmic pattern; "Influences" takes the tiniest, most trebly percussion parts and layers them atop 80s-style synth lines and post-industrial beats. Every track is fascinating, and I really wish the album were more than 38 minutes long.
SEIM
CDSTUMM474
Brittany, in the west of France, is an unusual outpost of Celtic (though not Gaelic) culture and language. Like so many regional languages, Breton is dying, and with it are fading many of the region's traditional folkways and its traditional music. This album by Quinquis (Émilie Tiersen, who has recorded previously under the name Little Feet) won't do much to preserve Breton folk music — this is a dark, quirky synth-pop album — but the songs are written and sung entirely in Breton, and their lyrics unite around themes of Breton culture both ancient and modern. One song makes reference to Seiz Breur, an early-20th-century regional art movement, while another invokes Ankou, an ancient Breton demigod who functioned as a servant of death. There are stories of husbands lost at sea and of individuals Tiersen has met in her musical travels. I don't know if I'd call this album "fun," but it's certainly lovely.
New Blade Runners of Dub
New Blade Runners of Dub is a new duo consisting of bassist Paul Zasky (of Dubbelstandart fame) and producer/film composer Jed Smith. Together they've created a unique sound that blends elements of house, reggae, and dubstep. The band's first album draws on a variety of influences while effectively creating a stylistically coherent whole: "Solitary Confinement" and the Beta Fish remix of "Fly Me to the Moon" are both smoothly rolling, liquid drum'n'bass treatments, while "Looking for Things" is built on a slippery, three-against-four rhythm, and "In My Space" puts the ethereal falsetto of Cedric Myton into a throbbing cauldron of slow steppers bass and clanging percussion. The late, great Prince Far I makes a posthumous appearance on "Cry Cry 2049," the title of which is a sly reference to his earlier stage name, King Cry Cry. This is a fine debut release, one that portends great things for the future.
Lucibela
Amdjer
Lusafrica (dist. MVD)
There are a few artists about whom, every time I listen to them, I ask myself "Why do I not spend more of my life listening to this person?". Ella Fitzgerald is one; Benny Goodman, especially with his small ensembles, is another. And Cape Verdean singer Lucibela is one more. Her voice sounds like hot chocolate with cinnamon in it — rich, dark, and sweet, with just a hint of spice. Cape Verdean music blends stylistic elements from Portugual, Brazil, West Africa, and Cuba, and Lucibela's deft and graceful voice juggles them all with an ease that belies the discipline and hard work that went into creating her personal style — from the fado-flavored "Ilha Formose" to the swooningly lovely "Bombena" to "Ben Presto Amor," a previously-unpublished bolero by Cuban composer Emilio Moret. Like her previous work, this album is a complete delight.
Puppa Nadem
Hy Man (vinyl & digital only)
Sound Dynamik (dist. Baco)
George Palmer
Working Man
Irie Ites
II CD23
I continue to be amazed at the constant stream of outstanding reggae coming out of France these days — and not just from Paris. There have been so many great albums over the past eight months or so that I've felt a bit overwhelmed in trying to pick just one or two to recommend. I've settled on these two: the second solo album from speedrapper/singjay Puppa Nadem and the debut album from roots-and-culture crooner George Palmer. The two releases could hardly be more different: Puppa Nadem came up in the sound system, and you can hear it in everything he does; he's fleet of tongue and hard of tone, and his collaborations here with the likes of General Levy and Tomawok are hardcore raggamuffin dancehall niceness. George Palmer, on the other hand, is all about spiritual consciousness, and he puts his sweet high-tenor voice to use in promoting repatriation ("Africa") and cannabis legalization ("Legalize It"), and decrying sufferation ("Working Man," a great combination track featuring deejay Solo Banton). Palmer's style is 1980s digital roots, and he owns it. Both of these releases are great, but don't sleep on the other albums coming out of France lately, including new releases from L'Entourloup, Tomawok, and Zion Head.
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About Rick Anderson
I'm University Librarian at Brigham Young University, and author of the book Scholarly Communication: What Everyone Needs to Know (Oxford University Press, 2018).
View all posts by Rick Anderson »


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Attivo nel mondo della recitazione fin da bambino, ha esordito recitando in diverse sitcom, la maggior parte prodotte da Mediaset. Negli anni duemila ha proseguito l'attività di attore anche in teatro e al cinema, oltre che in televisione, dove è divenuto uno dei volti noti delle sitcom prodotte da Disney Channel. Nel corso della sua carriera si è cimentato anche nell'incisione di dischi e nella conduzione televisiva.

Carriera
Figlio degli avvocati Patrizia Bissi e Franz A. Sarno, ha debuttato come attore nel 1996, recitando nella sit-com di Canale 5 Io e la mamma, al fianco di Gerry Scotti e Delia Scala, interpretando il ruolo di Paolino per due stagioni. Nel 1996 ha inoltre recitato nel cortometraggio Il soffitto, per la regia di Barbara Nava.

Nel 1999 ha debuttato al cinema nel film Fantozzi 2000 - La clonazione.
Nel 2000 è tornato in televisione, sempre su Canale 5 e sempre con una sit-com, Don Luca, dove ha interpretato il ruolo di Mirko per una stagione. Nel 2001 è tornato a recitare in una sit-com, Bradipo, andata in onda su MTV Italia; dopo tre anni di pausa, ha interpretato una piccola parte nella sit-com Il mammo, con Enzo Iacchetti e Natalia Estrada.

Nel 2006 ha debuttato anche come conduttore televisivo, per la trasmissione musicale Kids' Choice Awards di Nickelodeon. L'anno successivo ha interpretato il ruolo di Jaky nel telefilm per ragazzi Quelli dell'intervallo, mentre nel 2010 ha ottenuto una parte nel film con Massimo Boldi A Natale mi sposo.

Sempre nello stesso periodo ha fatto alcune apparizioni nelle serie televisive Fiore e Tinelli e Zack e Cody sul ponte di comando, e nel video musicale del brano Grazie a te, di Ambra Lo Faro.

Nel 2011 è stato uno dei protagonisti della serie televisiva di Canale 5 Non smettere di sognare, nella parte di Filippo. Nell'estate dello stesso anno conduce, sull'emittente satellitare DeAKids, Arriva lo Zecchino, trasmissione itinerante che mostra i provini per l'edizione 2011 dello Zecchino d'Oro.

Doppiaggio
Dal 1999 ha cominciato la sua carriera di doppiatore.

Oltre al doppiaggio di numerosi film, per ruoli di personaggi giovani e cartoni animati, ha prestato la sua voce in varie occasioni e a numerosi personaggi, tra cui il passerotto protagonista degli spot con Alessandro Del Piero, inoltre la voce di Andrea nella serie animata Gino il pollo, e di Harry Potter nei videogiochi Harry Potter e la pietra filosofale e Harry Potter e la camera dei segreti, tratti dai libri.

Attività teatrale e musicale
Oltre all'attività di attore cinematografico e televisivo, si è esibito anche a teatro in alcuni musical, dopo aver studiato tecniche musicali, tra cui canto e solfeggio, chitarra e armonica blues. Questi studi gli hanno permesso di intraprendere anche una carriera musicale, partecipando al Festival di Castrocaro nel 2004, dove è giunto in semifinale.

Dal 2005 fino alla primavera del 2007 è stato in tournée con il musical Datemi tre caravelle, regia di Gianni Quaranta, con Alessandro Preziosi, mentre nel 2008 ha partecipato come protagonista alla versione teatrale italiana di High School Musical - Lo spettacolo.

Nel 2009 sono stati pubblicati il suo primo album 1989 ed il primo singolo estratto dall'album, È tardi. Nel marzo 2010 è stato pubblicato l'EP eponimo Jacopo Sarno, contenente il singolo Tommy e la sedia vuota, scritto insieme a Niccolò Agliardi, e una selezione di brani di 1989.

Nel 2013 è stato protagonista del musical The Full Monty.
Successivamente recita nei film Sfumature di verità, mai diffuso in Italia, e Natale da chef.

Nel 2017 esce il suo secondo album in studio, Chapter 1, che segna il suo ritorno sulla scena musicale con lo pseudonimo Jake Sarno. I singoli "Feathers and Wax" e "Red Dancer" sono stati lanciati attraverso due videoclip musicali, il primo girato da Pablo Papeltengo, il secondo diretto da Francesco Termini

Teatro
 Da Shakespeare a Dario Fo (2004)
 Cuore di Berlino (2004) - Teatro Verdi di Milano
 Sogno di una notte di mezza estate (2005) - Teatro Verdi di Milano
 Il borghese gentiluomo (2005)
 Sulle tracce di Omero (2005)
 Datemi tre caravelle! (2005-2007) - Musical
 High School Musical - Lo spettacolo (2008-2009) - Musical
 Full Monty (2013) - Musical
 Mamma mia (2017) - Musical
 Casanova (2022) - Opera Pop

Filmografia

Cinema
 Fantozzi 2000 - La clonazione, regia di Domenico Saverni (1999)
 A Natale mi sposo, regia di Paolo Costella (2010)
 Shades of truth (Sfumature di verità), regia di Liana Marabini (2015)
 Natale da chef, regia di Neri Parenti (2017)

Televisione
 Io e la mamma, regia di Fosco Gasperi - sitcom (1996-1997)
 Don Luca, regia di Marco Maccaferri - sitcom (2000)
 Bradipo, regia di Marco Pozzi - sitcom (2001)
 Il mammo, regia di Maurizio Simonetti - sitcom, 1 episodio (2004)
 Quelli dell'intervallo - sitcom (2007-2008)
 Life Bites - sitcom, 1 episodio (2007)
 Fiore e Tinelli - sitcom, 1 episodio (2007)
 Quelli dell'intervallo in vacanza - sitcom (2008)
 Zack e Cody sul ponte di comando - sitcom, 1 episodio (2009)
 Chiamatemi Giò - sitcom, 2 episodi (2009)
 Quelli dell'Intervallo Cafe - sitcom (2010)
 Non smettere di sognare, regia di Roberto Burchielli - serie TV (2011)

Doppiaggio

Videogiochi
 Harry Potter in Harry Potter e la pietra filosofale e Harry Potter e la camera dei segreti

Conduzioni televisive
Kids' Choice Awards (2006)
Arriva lo Zecchino (2011-2013)
Zecchino d'Oro Show (2011-2012)

Discografia

Album
1989 (2009)

EP
Jacopo Sarno (2010)
Angels Till Dawn (2013)

Singoli
Grido (2008)
È tardi (2009)
Ho voglia di vederti (2009)
Vent'anni (2009)
Tommy e la sedia vuota (2010)
This Is Christmas (2010)
Angels Till Dawn (2013)
Calypso Navidad con Stefano Signoroni e Sergio Muniz (2014)

Note

Altri progetti

Collegamenti esterni

Attori bambini italiani
Cantanti da musical
Attori televisivi italiani
Attori teatrali italiani


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Salesforce Blogs in Record Sharing | Forcetalks
Custom Objects and Standard Objects in Salesforce - The Understanding
Blog in Salesforce customization
As evidenced by its predominance across nearly every industry able to leverage CRM or automation tools, the greatest value proposition Salesforce has to offer is…
Accounts, Admin, AppExchange, automated process, automation tools
DB Dec 5, 2022
Test Classes in Salesforce - Learn All About it Here
Blog in Salesforce Apex
Content What is a Test class in Salesforce? What is the need of a Test class in Salesforce? How to write Test class in Salesforce? …
Apex Classes, Apex Code, Apex Test Class, Assert Statement, Batch Class
ABHISHEK SHUKLA Jul 5, 2022
Introduction to Salesforce Communities: Licenses and Benefits
What are Salesforce Communities? Salesforce is a San Francisco based organization that gives client connection to the board (CRM) programming arrangements. Most importantly, Salesforce people…
Access Reports, Accomplice Networks, Brand Experience, Business, Business Hours
rajesh andani Feb 9, 2022
Creating And Maintaining the User in Salesforce
Salesforce administrator manages users by creating and editing users' details, resetting passwords, granting/removing permissions, configuring data access levels, and much more. A user is typically…
Account Settings, Account Verification, Admin, Allow Forecasting, Apex Warning Emails
Anshu Dec 9, 2021
Using the runAs Method in Salesforce | Apex Developer Guide
By and large, all Apex code runs in framework mode, where the authorizations and record sharing of the current client are not considered. The framework…
Apex Class, Apex Code, Bundle Rendition, Client Permit, Client Set
rajesh andani Nov 3, 2021
The Definitive Guide for Sharing Rules in Salesforce
Blog in Others, Salesforce
One of Salesforce's key objectives is to integrate marketing, sales, commerce, service, and IT departments regardless of geographic location via its customer service component known…
administrator, Apex Managed, Commerce, Company's Personalized Expectations, CRM Platform
Cymetrix Jul 20, 2021
One of Salesforce's key objectives is to integrate marketing, sales, commerce, service, and IT departments regardless of geographic location via its customer service component known as "Customer 360". It is an integrated customer relationship management (CRM) platform with the whole capability of Salesforce's entire linked array of products. One may focus on the most critical company needs, which include reopening the same, as well as stabilizing the existing firm, simply by making use of Customer 360. A particularly helpful aspect of Salesforce is its capacity to supply assorted information gathered by a person, which other individuals or teams in the company may then utilize. To avoid unnecessary confusion, the administrators may put in place software that verifies that everyone in the public groups has had access to the information, as well as everyone inside numerous roles and territories who would be allocated to run the same software. In addition to providing Salesforce salespeople with a method of maintaining records, the customer relationship management system has various uses tied to record sharing in Salesforce. The administrator who is in charge of the Salesforce setup gives you the freedom to open up all of the available modes and does not enable you to put any limitations in place. In a given company, record sharing is facilitated by Salesforce sharing rules, which allows customers with a certain set of attributes to access specific records. Don't forget to check out: Learn About Record Level Security in Salesforce The sharing rules that are responsible for permitting various sorts of customers in a company firm or set of zones to access information and data are termed accessibility guidelines. This step can be done by who has ownership of the data and information. Also, sharing rules were created with variables taken from a specific record. Keep in mind that if you want to be able to oversee this sharing, you need administrator privileges before proceeding. Administrators who have complete system access have the ability to make all items available to numerous users. Additionally, they supdata and informationport users extending their access to others through roles and regions. a select group of users is granted increased access in order to help with their company's personalized expectations and meet their commitments to the organization-wide sharing settings.
Sharing Rules Used in Salesforce Include
Managed sharing: When looking at the career guidance provided for the position, organization and sharing rules for Salesforce records control access to shared resources on the basis of Record ownership.
Record Ownership: Owners of records often refer to those who created them as their own. When it comes to objects, the owner of that record has complete access to all of the object's characteristics, including reading, rights, and modifying capabilities. There is nothing to keep anyone from transferring, sharing, or deleting records.
To distribute through manual means or user-managed sharing: The rules allow users the option to share records with one or more individuals or groups. The service is sometimes referred to as manual sharing. In addition, the end-users are given the ability to provide personalized access to a certain record. It is critical to note that only the record owners or persons with a higher degree of access in the organizational hierarchy will be authorized to manually distribute the records.
Apex Managed to share: Apex-controlled sharing makes it possible for developers to simply support a particular application with the aid of sharing requirements. The Apex-managed sharing is enabled when a user has the "change all data" permission.
Roles and power structures: While working at the top levels of the hierarchy, the people in that position have access to the same level of records using the role hierarchy. This specific record may be held or shared by any other user, who is positioned either above or below the hierarchy, and who has been granted access.
Check out another amazing blog by Sweta Dey here: Best Practices For a Well Managed Knowledge Base In Salesforce Cymetrix Software is one of the best offshore Salesforce consulting companies. Our Salesforce installation solution is tailored to your system platform and integrates to meet the highest standards for Salesforce deployment. Get a team of professionals to guide you to the best of your organization's potential.


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Policy (NOT) Cancelled!! Yet??
Section 258 (1) of the Insurance Act States:
Any person who has a claim against an insured for which indemnity is provided by a contract evidenced by a motor vehicle liability policy, even if such person is not a party to the contract, may, upon recovering a judgment therefor in any province or territory of Canada against the insured, have the insurance money payable under the contract applied in or towards satisfaction of the person's judgment and of any other judgments or claims against the insured covered by the contract and may, on the person's own behalf and on behalf of all persons having such judgments or claims, maintain an action against the insurer to have the insurance money so applied.
Section 258 (4) further confirms that the Insurer has absolute liability towards any person who is entitled to have insurance money under subsection (1) and claim is not prejudiced by, inter alia:
any act or default of the insured before or after that event in contravention of this Part or of the terms of the contract;
Essentially, an Insurer cannot penalize an innocent third party for any acts committed by the Insured that may give reasons to the Insurer to void coverage. Notwithstanding this, the Insurer may have an opportunity to recover paid claim monies from its own Insured, under certain circumstances, where the Insured has violated policy conditions (such as impaired driving).
Now, imagine a scenario where the Insurer becomes aware of certain misrepresentations made by the Insured, during the term of the policy, that were material enough to void coverage, ab initio. The questions arises: Can an automobile Insurer void coverage, ab initio, under an automobile policy, considering the fact that the law mandates liability insurance when a vehicle is being driven on road. It would make less sense to be able to void coverage ab initio, which would mean that the Insured, who was under the impression of being Insured, was told that coverage does not exist at the date of the accident, as Insurers decided to void coverage ab initio.
In an interesting decision by the Ontario Court of Appeal, above issues were discussed at length.
The facts of the case under Merino v. ING Insurance Company of Canada, 2019 were as under:
Ms. Karla Merino (Plaintiff/Appellant), a pedestrian, was catastrophically injured on September 12, 2002, when she was struck by a car driven by Timothy Klue. Mr. Klue and his wife, Sonia Abou-Khalil, were joint owners of the car who had applied for automobile insurance coverage, on or about May 29, 2002, over three months before the accident and the defendant/respondent insurer, ING Insurance Company of Canada, had issued a one-year policy. However, because of misrepresentations in the application regarding Ms. Abou-Khalil's driving record, the respondent insurer cancelled the policy, ab initio, by sending a registered letter to the Insured, on or about July 2, 2002. Believing that the vehicle was uninsured, both Mr. Klue and his wife did not drive it until Mr. Klue drove on the date of the accident, after he had lost his job and consumed alcohol.
SUMMARY JUDGMENT MOTION
On April 16, 2012, after obtaining judgment against Mr. Klue, Ms. Abou-Khalil, and Allianz (the Insurers under "unidentified motorist coverage", in the amount in excess of $2,000,000, the appellant(s) commenced the action under appeal against the ING on the basis that the insurance contract had not been properly terminated and thus coverage existed at the material time of the accident.
The motion judge dismissed the appellants' action on summary judgment and found that the respondent insurer was entitled to rescind/cancel the insurance contract based on material misrepresentation, making it void ab initio and of no effect. Further, it was held that because the contract was rescinded before the date of the accident, the appellants could not recover under s. 258(1) because there was no contract of indemnity in place when the accident occurred.
The Plaintiff(s) appealed.
Plaintiff/Appellant
The policy was not validly terminated by the respondent insurers and thus, coverage existed at the material time of the accident.
Defendant/Respondent
The policy was rescinded much before the date of accident and thus no coverage is available.
The following issues, inter alia, were discussed by the court of appeal.
1) Are the appellants entitled to recover against the respondent if the contract was not validly rescinded?
2) Is an automobile insurer entitled to rescind an automobile insurance policy, ab initio, based on misrepresentations made by the Insured?
Are the appellants entitled to recover against the respondent if the contract was not validly rescinded?
The court found that if the coverage was properly terminated before the date of the accident, the injured third party will have no rights to recover under the policy as no coverage existed at the time of the accident. The court stated:
I agree with the motion judge that s. 258 can have no application where an automobile insurance policy is no longer in existence at the date of the accident because it was properly and effectively terminated by either party before that date.
Is an automobile insurer entitled to rescind an automobile insurance policy, ab initio, based on misrepresentations made by the Insured?
To terminate an automobile insurance, an insurer may, in accordance with the statutory regulations, either give 15 days' notice by registered mail, or five days' notice by personal delivery. In both cases, the insurer must refund the excess premium paid by the insured. The court stated:
The July 2, 2002 letter was sent by registered mail, but it did not give 15 days' notice of termination. There was no return of premium because no premium had been paid. Because the contract was not terminated in accordance with the Regulation, if the respondent's attempt to rescind was not effective, the contract remained in force.
Further, the court held that allowing the Insurer to void contract ab initio will be non-consistent with the compulsory automobile insurance act, that requires a vehicle must maintain automobile insurance in Ontario when driven. It is thus the requirement of enough notice period so that the Insured could shop for alternatives.
Feldman J.A, writing for the court and allowing the appeal, concluded:
I would set aside the judgment and reasons of the motion judge. An automobile insurer in Ontario cannot rescind an automobile insurance contract at common law ab initio, and the respondent's letter purporting to do that was not effective. Because the letter did not give 15 days' notice of termination, it also did not have the effect of terminating the contract under s.11 of the Regulation. The contract therefore remained in effect on the date of the accident.
Further, it was held that the Insurers are liable up to the policy limits.
Because the respondent did not establish on the record that Mr. Klue knowingly misrepresented facts in the application or acted as the agent of Ms. Abou-Khalil, the respondent has not established a defence under s. 258(11) of the Act. It is accordingly liable for the full amount of the policy limits.
Just playing the devil's advocate here. Mr. Timothy Klue, the driver of the car who consumed alcohol on the day, understood the policy is not in force since he did not drive the vehicle after receiving the July letter. He had enough time to obtain another insurance policy before the accident, which he did not choose to obtain. Rather, he chose not to drive the vehicle at all, except on the day of the accident. For argument sake, he had much more than 15 days to obtain insurance since termination of the policy and before the date of accident. While I agree that the Insurers did not comply with the statutory regulations in terminating the policy (15 days notice and no return in premium, which is not applicable as no premium was ever paid), what confuses me is that Mr. Klue, had enough time to obtain an insurance policy, and he was very well aware that he was driving uninsured.