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Canberra Critics Circle
THE MOUNTAIN BETWEEN US
Review © Jane Freebury
After a hasty set-up at an airport closed due to bad weather, The Mountain Between Us delivers us onto a snowbound mountainside when a small plane crashes in the wilderness. The first and pressing challenge for the two passengers who survive is finding their way down to safety.
The second order challenge, as the title suggests, is getting to know and understand each other along the way.
It was an unscheduled flight, risky in bad weather, and the aging pilot who succumbed to heart failure died in the crash. The two survivors have landed in the middle of nowhere with the pilot's pet labrador for company, a welcome valiant third party, there to help.
I guess we could call this uncertain venture a romance adventure. It certainly has two handsome leads up front: Kate Winslet as photojournalist Alex, and Idris Elba as Ben, a British neurosurgeon. They start out as total strangers. Alex was on her way to her own wedding while Ben had an urgent assignment to attend to.
Neither has that much time for the other to begin with. Alex is a rather noisy, emoting, headstrong American, while he's more introspective and withholding. A typical bloke or typical Brit? Was this was going to become a battle of the sexes in wild and wintry conditions?
Alex is frustrated by Ben's non-disclosure. After all, they only have each other for company and could well die together.
If the occasional mountain lion, bear or wolf doesn't find them, then they will surely succumb to the freezing temperatures, slip off a treacherous slope or slip into an icebound lake.
Although the situation the pair find themselves in is dire, The Mountain Between Us doesn't deliver on that score. This is despite Mandy Walker on board as cinematographer. She is Australian and the cinematographer behind Lantana, The Well and Tracks. Despite her powerful images of the grand mountain wilderness of Columbia, the drama doesn't engage.
To its great credit, The Mountain Between Us makes absolutely nothing of race, the most obvious difference between the pair. Perhaps the fact that Ben is British gets around this, somewhat.
The mountain between them has nothing at all to do with race, and everything to do with personality and temperament. To a lesser extent it's about being female and male.
If it had been a battle of the sexes, with a Cary Grant and a Katharine Hepburn, how much more entertaining it could have been.The Mountain Between Us was an opportunity for some sparring between the male and the female of the species.
If a battle of the sexes is your thing, go see the excellent current The Battle of the Sexes, with Emma Stone and Steve Carell, while it's still screening.
It is interesting that the director, Hany Abu-Assad, was brought on board. The credits of this Dutch-Palestinian fiction feature and documentary filmmaker include an astonishing film, Paradise Now, about Arab suicide bombers preparing themselves.
His wasted presence and that of his stars and cinematographer all go to show that you can bring promising elements together, but you can't guarantee anything without the underpinning of a good screenplay.
The Mountain Between Us is old-fashioned, clunky action adventure with romance thrown in for good measure. It feels so by the book with thrills that only occasionally feel real.
The dull writing doesn't offer two terrific actors very much to work with. Why they each became involved in the project is difficult to understand.
Rated M, 1 hour 52 minutes
Also published at Jane's blog and broadcast on ArtSound FM 92.7
Posted by Canberra Critics Circle at 12:06 PM
Labels: film
Directed by Tobias Cole - Musical Direction by Brett Weymark
Designed by Imogen Keen - Lighting designed by Cynthia Jolley-Rogers
Choreographed by Belynda Buck - Presented by Handel in the Theatre
The Playhouse, Canberra Theatre Centre, 28TH and 29th October 2017,
Reviewed by Bill Stephens
If the standard achieved by this production of Handel's first oratorio, "Esther" is anything to go by, then Tobias Cole's ambitions for his fledgling baroque opera company, Handel in the Theatre, may well prove achievable. Cole has harnessed impressive resources, including some very fine voices, to achieve a cohesive and entertaining account of this esoteric work.
Originally composed by Handel as a masque in 1718, and then heavily revised into a full oratorio in 1732, "Esther" tells the story of an orphan, Esther (Janet Todd) who is selected by the King of Persia (Tobias Cole) to become his wife, unaware of her Jewish heritage. On the advice of his Prime Minister, Haman (David Greco) the king has embarked on a plan to exterminate the Jews. When Esther hears of this from Mordecai (Sally-Anne Russell) she risks certain death by entering the Kings private chambers, unannounced, to plead with him to abandon his plan.
Baroque operas are generally quite static. The long heavily ornamented and repetitive vocal solos can become testing for contemporary audiences. Aware of this, Cole added some innovative touches to embellish his production. The protagonists, Mordecai and Haman, were introduced to the audience at the beginning of the opera with a masque-style interlude. Elsewhere he incorporated choreographed movement for his vocal ensemble to heighten the drama and add visual interest. He also included a second vocal ensemble, which he positioned, together with trumpeters, in the balconies surrounding the audience, creating a thrilling sonic tour de force for the stirring "Zadoc the Priest", which commenced the second act.
The professionalism of the four leading characters with their fine singing, excellent diction and firm grasp of the stylised acting style, provided a firm anchor for the production. Janet Todd was an appealing Esther, acting with conviction, and singing her complex solos and duets with confidence and authority. The warm mezzo-soprano of Sally-Anne Russell's Mordecai, together with David Greco's sonorous baritone for his glowering Haman, contrasting strikingly with Tobias Cole's counter-tenor as the King, provided a fascinating aural palette for their various characterisations.
Keren Dalzell, Alison Richardson and Charles Hudson each contributed vocal highlights, while Marcel Cole provided a beautifully sustained elegant presence as the King's attendant.
Commanding the musical resources, Brett Weymark achieved an excellent balance between singers and orchestra, drawing superb sound from the orchestra and disciplined singing from both ensembles to embellish the excellence of his principal singers.
The attractive setting and costumes, designed by Imogen Keen and realised by Cate Clelland, together with Cynthia Jolley-Rogers accomplished lighting design, provided an eye-pleasing environment for a production which has set a significantly high benchmark for this emerging, highly specialised, opera company.
This review also appears in Australian Arts Review. www.artsreview.com
Posted by Canberra Critics Circle at 10:10 AM
Music by G.F. Handel
Conducted by Brett Weymark
Directed by Tobias Cole
Handel in the Theatre
The Playhouse, Canberra Theatre Centre to 29 October
Reviewed by Len Power 28 October 2017
Generally acknowledged to be the first English oratorio, 'Esther' was originally composed in 1718, but was heavily revised into a full oratorio in 1732 including Handel's coronation anthems 'My Heart is Inditing' and a version of 'Zadok the Priest'. It's troubling that hundreds of years after it was composed, the religious persecution theme of the show is still applicable today.
Esther, married to King Ahaseurus of Persia, is secretly Jewish. The Prime Minister, Haman, orders the extermination of all Jews throughout the Persian empire. Mordecai asks Esther to appeal to her husband to rescind the order, but she risks death if she approaches the King without being sent for.
Tobias Cole's impressive production works on every level. With a simple and gently humorous introduction to the work at the beginning, including an explanation of the characters, Cole gave the audience a clear understanding of the story about to be played out on stage.
There was impressive singing by all of the principles. Janet Todd was a charming and believable Esther, Tobias Cole was a delightfully quirky King, Sally-Anne Russell was very moving as Mordecai and David Greco was a deeply sinister Haman. Alison Richardson and Keren Dalzell gave heartfelt performances in the roles of the Israelites.
There was fine singing by the dramatic chorus and the addition of a balcony chorus in the coronation anthems produced a thrilling and all-enveloping sound.
The orchestra, conducted by Brett Weymark played the score superbly. There was a good sound balance between the orchestra and the singers.
Production values for the show were high. Imogen Keen designed the lavish and colourful set and period costumes and the lighting design by Cynthia Jolley-Rogers added considerably to the atmosphere of the show.
Particularly notable was the choreography by Belynda Buck who gave the dramatic chorus stylised but emotionally valid moves that added considerably to their musical performance.
This was a wonderful opportunity to hear Handel's score beautifully played and sung. That it was staged so well by Tobias Cole was an added bonus.
Len Power's reviews are also broadcast on Artsound FM 92.7's new 'On Stage' program on Mondays from 3.30pm and on 'Artcetera' from 9.00am on Saturdays.
Posted by Canberra Critics Circle at 9:32 AM
FROM BROADWAY TO BALLROOM
Presented by Hit Productions and Liz Beamish
Q Theatre, Queanbeyan 26th – 28th October, 2017.
If ever there was a show in serious need of a script and a good director, then this is it. Despite some promising components including Liz Beamish, who's also one of the producers, and who's appeared professionally in the original Australian production of "Phantom of the Opera", and in productions for Opera Australia and Opera Queensland. Her co-star, Lachlan Baker's professional credits include such productions as "Les Miserables", "Jesus Christ Superstar" and "Evita".
There are also two teams of championship ballroom dancers. Rhett and Emma Salmon, who are the current professional championship holders of the World Dance Council Championship, and Jeremy Schneider and Jayne Di Bella who have also won ballroom dancing awards.
Despite there being an endless repertoire of Broadway songs celebrating dance in all its various forms, this show has little interest in them. Instead it consists of a mishmash of songs, some from musical theatre, some from opera, others from the popular song repertoire, not all wisely chosen, sung to karaoke backings, with no perceivable connection to the title or ballroom dancing. The songs are connected by fatuous prattle from the two singers and interrupted by the dancers who perform their routines, sometimes in the middle of a song, then disappear to change costumes.
There are lots of costumes, many quite lovely. Indeed, Beamish seemed more interested in her frocks than her songs. She confided that she makes them herself and encouraged applause for them on each entrance. But as admirable as they were, including the one splendid dress with 24 panels, they did not make up for the generally desultory treatment of the songs, or the slipshod presentation.
A couple of inept attempts at production numbers, notably for the poorly executed Habanera from "Carmen" and "Love is in the Air", and Lachlan Baker's off-the-cuff efforts to inject some comedy into the proceedings only served to highlight the lack of rehearsal, and paucity of professional expertise.
While there were some in the audience who appeared to enjoy "From Broadway to Ballroom", one can only contemplate how much more their enjoyment could have been enhanced had the producers invested in a script and a competent director to focus and stage the show.
Posted by Canberra Critics Circle at 4:37 PM
A FESTIVAL OF RUSSIAN BALLET
The Imperial Russian Ballet Company
The Playhouse, Canberra Theatre Centre
23rd October, 2017.
Under the artistic direction of Gediminas Taranda, The Imperial Russian Ballet Company, travels the world presenting productions of the great Russian ballet classics. It's a regular visitor to Canberra where the company has built up a strong following, as evidenced by the enthusiastic audience which attended this performance.
Despite its demanding touring schedule, the company manages to maintain high production values with excellent sets and lavish costumes. The standard of the dancing too is impressively high, with Taranda demonstrating his knack of refreshing his productions with clever, choreographic interpolations which emphasis the strengths of his dancers without compromising the integrity of the original choreography.
This 2017 program consisted of a lively potted version of his production of "Don Quixote", which the company had presented in full in 2014, "Bolero", which it had previously presented in 2013, and seven short divertissements, of which only one, "Russian Waltz" was new to Canberra.
Lina Seveliova as Kitri in "Don Quixote"
It was a pleasure to revisit this "Don Quixote", which is danced to the familiar Minkus music with choreography by Taranda, based on Alexander Gorsky's original. This version retains its elaborate painted settings and spectacular costumes, which, it must be noted, are beginning to show the effects of constant touring, cleverly compressing the storyline into a one hour presentation, while preserving the set pieces.
Vivaciously danced by the company, despite the demands of a heavy touring schedule, this production is notable for its spectacular ensemble dancing, and the clever use of fans by the women and capes by the men to create excitement and spectacle. It also features some scene-stealing clowning from Vitautas Taranda, as Kitri's father.
A stunning dancer, absolutely on top of her technique, Lina Seveliova was a pert, pretty and delightfully mischievous Kitri. As Basilio, the object of her affections, tall and elegant, Sergey Kheylik was up to any challenge Kitri could put in his way. The chemistry between the pair provided the heartbeat for the production. Viorel Miron commanded the stage with some spectacular cape work as the swaggering toreador, Espada, as did Anna Pashkova as the sultry street dancer.
Anna Pashkova as the Street Dancer in "Don Quixote"
Pashkova's powerful presence was also the centrepiece of Nikolay Androsov's dramatic version of Ravel's "Bolero". As The Godhead, seated high above the strikingly costumed ensemble, she dominated the stage. Then when she decended to the stage as the ballet progressed towards the stunning climax through an ever-changing kaleidoscope of massed movement, her presence remained the focal point of the work.
The Imperial Russian Ballet Company ensemble in "Bolero"
Later in the divertissement section, which commenced with a jolly little Melbourne Cup work choreographed by Taranda to the music of the William Tell Overture, Pashkova demonstrated her versatility in a technically exquisite performance of the classic "Dying Swan".
Also in this section Irena Gharibyan and Sergey Kheylik thrilled with a dynamic performance of the "Le Corsaire" pas de deux, then later with an exquisite interpretation of the Act 11 pas de deux from "Giselle". Denys Simon astonished with his firecracker solo, "Gopak", and Iuliia Ushakova and Viorel Miron charmed as they led the ensemble through an elegant piece choreographed by Taranda to the music of Shostakovich, entitled "Russian Waltz".
Irena Gharibyan and Sergey Kheylik in "Le Cosaire"
The program ended with another Taranda piece, a delightfully campy, "Can Can Surprise", in which a very tall, clumsy ballerina, (Vladimir Dorofeev ) and her two diminutive escorts (Denys Simon and Viorel Miron) created havoc to the music of Offenbach, providing the perfect finale to a satisfying and entertaining evening of superb classical ballet.
This review also published in Australian Arts Review. www.artsreview.com.au
Producer: Liza Beamish
Co-Producer Christine Harris and HIT Productions
Q Theatre, Queanbeyan to 28 October
The concept for 'From Broadway to Ballroom' is quite a good one – two singers present a range of well-known songs from Broadway musicals, opera and elsewhere in a production woven together with colourful, eye-catching ballroom dancing.
Producer, Liza Beamish, is also one of the two singers in the show. She's an appealing personality and there's certainly a voice there. She's paired with Lachlan Baker, a big guy with a big voice but their singing was uneven during the performance.
The show needs an imaginative director to bring out the promising potential of the concept. Currently, there's minimal staging and the performers mostly stand still and sing with movement-limiting hand-held microphones. Their banter between songs is too casual, often irrelevant and slows the show down. It needs more thought and tighter scripting.
The two dancing couples, who have won ballroom dancing awards, performed well but better ways need to be found to showcase their work as part of the show. Some of the dances seemed to have little to do with the songs.
With the stage of the Q Theatre opened up to its widest and deepest expanse, the vast playing area dwarfed all of the performers, especially when working at the back of the set in front of the huge white backdrop.
The women's costumes were colourful and flattering. Apart from that, there were just some colour changes on the backdrop and an occasional dappled light effect on the stage floor.
The music for the show was pre-recorded. There were often long waits between announcing a song and the music starting. The Andrew Lloyd Webber medley would have been better if the music for each song didn't have to fade down before the next one came up.
The show is too long. They should drop the unfunny Dean Martin number with Baker as a burping drunk and his awful 'if-Elvis Presley-lived-to-be-an-old-man' medley.
There's potentially a good show here but it needs more work to make it soar.
THE CARDINAL'S TEA SET - Come Alive Festival of Museum Theatre
The Cardinal's Tea Set.
Devised and written by the drama students of Orana Steiner School. Courtyard Studio. Canberra Theatre Centre. Come Alive Festival of Museum Theatre. October 23 and 24 at 1 p.m. and 6 p.m. October 28 at 11 a.m. and 2 p.m.
Posted by Peter Wilkins
It is rare for performances by young people in schools, children's theatre companies or youth theatre companies to be reviewed. There are exceptions where, on occasion, a production may be featured on the Canberra Critics Circle BlogSpot. However, it is not customary.
I have posted here a comment made by an independent member of the audience after attending Tuesday night's performance of the Come Alive Festival, and commented on the production of The Cardinal's Tea Set by Orana Steiner School. Orana has presented theatre pieces at all eight Come Alive Festivals. Their work has been consistently applauded, and the comment I include here attests to that.
"I have to tell you that the Orana students' 60 minute theatre piece last night as part of "Come Alive" is phenomenal. I understand it will appear twice more in the festival. I really recommend seeing it – it's clever, thought-provoking, beautifully well-acted – it was hard to remember these were students! Inspired by the Foster tea set, the piece is a representation of the experience of British child migrants, contrasting the social rules of polite society against how so many of those kids were so abysmally treated. It covered history, politics, and religion. It made me laugh, cry, and at times feel deeply, superbly uncomfortable.
I would rate it as the best piece of short theatre I've ever seen. Well worth seeing."
ORANA STEINER SCHOOL WILL REPRISE "THE CARDINAL'S TEA SET" ON SATURDAY, OCTOBER 28TH. AT 11 A.M. AND 2 P.M. AT THE COURTYARD STUDIO. LAKE TUGGERANONG COLLEGE WILL PRESENT ITS SHORT WORK ABOUT WOMEN IN PRISON, "JAILBIRDS"
Bookings: Canberra Theatre 62752700
Tickets are $10 at the door.
Final Portrait, from the actor and occasional director Stanley Tucci, is a footnote to the life and work of sculptor and painter Alberto Giacometti. It spans a few days in 1964, and is confined to the studio except for a few exterior scenes in Paris, the Swiss artist's home since the 1920s.
Geoffrey Rush is an excellent casting choice as Giacometti, as he keeps his theatrical instincts under wraps. And he looks so much like the artist did in later life.
Writer and director Tucci is unduly interested in what the artist didn't accomplish, in the self-doubt and angst he experienced taking his work to completion. Neither agony nor ecstasy, just messy.
On the home front, his domestic life involves a put-upon wife (Sylvie Testud) and the young prostitute who lived nearby. Bi-lingual actress Clemence Poesy lights up the screen as Caroline the flighty lover who Giacometti is obsessed with.
A brother, Diego (Tony Shalhoub), a fellow artist who lives upstairs, has some countervailing influence.
Most of the screen time is spent in Giacometti's studio, where his spindly, sculpted figures stand around in various stages of completion, waiting for final sign off.
At the heart of it all, is the relationship with James Lord (Armie Hammer), a writer and art critic visiting Paris at the time. Giacometti has asked Lord if he can paint his portrait, because, he says, he looks 'interesting'.
The painting will only take a short while, perhaps an afternoon.
But soon he is grumbling crossly at Lord that he'll never be able to paint him as he sees him,' as though his subject's matinee idol good looks were his fault. Lord takes his manly self to the swimming pool to settle his nerves.
Was Giacometti trying to disassemble those good looks, but found he couldn't credibly do it? It's a bit of a shock when he tells Lord with some antipathy that he has the head of 'a brute', and it needs a hint of explanation.
In fact, it eventually took 18 sittings to paint Lord who we see re-scheduling and re-scheduling yet again his flight back to New York.
In between times, the two men stroll through Pere Lachaise cemetery and drop into bars, while work on the portrait is deferred, or simply erased before the next sitting session.
Did Giacometti revel in difficulties he was unable to resolve? Seems he had a perverse determination 'to remain unsatisfied'.
Lord admired Giacometti, and was probably flattered by the interest that the artist took in him. From the perspective of a gay man, Lord may have been intrigued and privately amused by the knots that the artist and his retinue had made for themselves.
Tucci, whose fifth turn at film directing this is, allows the interactions to develop at a leisurely pace in his elegant, gentle but slight film.
Final Portrait is based on the book by Lord, A Giacometti Portrait, which was published in 1965, a year after the events of this film. Lord subsequently wrote a full biography of the artist twenty years later.
Perhaps Tucci should have used that as his inspiration. Final Portrait is on the slight side, and barely engages.
I admired the first film Tucci directed, Big Night. It had verve and vibrancy, while Final Portrait is contemplative, with an altogether different mood.
It wants us to consider an artist and his foibles, and the torturous artistic process behind those spindly sculpted figures that Giacometti is famous for. But at the end of it, this portrait of the artist as an older man doesn't reveal a character much more fleshed out than his sculptures.
Rated M, 90 minutes
Jane's reviews are also published on Jane's blog and broadcast on ArtSound FM 92.7
BRAHMS DOUBLE
National Capital Orchestra
Musical Director and Conductor: Leonard Weiss
Dimity Hall, Violin
Julian Smiles, Cello
Llewellyn Hall 21 October 2017
Reviewed by Len Power
The National Capital Orchestra's latest concert, under the baton of Leonard Weiss, focussed on three very different works, each providing a stimulating and entertaining experience for the audience.
The evening commenced with 'Chambers Of The South', composed by Natalie Williams in 2001. The work was inspired by a photograph of the Pleiades star cluster by astro-photographer David Malin at an exhibition in Adelaide in 1997. The colours and form of the formation are reflected in the different texture and tone colours of her composition. It's a beautiful work, shimmering with atmosphere and colour and it was played extremely well by the orchestra.
It was followed by 'Queen of Sheba', a four movement suite by Ottorino Respighi from his epic 1932 ballet, 'Belkis, Queen of Sheba'. As with other compositions by Respighi, it's a highly visual work with sensual dance music and romantic themes creating a mysterious world around the story of Solomon and Sheba. The four movements vary considerably from romantic dream sequences to a war dance and leading to a final movement of orgiastic dance. The orchestra was impressive in the quieter sequences and the finale was spectacularly played with clarity and full colour.
In the second half of the program, violinist, Dimity Hall and cellist, Julian Smiles, joined the orchestra for Brahms' Double Concerto. Composed in 1887, it is apparently not frequently performed today, perhaps because of the requirement of two equally matched virtuosic performances. Both Dimity Hall and Julian Smiles showed that they were more than equal to the task, playing with precision and great feeling and supported with fine playing by the orchestra. This work may be more familiar from recordings but to see it played live gives it another dimension, watching the performers passing the melody back and forth, creating the illusion of a single instrument.
This was another evening of fine music by the National Capital Orchestra. The musical director, Leonard Weiss, took the opportunity during the concert to announce a particularly exciting program for 2018.
About CCC
The 30 year-old Canberra Critics' Circle is the only such group of critics in Australia that runs across all the major art forms, not just performing arts. The circle changes each year depending on who is writing or broadcasting on the arts in Canberra. Our aim is to provide a focal point for Canberra reviewers in print and electronic media through discussions and forums. As well, we make awards to ACT region artists (defined as within 100km radius of Canberra) in the latter part of each year. The CCC has always resisted making awards in "best-of" categories. Arts practice is not a competitive race and Canberra is a small pool where it would be ridiculous to pre-impose categories, apart from major art form genres. The idea is that we, the critics, single out qualities we have noticed -- things which have struck us as important. These could be expressed as abstracts, like impact, originality, creativity, craftsmanship and excellence. The views expressed are solely those of the individuals providing them and do not reflect the opinions of the Canberra Critics Circle itself. Our year is from September 30 2020 to September 30 2021. Convener of the Circle is Helen Musa.
THE CARDINAL'S TEA SET - Come Alive Festival of Mu...
NIGHT SONGS
VETERANS FILM FESTIVAL - DARKEST HOUR
NOT LIKE THE OTHERS
STRICTLY BALLROOM - The Musical
THE FLOWERS OF WAR: THE HEALERS
versions of us
The Merchant of Venice - Bell Shakespeare
STRICTLY BALLROOM
SWEENEY TODD - The Demon Barber of Fleet Street
REEF UP !
MORNING MELODIES - Paul Martel and Jane Scali
Under Sedation: Canberra Verse Remix
SEVER - OZASIA FESTIVAL
THE ONGALS: BABBLING COMEDY. - OZASIA FESTIVAL
RISING - OZASIA FESTIVAL
ASTOR PIAZZOLLA ANNIVERSARY 1992-2017 TANGO
Morning Melodies - Paul Martell and Jane Scali
FOREVER CRAZY - Crazy Horse Paris
IN BETWEEN TWO - OZASIA FESTIVAL
THE DARK INN - OZASIA FESTIVAL
DAVID CAMPBELL - THE AUSSIE ASSASSIN
THE END - A VOCALOID OPERA. OZASIA FESTIVAL
ROMEO AND JULIET - Russian National Ballet Theatre
Back to Back Theatre
SCARY BEAUTY - MEETING POINTS -OZASIA FESTIVAL
GUDIRR GUDIRR
HOT BROWN HONEY OZASIA FESTIVAL
Drama Australia Symposium
Useless Lines


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Practically Haute
Sample Sale Reviews
Charlotte Olympia Says Goodbye To New York With A Farewell Sample Sale
May 25th, 2018 3 comments
Updated on September 2nd, 2018
Charlotte Olympia's whimsical and surrealist footwear creations have long cast their spell over the fashion elite. Her iconic kitty flats and sky high heels have graced many a fashionista's closets and won her multiple British accessories designer of the year awards. If you've ever dreamt of owning a pair of your very own Olympia shoes then now is the time to dig through those cobwebs and find some amazing deals! Earlier this week the London based label unveiled a special sample sale at 260's SoHo venue where most shoes were $150 and discounts reached as high as 90% off retail! As you can imagine the best deals like a pair of Crystal Kitty flats (retail $2,300) and Spindrella Clutch (retail $1,825) from the Spider-Man Homecoming capsule collection sold out pretty quickly but the sale is being restocked so let's take a look at what you can expect to find.
Weekend markdowns have arrived! Shoes now as low as $90 and nothing is over $150. Please scroll to the bottom for the latest price list.
Sadly all good things must come to an end but at least this farewell comes with a few substantial bargains. Earlier this year Charlotte Olympia announced that they will be filing for bankruptcy in the U.S. and have since shuttered all four stores in New York City, Las Vegas, and Los Angeles. The British brand has now began its liquidation process with two huge sales: one taking place here and the second scheduled to hit L.A. in June.
*This post contains affiliate links*
This week's event kicked off with a rather low key friends & family preview but the public opening was of course a much different story. Photography was not allowed so please bear with me as I'll be linking up many of the styles spotted at the venue. The sale takes up both floors of Greene Street location. If you are only interested in flats or children's shoes then head downstairs. There you will find iconic velvet slippers in a plethora of colors (and yes even black) along with limited editions like Kitty 35, Emoticats, Mid-Century Kitty, D'orsay Kitty, Kitty Slingbacks, Slides, and more. All women's shoes were priced at $150 (now $120) except trainers/sneakers that are $90. Second round of markdowns has started this weekend and boots are now $100 while men's shoes are $90. (Flats can retail anywhere from $425 to as much as $2,000). Besides the kitties, other flats styles included Flamingo, Rose Garden jacquard slippers, Fruit Salad, Mascot, Alexandra, and Posey just to name a few. It's worth noting that flats have been cheaper at some of the past sales (even as low as $100 once) but there were hardly any Kitty flats which, lets face it, are what everyone wants. This sale is essentially a liquidation and the stock comes directly from the newly shuttered boutiques and their US distribution warehouse, meaning that this is the best selection of Charlotte Olympia that we will ever see on sale! Children's shoes were $60 $40 and if you have a mini-me then be sure to use this opportunity to stock up! Kids' sizes range from newborn to women's size 34.
Following Photos are courtesy of 260 Sample Sale
Women's heels and flats now $120
Trainers, sneakers, and men's shoes are $90
The advertised discounts listed savings of up to 70% off retail which to be frank is pretty crappy for a sample sale. Thankfully there were discounts that went up to and over 90% off! These included handbags, wallets, and special edition footwear. Accessory lovers who shopped during the first few days were treated to $60 ($40) wallets, $45 ($30) small leather goods (like key chains and phone cases), and $150 (now $100) Feline Wallets on a Chain that unfortunately for us cheapskates were considered "clutches" and thus priced higher. Wouldn't it have been awesome if they were $60?! I was sorely tempted by some of the Perspex clutches (located in the back) but my practical side won over 😂 From a bargain perspective a $2,395 Pandora In Bloom crystal box clutch at $175 was a steal! But from a practical standpoint it can't fit more than a lipstick and this girl here always carries too much crap in her bag😳. Larger bags on the other hand were definitely more sensible and at only $250 (now $150) also really well priced. I kept telling myself that I have enough purses but that didn't stop me from going through major FOMO. I mean look at this Feline Backpack!!! 🤤 Why or why did I not buy one 🤦🏻♀. Check out the gallery below for some of the other bags and accessories I saw at the sale.
Handbags $150, perspex $125, clutches $100
Limited edition perspex box clutches
Handbag section is pretty depleted at this point
Finally it wouldn't be a Charlotte Olympia sale without some sky high heels. As her slogan says: "The higher the heel, the better you feel!" If I could still wear 5 inch heels I would have been tempted by Platform Dolly and Gladys or the new Pimlico VC. Although the biggest stand outs to me were Super Octavia (retail $1,575) cut out booties from Charlotte Olympia X Marvel Spider-Man Homecoming capsule collection.
High heels are now $120
Lots of heel styles available on the main floor
A few random notes. It seems that C.O. team did not initially price certain categories (Havaiana flip-flops, MAC beauty, etc.) 260 staff later informed me that all makeup/beauty items were $10 and flip-flops $40. These items are also now an additional 50% off although I doubt theres anything left at this point.
BOTTOM LINE: Special edition items were the best bets by far but of course they sold out early. There has been some restocking, including the kitty flats but the popular sizes are pretty much wiped out. Same goes for wallets and large bags. What's left are, as my friend calls them "hooker heels" and I highly recommend that you wait for more markdowns on those. The sale next moves to L.A. so I wouldn't expect any drastic discounts but it might be worth a trip if you're in the area.
150 Greene St.
kitty flats
sale report
Sky High Heels
Madeline Weinrib Bids Adieu With A Farewell Sample Sale
The Best Memorial Day Sales To Shop This Weekend
03 comments on "Charlotte Olympia Says Goodbye To New York With A Farewell Sample Sale"
Practically Haute , May 26, 2018 at 11:45 pm Direct link to comment
Updated with the latest markdowns.
LexingtonVintage , May 27, 2018 at 6:34 pm Direct link to comment
Do you think there will be additional markdowns today?
Practically Haute , May 28, 2018 at 8:38 pm Direct link to comment
Sorry about the late reply. Since this sale is headed to LA next month there were no additional markdowns.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Alan J. Solow
Vincent A. Laino, Jr
Alan Solow assumed the role of Weston President and Chief Executive Officer in September 2014, bringing with him more than three decades of experience with complex organizations in the engineering, construction and environmental remediation industries. As part of the Weston team from 1985-2009, Alan held multiple leadership positions including Vice President of DOE Programs, Senior Vice President of the Federal Programs Division and Chief Operations Officer. Just prior to returning to the company in 2014, he served two years as Chief Executive Officer of Cabrera Services, Inc., a leader in characterization and environmental remediation of radiological contamination. He was also a Senior Vice President of Shaw Environmental and Infrastructure, responsible for managing Federal Environmental Operations. Alan is a Certified Health Physicist, accredited by the American Board of Health Physics, and also serves as a Director on the Board of Weston's parent company, Weston Solutions Holdings, Inc. He holds a Bachelor of Science in Physics/Physical Science and a Master of Science in Health Physics from Colorado State University.
Learn more about Alan
Alan Solow
SVP & CFO
Vince Laino
SVP & COO
Larry Bove
SVP & CSO
Pat Taylor-Woodyard
SVP, Human Resources
Joe Hockenberry
SVP, Federal East Region
SVP, Federal West Region
SVP, State & Local Government and Commercial/Industrial East Region
Sally Jones
SVP, State & Local Government and Commercial/Industrial West Region
Steve Mitchell
SVP, Engineering, Science & Technology
Kara Fields
SVP, General Counsel and Director, Enterprise Risk Management
Steven F. Blarr


text:
Q: Upgrading from Npgsql.EntityFrameworkCore.PostgreSQL 2.0.0 to 2.1.2 Foreign Key Issue I have a project that I upgraded from Npgsql.EntityFrameworkCore.PostgreSQL 2.0.0 to 2.1.2
I have two classes directly referencing each other with a virtual link.
public class User
{
    public string FirstName { get; set; }
    public string LastName { get; set; }
    public virtual Account Account { get; set; }
}

public class Account
{
    public string EMailAddress { get; set; }
    public string DisplayName { get; set; }
    public virtual User User { get; set; }
}

And this was working fine, but after upgrading I receive the following error:

*

*$exception  {System.InvalidOperationException: The child/dependent side could not be determined for the one-to-one relationship between 'User.Account' and 'Account.User'. To identify the child/dependent side of the relationship, configure the foreign key property. If these navigations should not be part of the same relationship configure them without specifying the inverse. See http://go.microsoft.com/fwlink/?LinkId=724062 for more details.

So in my DataContext I set the foreign keys by adding
protected override void OnModelCreating(ModelBuilder builder)
   {
     builder.Entity<User>().HasOne(e => e.Account).WithOne(e => e.User).HasForeignKey<Account>(e => e.Id).OnDelete(DeleteBehavior.SetNull);
     base.OnModelCreating(builder);
}

This allows the program to compile and run, but whenever I reference User, Account is null and vice versa. I am not sure why I need to explicitly map my foreign key now since it wasn't necessary before upgrading, or even know to get it to work properly now.

redpajama_set_name: RedPajamaStackExchange


text:
Meet The Billionaire Robot Overlord Reinventing Walmart's Warehouses
Symbotic CEO Rick Cohen at the company's test center in Massachusetts: "I am naturally paranoid, and I wondered who was going to disrupt us."
Michael Prince for forbes
Rick Cohen spent his life building his family's traditional grocery distribution business into a $25 billion powerhouse. But the 69-year-old knows the future is automation and is betting big on a robotics firm that's building cutting-edge warehouses for mega-retailers like Walmart, Albertsons and Target—and is set to go public in a $5.5 billion SPAC deal.
Rick Cohen points to a floor-to-ceiling cage with multiple levels in it inside an industrial building in the Boston suburb of Wilmington. Dressed in khakis, a light-blue button-down shirt and a dark blue sweater, Cohen flips a switch to show off his 30-inch-wide, 240-pound robots. Inside the cage, the green plastic and steel bots, powered by artificial intelligence, travel at speeds up to 25 mph to pick up items from storage and then organize them onto pallets.
This location is just a test center. But in one of its large-scale warehouses, more than 400 of these autonomous bots—or even potentially more than 1,000—could zip up and down ten levels of narrow aisles completing more than 30 transactions per hour. The scale of it is hard to grasp. "It's a big Rubik's cube, a big Tetris game is what we call it," he says. "It's the miniaturization of the warehouse."
Cohen, 69, isn't your typical robotics guy. The owner and executive chairman of C&S Wholesale Grocers, the nation's largest grocery wholesaler with $25 billion in revenue, Cohen lives in tiny Keene, New Hampshire (pop.: 23,000), where C&S is based. He prefers to stay out of the limelight, almost never giving interviews. But he's also one of the nation's most successful CEOs even if you've never heard of him, having built his family's third-generation business from a regional player to a powerhouse that is the eighth-largest privately held company in America.
Now he's prepared to move into the spotlight with his warehouse robotics firm Symbotic, which he's been building, largely in stealth, for nearly 15 years. Symbotic, in which he and his family have a 95% stake with employees owning the rest, is announcing today plans to go public in a $5.5 billion deal with a special purpose acquisition company, or SPAC, sponsored by venture-capital giant SoftBank. The decision to go public comes five months after Symbotic announced a deal with Walmart—now its largest customer and a minority investor in the SPAC deal—to bring its robotic systems to 25 of its 42 regional distribution centers. That mega-deal, along with customers that include Target and Albertsons, as well as Cohen's own C&S, will help Symbotic increase its revenue for fiscal 2022 (ended next September) by around 80% to an expected $430 million. More impressive, its backlog of orders is now at least $5 billion.
The untold story of how Symbotic emerged as a power player in this fast-growing space began with Cohen tinkering around with technology to solve his own distribution problems at C&S. Grocery distribution is a cutthroat business with razor-thin margins, where any efficiency or piece of technology provides an edge over the competition. Today, however, Symbotic has moved well beyond helping C&S. Though Symbotic's revenue of nearly $250 million (for the 2021 fiscal year) represents just 1% of C&S' total sales, Forbes figures that it's worth more than double his main family business. It also constitutes the majority of Cohen and his wife Jan's wealth, which Forbes estimates at $6 billion.
Cohen's bet on Symbotic is likely to make him an even bigger fortune in the future as retailers face a shortage of warehouse workers and scramble to keep up with Amazon (which bought warehouse robotics firm Kiva Systems for $775 million in 2012). The total market for warehouse automation is forecast to explode to nearly $70 billion by 2025, from $30 billion last year, according to global technology researchers Interact Analysis. "Logistics is trillions of dollars in value, and it's only going to get more important as e-commerce becomes more prevalent," says Ash Sharma, senior research director at Interact Analysis.
No people, no lights: Symbotic's robots in action at Walmart's Brooksville, Florida, warehouse.
For Cohen, who built Symbotic with his own funds (he's put in "hundreds of millions" of dollars, he says) and stepped in as CEO in November 2017, there's vindication in getting the technology right after a long struggle. Even after taking it public, he'll hold on to a more than 75% stake. More important, the SPAC deal will give Symbotic $705 million in cash, which will give Cohen the flexibility to buy assets or smaller companies.
"As big as C&S is, in hindsight we probably could be significantly bigger if I had been willing to raise more capital early on," Cohen says. "You can never get it [capital] when you need it, so it's best to get it when you can."
Rick Cohen's grandfather Israel started C&S Wholesale Grocers in 1918 with Abraham Siegel in Worcester, Massachusetts. C&S, named for its founders, was a classic small business, operating out of a small brick warehouse and making grocery deliveries to stores in the surrounding area. Cohen bought out Siegel in 1921, but the name stuck. The business expanded slowly but steadily under Rick's father, Lester, who joined the business in 1955 and ran it for two decades.
Rick Cohen grew up in the business, but didn't originally intend to join it. "My grandfather told me I should be a doctor," he says. But in college at the University of Pennsylvania, he struggled with biochemistry. His best friend, who was at Wharton then, suggested he switch to business. "I found it very easy, and I decided I was good at that," he says. "I asked my dad junior year if I could come into the business and he was delighted."
When Cohen joined the family business in 1974, it had $50 million in revenue. Cohen—who bought out his father and older brother's stakes in the business in 1990—built it into a $25 billion (revenue) powerhouse, expanding into multiple states and strengthening its position through acquisitions. "I have watched him take unbelievable risks over the years as we made investments or leaned in on growth opportunities that were substantial—and had the potential to put us in a tough spot financially or operationally—and be successful," says Bob Palmer, C&S' chief executive who has worked with Cohen since 1986.
At the same time he was engineering deals at C&S, Cohen was also fiddling around with ideas for how automation might make the business better. In the high-volume, low-margin grocery wholesale business, efficiency matters a lot. Cohen had spent so much time in warehouses that he claims he was able to quickly see what was working and what wasn't. "It's how my mind works. . . . I can see things in three dimensions in both time and space," says Cohen, who once built a computer from a kit. "When I'm walking the warehouse, I see the motion, but I also see what should have happened two minutes ago and why it didn't happen. It would be better if I had the gift to solve world peace. But I have the gift of organizing and sequencing work in a particular time and making it happen."
Back in 1989, Cohen had rolled out his first major technological innovation with a wireless warehouse management system that allowed the guys on forklifts to communicate with other workers in the warehouse. At the time, it was a breakthrough—the first wireless warehouse management system, Cohen says. "The workforce became much more productive. It was a huge disruption. Some people wanted me to form a software company. I said, 'No, this is for C&S only.' That was a huge mistake," Cohen says, noting the success of publicly traded Manhattan Associates, which does that. "I said, 'If I ever have this opportunity again, I won't make that mistake again.'"
Even though he kept the technology for C&S only, the experience got him thinking about the next technological breakthrough. "I started reading everything about automation," he says.
In the late 1990s, C&S began building out its first automated warehouse in York, Pennsylvania, using off-the-shelf technology. It took many years to build out the 1.4-million-square-foot building, and required a third tower just for the automation. While it did make the warehouse more efficient, it was so large and expensive as to be unworkable. "I learned what automation should not be," Cohen says.
Then, in 2007, Cohen met with John Lert, an inventor and self-taught automation guy who now runs a robotics company called Alert Innovation. Lert had been working on an idea for retail automation, and was looking for the funding to develop it. He approached two big grocery wholesalers, Supervalu and C&S. Supervalu wasn't interested, Lert recalls, but C&S asked him to drive up to Keene, New Hampshire, for a meeting with its head of supply-chain management on a Saturday. "C&S was moving lots of cases so they were very interested in trying to reduce the cost of that," Lert says.
In Symbotic's warehouse robotics system, more than 400 robots zip along ten levels of storage—a scale of automation that's hard to grasp.
Cohen agreed to invest a small sum (neither will say the exact amount) in the company, then known as CasePick Systems, in 2007. "It was a complicated negotiation, and he's a hard negotiator," says Lert, who sold his stake in the business to Cohen in 2009 and left in 2011. "C&S is successful largely because Rick was able to negotiate a lot of acquisition deals at favorable terms to him. . . . When you are negotiating with Rick Cohen, you know you are negotiating with a pretty formidable negotiator."
The early days were tough as the new company, renamed Symbotic (for the symbiotic relationship between warehousing and robotics), struggled with the technology, trying eight different versions of the robot, and went through multiple changes of management—including four CEOs. "There were plenty of times where we said, 'Should we quit? Should we cut our losses?'" Cohen says.
In 2011, Symbotic built an early prototype at a C&S warehouse in Newburgh, New York. "Customers would visit to see the warehouse, and they said, 'If you can make that work, I'm interested," Cohen says.
The earliest robot had been little more than a piece of wood on wheels, but as Symbotic worked on its automation, including the complex software that enabled its bots to pick up items, it slowly got better. Then, in 2011, a supply chain exec from Target, which was a C&S customer in frozen goods, went on tour of the Newburgh warehouse and saw the early automation system.
At the time, Target was trying to figure out what to do with one of its large distribution centers in Woodland, California. The retailer needed more space to keep up with rising sales in the Southwest, but was constrained in how much square footage it could add to the existing facility. "They said, 'Oh, this is a perfect storage solution.' We said, 'We're doing it for the labor savings at C&S,'" recalls Cohen. (Target declined to speak with Forbes.)
Because of how tightly items can be stored in Symbotic's cage for the bots to pick up, its system allows a retailer to expand a warehouse's capacity without increasing its real estate footprint. A typical manually operated grocery warehouse might hold 10,000 or 12,000 individual items, while one that uses Symbotic's existing technology could pack up to 300,000 into two thirds the space. Because the robots can build more efficient pallets than humans can, stores can also spend less time and effort getting items to the shelves, allowing them to reduce staffing and decrease the amount of inventory on hand.
In 2014, Symbotic signed on Target as its first outside customer. Albertsons came onboard in 2017. Meanwhile, Cohen flew to Bentonville, Arkansas, to talk with Walmart's execs. He already had a relationship with Walmart because C&S had done distribution for some of its Supercenters in the 1990s. "They remembered me," he says. "It's a very small world, especially the food distribution space. It's a lot of word of mouth."
"There were plenty of times where we said, 'Should we quit? Should we cut our losses?'"
But Walmart, with $572 billion in revenue for the latest 12 months, is a behemoth, and Symbotic needed to prove that it could scale up to the level it required. In 2017, Symbotic started a test at Walmart's Brooksville, Florida, distribution center, about an hour north of Tampa. It was slow going and hit multiple roadblocks, but Cohen kept at it. "Rick doesn't like to lose," says Bill Boyd, Symbotic's chief strategy officer and former chief legal officer at C&S. "He's not afraid to fail or to make a mistake. If he thinks it will work, he will find a way through."
In November 2017, Cohen stepped aside as CEO of C&S in order to take over as CEO of Symbotic. "I came in because I was pretty well convinced that I had learned enough from my failures and other people's failures that I can do this now," says Cohen, who says he came to believe that no one else could do the job and make it work. "I tell people this is my retirement; this is what I'm doing in retirement."
Cohen delved into ways to make the technology more efficient. He wanted the inbound robots, which unpack pallets as they come into the warehouse, to get to 1,650 cases per hour, up from 900 in December 2019. To get there—"1650 or Bust," as it was called–Cohen stood over the bots with a stopwatch. "It's very hard to make the machines do it, but once you do it, it looks easy," he says. In a little over a year, the inbound bots hit his goal for the first time at Albertsons' suburban Chicago warehouse.
In the summer of 2020, Cohen and his chief information officer, George Dramalis, spent a week at Walmart's Florida facility, with masks on in the heat and humidity, to watch bots move inventory and pack pallets from 4 a.m. to 6 a.m. Afterwards, they'd go for breakfast at the local Waffle House or drive-through McDonald's, and talk through what wasn't working right. He discovered, among other things, that there was too much congestion where the bots dropped off cases, requiring Symbotic to add additional lanes to its design.
In July, Walmart announced that it would install Symbotic's system at 25 of its regional distribution centers. That deal, already worth billions to Symbotic, is likely to expand. "In short, this is a game changer," Joe Metzger, executive vice president of supply chain operations at Walmart U.S. wrote in a blog post. (Walmart declined to speak with Forbes.) "This first-of-its-kind tech when applied at our scale is revolutionary because it gets products onto shelves for our customers even faster, while saving time for our associates."
For Symbotic, the Walmart deal was equally game-changing. It represented a huge validation of its technology, which changes the way that warehouses operate. And where Walmart goes, other retailers follow.
More important, it set the stage for the SPAC deal. In August, SoftBank's Vikas Parekh, who first heard of Symbotic as the company began its search for partners for the deal, traveled from San Francisco to Florida to see Symbotic's technology in action. "With industrial software companies, which SoftBank has a lot of experience with, the revenue is very, very sticky," says Parekh, who will join Symbotic's board. For SoftBank, which is investing $200 million, the deal represents its first acquisition target as a SPAC sponsor.
The warehouse robotics automation field is enormous and fast-growing, but there are also lots of competitors. Large firms like publicly traded Honeywell and Germany's Dematic offer sortation conveyors and warehouse software, while a slew of venture-funded startups have introduced mobile robots and other next-gen solutions. Berkshire Grey, founded by the former chief technology officer of iRobot, went public in a SPAC deal in July; its shares have since fallen more than 40%, giving it a market cap of $1.2 billion. Meanwhile, venture-funded Locus Robotics, whose mobile bots handle e-commerce sales, raised new investment in February at a $1 billion valuation, then raised it again at a higher number seven months later. And over in Europe, AutoStore went public in what was Norway's largest IPO in two decades and is now worth $15 billion.
"This is a game changer. This first-of-its-kind tech when applied at our scale is revolutionary."
"There are lots of alternatives. I think that it's not going to be a single company that wins out," robotics analyst Sharma says. The big risk for Symbotic, therefore, may also be its biggest upside: Walmart. When Amazon acquired Kiva to automate its own warehouses, it left Kiva's former customers scrambling to keep up—and sparked something of an arms race in the field. "If you [a potential customer] see Walmart getting very cozy with Symbotic, you might think it is too risky to implement this," Sharma says. The other risk is that companies may choose solutions that cost less up front, such as mobile robots, which can handle e-commerce orders, even if they don't offer all the efficiencies at scale for a major retailer. "We think the ROI [return on investment] is much better in the space we play in," says Locus CEO Rick Faulk.
Symbotic's strategy for growth calls for moving into new industries, such as apparel and auto parts, expanding internationally and introducing new products. It projects revenue rising more than 90% between this fiscal year and fiscal 2023, to $832 million, and reaching $2 billion by fiscal 2025, with gross profits increasing from $102 million this fiscal year to $652 million by fiscal 2025 as software subscriptions on its installed base continue to grow.
Already, Cohen has new technology in the works. The current Symbotic system works for dry goods, dairy and produce. He's now working on robots that could withstand being in the freezer. That's a tougher problem because getting electronics to work in the cold (ice cream, for example, is stored at –20 degrees) requires better technology, including potentially military-grade chips, and constant lubrication of the robots and lifts. He's also working on a smaller, 18-inch-wide robot that could handle smaller items, like bottles or cans, rather than a full case. That would allow Symbotic to enter the rapidly growing area of e-commerce fulfillment.
Having cash on hand from new investors will not only let Cohen move quickly on R&D, it will also let him acquire smaller companies in a consolidating field—just as he did at C&S. "We've run into a couple of companies that have not been able to scale or finish a product," Cohen says. "I think we'll have opportunities to say, 'Why don't we buy your company and scale it faster?' I want to be able to do that."
Still, bringing on outside investors will be an enormous change for a man who's run one of America's largest private companies for decades. "Oh, I'm scared to death," he says, with a laugh. "It's not like we're a secret. . . . We live in a small town. We're not secretive, but we don't seek publicity. So being public will be different."
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text:
Q: Download the contents of react bootstrap table as CSV or Excel file I am very new to react so please pardon me if this is a silly question. But I have a react-bootstrap-table that I'm generating of the contents of a giant json nested object from an api call that returns say
`a.b.c` with many properties that I dont want to render

So we have something along the lines of,
`<ReactComponent prop={a.b.c}/> `

This generates a react table that I render
where I am doing,
`
const PropRow = (p,index) => {

        return(

                   {index + 1}
                  {p.attr1}
                  {p/attr2}
                  {p.attr3.map((object, i) => {object}	)}

          )
      }

const PropTable = prop.map((p,index) => PropRow(p,index))

`
Returning
`

     {PropTable}

`
Im following the tutorial here (https://blog.bitsrc.io/exporting-data-to-excel-with-react-6943d7775a92) and now want to download the table contents as a csv
But the table content is dynamically generated (in a loop and contains only 3 props of this giant nested list of nested json dictionary properties)
Is there a way to just download the final contents of the react-boostrap-table ?
Or do I first need to loop through my data, set the final contents of the table in a state object and just pass that final state only to make this possible ?
Thanks!


Creeper Trail Bike Rental - Shuttle Service has expanded. Our service, still relatively new to Whitetop VA, and our Damascus VA location make us unique. We are the only bike rental - shuttle service operating from the top, as well as the middle, of the Virginia Creeper Trail.
Having lived in the Whitetop area all of our lives, we have watched countless numbers of folks driving West on US58 to Damascus VA just to be brought back 17 miles up the mountain to the trail head at Whitetop Station. Now you have an option never available in past years. Since we are located near the beginning of the trail, you can rent your bikes from us, take a short, mostly downhill ride on a paved secondary road (or we will deliver you and your bike to the trailhead), and be on your way down the Trail. Then when you arrive at our Damascus shop, just catch one of our shuttles back up. This will save you time, money, and miles of driving when coming from points East of Whitetop VA.
When traveling I-81 in the Abingdon VA area, just take Exit 19, then East on US58 to Damascus. After coming into Damascus, stay on US58 past the Town Park (with the Red Caboose) and on through town. After crossing the Laurel Creek bridge, US58 bears hard right. Make this turn and we are just ahead on the right.
Also, both shops are right on US58, The Crooked Road, Virginia's Heritage Music Trail..
Both the Whitetop and Damascus shops are within minutes of several large campgrounds (see "Maps" link) including Grayson Highlands State Park, Grindstone, Beartree, and Creeper Trail Campground, not to mention the many nearby rental cabins and bed and breakfast inns. We also offer shuttle service pick up from most rental properties and campgrounds by reservation.
When traveling US58 and you get to Whitetop VA or Damascus VA, stop in and give us a try. We have Trek bikes and accessories, our Whitetop shop can get you on the VA Creeper Trail downhill ride quicker than anyone else, and we will do everything possible to make your trip to the Trail one to remember!
For up-to-date info on trail conditions, special events, and other announcements, visit our Creeper Trail Bike Rental blog.


Hi. Why is D incorrect? Thank you!
The short answer to that one, kcho, is that D is not the credited response because E is a better answer! The instructions are to pick the best answer rather than one that is good or that works, right?
Now I know that's not a very satisfying response, and I don't mean to be flip about it. While D is attractive, it's important to only call it a contender at first look, not a winner until you have determined that it is better than all the other answers. When you get to E you should think "well that's even better than D", and that in itself should be enough to select E over D without any worry.
So what's wrong with D, that makes it worse than E? First, in order to identify an assumption built into a claim that something IS fair (the conclusion is about something being fair, not something being unfair), you should prefer an answer that talks about being fair instead of one that talks about being unfair. The author need not assume that one thing is unfair in order to claim that the opposite of that thing is fair. They could both be fair! Isn't that annoying? It's like the law in that regard - sometimes two opposing outcomes can both be considered fair. If I flip a coin, is it fair that it comes up heads when I predicted heads? Sure. Is it fair that it comes up tails when I predicted heads? Still yes!
Now try our favorite tool for Assumption questions to answer E. What if people CANNOT be fairly represented when some people in that group get to vote for others? That would wreck this argument that the families would get fair representation, and that is exactly what you want to see in the correct answer to an Assumption question - the negation wrecks the argument.
Give that a try with answer D and you will see that the negation has no impact on the conclusion of the argument. Saying that one thing is fair won't prove that another thing is unfair.
I hope you find my explanation fair!
I see why E is the correct answer but similarly to the poster above I was a little trapped on answer choice D. I negated the answer to say: "It IS fair for lawmakers to favor interests of people who have the vote over interests of people who do not have the vote" so I thought this might weaken the argument in that the current standard is fair - there is no reason to enact any policy at all because it is fair for the policymakers to favor those who have voting rights over families whose children do not have voting rights.
In trying to determine why this answer is wrong, I came to the conclusion that the above argument attacks one of the premises of the stimulus rather than the conclusion of the stimulus that the policy would allow for fair representation. On the other hand E is better because it directly aims at the conclusion by showing that the stated policy change would not allow for the stated effect in the conclusion.
Let me know if this reasoning makes sense. Thanks in advance for your help!
I think your final analysis is the best one, Sophia - focus on the conclusion about fair representation, rather than on the proposal to allow the change to voting, and it makes it much easier to see why E is the better answer.
Another reason why D isn't an assumption of the argument is that it's not about giving preference to voters (adults) over non-voters (children), but about paying too little attention to the voters that have children. The problem is failing to favor one group of voters - parents - over another - non-parents - based on who they represent (families vs themselves). It's not the kids who are being neglected, but the families as a whole. Subtle difference, but perhaps helpful in eliminating that answer?
Another reason I picked D over E was because I did not identify the correct conclusion. I thought the conclusion was that lawmakers in democracies pay too little attention to the interests of families with underage children. Thus D met the requirement I was looking for. However, looking back at it now, the conclusion is actually the remedy suggestion, making E the more clear answer to my new expectation .
Your analysis looks good to me! With the conclusion identified correctly, you've got the right idea.


text:
Metro Newspaper Hires Maltz Auctions as Auctioneer
Metro Newspaper Advertising Services, Inc., seeks authority from the U.S. Bankruptcy Court for the Southern District of New York to employ Maltz Auctions, Inc. as auctioneer to market the Personal Property and conduct an auction sale of the Personal Property.
Bo Ex Ventures Hires FisherBroyles as Bankruptcy Counsel
Bo Ex Ventures, LLC seeks authority from US Bankruptcy Court for the Northern District of Texas, Dallas Division, to employ the law firm of FisherBroyles, LLP as attorneys.
Mann Realty Hires Keller Financial as Accountant
Mann Realty Associates, Inc., seeks authority from the U.S. Bankruptcy Court for the Middle District of Pennsylvania to employ Keller Financial Group, asaccountant to the Debtor.
D&M Investments Hires Mazurkraemer Business Law as Counsel
D&M Investments, Inc., seeks authority from the U.S. Bankruptcy Court for the Northern District of West Virginia to employ Mazurkraemer Business Law, as counsel to the Debtor.
INCA Refining Court Okays DIP Financing
The Hon. Jerry A. Brown of the U.S. Bankruptcy Court for the Eastern District of Louisiana has granted INCA Refining, LLC, and its debtor-affiliates permission to obtain DIP postpetition financing from White Oak Strategic Master Fund, L.P., White Oak Opportunity SRV, L.P., and White Oaks Strategic II SRV, L.P.
Grand Health Realty's Diamond Royal Condo Unit Up for Sale Dec. 8
Pursuant to a Judgment of Foreclosure and Sale dated October 12, 2017 and entered on October 19, 2017, Lamont Bailey, Esq., as Referee, will sell at public auction at the Queens County Supreme Courthouse, 88-11 Sutphin Blvd., in Courtroom # 25, Jamaica, NY on December 8, 2017 at 10:00 a.m., the premises situated in the Borough of Queens, City and State of New York in The Condominium Unit known as Unit No. CO-1A in the Building known as "Diamond Royal Plaza Condominium".
Cranberry Growers' $13M DIP Loan Has Final Approval
The Hon. Catherine J. Furay of the U.S. Bankruptcy Court for the Western District of Wisconsin has entered a final order authorizing Cranberry Growers Cooperative to obtain postpetition financing from CoBank ACB and use the cash collateral of CoBank arising from a prepetition secured loan to the Debtor.
COPsync, Inc. Auction Set for Nov. 20, Bids Due Nov. 16
Vision Quest Lighting Taps Paritz & Company as Accountant
GST AutoLeather Committee Taps Berkeley as Financial Advisor


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Sifnos is a beautiful island with many bays and amazing sandy beaches.
Crystal clear waters help visitors to relax and enjoy the bright sun touch of Cyclades unique blue sky.
In this section using the interactive map you can find useful information about Sifnos island beaches.
There are some more beaches and many more smaller ones, that we will let you discover!


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Tapper Cuddy
Steps in a Civil Litigation Case
By Chris Wullum
The decision to pursue a civil litigation lawsuit should only be done after careful consideration of the merits and risks involved and receiving legal advice on your options. Commencing the litigation process usually starts with the filing of a court document that names the parties to the lawsuit. Within this document, the parties that are bringing the claim and seeking certain relief or damages are known as the "plaintiffs", and the parties being sued and contesting the claim for relief or damages are known as the "defendants".
This document will set out the basic allegations, or material facts, of what occurred, as well as the legal basis for the claim, often described as the cause of action. It will further provide a description of the types of damages being sought by the plaintiff against the defendant. This initiating document is referred to in Manitoba as a Statement of Claim or in some instances a Notice of Application.
After the initiating document is filed at the Court of Queen's Bench of Manitoba, it is then served on each defendant named in the claim. The defendants will then have a period of time, which is specified by the Court of Queen's Bench Rules or as otherwise may be agreed upon by the parties, to file with the Court a written response to the claim in a document known in Manitoba as a Statement of Defence. Similar to the Claim, this defence or response will set out the basic responses of the defendants to the allegations made by the plaintiffs in their claim.
The claim and defence are also known as "pleadings". Once defences or responses are filed by the defendants and any replies to the defences are filed by the plaintiffs, the Court under its Rules will consider the pleadings to be 'closed'. At this point, the pleadings stage of the litigation process will have been completed, subject to any party seeking to amend their claim or defence which can occur with the approval of the Court or on consent of the parties.
Once pleadings are closed, the next usual step in the litigation process is referred to as the discovery stage. The purpose of this stage is to allow the parties in the case to obtain a greater understanding of the facts and details of the opposing party's case through the disclosure and "discovery" of documents and testimony. This allows each side the opportunity to better understand and assess the opposing side's case, to know what case they must answer to at a trial, and to promote the possibility of settlement through the disclosing of evidence.
There are generally two parts to the discovery stage in a civil litigation proceeding in Manitoba, although depending on the specific type of claim and amount of claim, there can be slight differences to this process. The first stage generally involves documentary discovery in which the parties compile a list of all of the relevant documents that they have in their possession, power or control. This list of documents is usually referred to in Manitoba as an Affidavit of Documents as the party will attach their lists of documents to a sworn Affidavit confirming that the list is a full and proper description of all such documents in their possession, power, or control. Most relevant documents would need to be disclosed to the other side in the process, but there are certain exceptions at law generally related to what are known as "privileged" documents.
The second aspect of the discovery stage in Manitoba is known as examinations for discovery. Examinations for discovery can be an important part of most lawsuits. It is part of the discovery stage in which the lawyers may ask questions and seek answers under oath from the opposing parties to the case. This questioning by counsel is typically done in a board or meeting room with a court reporter or stenographer present to transcribe the questions asked by counsel and answers given by the party. Counsel for the party being examined is present with their client and has the right to object to any questions asked by opposing counsel that are irrelevant or otherwise inappropriate for discovery. This step is not done in front of a Judge and as a result usually occurs in a slightly more informal manner than how evidence might be taken at a trial.
The purpose of an examination for discovery is to allow each party to better understand the evidence of the opposing party's case and to seek admissions of facts and evidence relevant to the case. An examination for discovery can take several hours or even days depending on the facts and complexity of the case.
The examinations for discovery are an important step in the litigation process as it is an opportunity for each side to learn many specific factual details of the opposing side's case. It allows counsel to further assess the evidence of the case and even permits them to assess how the person being examined may present as a witness at trial. It aids counsel for the parties in assessing the relative strengths and weaknesses of the claim or defence, and therefore can play an important part in influencing settlement of a case.
Generally, once the discovery stage is complete, the next step in the litigation process is for counsel for the parties to schedule a meeting with a Judge from the Court to discuss the status of the litigation at what is known as a pre-trial conference.
The Judge at such a conference will discuss the issues and facts of the case with counsel often with a view to determining if there is any possibility of a settlement to the case or if the case needs to proceed to a trial to be decided. In Manitoba, trial dates are now scheduled at the first pre-trial conference and are generally scheduled within 12 – 14 months from the date of the pre-trial conference.
A trial is the formal court proceeding where evidence, both documentary and oral testimony from witnesses, is presented to a Judge who will then make a decision of whether the claim succeeds or is dismissed, and if so, what relief or damages should be granted, if any. The length of a trial can vary depending on the nature of the case and its complexity. Some trials may only take a few days while others can be scheduled for weeks.
In rendering a decision, the Judge may sometimes "reserve judgment" and take weeks or sometimes months to make a decision on the case. The Judge will sometimes issue his or her decision orally in Court or more often by way of written reasons that detail the basis for the decision, including the facts and legal arguments that were accepted and relied upon by the Judge in reaching that decision.
In some instances, the decision of the Judge following trial may still not be the end of the litigation process. The unsuccessful party has the ability to appeal the decision of the trial Judge to the Manitoba Court of Appeal. The appeal process is much more limited than a trial and is based only on the evidence presented at the trial. The grounds to appeal a trial decision are generally limited to errors of law committed by the trial Judge or significant errors in interpreting the evidence at trial, often expressed as palpable and overriding error.
An appeal is usually heard by a panel of three Appellate Judges from the Court of Appeal and the hearing consists of legal argument by counsel. Generally, no new evidence or testimony is permitted to be given on an appeal, unless special permission is granted by the Court.
Again the Appellate Judges will consider the argument on appeal and give a decision on whether the trial Judge's decision stands or if the appeal is allowed and the trial Judge's decision is overturned. Similar to a trial Judge, the Appeal Court will often reserve decision with the Court providing written reasons for its decision several weeks or months after the appeal hearing.
From a Court of Appeal decision, an unsuccessful party's only means of further challenge to the decision is to seek leave to appeal to the Supreme Court of Canada, the highest level of court in our country. It is only in rare cases that the Supreme Court of Canada grants leave for appeal as it generally only hears a limited number of cases and looks to consider issues that may be of general or wider public importance.
It is important to note, that there are now other variations and possible options on how a civil litigation case can proceed in Manitoba under recently amended Court Rules. A discussion of these new options and some of the changes to the Manitoba Court of Queen's Bench Rules will follow in subsequent articles.
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9.5 in. mower blade for Greenworks twin force mower.
Durable steel blade for reliability.
Compatible with mower model 25302.
Are there replacement nuts you can purchase with these. I lost one of the nuts which hold the blades on.


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Herbert Howells decided at a young age that he wanted to compose music and then sought out musical training. His most important teacher was the cathedral organist at Gloucester, Herbert Brewer, and he became Brewer's assistant. At the age of 20, he entered and won an open scholarship competition at the Royal College of Music. His main teachers were Charles Wood in counterpoint and Charles Villiers Stanford in composition. He is said to have been Stanford's favorite pupil and Stanford conducted Howells' Piano concerto No. 1 at a Queen's Hall concert in 1913. Meanwhile, Howells' Mass in Dorian Mode was sung in Westminster Cathedral. In 1916, his piano quintet became the first work to be published under the Carnegie Trust. He obtained a position as a sub-organist at Salisbury Cathedral, but had to give it up because of ill health, which had already kept him out of military service during World War I. He was not expected to live, but did recover and in 1920 was able to resume his career. He started teaching composition at the Royal College of Music in 1920. His compositional style quickly emerged: it is in the tradition of modal, folk-based music that is sometimes called "English pastoralist," continuing the trends of Elgar and Ralph Vaughan Williams. His imagination was often stimulated by particular places and by people he knew. This holds true even for his large body of church music, which was not inspired by religious sentiments ("I am not a religious man any more than Ralph was," he once said). It is probable that he wrote so much church music simply because he liked choral writing and his style is rich and melodic. Although he wrote a substantial amount of fine instrumental and orchestral music, his choral and other vocal music is considered the work most likely to keep his memory alive. His masterwork is usually considered to be the Hymnus paradisi, a quasi-requiem he wrote out of the grief suffered when he lost his nine-year-old son in 1938. It is a visionary work, with the kind of deep but quiet feeling that is also associated with Frederick Delius. He received other teaching appoinments as well. After Holst's death in 1934, Howells was chosen to succeed him as director of music at St. Paul's School and in 1954, he was named King Edward VII Professor of Music at the University of London. He was made Commander of the British Empire in 1953 by Queen Elizabeth II. He retired from his St. Paul's position and the University of London post in 1964, but retained his professorship at the Royal College of Music and held classes there almost right up to his death at the age of 90.
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Howells: Choral Music
The Choir of King's College Cambridge
Classical - Released January 1, 1992 | Decca Music Group Ltd.
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Howells & Bax: Choral Works
Paul Spicer
Classical - Released September 1, 2013 | Chandos
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Clayton S. Rose, Ph.D., of Brookline, Mass., has been elected president of Bowdoin College, effective July 1, 2015.
The announcement was made Monday, January 26, by Bowdoin Board of Trustees Chair Deborah Jensen Barker '80, P'16 following the unanimous and enthusiastic recommendation by an 18-member Presidential Search Committee and a unanimous vote of approval by Bowdoin's Board of Trustees. Read more.
Congratulations Barry, Deborah, Jes, Board of Trustees, Presidential Search Committee, faculty, students and parents on the selection of Clayton Rose as Bowdoin's next President. While he has very big and beloved shoes to fill, I'm excited for his arrival and delighted that he comes with such a marvelous background and such great enthusiasm for becoming a member of our college and its rich, storied and successful history and our passionate and devoted community.
Congratulations to Clayton Rose, a wonderful choice to succeed Barry Mills. Thanks to Barry Mills, Deb Barker, Jes Staley and the Search Committee for their leadership and insight during this process. Michael Porter once spoke to the Bowdoin Board of Trustees at an offsite retreat. He stated that the single greatest responsibility of a Board of Trustees is selecting a President. My compliments to the Board Members on the Search Committee for seizing that responsibility and having the wisdom to work collaboratively with the broader Bowdoin community to make an inspired decision.
What a great selection. I met Clayton 35 years ago as young bank trainees and have stayed in touch occasionally over the years. He understands Bowdoin and will be a wonderful leader of our college. Congratulations to all!