text:
Irvin Ehrenpreis
The Twenties: From Notebooks and Diaries of the Period
by Edmund Wilson, edited with an introduction by Leon Edel
Farrar, Straus and Giroux, 557 pp., $10.00
Edmund Wilson; drawing by David Levine
From the bleak isolation of a provincial elite, young Edmund Wilson drove himself to escape by way of cosmopolitan society, sexual freedom, and high culture. A dreary chronicle of alcoholic camaraderie now reveals that his personality had set too deeply and too soon for indirect methods to transform it. In middle age he would come to terms with his fate, realizing that the humanistic tradition gave meaning to his life even if it could not expel his demons.
Wilson was the only child of a melancholy lawyer who thought gambling in stock shares was immoral, and of an ardent gardener who loved spectator sports. Both parents belonged to rich, distinguished families; both were hard to talk to. The father was self-absorbed and hypochondriacal; the mother was deaf. Mr. Wilson senior began having breakdowns when his son was an infant, and he spent his later years in and out of sanatoriums. Mrs. Wilson would have liked Edmund junior to be an athlete; she did not read his work.
When Wilson was growing up, the family relations constituted his social circle. He collaborated on literary projects with a favorite cousin Sandy Kimball, who became his only "really close companion" before Wilson went away to prep school. They read Studies in the Psychology of Sex together, and Sandy disturbed him with tales of homosexual experiences at St. Paul's School. When Wilson returned from military service in 1919, he discovered that Sandy was now schizophrenic, living in a sanatorium.
At this point, where an earlier and mercifully thinner volume left off, Wilson's fat new gathering of autobiographical materials takes up. Some hint of its limitations may be conveyed by his treatment of the month of May 1923. About the beginning of that month he married the actress Mary Blair. Mrs. Wilson senior disapproved of the bride, and Mr. Wilson had discussed the matter with—of all people—Frank Crowninshield, his son's epicene boss at Vanity Fair. But Dean Gauss of Princeton, Wilson's surrogate father, at once invited the young couple for a visit and politely wondered whether the new wife would take her husband's name.
On May 8 Wilson had his twenty-eighth birthday. The following week, he and his mother visited his father in the hospital where he was dying of pneumonia. Just before the end, the sick man asked them for the doctor's opinion, and his wife gave a little cry. But as soon as she came downstairs with her son, she declared what was really on her mind: "Now I'm going to have a new house." The only entries in The Twenties under May 1923 are descriptions of landscapes—although Wilson mentions the talk with Crowninshield in an editorial commentary.
It looks as if he would have liked to furnish his audience with a panoramic view of American civilization through the eyes of an acute observer. He supplies lists of popular songs and current slang, like Joyce making notes for Ulysses. He describes clothes and coiffures; he offers glimpses of town and country in all seasons and hours, like sketches for Impressionist paintings. He rehearses anecdotes of Santa Barbara, New Orleans, Pittsburgh, New York—the fragmentary annals of more drunken conviviality than Volstead himself might conceive of.
Wilson also saw fit to republish here a few essays not found worthy of inclusion in earlier books. Of the apparently new materials, the liveliest can generally be seen better framed as he shaped them in his old pieces of fiction or journalism. I wonder how many persons will wish to study the raw data of "The Men from Rumpelmayer's" or of the Coney Island episode in I Thought of Daisy.
For readers of a diary the date and integrity of the entries are of crucial importance. Yet we are left largely in the dark about the text of The Twenties. We do not know how Wilson decided which passages to preserve. We are unsure whether or not he omitted bits within those he prints. In his introductions and notes Wilson gives us valuable information about his life; but do we not sometimes trace his editorial hand wandering into the entries themselves? Most of the material is not dated; some entries are cryptic notes; often one cannot identify the people Wilson mentions.
The scandalous feature of The Twenties will probably be the record of Wilson's sexual tact (such as it was) with humble women. While he excluded any account of his first or second wedding from this selection of memorabilia, he kept the notice of his first condom, bought when he was twenty-four. To prove its tensile strength, the clerk blew it up. But the balloon burst, "and this," as Wilson remarks, "turned out to be something of an omen."
Over ten years and countless condoms later, when he ends these annals, he is dislodging the lice he acquired from a waitress (whose husband was in Sing Sing), divorcing his first wife, and taking his second on a holiday in Connecticut. The previous spring, he had recovered from a near-breakdown due to suicidal depressions and anxiety. Gonorrhea had come and gone a couple of years still earlier. So had the whore in New Orleans who "simply threw herself on her back across the bed with her feet hanging down at the side and pulled her skirts up over her stomach."
During the decade, the sexual connection that meant most to Wilson was a waitress who is here named Anna. Readers of Wilson's story "The Princess with the Golden Hair" will easily recognize the entries that deal with her visits to his lodgings. Transcribed into that short novel is a reasonable facsimile of the notes on Anna in The Twenties. In both versions the author seems to cherish her as a blissful combination of sex machine and case history. When he is not celebrating the "rank mossy underparts, the mystery, the organic animal, the human furnace of heat and juice," he is gathering data on her background and living conditions—e.g., "The sister's family tried to live on $24 a week."
When Memoirs of Hecate County was published, with "The Princess" as its largest component, Diana Trilling said the detailed sexual passages disturbed her not because they were daring but because of the gap "between sensation and emotion." The gap is more offensive in the original journals. Some readers may have hoped that the fiction was not autobiographical, that the narrator's attitudes were not Wilson's. We can now be sure that in the least attractive ways they represent the same sensibility.
Even if we neglect Anna, we cannot feel perfectly complacent to discover that the old girl friend who returns at the end of the story, and who, in the narrator's unflattering words, "came to bed right away, as a matter of course, with happy eyes wide-open in the daylight," was wearing the shoes and delivering the speeches of Margaret Canby, whom Wilson married in 1930. As Matthew Arnold said of the Deceased Wife's Sister Bill, it is a question not of law but of delicacy.
This gap surely represents a characteristic failure of Wilson's imagination. Contrary to what one might suppose from the thousands of notations of reality in the new book, Wilson's creative force did not work best on the real, familiar, intimately known world. The more facts he collected about Anna, the less he was able to give her the independence of a work of art. It was not as a writer of reality-based fiction or as a social reporter that he excelled but as a literary critic. It was Joyce, Flaubert, Marx—men incarnate in books—that truly excited his sympathies.
In Wilson's best criticism, sensibility does the work of intelligence. His desire to identify himself with literary genius, to appreciate its rhythms, to convey its visions, rose easily above his powers of analysis. He had an excellent memory and, for an American, a rare mastery of languages. He grew up with an old-fashioned knowledge of Latin and Greek literature; one of his attractive displays in The New Republic was a duel with a pedant over the character of Sophocles' Antigone—in which Wilson proved himself to be correct. And of course he set out to acquire Russian at an age when most critics consider their education complete.
Wilson longed to give his criticism a solid foundation in philosophy; and he tried hard to ally himself with Whitehead's metaphysics and the tradition of Marxism. But he never produced a thorough piece of original scholarship—the generalizations about "classicism" at the beginning of Axel's Castle are crude and false—and his appeals to logic or philosophy were seldom profound. What set Wilson apart from the run of our critics was the relation between his taste, his learning, and his sympathetic imagination.
We learn from The Twenties how subtly Wilson felt estranged from the women who accepted him. In life, of course, such ambivalence is treacherous; and one cannot be pleased to see Wilson transform vulnerable creatures into instruments of pleasure and social research. In his fiction the defect was fundamental. As if he were protecting the core of his personality, he held back or simplified his intuitive responses to gnarled emotions. Depth of characterization, like suspenseful narrative, was out of his range.
So also his social reportage was rarely as useful as his literary criticism. While Wilson genuinely wished to strengthen the oppressed classes, one reason they attracted him was that they started so fascinatingly far from his own sources. Impulsive benevolence is not the same as insight; and his approach to the poor was external. Like a rescuer swimming a polluted lake, he offered his clients an instant advocacy that betrayed as much discomfort as indignation.
In an article called "Mr. Foster and Mr. Fish," Wilson reported the hearing of witnesses by a congressional committee investigating communism. It was simple enough for him to expose the rhetoric of American statesmanship, and only a little harder to represent communist witnesses as men of good will. He certainly did not suppress the defects of the communists' position, but he never sneered at them. He reserved his sneers for the final witness called by the committee: "one of the most untrustworthy characters who has surely ever been called upon to testify to anything, a pale-eyed, shifty-eyed, shaved-headed man, represented as an honest Russian farmer."
Almost certainly this man was just what he claimed to be; and Wilson later felt so embarrassed by the bias of the description that when he reprinted the article in a collection, he drew attention to his error, saying he left it to show how partisanship could "fabricate favorable evidence." He did not remark that in the republication he had softened his original language. (A general statement at the beginning of the whole volume did warn readers about revisions.)
Wilson's real strength is seldom analytical or statistical. As a historian of ideas he is not at home with subtle systems of thought, and his yielding to sensibility becomes more dangerous here than in journalism. But when he criticizes literature, it is precisely by being drawn to alien types that he shines. He seeks out, as Alfred Kazin says, "subjects from which he feels excluded by temperament." German literature means less to him than Russian; French literature means more than British. His important book Axel's Castle deals with Symbolism, a literary movement that defied his social sympathies.
The connection between political justice and the creative imagination, or between art and morality, was Wilson's riddle. He took too much delight in literature to suppose that its value depended on the lessons it taught. Yet he could not bear to isolate heroes like Proust from centuries of effort to improve the lives of the poor. So he transferred the moral value of literature from the meaning of the work to the implications of the literary career. Instead of celebrating the cordial powers of aesthetic experience, he celebrated the exemplary courage, self-denial, and suffering of the makers of art.
When he came to write a book about philosophers of social revolution, Wilson reversed the process. Instead of praising them for the effect of their gospels upon the human condition, he praised the power and complexity of their embodied visions, the heroism of their devotion to revolutionary socialism. Implicitly, he tells us to disregard the savagery of the regimes that came to power while admiring the mind of the thinker who heralded them.
Unfortunately, the principle that seems justified in Axel's Castle and is misleading in The Wound and the Bow becomes pernicious in To the Finland Station. As if he felt guilty for the joy he found in literature and other arts, Wilson seemed to shrive himself by associating creation with pain. In effect, he made the poet suffer to redeem the reader. This doctrine has some relevance to the Symbolist masterpieces but little to other works whose authors found their deepest pleasure in literary composition.
Applied to Marx and Lenin, the principle becomes almost an insult to humanity. One does not judge governments by the dreams of their prophets. If Lenin met history at the Finland Station, it was not as lovers join at the church door but as an enthusiast rushes at the ghost of a foe. Wilson, describing Lenin's rendezvous as a moment when Western man might be seen "to have made some definite progress in mastering the greeds and fears, the bewilderments, in which he has lived," only reveals how thirstily he imbibed that austere despot's aspiration. To sacrifice his critical judgment for such transient refreshment was a poor bargain.
Reviewing Lenin's deeds when he arrived in Russia, Wilson evokes their setting, the palaces of St. Petersburg, and he calls those splendid, life-giving masterpieces "pompous façades," whose artisans, he says, "Peter the Great had sent to perish in building it in the swamp." As one observes this belittling of art in the supposed interests of humanity, one recalls the stronger words of Solzhenitsyn looking at the same scene with Lenin's legacy in mind: "What of our explosions of protest, the groans of men shot by firing-squads, the tears of our women: will all this too—terrible thought—be utterly forgotten? Can it, too, give rise to such perfect, everlasting beauty?"
Unlike Wilson, Solzhenitsyn did not have to surrender his aesthetic judgment to his moral conscience. He memorialized, better than Wilson, the martyred laborers who "ground their teeth and cursed as they rotted in those dismal swamps." But he did not suppress his delight in their creation: "It is alien to us, yet it is our greatest glory."
So it is indeed wonderful, as Irving Howe suggested, that a critic born and educated in our country should have encompassed the breadth of historical scholarship wanted for the making of To the Finland Station. But Wilson's congenial vocation lay elsewhere. For American critics today he sets an example that does not depend on mastery of languages and texts—a mastery which our schools today would hardly tolerate. Rather, he offers a model of approachable virtues built one upon the other.
A critic's job starts with his willingness to make independent judgments. How fallible Wilson's response could be must be known to anyone who has met his appraisals of Frost or Wallace Stevens, or his cautious commendation of J. M. March's long poem The Wild Party (1928: "Some love is fire: some love is rust: / But the fiercest, cleanest love is lust," etc.). But how much better to risk a stupid blunder than to ignore one's chief duty. Fifty years ago, Wilson wrote "The All-Star Literary Vaudeville," a bold survey of contemporary authors that a wise editor included in an annual collection of critical essays. Of the twenty-eight other contributors not one came near Wilson in his determination to particularize blame and praise.
He never lost this desire to put his private opinion to a public test. Among the few fresh but moving paragraphs in The Twenties is an apology for this part of his labors: "The sober judgment which, by an effort, I was able to muster in print was nothing more than compensation for the disappointments and humiliations of a life which never hit the mark or suited the means to the end." I attribute the chagrin here to the sense of doomed isolation Wilson derived from his father; the modesty remains touchingly his own.
Luckily, his successes were splendid, and one aspect of their splendor was Wilson's urge to do battle with the provincialism of his family's culture. Just as people like Anna shook both his smugness and his diffidence, just as French and Russian literature refined his intellectual energies, so in dealing with American literature Wilson tried himself not only on the safe ground of familiars like Fitzgerald, Dos Passos, and Millay, but also in strange and remote territories. His discriminating review of The Fugitives would do honor to an authority on Southern literature, and is only one instance of his luminous sympathy with Southern writers. In Patriotic Gore this sympathy affords Wilson a Homeric generosity and detachment; it redeems his long-windedness and lets him treat Stephens or Cable with more penetration than Holmes.
So it was natural for Wilson to deny himself those easy acts of dismissal in which bold critics often like to indulge. High standards of judgment usually work against sympathetic appreciation. A critic eager to elevate taste is often slow to identify himself with unclassified authors writing in strange new styles. But the sarcasm of Poe or Leavis is not the best model for useful criticism today. Wilson rarely demolished a young reputation in order to show off his irony. He was eager to recognize promise; he was prepared to risk his name; he strove not to be a hanging judge.
Such catholic appreciation of new talent gets much of its value from a promptness of response. "He who gives quickly gives twice," runs an old proverb that might have been Wilson's slogan. Joyce and Hemingway are only two of the best-known cases of his shocks of recognition. Yet this very talent produces a difficulty when we read collections of his essays.
Constantly what we look for is not merely Wilson's opinion but his opinion at a particular time. In presenting his collections, he warns us that he has revised the texts. Yet I doubt that many readers realize how full his changes could be. It is one thing to mend an error in grammar; it is another to brighten a eulogy or to weaken a condemnation. Surely it matters that a description of Frost's verse as "abominable" in 1926 should reappear as "very poor" in 1952, signed with the original date; or that Burton Rascoe should be granted "intelligence" in 1926 but "ease" in 1952, still over the old date.
With social and political essays the chance of misunderstanding is greater. "Shut Up That Russian Novel," one of Wilson's least fortunate attempts to salvage a shred of his prophetic mantle from the wreckage of Stalinism, was first published in The New Republic April 6, 1938; and over that date it is found in The Shores of Light—but quantum mutatum! Not only are emphases and epithets pervasively altered, but a whole paragraph on Stalin's administration is dropped, perhaps because it ended with the suggestion that Yezhov might be replacing that "quiet and self-effacing" figure.
Finally Wilson rid himself of the itch to mend our society with Marxism. He revived his early impulse to serve the people by cherishing the strong elements of our highest civilization. He understood that one advances democracy by enriching its culture, and not by celebrating its common denominators.
At the end of I Thought of Daisy the narrator supposes he has broken out of the isolation of the creative spirit by an ideal of making art into a rose-tinted mirror of average America. Thinking of humble people, he says, "What is good for them is good for us." He was wrong, and Wilson came ultimately to believe that what is good for "us" is good for "them."
He came to understand that shallow morality and thin culture were privileges shared equally by all strata of the American population, and that to offer any class something less than the Catullus and Dante who rang in his own ears was to show contempt for them. Warner Berthoff called attention to Wilson's declaration, "There are few things I enjoy so much as talking to people about books which I have read but they haven't, and making them wish they had"—not a bad definition of an American critic's responsibility. If our democracy can inspire "hatred, apprehension, or scorn," the man who refines it must accept the role of fatherly teacher and do for his fellow countrymen what Gauss did for Wilson.
Withdrawal or isolation of some sort is natural to the operation of genius; and a poet must write about what calls out his best energies, not about his nation's heart. But the critic does have to speak to a nation, to cherish its authors, to build a high, slender bridge between the retired artist and a people spiritually impoverished. It was in the hours of such accomplishment that Wilson liberated his mind from the gloomy self-blame that hovered about him.
More by Irvin Ehrenpreis
The Seductive Journalist
Art, Life, and T. S. Eliot
The King of Correspondence
Irvin Ehrenpreis (1920–1985) was the Linden Kent Memorial Professor of English Literature at the University of Virginia. In 1984 he received the Christian Gauss Award from Phi Beta Kappa for the final volume of his trilogy, Swift: The Man, His Works, and the Age.
November 20, 1980 issue
Janet Malcolm
Thoughts on Autobiography from an Abandoned Autobiography
Not only have I failed to make my young self as interesting as the strangers I have written about, but I have withheld my affection.
At Lady Ottoline's
'Knee Deep in the Hoopla'
Effie Traylor-Parkes
Neither Here Nor There
Mozart in the Stacks
Murray Kempton


These rides are best suited to beginners, or those returning to cycling.
Saturday rides follow a standard route starting outside Rushall station, North Fitzroy to Port Melbourne at an easy pace and along bike paths and bike lanes. At Beacon Cove riders stop and enjoy a coffee and chat.
Starting time is 9:30am and the aim is to return by 1:30pm.
Contact George, 0409 413 945.
These rides are longer and follow variety of routes.
Most of the rides listed include the riding distance so it is possible to determine if you think it is suitable. Please ring up a contact person if you have any queries.
Starting time 9.30 am, unless stated in the ride description.
Bicycle type: All types of bikes are suitable.
Riding speed About 18 km/h but with regular stops for regrouping.
Refreshments: Rides stop for morning tea, lunch and afternoon tea. Riders generally bring morning tea and lunch while the afternoon stop generally includes a coffee shop.
– Over 35c There will be no "official" ride but any riders still wishing to ride can turn up at Jika to meet up with like-minded riders.
From time to time the BUG organises weekend or long weekend rides of several days duration, usually along rail trails and staying at a hotels or other accomodation. These rides usually average about 50-60km per day.
Rides at a faster pace (av 25kmh) for fit and confident riders on road bikes and covering distances of 60-80km. Usually on the weekend.
All rides leave from Jika Jika, 1B Plant Street, Northcote unless otherwise noted.


text:
Our sustainability approach
creating positive change for people, pets and the planet
From its origins, Diana Pet Food has included sustainable development in its strategy, an initiative based on the desire and willingness to valorize local side-stream raw materials while being close to customers.
The sustainability roadmap of Diana Pet Food is based on four pillars: Footprint, Innovation, Sourcing, and Care. Those four pillars address the Sustainable Development Goals of the UN, at the same time ensuring a successful and exciting sustainable journey to the company's stakeholders.
Through programs such as the "whole portfolio" environmental impacts assessment and improvement, the "Zero waste to landfill" project, the "Zero plastic" project, and many others, Diana Pet Food strives to answer to the societal stakes our world is facing.
Diana Pet Food commitments for 2020-2025
Diana Pet Food defined 16 commitments to 2025, in line with Diana and Symrise objectives.
Discover each of them:
Minimize our environmental footprint across the value chain.
Programs initiated on every Diana Pet Food site to improve environmental efficiency will actively continue to better manage energy and water efficiency, reduce and recover waste, and contribute to climate change reduction.
Diana Pet Food will pursue efforts toward water saving, but also improvement of water treatment quality by reducing the COD* to limit damage to the ecosystem. And because the best waste is waste that is not produced, Diana Pet Food will continue its waste reduction and valorization program from previous years. Four Diana Pet Food sites are already "zero waste to landfill!"
Taking advantage of an energy utilities efficiency program and renewable energies introduction, Diana Pet Food will reduce its energy consumption and greenhouse gas emissions per ton produced, contributing within Symrise to reach the Paris agreement on climate change mitigation by 2025.
* reflecting organic pollutants within wastewater
of water consumption/ton of finished product/year
of the COD in wastewater/year
of waste generation/ton produced/year
of GHG emissions/ton produced/year
share of electricity from renewable sources
Maximize social and environmental performance of our products
A responsible company has a duty to stakeholders to be efficient and effective. As a leader, Diana Pet Food will keep driving the market by constantly innovating.
In addition to proposing new products to the market, Diana Pet Food considers its responsibility over the whole value chain through circularity—ensuring economic, social, and environmental well-being from value proposition to consumption—and will assess its entire portfolio according to environmental criteria.
The company will also accelerate the launch of new products with improved environmental performance using the Eco-Design Matrix.
of total sales from new products*
of new products assessed according to environmental criteria
new eco-design development program followed / year / region
*relative to market launch in the past three years
Maximize sustainability of our supply chain and raw materials
The impact of raw materials accounts for 80% of a product's footprint. Diana Pet Food raw materials sourcing is monitored to calculate environmental impact, where both transportation distances as well as packaging play a role. Without compromising its quality standards, Diana Pet Food is deeply committed to valorization of side streams from its partners' activities.
Responsibility toward our stakeholders also implies the duty for Diana Pet Food to secure sourcings and make them more sustainable: Ethical commitments through labor practices, business code of conduct, and animal welfare are asked from our suppliers.
of raw materials are locally sourced
our sourcing activity in terms of side streams
of Supply Budget will be covered by Responsible Sourcing agreement letters
Improving well-being in our stakeholder communities and employees
Safety, health, and well-being of employees are essential and contribute to the pride of belonging to a sustainable company. This is why Diana Pet Food will pursue its actions toward employees and within its local communities.
Embracing its 100% SAFE vision, Diana Pet Food will reinforce its safety policy through a strong prevention program. The company is also implementing coverage for all its employees (Deeply Healthy Program) worldwide, according to local standards and best practices.
And because care is also about simple actions, all Diana Pet Food employees will benefit from at least one health initiative per year (Simply Healthy Program). These actions led by Diana Pet Food's Susty Ambassadors Network cover preventive health care information and actions from nutrition to sleep quality, sport practices, or heart disease prevention.
<1.5
Accident frequency rate by 2025
employees covered at the right level, defined according to local standards and best practices
initiative on health per site per year
of our sites are Sedex** registered
of employees informed of Symrise Code of Conduct
** Sedex is the world's leading ethical trade service providers
Diana Pet Food key initiatives for more sustainable business
Diana Pet Food Product Life Cycle
The product life cycle approach aims to consider a product over its whole life at every stage, from extraction of raw materials to usage and recycling.
Diana Pet Food is born from the valorization of co-products of agro-agri industries and is therefore based on a circular economy model. It strives to provide sustainable added-value at each stage of the products' life cycle.
Discover Diana Pet Food product life cycle
The Eco-Design Matrix
The Life Cycle Assessment (LCA) consists of evaluating the environmental performance of a product throughout its value chain.
Diana Pet Food developed a tool – the Eco-Design Matrix – which assesses and allows to improve the environmental impacts of products throughout their life cycle, from sourcing to customer delivery. Guidelines from LCA methodology of the ISO14044 and pet food Footprint Product evaluation group of the European Commission were followed.
This tool allows Diana Pet Food to know, for its whole portfolio, the footprint data on seven impacts and at each of the main four life steps (Sourcing, Manufacturing, Packaging, and Logistics). Comparison and evaluation of new products is possible, leading to improved methods.
"With the eco-design matrix tool, we found a new driver of innovation," explains Aurélie de Ratuld, Diana Pet Food Global CSR Manager. "Indeed, we are now able to select ingredients and design new products taking into account not only functionality and economical performances but also environmental impacts over the life cycle."
"Zero waste to landfill" approach
Landfills have important impacts on the environment and human health. Finding other ways to valorize waste instead of landfilling is essential to limit our environmental impacts.
To reduce its footprint, some Diana Pet Food sites initiated a "Zero waste to landfill" approach, which is achieved when more than 90%* of generated waste is not landfilled.
In 2019, four sites out of 17–China, Thailand, Spain, and Languidic in France, reached the "Zero waste to landfill" objectives! In coming years, new sites will be able to reach this goal too, taking advantage of their countries' consideration of this major stake and onboarding of new valorization streams.
*Regarding some waste characteristics (e.g. hazardous), local stakes (e.g. recovery plants available around the site) and local regulation, an objective of 100% would not have been reachable for most of our sites.
"Zero plastic" policy in Asia Pacific
According the WWF report on plastic, by 2050, there will be more plastic than fish in the ocean. Every company has a stake in preventing this.
Concerned by this danger, Diana Pet Food Thailand developed a "Zero plastic" policy that aims to reduce the amount of plastic the company generates on its value chain, and, for those that cannot be avoided, to use packaging that is 100% recyclable or reusable.
"Thanks to this program, we reduced by 4% the generation of plastic per ton produced in 2018!" says Jidapa Tantaves, Diana Pet Food Project Coordinator in Thailand. And because customers are key actors to reduce the usage of plastic for products packaging, "we offer many options to customers in order to convince them to join the program" Jidapa says.
New factories with high sustainability standards
In 2019, Diana Pet Food initiated a new concept of an eco-friendly factory that will pave the way to the future industrial projects.
The Colombian factory is the first to benefit from new building standards that follow LEED certification standards.
"The Colombian site has been thought out with a full CSR approach, from the conception of the building to the products coming out of the factory, the well-being of the workers, and the involvement within the local communities," says Christophe Salaün, Diana Pet Food Colombia General Manager.
Discover our global network
* The LEED certification is based on criteria organized in 7 categories that address key aspects of green buildings.
An internal network of 25 sustainability ambassadors
To bring its commitment to life at every layer of the organization, Diana Pet Food has created an internal network of 25 sustainability ambassadors in the 13 countries where the company has facilities. They act as the ears and voice of sustainability at the site level. They organize events on sustainability topics to raise awareness of all employees regarding Diana Pet Food stakes within our four pillars and are involved in the Simply Healthy program. With their sensitivity and inspiring simple actions, they demonstrate the importance of taking action.
Be contacted by a representative

redpajama_set_name: RedPajamaCommonCrawl


The infinity pool with mosaics which is irregularly shaped and curved, was designed by the artist Ugo Nespolo, thanks to the insistence of art critic Richard Zelatore. It was made by skilled Italian art pottery artisans and has underwater lighting. It's 1,50 m deep, 50 cm deep in the children's area, and is supervised by an attentive lifeguard.
Let yourself be pampered in the shade of our palm trees: the pool is equipped with two comfortable Jacuzzi. The water is filtered 24h a day and the temperature, between 26° and 30°, chlorine and PH, are kept under rigorous control to guarantee cleanliness, hygiene and safety.
opening dates from 1 June to 15 September: 8 a.m. to 8 p.m.
Lifeguard hours: 10 a.m. to 7 p.m.
Access is guaranteed for those with disabilities and is close to the 220 equipped cabins and 5 toilets.
Fig.1 — A work of art signed by Ugo Nespolo for our swimming pool.
Relax in the ample solarium by the pool with sun loungers, chairs, tables and sofas. Enjoy refreshing drinks and have aperitifs with entertainment and DJ in our pool bar. The ideal venue for organizing your exclusive private event.
Fig.2 — Organize your events by the Pool.


How do I get a floating license?
I was excited to see read about the new floating license feature, as some of our teams don't need the full 250 users we purchased when testing, but do require the full functionality of an Enterprise license. Is this floating license functionality included in the Enterprise license? How can I activate it?
Floating licenses are designed to do just that. For example, if one of your teams needs 50 VUs for a particular test, their test machine should be activated with 50 VUs, as shown below. This will leave 200 VUs out of 250 licensed VUs available to other teams. To change the number of allocated VUs, enter a new number and click Activate again. Each team would be able to run their tests concurrently and will have the Enterprise/SP functionality. This will eliminate the need to purchase multiple licenses.
Floating licenses will be a separate option that can be combined with selected edition, e.g. Enterprise. Pricing will be finalized and announced by the time of the 3.5 release. The cost ratio of floating / node-locked license will be in-line with the industry practice. Upgrades to the floating license will be available.
Thanks, it does. As a note, my main usage of the feature (in addition to sometimes loaning users to other team members that, say, only need some users for a week) is that I would like to run a long-term, low-load test on one system the same time I am running shorter, peaked loads on a different system. Currently, the pro edition really doesn't provide the functionality I need for most of my tests, but getting another Enterprise license to run a 10-50 users test is not an option.
Though the release announcement for 3.5 (http://community.stresstimulus.com/profiles/blogs/v3-5-announcing-release-what-s-new-pricing-and-promotions) states that the floating licenses are available, I do not see any information on the pricing or how to obtain a floating license. Where can I find this information?
When you're on the order page, click inthe floating license option drop-down and select the number of concurrent computers on which you would like to run independent tests.


Police are keen to trace 28-year-old Darrell Hansman who has been missing since Saturday (February 24).
Police have raised concerns for the welfare of a Bognor man who has been missing since the weekend.
Sussex Police says it want to trace 28-year-old Darrell Hansman, who was reported missing from the Clarence Road area of Bognor Regis at around 9pm on Saturday (February 24).
Mr Hansman is described as being white, 6ft 1in tall and slim with cropped brown hair. He is thought to be wearing a cream jumper, grey tracksuit bottoms and blue shoes and may be carrying a shopping bag bearing a vegetables design. Distinctively, he is on crutches due to an ankle injury.
Police say Mr Hansman has health issues which make him vulnerable and he is not thought to have any money with him. He may still be in the Bognor Regis area or may have travelled to Hampshire.
Anyone who sees him or knows where he might be is asked to contact Sussex Police online or by phoning 101, quoting serial 90 of 25/02.


This brand new upscale hotel offers the best of a boutique hotel with the quality expected in the Mariott brand. Enjoy dinner for two at The Emporium and either retire to your room or grab a cocktail and perhaps catch a band at The Magic Rat all located in this exceptional Autograph Collection hotel.
"When you stay at the Elizabeth Hotel, you'll discover a vibrant sensory experience and a handcrafted adventure awaiting you."
Colorado State University offers a significant fan-experience with the Coors Light Ram Walk Tailgate event, located just north of Canvas Stadium, before every home football game. The free tailgate, hosted by the CSU Alumni Association, Athletics and the Division of External Relations, is presented in partnership with High Country Beverage, Coors Light and the Bohemian Foundation, and offers Stadium Sessions performances, TV, and food, beer and wine for purchase.
Located at the intersection of Meridian Ave. and Hughes Way, just steps from Canvas Stadium's north gates, the Coors Light Ram Walk Tailgate opens four hours before kickoff of each Colorado State home football game. Approximately two hours before each game the Rams football team passes by the tailgate on its Ram Walk march down Meridian Ave. to enter the stadium, led by the CSU marching band and cheer and pom squads.
Depending on when you schedule your CSU Football Experience, you'll enjoy premium seating come game time. You're sure to be energized and ready to eat after the game, so just across the street from the campus, it's a short walk to your next stop. A local favorite.
It's back to the Elizabeth to either fall exhausted into bed or to finish the evening with a nightcap at the Sunset Lounge .
Lucile's has been providing Colorado with the best breakfast we can find since 1980. As a family establishment, Lucile's has always strived to provide a comfortable and unique atmosphere as well as excellent food.
Then you stroll through Old Town on your way back to the Elizabeth . Stop by Kilwins for a free ice cream cone. Enjoy a latte at Starry Night . The Perennial Gardner is not to be missed and of course pick up your school schwag at the Ram Zone .
The new Canvas Stadium right in the middle of the CSU campus is here and breaking attendance records. Big local sponsors such as New Belgium Brewery and the Bohemian Foundation have made this experience more than just football! There's nothing like the excitement of a local team and our own Colorado State University is working hard to attract the players it will take to be contenders in their Mountain West Conference of the NCAA. This experience is not only for Alumni and students, but anyone who enjoys the excitement of cheering on a local team.


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Mauricio Pochettino Reveals The Differences Between England's Harry Kane and France's Kylian Mbappe
Sofoluwe Mayowa / December 9, 2022 / News, World Cup 2022
Mauricio Pochettino reveals the differences between France and England stars; Kylian Mbappe and Harry Kane ahead of the England and France quarter-final clash.
Pochettino compares and contrasts Mbappe and Kane
Being the only manager to have coached both Harry Kane and Kylian Mbappe, Pochettino seems to know much about the pair than anyone.
Pochettino and Harry Kane at Tottenham
Pochettino coached Tottenham between 2014 and 2019 and witnessed the emergence of the 29-year-old Harry Kane as a world-class player.
Pochettino at PSG
Thereafter, he took charge of PSG in January 2021 and remained at Parc des Princes until last season with Kylian Mbappe being one of his vital instruments, including Neymar and Lionel Messi.
Ahead of England and reigning world champions, France's World Cup quarter-final clash, Pochettino has analyzed the differences between the two legendary strikers.
Mbappe has scored five goals for France so far in the World Cup tournament and has established himself as Les Bleus' main attacking threat.
He scored a brace in France's 3-1 victory over Poland in the last 16 to make him the tournament's current highest goal scorer with five.
See also Mike Dean Bows to death threats, he won't officiate a Premier League game this weekend
On the other hand, Harry Kane scored his first goal in Qatar World Cup during England's 3-0 victory over Senegal in the last 16 and remains the joint-top assist provider at the tournament.
Discussing the clear discrepancies in the physicality of each player, Mauricio Pochettino has reviewed the key differences he found in managing both strikers.
Writing in a column for The Athletic, the former Tottenham boss Pochettino reveals his former strikers are outstanding players whose playing sessions do not end on the pitch as they also learn by watching football.
Pochettino said: "Harry is someone who does need to feel connected with the game.
"But Kylian is the opposite. If he doesn't touch the ball, he's relaxed. He's so confident in himself, he knows that when the ball reaches him, he is still going to beat his opponent and do what he knows best.
"Kylian also loves to watch football, and talk about football. Sometimes, players with that much talent are not so interested in tactics, organization, and how teams play.
See also France Goalkeeper Hugo Lloris Announces Retirement From International Football At 33
"They're more focused on amazing goals or actions. But Kylian loves to talk about tactics and to understand the game. This is something that unites Harry and Kylian. They love the game."
The former PSG boss revealed the England and France stars are passionate players who genuinely love football.
He said: "Sometimes, big players love playing football but they don't love the game itself.
"But these two genuinely love the game itself. They love to talk about football, they love to talk about tactics, and they have brains that understand football."
Pochettino disclosed that he would 'love' to see Kane and Mbappe in the same club and believes the duo could strike a similar partnership to Kane and Son Heung-min.
He added: "And this is why I think it would be so good to see them playing together. They would be completely compatible. It could be similar to the bond that Harry has with Son Heung-min at Spurs.
See also Champions League highlight: Neymar sustains groin injury as PSG returns to winning ways against Istanbul Basaksehir
"The connection would be amazing, and the two could share ideas about tactics and movements."
"Maybe it will never happen; when I was at PSG, I knew Tottenham would never want to sell Harry. And I never wanted to do anything that would affect Tottenham, because I love Tottenham.
"But maybe one day in the future, if I am at a different club, and if Harry has decided to leave Tottenham, I would try to bring Harry with me. And so if you asked me to name two great attacking players who could play well together, it would be Harry Kane and Kylian Mbappe."
Both veteran strikers are set to come face-to-face when the Three Lions take on Les Bleus in the World Cup quarter-final on Saturday, December 10.
England vs France
England and France's crucial clash will take place at Al Bayt Stadium with kickoff scheduled for 8 pm.
Category News World Cup 2022 Tag England National team France National Team Harry Kane Kylian Mbappe Mauricio Pochettino Qatar World Cup 2022
← Kevin De Bruyne Celebrates His Stunning Wife And Mother Of Three Michèle On Her Birthday
Virgil van Dijk Warns Teammates Against Lionel Messi's Threats Ahead Of Quarterfinal Clash Vs Argentina →
PL Fans May Return to Stadiums Next Season
New update on Harry Kane's transfer drama… Manchester City increased their bid by €150 million to attract Tottenham Hotspurs
Richarlison to Tottenham is almost done as they reach an agreement and the Brazilian is set to undergo medical
England and Wales to play a friendly match on October 8
Arsenal FC's six Premier League matches rescheduled in August and September
Mikel Arteta admits that Arsenal will be in "big trouble" if things don't turn around


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drake-tickets » Rock » The Beatles - Hello, Good Bye
The Beatles - Hello, Good Bye album flac
Performer: The Beatles
Title: Hello, Good Bye
Genre: Rock / Screen and Stage
Music style: Psychedelic Rock, Pop Rock
Formats AAC AIFF AHX RA VOC VQF MP1
The_Beatles Psychedelic_Rock Pop_Rock 1967 UK
When The Beatles began recording what would become their third single to be released in 1967, its working title was 'Hello, Hello'. The single sat at N. in both the UK and America for the first three weeks of 1968. Paul directed the promotional film for 'Hello, Goodbye', remarking later: Directing a film is something that everyone always wants to get into. It was something I'd always been interested in, until I actually tried i. .
the beatles - hello good bye. brandonlipop. Hello, Goodbye (Remastered 2009). Авторы текста и музыки. John Lennon, Paul McCartney.
Перевод текста песни Hello, Goodbye исполнителя (группы) Beatles, The. 3. You say goodbye and I say hello. Ты говоришь: "Прощай!", я говорю: "Привет!". Привет, привет! I don't know why you say goodbye. Я не знаю, почему ты говоришь: "Прощай!" I say hello. Я говорю: "Привет!" I say high, you say low.
Produced by George Martin. Album Magical Mystery Tour. Hello, Goodbye Lyrics. You say yes, I say no You say stop and I say go go go, oh no. You say goodbye and I say hello Hello, hello I don't know why you say goodbye, I say hello Hello, hello I don't know why you say goodbye, I say hello. Goodbye, bye bye bye bye Oh no.
I say high, you say low You say why and I say I don't know, oh no You say goodbye and I say hello (Hello goodbye hello goodbye) Hello hello (Hello goodbye) I don't know why you say goodbye, I say hello (Hello goodbye hello goodbye) Hello hello (Hello goodbye) I don't know why you say goodbye (Hello goodbye) I. say hello/goodbye. album: "Magical Mystery Tour" (1967). Magical Mystery Tour The Fool On The Hill Flying Blue Jay Way Your Mother Should Know I Am The Walrus Hello, Goodbye Strawberry Fields Forever Penny Lane Baby, You're A Rich Man All You Need Is Love.
Hello, Goodbye" is a song by the Beatles. The song was released as a single in November 1967, and topped the charts in the United States, the United Kingdom, France and Norway. The song also was a number two hit in both Austria and Switzerland. Hello, Goodbye (MMT). Hello, Goodbye (The Beatles 1967-1970). Hello, Goodbye (Anthology 2). Hello, Goodbye (1).
Listen free to The Beatles – Hello Goodbye - EP. Discover more music, concerts, videos, and pictures with the largest catalogue online at Last. The Beatles were an iconic rock group from Liverpool, England. They are frequently cited as the most commercially successful and critically acclaimed band in modern history, with innovative music, a cultural impact that helped define the 1960s and an enormous influence on music that is still felt today. Currently, The Beatles are one of the two musical acts to sell more than 1 billion records, with only Elvis Presley having been able to achieve the same feat.
Oh no You say goodbye and I say hello Hello, hello I don't know why you say goodbye I say hello, hello hello I don't know why you say goodbye I say hello. I say high, you say low You say why and I say I don't know. why, why, why, why, why, why do you say Goodbye, goodbye, bye, bye, bye,bye, bye). Oh no You say goodbye and I say hello Hello, hello I don't know why you say goodbye I say hello, hello, hello I don't know why you say goodbye I say hello. The Beatles - Good Day Sunshine. The Beatles - Octopus's Garden.
A Hello, Goodbye 3:27
B I Am The Walrus 4:36
Record Company – Electrola Gesellschaft m.b.H.
Written-By – Lennon/McCartney*
Electrola Gesellschaft m.b.H. Köln
"Taxi Cover" = "Cab Cover"
On B-side label: From "Magical Mystery Tour"
Find an overview of the several German 7" variants here.
Matrix / Runout (Runout side A): 7XBE 50147-1
Matrix / Runout (Runout side B): 7XBE 50148-3
Matrix / Runout: 7 XBE 50 147
R 5655 The Beatles Hello, Goodbye (7", Single, Kno) Parlophone R 5655 UK 1967
4KM-44317 The Beatles Hello Goodbye (Cass, Single, XDR) Capitol Records, Apple Records 4KM-44317 US 1992
R 5655 The Beatles Hello, Goodbye / I Am The Walrus (7", Single) Parlophone R 5655 Denmark 1967
R(I)5655 The Beatles Hello, Goodbye (7", Single) Parlophone R(I)5655 Ireland 1967
A-8273 The Beatles Hello, Goodbye (7", Single) Parlophone A-8273 Australia 1967
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The concept of reading a person like a barcode is not a new one, it has come up constantly for me every time I deal with people calling me "Satan's Mouthpiece" (yes, I got emails calling me that). But the difference between my RFID implants and a generic DNA reader that can cheaply, quickly, and accurately ID a person based on their DNA sequence is; private vs public use.
By that I mean my implants and are private, only used in my personal private projects. By their very nature, obtaining the ID number stored on my implant would be useless to 99.9999999% of the population. It would just be a meaningless number that wouldn't amount to anything outside the bounds of the 1/2 acre chunk of dirt I call home. Inversely, VeriChip's RFID implants and RFID enabled credit cards are public use, meaning if I was able to skim a CC number off someone, regardless of who they were or if I knew them, I could easily go to a lot of places and use that information for nefarious purposes. Imagine what I could do with your DNA sequence when it is very easy to get from you and it is linked to everything from buying stuff to medical care to crime scene investigation.
Finding a cheap, easy, and accurate way to sequence DNA is the new holy grail for both medical research industries and the identification industry. It now looks like IBM is hot on that path.
Being able to quickly sequence human DNA for $100-$1000 (vs the $3 billion it cost to sequence the first genome) means any random person could afford to have it done, or perhaps even one day be able to afford their own personal DNA reader and do it themselves.
I think the evolution of genome sequencing is akin to the evolution of the computer industry. A few short years ago we were at a place where getting DNA sequenced was like when computers filled entire buildings and were very costly to operate. Now we are in the "mainframe era" of DNA sequencing, where costs have dropped dramatically but the machines are still really only operated by select people and samples are submitted for processing. I think it will soon be the "PC era", where DNA sequencing technology will be so cheap and easy that, if you wanted to plunk down a few grand you could have your own sequencer. Perhaps in 10 years, DNA sequencing technology will get so cheap, every cell phone and turnstile will have a sequencer built in.
Perhaps it won't get to that point. Perhaps the relative ease with which one person can obtain another person's DNA will bar it from becoming the defacto standard of human identification beyond police and medical records. I mean, you can already send off a digital DNA sequence file to a lab and they will send you back a large synthesized sample. I can't imagine it would be that difficult to subvert the technology and spoof your DNA ID.
I wonder if being able to easily sequence someone's DNA without them knowing, then easily getting it synthesized into large quantities would invalidate trust in DNA evidence gathered from crime scenes? Hmm, looks like someone's already trying to cover that angle.
This entry was posted on Tuesday, October 6th, 2009 at 9:09 am	and is filed under Life in general. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


John Trumbull's famous painting of the Declaration's presentation hangs today in the Capitol Rotunda. It is collectively owned by the citizens of the United States.
A few days ago I wrote about an abomination of a bill that the House of Representatives narrowly passed, posing as tort "reform" in medical malpractice cases.
It wasn't really "reform" (which implies improvement), but rather, a bill that seizes power from the states, grants protections and immunities to negligent people for their conduct that injures others, and foists much of the costs for those injuries out of the private sector and onto the wallets of the taxpayers.
But it did something else too, and I saved that for today. It also pissed on the Bill of Rights, specifically the Seventh Amendment.
Part of the law restricts pain and suffering awards to $250,000, and it also pushes many state actions into federal court.
The "problem" is the Seventh. It is a problem for those that want to seize federal power. Everyone else calls it a protection. Because that is what the Bill of Rights is, a list of protections.
So the Founders decided that any significant suit (with $20 being the arbitrary limit) shall have the right of trial by jury. Notice that there is no arbitrary top limit?
Yet that is what a Republican majority of the House did — it imposed an arbitrary top limit that does not exist, thereby stripping away the constitutionally protected right to a trial by jury for the most seriously injured of people if this bill should become law.
I post on this subject each year, and the words that follow are an adaptation of those prior messages. And the Declaration of Independence is reproduced in full after that. I like to read it in full each year at this time.
The Declaration has, as its heart and soul, a discussion of how King George III seized too many powers. And the colonists believed — and were willing to risk their lives for the principles — that power should more justly reside with the people.
And in the subsequent Bill of Rights, there are three separate places where rights to a jury are established: In the Seventh Amendment (for civil trials), the Sixth Amendment (for criminal trials) and the Fifth Amendment (grand juries for capital or infamous crimes).
It is clear that the Founders wanted powers related to both civil and criminal fact-finding to reside with the people, and not with any head of state that may be subject to whim, politics or the pressures of the moment.
This tug-of-war over how much power should reside with government and how much with the people exists to this day. Speaking broadly, it is the conservatives who want to see a smaller, less powerful government and liberals a bigger and stronger one.
But oddly enough those principles seem to fall by the wayside in the discussion of tort "reform." When it comes to that, some conservatives, for reasons that have never been explained to me, want to give various governmental protections and immunities to others so that wrongdoers can't be effectively hauled before the court for accountability.
This abandonment of principle happens in the pursuit of …what? I can't even finish the sentence as I still can't fathom it, despite having written now on the subject for so many years.
To those conservatives that read this blog, I urge you to re-read our Declaration (and Bill of Rights) and ask yourselves why it is that, for this issue, principles of smaller and less powerful government have fallen by the wayside in favor of granting governmental protections and immunities.
Long ago, in an online forum different from this one, I posted my opinion that in 100 years or less, if we keep going the way we have been, the US will revert to monarchy. My reasoning was (and I guess, still is) that monarchs traditionally ascribe their ultimate authority to God (insert God of your choice). In the US we are seeing more and more wealth and political power concentrated in fewer and fewer hands. There must come some tipping point at which the massed wealth and political power will be insurmountable by law or economy or voting, or even revolution. So then, having gained everything material, how will the elite justify their exalted position?
By invoking Almighty Power of a God-given monarchical providence and rights of accession.
So, think of future HRH Donald I, Princes Eric and Donald II, Princess Ivanka, and Michael, the Duke of Indiana, Chris, the Earl of New Jersey, and, by special rabbinical dispensation, Viscount Kushner.of Manhattan.
As for me, I will read John Keats Ode to a Nightingale.
July 8, the Internet reacts to Princess Ivsnka sitting at the BigPerson G20 table in the place of HRH Donald I.


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Review | Dial A For Aunties, by Jesse Q. Sutanto
Posted on 24 May 2021 by Jaclyn
We all know Asian aunties are awesome, and in Dial A For Aunties, Jesse Q. Sutanto asks the all-important question: Would your aunties cover up a(n accidental) murder for you?
This book was an absolute delight, from page one all the way to the very end. It's absolutely, ridiculously absurd, so leave your disbelief at the door, and turn yourself over completely to enjoying the ride. Beyond the humour, Dial A For Aunties is also very much full of heart. Meddy Chan and her aunties are all ride-or-die for each other, and as odd as it may be to think about a book with a murderous cover-up, this is a really sweet and heartwarming family novel.
It all begins with Meddy's mom sets her up on a blind date, who turns out to be a handsy a-hole. Meddy accidentally kills him in self-defence, and her mom and aunties leap to help her dispose of the body. Except that it's bad luck to hold a funeral before the wedding, and the blind date happens on the eve of a major wedding that the family will be attending. The five women run a wedding business — "Don't leave your big day to chance, leave it to the Chans!" Big Aunt bakes the wedding cake, Second Aunt does the hair and makeup, Meddy's mom does the flowers, Fourth Aunt provides the entertainment, and Meddy is the photographer.
To avoid bad luck for the bride and groom, Meddy and her aunts decide to hide the body in one of Big Aunt's coolers, and wait till the wedding is over before burying it. Except that Big Aunt oversleeps, and the cooler with the body is sent to the wedding's island venue along with the other coolers that hold the actual cake. Their attempts to get the body back before their crime is discovered are hilarious! It's one madcap caper after another, with sibling rivalry going head to head with common sense (guess which wins?), and the aunties' various schemes getting ever more absurd as the wedding day unfolds. The novel begins with the burning question — will Meddy and her aunties get away with murder? But the more you see them in action, the more confident you become in their ability to outsmart, well, everyone else. These aunties deserve all our applause, and best of all, Meddy also eventually comes into her own and discovers her inner Asian auntie, which just about rounds all five women into a kickass, formidable team.
I also love the romance. Meddy has grown up knowing all about the family curse, where the men in their family either leaving or dying in unlucky circumstances. She's too savvy to believe it, exactly, but then lives out her version of the curse when she breaks up with her college boyfriend Nathan before graduation. The wedding reunites Meddy with Nathan, and the feelings between them have clearly not diminished with time. The development of their relationship in this novel, interspersed as it is with the murder cover-up and wedding day drama, is really sweet, and by the end, we see not just how good Nathan and Meddy are together, but also how wonderfully Nathan will fit in with Meddy's family. There's also a wonderful conversation between Meddy and her mom about the family curse, which was just heart-meltingly sweet.
Beyond all this, I love how absolutely steeped in Asian and Asian-diaspora culture this is. There are the little comedic touches, like the groom being named Tom Cruise Sutanto, which I love because it's so very Asian. But also, there are a lot of books that tackle the sense of displacement Asian immigrants feel when living in America, so I very much appreciate how the author also explores the cross-cultural identities in Asian families immigrating within Asia, and the further complexities of identities when these families then move to America. The Chans are Chinese immigrants in Indonesia, who then immigrate to Los Angeles. At the most basic, yet also very telling, of levels, this means that Meddy is most comfortable with English and her attempts at Mandarin and Bahasa Indonesian hurt her aunties' ears, while her mom and aunties are most comfortable with varying mixtures of Mandarin and Indonesian, and have varying degrees of fluency with English. It's a simple detail, but one that plays out in beautifully complex ways that reveal so much about each woman's identities and relationships to various aspects of their heritage.
This is a wonderful, delightful book, and I'm so thrilled to have met Meddy and her aunties. Even better? From the author's note, the book is being adapted for a Netflix movie, and from the excerpt at the end, there will be an equally hilarious and heartwarming sequel.
This book comes to me courtesy of Another Story Bookshop and a gift card from Penguin Random House Canada, which I won at an online contest to celebrate independent bookstores and the important work they do. In gratitude for this opportunity to read such a wonderful story as Dial A For Aunties, I invite you to check out this map that Penguin Random House Canada has compiled of independent bookstores across Canada. Find your local indie and show it some love!
2 thoughts on "Review | Dial A For Aunties, by Jesse Q. Sutanto"
justonemorepaige on 26 May 2021 at 1:27 pm said:
I just started reading this on today and I'm only one chapter in and already having so much fun with it!
Pingback: Top 10 Books of 2021 | Literary Treats


Geothermal heating systems are far better for the environment than normal heating systems, which, in one way or another, rely on the consumption of quite a lot of fossil fuels. That's just common sense. These systems last for decades longer than normal HVAC systems, are extremely quiet, can be used for all your heating needs—including heating all your water—and finally, the technology behind geothermal heating has proven itself over 60 years of use in America. These are high-tech, elegant, quiet and efficient systems, and they'll save you money and add lasting value to your home.
Geothermal heating systems use heat pumps to capture heat from the ground and move it into your house. Heat-exchange fields are installed in the ground, consisting of looping systems of pipes carrying high-pressured antifreeze liquid (sometimes, systems just use water instead of a refrigerant or an antifreeze liquid) that captures the heat from the ground. The heat is then condensed and dispersed through your home using a geothermal heat pump. Geothermal systems are far more efficient than normal furnaces, which use controlled combustion to create heat.
The system can also work in reverse, capturing warm air in your home, and depositing it in the ground beneath your home, offering radiant floor heating in Glenwood Springs, CO.
Your installation experience depends heavily on the size of your yard. If you have a large yard, you can install a shallow in-ground heat-exchange field, but if you have a small yard, rather than doing a horizontal installation—that is, a shallow installation that takes up a relatively large amount of space—you would have to get a vertical installation, where you'd have the same amount of pipe, but it would be installed straight up and down (often as much as 300 feet down), which is more difficult and costly.
Save money: You'll save up to 70 percent on heating and cooling costs.
Extremely beneficial to the environment: Installing a geothermal heating unit is the equivalent, in terms of the reduction of greenhouse gases, of removing two vehicles from the road forever.
Impossibly energy efficient: For every $1 you spend on energy, you get $4 to $5 worth of heat. That means, according to the normal furnace energy-efficiency rating system, that geothermal heating units are 400 to 500 percent efficient. The most efficient natural gas furnaces, by contrast, are in the high 90s.
Tax credits: There are tax credits available to offset the cost of installation, often as much as 30 to 40 percent of the total cost.
Add value to your home: Geothermal heating systems can be a great selling point if you ever put your house on the market. They guarantee lower energy costs for a lifetime.
Garrett Hansen Plumbing Inc. has been providing plumbing, heating and geothermal services since 2006. With over 30 years of experience, we offer some of the most reliable radiant floor heating in Glenwood Springs, CO and the surrounding area. All of our plumbers have master plumber licenses, and we offer free estimates and consultations. Call us today and ask about our services!


The SPIVA® U.S. Year-End 2018 Scorecard shows a reversal of the relative short-term performance of fixed income funds at the end of 2018 from six months prior. Combined with the interest rates move, this might shed some light on understanding the duration positioning of active funds.
We focus on government bond funds for our analysis, since duration positioning is the most important directional exposure for this type of strategy. Exhibits 1 and 2 show changes in interest rates alongside the relative performance of government bond funds as compared to their benchmarks, using one-year gross returns.
When the bond markets changed direction from a sell-off in the first half of 2018 to a rally in the second half, the percentage of short and intermediate bond funds underperforming their benchmarks increased significantly, from 22% and 11%, to 52% and 65%, respectively. At the same time, the reverse happened to long-end government bond funds. These quick inversions of performance may indicate that most short and intermediate bond funds were underweighting duration going into the second half, and the ensuing bond rally caught active bond managers by surprise.
Yet the SPIVA Year-End 2018 showed consistent underperformance from more than half of the funds in most of the taxable bond fund categories over the mid- and long-term periods. For example, as of the end of 2018, more than 50% of such funds underperformed their benchmarks on five-year net return. This divergence between short- and long-term relative performance by taxable bond managers is not unique in the history of SPIVA.
Exhibit 3 shows the percentage of fixed income funds underperforming benchmarks historically on one-year and five-year bases, where the red text indicates years when more than 50% of the funds lagged benchmarks. More than 50% of the funds outperformed their benchmarks occasionally over the one-year basis, but it was less common over the five-year horizon.
The latest SPIVA U.S. report shows that more than 50% of short and intermediate bond funds underperformed their benchmarks after outperforming six months ago. Our analysis shows that on a five-year return basis, such a switch of relative performance was unusual, as underperformance was persistent.


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Recording "Abbey Road"
Recording and mixing "You Never Give Me Your Money", "Come Together", "Polythene Pam"...
Wednesday, July 30, 1969 • For The Beatles
Feb 22 - Aug 25, 1969 • Songs recorded during this session appear on Abbey Road
Album Songs recorded during this session officially appear on the Abbey Road LP.
EMI Studios, Studio Three, Abbey Road
Recording "Come Together", "Sun King", "Mean Mr. Mustard"
Recording "You Never Give Me Your Money", "Golden Slumbers", "Carry That Weight"
By The Beatles
Some songs from this session appear on:
Abbey Road (50th anniversary boxset)
Abbey Road (Stereo - 2009 remaster)
At this point in time, all the songs intended to be part of the long medley (named "The Long One" or "Huge Melody" at this stage) had been recorded. The goal of this day was to prepare a trial run at piecing together all those songs into one cohesive unit. But before doing this first assembly, most songs would receive overdubs. This was obviously a very long session, lasting from 2 pm to 3:30 am.
From 2 pm to 3:30 pm, six attempts at making a tape reduction of the first song of the medley, "You Never Give Me Your Money", were done, numbered 37 to 42. Take 40 was considered to be the best and received some overdubs later that day.
Once this was done, they moved from Studio Two to Studio Three for the rest of the day.
"Come Together" was not designed to be part of the medley, but still received its final overdubs on this day, in the form of some lead guitar passages played by George Harrison.
"Polythene Pam / She Came In Through The Bathroom Window" were next to receive overdubs. Paul McCartney, John Lennon and George added backing vocals; George some guitar; and Ringo Starr some congas.
Switching to "You Never Give Me Your Money", Paul, John and George added backing vocals in various parts of the song, including the "one, two, three, four, five, six, seven…" harmonies during its conclusion, while Ringo played the tambourine at the end of each vocal phrase.
The last ones to receive overdubs on this day were "Golden Slumbers / Carry That Weight", with Paul McCartney adding some vocals:
The only information on work from this session on Golden Slumbers / Carry That Weight comes from a recording sheet noting "VOCALS". Given the evidence from the first assembly of the so called Huge Melody, the work comprised McCartney's backing vocals for the "I never give you my pillow…" section of the song.
From "The Beatles Recording Reference Manual – Volume 5" by Jerry Hammack
It was 10:30 pm when all the overdubs were completed. The rest of the session was spent mixing the tracks, editing and crossfading them.
That session was a long one — for the first time since the White Album days, we worked late into the night — but everyone was really upbeat and quite pleased with the results. There was only one little bit of contention, and it had to do with the crossfade between "You Never Give Me Your Money" and "Here Comes The Sun King". John didn't like the idea of there being such a long gap between the two songs, but Paul felt strongly that the mood needed to be set for the listener before "Sun King" started. In the end, Paul got his way — John merely shrugged his shoulders and feigned disinterest. At first, a single held organ note was used for the crossfade. Later on, when it came time to sequence the finished mixes, Paul arrived with a plastic bag of tape loops (just as he had done when we worked on "Tomorrow Never Knows" years before) and we used several of them — including recordings of crickets and bells—instead.
Geoff Emerick – From "Here, There and Everywhere: My Life Recording the Music of The Beatles", 2006
At this stage, the running order of the songs in the medley was slightly different than on the "Abbey Road" album, as "Her Majesty" was placed between "Mean Mr. Mustard" and "Polythene Pam":
We did all the remixes and crossfades to overlap the songs, Paul was there, and we heard it together for the first time. He said 'I don't like Her Majesty, throw it away,' so I cut it out — but I accidentally left in the last note. He said 'It's only a rough mix, it doesn't matter', in other words, don't bother about making a clean edit because it's only a rough mix. I said to Paul 'What shall I do with it?'. 'Throw it away,' he replied.
I'd been told never to throw anything away, so after he left I picked it up off the floor put about 20 seconds of red leader tape before it and stuck it onto the end of the edit tape. The next day, down at Apple, Malcolm Davies cut a playback lacquer of the whole sequence and, even though I'd written on the box that Her Majesty was unwanted, he too thought, 'Well, mustn't throw anything away, I'll put it on at the end'. I'm only assuming this, but when Paul got that lacquer he must have liked hearing Her Majesty tacked on the end. The Beatles always picked up on accidental things. It came as a nice little surprise there at the end, and he didn't mind. We never remixed Her Majesty again, that was the mix which ended up on the finished LP.
John Kurlander, tape operator – From "The Complete Beatles Recording Sessions" by Mark Lewisohn
This was the day that I found out that this whole thing was to be a medley. We joined it all together. It was about two or three o'clock in the morning and after a very long day, we played the whole thing through for the first time. Paul said, 'Look, I don't think 'Her Majesty' works. So just cut it out,' and he left and went home.
So it was my job to tidy up the housekeeping. And there was a piece of tape which was only 20 seconds long lying on the floor. There is an [EMI] rule that says if you remove something from a master tape, it has to go at the end, after a long piece of red leader tape. Everyone else had gone home, so I decided to just tag it on at the end. Then [longtime Beatles assistant] Mal Evans took the tape, and the next morning they had a reference acetate cut from it by Malcolm Davis, Apple's cutting engineer.
And then this thing ['Her Majesty] crashes in, because it still had the crossfade on. Paul was probably the most surprised, because his last word on the subject was 'Just get rid of it.'
John Kurlander, tape operator – From Variety, September 27, 2019
One of the key challenges of this mixing session was how to properly segue "You Never Give Me Your Money" into the next medley track, "Sun King". After several trials, the retained idea was to merge the songs on an organ note. A better idea would emerge on August 5.
The resulting medley done on this day was released on the "Abbey Road (50th anniversary boxset)" in 2019.
Songs recorded
You Never Give Me Your Money
Tape copying • Tape reduction take 30 into take 37
Recording • SI onto take 9
Recording • SI onto take 40
She Came In Through The Bathroom Window
Mixing • Stereo mixing - Remix 1 from take 40
Album Officially released on Abbey Road (50th anniversary boxset)
Mean Mr. Mustard
Mixing • Stereo mixing - Remix 1 from take 3
Editing, crossfading and tape compilation
Editing • You Never Give Me Your Money, Sun King / Mean Mr Mustard, Her Majesty, Polythene Pam / She Came In Through The Bathroom Window, Golden Slumbers / Carry That Weight, The End
Album Officially released on Let It Be (50th anniversary boxset)
Musicians on "Carry That Weight"
Paul McCartney:
Musicians on "Come Together"
George Harrison:
Musicians on "You Never Give Me Your Money"
Ringo Starr:
John Lennon:
Musicians on "Polythene Pam"
Backing vocals, Guitar
Musicians on "She Came In Through The Bathroom Window"
Guitar, Backing vocals
Musicians on "Golden Slumbers"
George Martin:
Geoff Emerick:
Phil McDonald:
John Kurlander:
Second engineer
The Complete Beatles Recording Sessions • Mark Lewisohn
The definitive guide for every Beatles recording sessions from 1962 to 1970.
We owe a lot to Mark Lewisohn for the creation of those session pages, but you really have to buy this book to get all the details - the number of takes for each song, who contributed what, a description of the context and how each session went, various photographies... And an introductory interview with Paul McCartney!
If we like to think, in all modesty, that the Paul McCartney Project is the best online ressource for everything Paul McCartney, The Beatles Bible is for sure the definitive online site focused on the Beatles. There are obviously some overlap in terms of content between the two sites, but also some major differences in terms of approach.
Have a look at https://www.beatlesbible.com/1969/07/30/recording-mixing-you-never-give-me-your-money-come-together-polythene-pam-she-came-in-through-the-bathroom-window-golden-slumbers-carry-that-weight-sun-king-mean-mr-mustard-her-majesty-the-end/


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Home Brunei Embassy PostsIndependence Day Celebrations
August 14, 2018| Brunei Embassy Posts|
Pakistan High Commission, Brunei Darussalam organized a series of events to mark the Independence Day celebrations of Pakistan in Brunei Darussalam.
Independence Day was celebrated with national zeal and fervour at Pakistan High Commission, Brunei Darussalam. The day began with Flag Hoisting Ceremony at High Commission followed by National Anthem. Acting High Commissioner Mr. Ahmed Ali Sirohey read out the messages of the President and Prime Minister.
Award Ceremony was held to recognize the contribution of Bruneians who helped Pakistan in their respective capacities during the Earthquake of 2005 as well as to enhance trade between the two countries. Awards were also given Pakistani nationals who have been serving in Brunei Darussalam since long time in various fields including Islamic Jurisprudence, Finance and Tax, Business, Education and Health. The award was given to 11 Bruneians and 22 Pakistanis.
3rd event of the day was Variety Show organized in collaboration with the Pakistan Community. The event started with recitation of Quran followed by National Anthem and address by Acting High Commissioner. The children performed tableaus on national songs. Speech contest on the topic of 'My Dream of Pakistan' was also held. At the end Pakistan quiz was held. The winners were awarded prizes by the Acting High Commissioner Mr. Ahmed Ali Sirohey.
The day ended with reception which was attended by High Ranking Government Officials, Diplomats, Services Chiefs and Pakistani community. Minister of Communications of Brunei Dato Paduka Hj Mustappa Hj Sirat was guest of honor.
The number of people attended the reception was 300. The acting high commissioner in his speech highlighted the achievements of Pakistan in 69 years. He said that achieving independence is difficult but protecting it is even more difficult. Pakistan and Brunei Darussalam enjoy brotherly relations, which are improving by every passing Day.


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Whittington Hospital nurse accused of fabricating 'groundbreaking' research
Published: 1:00 AM April 17, 2014
A Whittington Hospital nurse has been accused of publishing a medical paper, described as "one of the most comprehensive studies in its field", based on research that never took place.
Michele Di Giacomo claimed to have conducted a pilot study into the effectiveness of different catheters, testing 300 cancer patients over a period of six months.
The results from the research, which was said to have taken place in 2007, were published in the prestigious British Journal of Nursing in 2009.
The study has since been cited 35 times by other research publications and is thought to have gathered global influence among the international medical community.
But questions surrounding the legitimacy of the paper emerged after staff at the hospital in Magdala Avenue, Archway, claimed to be completely unaware of the study ever taking place.
Following an internal investigation at The Whittington, Mr Di Giacomo has this week faced a Nurse and Midwifery Council (NMC) hearing investigating the claims.
Presenting the case against the nurse, who left the Whittington in 2009, barrister Timothy Hogman claimed the number of patients quoted in the study was impossible, given the size and scope of The Whittington Hospital.
He also alleged that there was "no record [or] paper trail" of patient consent or approval from seniors.
He also noted Mr Di Giacomo worked for the company which manufactured one of the catheters promoted in the study at the time of publication, yet made "no declaration of conflict" within the article.
Dr Richard Parker, a former colleague at The Whittington, told the panel: "There's no possibility Mr Di Giacomo could have [tested] as many patients as he claimed. It's an impossible number for the hospital. A lot of these patients would have been under my care and I was not aware of any study taking place."
The published paper also claims the study was done with the consent of the "oncology haematology team leader" which Dr Parker said at the time was himself.
The now retired doctor, who used to teach a fraud module for pharmaceutical company GlaxoSmithKline, said the figures quoted in the study were "too neat to be realistic".
While challenging claims the study did not take place, Mr Di Giacomo's defence said there was "no dispute that this study ought to have gone through the ethics committee".
The defence did not disagree "that colleagues should have been informed".
Should the case against Mr Di Giacomo be found to be proved, the nurse could be suspended or struck off. The hearing continues and the case is expected to conclude this week.


This was a large software development I did for Scotland's largest auction house based in Montrose. This system electronically handles both commission and telephone bids which are first received at the office. The bids are then added through a tray application called BidSender which lies at the heart of the system.
BidSender then directs the bids to the appropriate saleroom; of which it can support eight. At the time of writing currently six salerooms are in operation at the site.
In the salerooms there are two key elements: Image Viewer and LiveBid. Image Viewer is a dual monitor application which shows the picture of the lot currently being sold on a large screen for bidders, and shows this image along with bid and other information on a smaller screen in the podium for the auctioneer. The bid information utilised by Image Viewer is controlled by BidSender in the office.
The other application in use in the saleroom is LiveBid which displays a 'live list' of telephone bids for those in the saleroom in charge of bidding on behalf of registered bidders who are not present at the sale. This allows staff to log results of bids as well as notes and other information.
The system also gives notification of new bids when they are added or changed via BidSender as well as bids that have been cancelled or removed in real time.
On a typical sale day the system processes in excess of 300 telephone bids and over 2000 commission bids.


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NAVI, også kendt som Naviband, er et band som består af Arciom Lukjanienka, Ksienija Žuk, Aliaksandr Taboĺski, Uladzislaŭ Čaščavik og Uladzimir Biehier. Arciom og Ksienija repræsenterede Hviderusland i Eurovision Song Contest 2017 med sangen "Story of My Life" på hviderussisk, første gang sproget er brugt i en sang i konkurrencen. De opnåede en 17. plads.

Arciom og Ksienija har været gift siden 5. september 2014, og offentliggjorde i slutningen af 2017 i musikvideoen til A Dzie Žyvieš Ty?at de venter deres første barn sammen. 1. maj 2018 offentliggjorde parret på Facebook, at de havde fået en søn, Matsei.

Henvisninger

Musikgrupper fra 2013
Deltagere ved Eurovision Song Contest 2017
Hvideruslands Eurovision Song Contest-deltagere
Musikgrupper fra Hviderusland

redpajama_set_name: RedPajamaWikipedia


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Reason: Missing logo and booster pack image.
Hidden Powers (Korean: 보이지 않는 힘 Boiji Anhneun Him) is the name given to the seventh extension set of cards from the DP Series of the Korean Pokémon Trading Card Game. The set continues to feature Pokémon LV.X. Despite having a large range of types, this set focuses on Grass-type, Water-type, and Psychic-type cards.
Hidden Powers is the seventh Korean extension set of cards after the Pokémon Trading Card Game went into hiatus until the middle of 2010. Released December 9, 2010, this extension set continues to introduce both new Generation IV Pokémon and new Pokémon LV.X in the Korean Card Game. This set focuses on Grass-type, Water-type, and Psychic-type cards.
Included in the Mystical Seven set are 40 cards originating from the early half of the English Diamond & Pearl Series. The set pulls its Ultra-Rare Pokémon LV.X focus from the Secret Wonders and Majestic Dawn expansions and contains a majority of cards from the Mysterious Treasures and Secret Wonders expansions.
The only Legendary Pokémon included in the set are Celebi and Ho-Oh.
This page was last edited on 4 December 2018, at 06:33.


WCA Legal News is a periodic publication of the Wisconsin Counties Association. It is intended for general information purposes for the county family and the broader community, and highlights recent changes and developments in the legal area. This publication does not constitute legal advice from the Wisconsin Counties Association or the author, and the reader should consult legal counsel to determine how this information applies to any specific situation.
Andrew T. Phillips and Bennett J Conard, von Briesen & Roper, s.c.
Andrew T. Phillips, von Briesen & Roper, s.c.
See a comprehensive listing of legal reports here.


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This entry was posted in Photographers On Oct 18, 2018 .