text:
"""
websocket - WebSocket client library for Python

Copyright (C) 2010 Hiroki Ohtani(liris)

    This library is free software; you can redistribute it and/or
    modify it under the terms of the GNU Lesser General Public
    License as published by the Free Software Foundation; either
    version 2.1 of the License, or (at your option) any later version.

    This library is distributed in the hope that it will be useful,
    but WITHOUT ANY WARRANTY; without even the implied warranty of
    MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the GNU
    Lesser General Public License for more details.

    You should have received a copy of the GNU Lesser General Public
    License along with this library; if not, write to the Free Software
    Foundation, Inc., 59 Temple Place, Suite 330, Boston, MA  02111-1307  USA

"""
import six
import array
import struct
import os
from ._exceptions import *
from ._utils import validate_utf8

# closing frame status codes.
STATUS_NORMAL = 1000
STATUS_GOING_AWAY = 1001
STATUS_PROTOCOL_ERROR = 1002
STATUS_UNSUPPORTED_DATA_TYPE = 1003
STATUS_STATUS_NOT_AVAILABLE = 1005
STATUS_ABNORMAL_CLOSED = 1006
STATUS_INVALID_PAYLOAD = 1007
STATUS_POLICY_VIOLATION = 1008
STATUS_MESSAGE_TOO_BIG = 1009
STATUS_INVALID_EXTENSION = 1010
STATUS_UNEXPECTED_CONDITION = 1011
STATUS_TLS_HANDSHAKE_ERROR = 1015

VALID_CLOSE_STATUS = (
    STATUS_NORMAL,
    STATUS_GOING_AWAY,
    STATUS_PROTOCOL_ERROR,
    STATUS_UNSUPPORTED_DATA_TYPE,
    STATUS_INVALID_PAYLOAD,
    STATUS_POLICY_VIOLATION,
    STATUS_MESSAGE_TOO_BIG,
    STATUS_INVALID_EXTENSION,
    STATUS_UNEXPECTED_CONDITION,
    )

class ABNF(object):
    """
    ABNF frame class.
    see http://tools.ietf.org/html/rfc5234
    and http://tools.ietf.org/html/rfc6455#section-5.2
    """

    # operation code values.
    OPCODE_CONT   = 0x0
    OPCODE_TEXT   = 0x1
    OPCODE_BINARY = 0x2
    OPCODE_CLOSE  = 0x8
    OPCODE_PING   = 0x9
    OPCODE_PONG   = 0xa

    # available operation code value tuple
    OPCODES = (OPCODE_CONT, OPCODE_TEXT, OPCODE_BINARY, OPCODE_CLOSE,
                OPCODE_PING, OPCODE_PONG)

    # opcode human readable string
    OPCODE_MAP = {
        OPCODE_CONT: "cont",
        OPCODE_TEXT: "text",
        OPCODE_BINARY: "binary",
        OPCODE_CLOSE: "close",
        OPCODE_PING: "ping",
        OPCODE_PONG: "pong"
        }

    # data length threashold.
    LENGTH_7  = 0x7e
    LENGTH_16 = 1 << 16
    LENGTH_63 = 1 << 63

    def __init__(self, fin=0, rsv1=0, rsv2=0, rsv3=0,
                 opcode=OPCODE_TEXT, mask=1, data=""):
        """
        Constructor for ABNF.
        please check RFC for arguments.
        """
        self.fin = fin
        self.rsv1 = rsv1
        self.rsv2 = rsv2
        self.rsv3 = rsv3
        self.opcode = opcode
        self.mask = mask
        self.data = data
        self.get_mask_key = os.urandom

    def validate(self):
        """
        validate the ABNF frame.
        """
        if self.rsv1 or self.rsv2 or self.rsv3:
            raise WebSocketProtocolException("rsv is not implemented, yet")

        if self.opcode not in ABNF.OPCODES:
            raise WebSocketProtocolException("Invalid opcode " + self.opcode)

        if self.opcode == ABNF.OPCODE_PING and not self.fin:
            raise WebSocketProtocolException("Invalid ping frame.")

        if self.opcode == ABNF.OPCODE_CLOSE:
            l = len(self.data)
            if not l:
                return
            if l == 1 or l >= 126:
                raise WebSocketProtocolException("Invalid close frame.")
            if l > 2 and not validate_utf8(self.data[2:]):
                raise WebSocketProtocolException("Invalid close frame.")

            code = 256*six.byte2int(self.data[0:1]) + six.byte2int(self.data[1:2])
            if not self._is_valid_close_status(code):
                raise WebSocketProtocolException("Invalid close opcode.")

    def _is_valid_close_status(self, code):
        return code in VALID_CLOSE_STATUS or (3000 <= code <5000)

    def __str__(self):
        return "fin=" + str(self.fin) \
                + " opcode=" + str(self.opcode) \
                + " data=" + str(self.data)

    @staticmethod
    def create_frame(data, opcode, fin=1):
        """
        create frame to send text, binary and other data.

        data: data to send. This is string value(byte array).
            if opcode is OPCODE_TEXT and this value is uniocde,
            data value is conveted into unicode string, automatically.

        opcode: operation code. please see OPCODE_XXX.

        fin: fin flag. if set to 0, create continue fragmentation.
        """
        if opcode == ABNF.OPCODE_TEXT and isinstance(data, six.text_type):
            data = data.encode("utf-8")
        # mask must be set if send data from client
        return ABNF(fin, 0, 0, 0, opcode, 1, data)

    def format(self):
        """
        format this object to string(byte array) to send data to server.
        """
        if any(x not in (0, 1) for x in [self.fin, self.rsv1, self.rsv2, self.rsv3]):
            raise ValueError("not 0 or 1")
        if self.opcode not in ABNF.OPCODES:
            raise ValueError("Invalid OPCODE")
        length = len(self.data)
        if length >= ABNF.LENGTH_63:
            raise ValueError("data is too long")

        frame_header = chr(self.fin << 7
                           | self.rsv1 << 6 | self.rsv2 << 5 | self.rsv3 << 4
                           | self.opcode)
        if length < ABNF.LENGTH_7:
            frame_header += chr(self.mask << 7 | length)
            frame_header = six.b(frame_header)
        elif length < ABNF.LENGTH_16:
            frame_header += chr(self.mask << 7 | 0x7e)
            frame_header = six.b(frame_header)
            frame_header += struct.pack("!H", length)
        else:
            frame_header += chr(self.mask << 7 | 0x7f)
            frame_header = six.b(frame_header)
            frame_header += struct.pack("!Q", length)

        if not self.mask:
            return frame_header + self.data
        else:
            mask_key = self.get_mask_key(4)
            return frame_header + self._get_masked(mask_key)

    def _get_masked(self, mask_key):
        s = ABNF.mask(mask_key, self.data)

        if isinstance(mask_key, six.text_type):
            mask_key = mask_key.encode('utf-8')

        return mask_key + s

    @staticmethod
    def mask(mask_key, data):
        """
        mask or unmask data. Just do xor for each byte

        mask_key: 4 byte string(byte).

        data: data to mask/unmask.
        """

        if isinstance(mask_key, six.text_type):
            mask_key = six.b(mask_key)

        if isinstance(data, six.text_type):
            data = six.b(data)

        _m = array.array("B", mask_key)
        _d = array.array("B", data)
        for i in range(len(_d)):
            _d[i] ^= _m[i % 4]

        if six.PY3:
            return _d.tobytes()
        else:
            return _d.tostring()


text:
Tag: Niles Krieger
BILL JONES – Wonderful Fairytale (Brick Wall Music BRICK007CD)
Fifteen years on from taking a short break to raise a family, the Sunderland-based former Radio 2 Horizon Award winner finally returns with her fourth studio album. Produced by Ian Stephenson, who also plays guitar and double bass, and featuring Jean-Pierre Garde on strings, percussionist Stephen Henderson, Santi Jayasinha on flugelhorn and with backing vocals from Anne Hills and Gareth Davies-Jones, the wait for Wonderful Fairytale has been worth it. Indeed, opening with the Hills co-write swayalong 'The Arboretum' (its traditional feel partly down to the fact it's a version of 'The Trees They Do Grow High'), a tale of love blossoming over a shared love of botany, it's like she's never been gone.
There's another borrowing for the piano waltz inner Cinderella/Snow White domestic drudgery-themed title track which interpolates the well-known chorus from Lavenders Blue before moving to one of only two non-originals, 'A Far Cry', a swaying love song by Peter Crossley, in whose band Who's That Man? she played in the 90s and which also features on his own new debut album.
Her passion for traditional music is clear throughout the album, both in her own songs and in arrangements or reworks of songs from the repertoire. A case in point being 'The Cold Susquehanna' which, again co-written with Hills and coloured by icy piano, Henderson's rumbling percussion, and Niles Krieger's violin, offers a twist in 'The Two Sisters' that spins a gender twist on the original murder ballad's victim as well as its sibling bonds.
Featuring just her yearning warbling voice and piano, 'My Elfin Knight' is a dreamy pastoral folk ballad about love and loss that gives way to another love song, this time for her adopted home in the piano country waltz roll of 'The Wear County Line', a widow's coming home song. Krieger's fiddle puts in another appearance, Jones providing the accordion, on the playful 'Humphrey Kynaston' which, in 70s folk rock manner, tells the story of the Shropshire highwayman and spendthrift son of the county's High Sheriff.
The only actual traditional number comes with 'The Three Ravens', her doomy arrangement for sombre piano and mournful viola and featuring flugelhorn that combines words from that, the 'Twa Corbies' and her own additions, the pace picking up with jaunty sway of 'Never A Lad', her accordion giving it a European folk flavour, Hill's lyrics drawing on the same lover poisons her man to stop him straying narrative of 'Lord Randall'.
The last of their collaborations comes with 'Myself At Home', a descending scales, almost hymnal piano ballad Garde's viola adding extra wistful emotional texture to a lyric about reflection and self-discovery, time passing and growing older that chimes with the earlier 'Wear County Line'.
Featuring a full string quartet, 'Caden's Lullaby' is what it says, a song for her youngest son, a "little bonny boy" with a habit of not being inclined to visit the land of nod and referencing his dad and two brothers too. It all ends with the other cover, an acapella reading of English folk singer and promoter Alan Bell's 'So Here's To You', a parting glass song she first performed 17 years ago alongside Hills and Aoife Clacy as with Faire Winds, Hill here harmonising on the second verse and joined by Davies-Jones for the chorus.
After fifteen years' absence, when she sings the line "now I know we will meet again", it fair gladdens the heart.
Artist's website: www.brickwallmusic.com
'My Elfin Knight' – official live video:
Posted on May 5, 2019 Author EditorCategories CD Reviews, VideoTags Anne Hills, Bill Jones, Gareth Davies-Jones, Ian Stephenson, Jean-Pierre Garde, Mike Davies, My Elfin Knight, Niles Krieger, Santi Jayasinha, Stephen Henderson, Wonderful Fairytale
ASSEMBLY LANE – Northbound (own label ALCD01)
The Newcastle-based band Assembly Lane are Tom Kimber (mandolin, harmony vocal), Niles Krieger (fiddle, harmony and lead vocals), Bevan Morris (double bass), and Matthew Ord (guitar, lead and harmony vocals). While their CD Northbound – due for release on November 10th 2017 – draws on both British and North American traditional material, the arrangements lean generally towards the North American: indeed, if it were not for the absence of a banjo player, this would be a classic bluegrass line-up, and their sound generally reflects that sensibility. The songs are all traditional, but there are three instrumental tracks credited to Tom Kimber and one to bluegrass mandolin player Bill Monroe.
'The Hills Of Mexico' is one of those slightly morose songs in which the singer regrets a poor choice of occupation: lyrically, it has some lines that resemble 'The Buffalo Skinners'. Nicely arranged, though sometimes the backing distracts from the vocal. The tune used here resembles the one recorded by Roscoe Holcomb.
'Ain't No More Cane' is the well-known-prison song: the arrangement of this version, however, is closer to old-timey than to the Texas prison farms. It appears to owe much to the Band's arrangement, though a little more sprightly and with much the same verses but in a different order. Nice harmonies, too. However, it doesn't really convey the brutality of the environment from which the song arose.
'Mind The Gap' is an attractive instrumental set with a bluegrass feel, but credited to mandolinist Tom Kimber. Mandolin, fiddle, bass and guitar are all featured prominently in the course of the track.
'The Fair Flower Of Northumberland' is a familiar version of the border ballad (Child 9), but rendered here with a bluegrass-y arrangement that gives it some freshness.
Title track 'Northbound' is an attractive tune by Tom Kimber with some impressive unison work from fiddle and mandolin, as well as spotlighting skilful lead work from fiddle, mandolin, and guitar as well as the usual solid basslines from Bevan Morris.
'Northbound' segues almost seamlessly into Kimber's 'Fivefold'. While there are sections in 'Fivefold' that recall tunes that are staples of Celtic dance music, there's a fascinating individuality and complexity to the interplay between the instruments over jazzy bass riffs.
'Sir Patrick Spens' uses the tune from Christie's Traditional Ballad Airs used on Nic Jones's 1970 recording and many subsequent recordings. It's a fine tune, and this version does it justice, vocally and instrumentally.
On '1845', sometimes known as 'The Morning of 1845', fiddler Niles Krieger gets to take the vocal lead, and does so with credit.
'Road To Columbus' is the classic Bill Monroe tune, and the band does it justice.
'Don't You Hear Jerusalem Mourn?' – more often heard as 'Don't You Hear Jerusalem Moan' – is particularly notable for the rich acapella harmonies of the opening section, and the bowed bass and fiddle of the next section, but the athletic playing and changes of pace throughout ensure that the listener's interest never flags. A delightfully upbeat end to the CD.
For me, the best part of this CD is the instrumental work. The press release suggests that the album was essentially recorded live as an ensemble, which perhaps explains its freshness, yet the arrangements are impressively complex: clearly these are excellent musicians who are very comfortable playing together. The vocals are very competent and appropriate to the arrangements, and while there are one or two songs that we have, perhaps, heard a little too much of over the years, all are well performed. This is an album that delivers good music and promises more. And I'd love to hear them live.
David Harley
Artist's website: www.assemblylane.com
'Mind The Gap':
Posted on November 1, 2017 Author EditorCategories CD Reviews, VideoTags Assembly Lane, Bevan Morris, David Harley, Matthew Ord, Mind The Gap, Niles Krieger, Northbound, Tom Kimber

redpajama_set_name: RedPajamaCommonCrawl


Southern Union Data Center is located in the area Houston, USA (America), and the colocation data center is not carrier neutral. The data center was last updated on 19-01-2012.
owned and operated by Southern Union.
Our existing customers have found the Southern Union Data Center is a cost-effective alternative to building their own computer rooms or data centers. Raised data center space, which includes power, cooling and secured access is available now for a monthly fee.
If you are interested in receiving a quote for Southern Union, please try our free quote service.


text:
GWIII — a taste of what's to come
Published by Patrice Sarath on December 22, 2009 December 22, 2009
For your reading pleasure: Here's a little bit of what's coming up in GWIII.
From GWIII:
Five men ranged in front of their employer. They were scruffy, muddy, but capable; their weapons were clean, their hands dirty, as they were advertised. They were scuffed up. The lord took in the bruises on one, scrapes on another. He shook his head.
"You couldn't keep hold of one puny boy?" His voice was full of disgust.
The leader of the men ticked off his reasons on one weatherbeaten hand. "You wanted him alive. You wanted him unhurt. You wanted it to happen unseen. You didn't tell us there was still plenty of traffic on the road in and around Terrick. I made a decision to abandon the plan, try again after dark."
"So first, you take flight when one man shows up who just happens–"
"You wanted us to be unseen–"
"Who just happens to know which end of the sword to hold–"
"He was better than that–"
"He was one man!" He roared it.
"You wanted it to be unseen!" The gangleader roared back, and they stood nose to elegant nose. "You said you wanted the boy to disappear!"
"Well, he didn't, did he!" The lord took the paperweight off his desk and threw it at the door. The men ducked reflexively as the carved stone paperweight hit the oak so hard it splintered.
"He didn't disappear," he said more quietly. "He got away. And when you tried again, he got away again. Only this time, the whole household got to see it."
The men all glanced among one another sulkily. He knew they were debating whether to remind him that it wasn't the whole household, just the strange traveler, who could use a sword for sure, the baby sister, and the householder girl.
I was so close to having Terrick in my fist, he thought. Instead, now he's Salt and Kennery's, tied up right and tight. Soldier's god. What does a man have to do to become High King around here? He composed himself.
"So, you missed," he said. "Do you still want to be paid?"
The leader looked calculating and eager. "We can make it right. We can go back. There's a lot going on. The news of the wedding between Kennery and Terrick has the smallholders buzzing with the news. They might be distracted enough…" he trailed off when the lord pinched the bridge of his nose.
For a second he sustained the fantastic notion of another go. Third time's the charm… but no. The roads were closing. His men would not be able to get in and out before winter set in in earnest. It had been a good plan, too, if a bit more bald-faced than he was used to. He wouldn't have sent a ransom to Terrick, oh no. But he would make sure the man knew who was responsible for the disappearance of his son. Now, the boy's usefulness was over. Time for another plan entirely.
The lord's gaze went out the window. Snow fell outside the small panes, and he could see the faint pinpoints of light from the candles reflected in the glass, floating in the air. Winter was a time for planning, not action. By the time the thaws came, he would set other events into play, and he had long nights and dark days to plan.
"No," he said. "No, we're not going after the boy again. But I still have use for you. You have lodgings?"
The leader nodded. The lord waved a hand in dismissal. When he was alone, he stood in front of the fire, thinking. Kenery and Salt were kingmaking, for sure. And it was the only thing that could entice Terrick to lose his gods-forsaken honor and throw in. He hated both of them, but he had crowns in his eyes, and that made a man open to strange bedfellows.
I don't need anyone to crown me, he thought. I'll make myself my own king. And he had all winter to set the wheels in motion. He just needed to know one thing.
Who had sent the traveler with the sword to defend Terrick?
Gordath Wood: Colar of Terrick At age sixteen, young Colar of Terrick is going to war for the first time. He's assigned to the scouts, the hardened unit of outriders and spies who ride for General Marthen. He is determined...
Kate in Terrick — an excerpt Dear Mom and Dad, Well, I'm here. It's not so bad, and I don't want you to worry, even though I guess you will. The Terricks are taking good care of me. Mrs. Terrick is...
When THE END is just the beginning The first draft of the third book in the Gordath Wood series is done. It comes in at around 98,000 words. I've left trails of breadcrumbs of things to fix, along with several pages of...
Categories:	Gordath WoodGordath Wood Book IIIred gold bridge
Tags: Colar of TerrickGordath WoodGordath Wood III teaserGWIII excerptKate Mosslandred gold bridgethe kidnapping of Yare
game writer guy	· December 25, 2009 at 7:26 pm
yay! GW 3. Looking forward to it.
Patrice Sarath	· December 25, 2009 at 7:31 pm
Thanks! It's fun to be back.
The morrim
I walked in Gordath Wood on Wednesday. Went right by the morrim and everything. Sometimes I'm taken by surprise by how much these Connecticut woods informed my first novel. It's like visiting a movie set. Read more…


Next message: Pedro Ferreira: "Re: [jamboost] Mac OS: How not to hardcode dll paths"
In reply to: Van Nguyen: "Re: "abstract away" <lib>/<dll>; Was Newbie bjam questions (v1)"
> boost_threads library source files will be compiled again?
> If so, isn't it a better idea to use the dll files instead?
and each flavour is installed system-wide in separate "working installation".
search the system-wide location for a suitable working installation.
to build 'B' and get into undebuggable trouble.
> lot of time compiling thread/src/*.cpp files again for no good.


We are now agents for 51 chalets nearby in East Clare. Why not spend yor holiday discovering the attractions of this part of Ireland with it's easy access to The Cliffs of Moher and The Wild Alantic way.
The accommodation has been designed to be an integral part of the 18-hole championship East Clare Golf Course located a wedge away from the first tee and is also close to a number of other activities including fishing, sailing and horse riding, and various places of interest and heritage sites.
We have two and three bedroom units.
Our comfortable two-bedroom chalets feature upstairs bedrooms with king, double or single size beds and a shower room with complimentary amenity kits and hair dryer. The fully equipped kitchen, dining room and sofa bed are downstairs as well as an additional shower room. Other in-room amenities include television, DVD player and stereo.
We provide a free shuttle bus for groups of guests to and from Peppers so that you can enjoy our restaurant and have a pint of 'the Black Stuff' without having to drive.


Welcome to the Prather Ranch – located under the shadow of the majestic Mt. Shasta in Northern California. Prather Ranch is a sustainable, 30,000-acre cattle, hay and farming operation situated in the pristine region where the air and water are pure. The ranch's reputation has been recognized nationally for its progressive and sustainable ranching philosophy and the establishment of a superior branded beef product.
Prather Ranch is best known for its premium dry-aged natural beef program. The philosophy that drives this operation is "a deep understanding of the importance of low stress cattle handling, responsible stewardship of the land and a desire to provide a stable and satisfying life for those who work on the ranch." This creates a "win-win-win" situation – the cattle live in an ideal environment, the ranch practices ecologically progressive and sustainable farming and ranching methods, and the customers are guaranteed they are receiving the most wholesome, sustainably raised beef available.
One of the most unique aspects of the ranch is its "Closed Herd" status as part of the standard operating procedures for the beef and pharmaceutical/bio-medical device bovine raw material side of the business. The beef is hand-cut in the state-of-the-art USDA federally inspected abattoir located on the ranch. Prather Ranch is committed to the most natural way to raise wholesome beef for customers; the ranch does not administer growth-stimulating hormones or feed antibiotics. The animals are raised on certified organic pastures. No animal sourced proteins are fed to the cattle at the Prather Ranch to ensure a safe and pure product for customers. Computer based detailed records are kept on each individual animal and they are individually tracked through their entire life span.
Of the utmost importance is the certification by Humane Farm Animal Care. This certification ensures low stress cattle handling, provides open pastures and expansive grazing land to reinforce natural animal behaviors. The ranch follows a respectful and humane harvest process to ensure the highest quality of life for the cattle.
Again, welcome! Please take a look at the ranch, the cattle and the people that call Prather Ranch home.


text:
This was the first edition of the tournament, primarily organised due to the cancellation of many tournaments in 2020, due to the COVID-19 pandemic.

Pierre-Hugues Herbert and Nicolas Mahut won the title, defeating Łukasz Kubot and Marcelo Melo in the final, 6–4, 6–4.

Seeds

Draw

Draw

References

External links
Main draw

Bett1Hulks Indoors - Doubles

redpajama_set_name: RedPajamaWikipedia


NIRVANA YOGA – Thurs, April 11, 10a.
•Open for private sessions Mondays, Tuesday afternoons, Thursdays.
To schedule private Yoga, Yoga Therapy, Yoga Nidra or Thai Yoga Massage, please contact me at yoginisus@gmail.com.


The HP PageWide Pro 477dw Multifunction Printer is one of the series of HP's PageWide business printers that combines print quality, print speed, energy efficiency, low cost and printing security into a single device. As a multi-function device (MFP) to meet the demands for an all-in-one (AIO) commercial printing machine, the 477dw is capable of printing, scanning, photocopying, faxing and providing email and cloud services. The 477dw Printer delivers a low total cost of ownership and lasting value with the professional results that you would expect.
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HP's 477dw Multifunction Printer uses a four-ink cartridge system to produce bright and vivid colours on paper: black, cyan, magenta and yellow. Each color cartridge provides roughly 3,000 colour prints before the need for replacement and roughly 3,500 monochrome prints for the black cartridge. If you want to print more pages and replace cartridges less often, HP offers high-yield cartridges for the 477dw Printer. These high-yield cartridges will provide roughly 7,000 colour prints or 10,000 monochrome prints before the need for replacement. Of course, the number of prints per cartridge is based on the content of the printed pages along with other factors.
This HP printer has a width of 53cm, a length of 40.7cm, stands at a height of 46.7cm and weighs about 22.15kg. All tasks can be managed from a small 4.3 inch Colour Graphic Display (CGD) touchscreen display. Under the display is a USB 2.0 port for plugging in storage devices such as USB drives. The 477dw can print Microsoft Word and Microsoft Powerpoint files directly from a USB drive and save scanned images and documents unto the USB drive. The paper tray at the front of the printer has a capacity for 500 sheets of paper while the multi-purpose tray at the side of the printer has a capacity of 50 sheets. The output bin can be occupied by a total of 300 sheets of paper all faced down. The printer supports plain paper (letter, legal, A4, A5, A6, B5, B6, Oficio and 10 x 15cm) photos, envelopes (B5, C5, C6 and DL), labels, cards and specialty papers.
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text:
You are here: Home / Articles / All Dutch / Dutch Life / Could parental leave be why Dutch kids are the world's happiest?
Dutch Life, Kids
Could parental leave be why Dutch kids are the world's happiest?
Unicef calls the Dutch the happiest children in the world and they rank second in the OECD for life/work balance. How big a factor is parental leave?
Robbin Haasnoot, 33, greets his daughter and wife as they return from swimming. It's Tuesday morning and although Haasnoot has a good job at a bank in Amsterdam, he will spend the day with his family. He does this every Tuesday as part of his so-called ouderschapverlof, or parental leave.
"I have a contract to work 36 hours a week," Haasnoot explains. "I can take parental leave up to 26 times my weekly working hours and I can spread it out over time. So now I take one day off a week to be with my family and work another half day at home."
Although women are also eligible for parental leave, it is commonly referred to as papadag. Haasnoot is one of 25% of Dutch men who avail of long-term, unpaid parental leave for fathers, spending one day at home a week for up to two years to be with his children.
For Haasnoot, taking parental leave was a clear choice — even a responsibility. "Knowing how to care for children takes practice," he says. "You have to do it all, regularly. It doesn't come naturally. It's a skill, a mindset."
Although he stresses that he doesn't judge fathers who don't or can't take parental leave, he can't imagine doing it any other way. "There's a father on my street who leaves for work at 6:30 in the morning and comes home at 930 at night," he says. "And yes he has a big house and a nice car. But that's not the most important thing to me."
Haasnoot also says his decision to spend a day at home with his children has strengthened his relationship with is wife, because they are truly equal. "It would absolutely be harder for me to understand what my wife does with the children day to day if I didn't do it myself," he says. "I never have to ask, 'what did you do today?' because I already know. And my wife and I together decided to have children, so together we need to take care of them."
But it's not all about sharing the burden. For Haasnoot, parental leave also allows him to feel more involved, more like a dad than he might otherwise. "I like that I get to take them to the doctor, to the playground — I've made friends with many of the mothers. That I get to know what's going on with them during the day," he says. "And you see the effect. When my daughter falls down, sometimes she runs to her mother, but equally to me. She knows that I am also nurturing and that is a good feeling. They know I take care of them just like their mom."
Last week, for example, he took his daughter to a music class. "I was the only father there," he says. "But it's amazing. It's so much fun to play and sing with your kids. Going there every week gives me so much joy. Instead of resolving incidents at the bank — it's much more fun than that. So if you ask me to choose going to work or to music class, definitely the second one. No doubt."
Haasnoot admits is it also exhausting to stay home with the children some days. "I have more energy left when I come home from working for nine hours than some days when I spend five hours with my children," he says. "But I feel having a relationship with my children now is important. When they are older, maybe it'll be too late."
As for his career, he says it has stalled somewhat, but he expects he will make up for that when his parental leave is over. "I started in a branch office ten years ago at a certain level and then every two years I made a step up.. and now I've not made any steps in four years because I was at home," he says. "That's fine — I chose this and accepted that it meant I will probably stay at the same level for a time. But I earn enough to support the family."
Currently in the UK, rights to parental leave and flexible working for parents are being extended, but the BBC reports that fewer than 1 in 10 UK men take anything beyond the two weeks statutory leave.
Haasnoot think that's a missed opportunity for dads. "I can advise every father to take parental leave. It's the little things you miss. When I am watching television in the evening and my daughter comes to me with a cookie we baked together that day… those small gestures make me feel like a dad, like a real dad – not only the one who brings the money home."
What do you think? Do you take parental leave, or are you considering it?
Find out more about ouderschapverlof here
Tracy Brown Hamilton
Tracy Brown Hamilton is an Irish/American writer, editor, journalist and mother of three who has been living in Haarlem since 2007.
Latest posts by Tracy Brown Hamilton (see all)
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Could parental leave be why Dutch kids are the world's happiest? - August 27, 2014
August 27, 2014 /5 Comments/by Tracy Brown Hamilton
Tags: children, dads, Kids, mom, mums, papadag, parental leave, parents, pregnancy
https://expatshaarlem.nl/wp-content/uploads/2014/08/papadag.jpg 354 580 Tracy Brown Hamilton https://expatshaarlem.nl/wp-content/uploads/2019/08/expatshaarlem.png Tracy Brown Hamilton2014-08-27 20:14:532014-08-28 17:53:09Could parental leave be why Dutch kids are the world's happiest?
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Could parental leave be why Dutch kids are the world's happiest? http://t.co/4aeMDd3DDy via @expatsHaarlem
Agnes Olafson says:
RT @LivingLaVidaEco: Could parental leave be why Dutch kids are the world's happiest? – expatsHaarlem http://t.co/sbttydfvtI
Living La Vida Eco says:
Could parental leave be why Dutch kids are the world's happiest? – expatsHaarlem http://t.co/sbttydfvtI
Lindsay Guttridge says:
Could parental leave be why Dutch kids are the world's happiest? – expatsHaarlem http://t.co/cDCRCNue7W
Cost of renting a home in Amsterdam reaches record levels I know you mean well but perhaps you might want to try these lines instead


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Buck Creek is a third generation family farm near the small town of Paducah, Texas. Buck Creek Meats was born out of the desire to establish sustainable farming practices and we are determined to take care of our land and animals to bring the best possible meat to your family's table. Cattle are taken through a "true finishing" process on specifically grown grasses under irrigation to ensure year around consistency. The animal MUST gain a minimum of 1.7 pounds per day in the last 60-90 days (ours typically gain 3-5 lbs per day) to be considered finished and I personally inspect each and every one to ensure that they do indeed have sufficient fat coverage to be considered finished. All beef is aged 14-28 days (depending on fat cover) to improve tenderness and flavor just like "fancy" restaurants. Lamb is finished on grass and mothers milk and are never "docked" nor "castrated". ALL animals are raised "in the pasture" for their entire lives! Products are sold by the cut, Packages, Subscriptions & quarter, half and whole animals.
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The Frank Mitchell Intermediate School is located at 98 S. Mt. Olive Road, Vilonia, AR 72173. It houses grades 4-6. When coming to the campus please make sure to utilize the parking areas and not to park in the one way lane. If staying on campus simply check in at the office and our staff can point you in the right direction!
Our district has been given approval from the State (Arkansas Act 862 (2017)) to use "Alternate Methods of Instruction" (AMI) on days where we have inclement weather and must cancel school. "AMI Days" allow us to take advantage of this new way of teaching and learning on these days when school cancellations are in effect.
Check your child's grades from home!


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Christy Michael, BVMS, dispels the myths of pyrethrins and their toxic effects on veterinary patients.
Pyrethrins are a plague visited upon our planet by cat hating celestial beings in an attempt to eradicate their very existence.
Fiction. Pyrethrin is a naturally occurring insecticide that comes from the chrysanthemum flowers commonly found in Africa and Australia. The Chinese used parts of chrysanthemum plants as an insecticide as early as 1000 BC and the insecticidal properties of the flower were first identified around 1800 in Asia. We humans went and fiddled with pyrethrins, synthesizing artificial insecticides called pyrethroids (such as permethrin) and then went crazy producing them as quickly as possible. As of January 2012, the US EPA had over 3,500 registered products that contain pyrethrins and pyrethroids.
Pyrethrins do something to the nerves--details are for students.
Fiction. Pyrethrins may do something to the nerves, but details are not just for students, they are also for inquiring minds like ours! Pyrethrins reversibly bind to neuron sodium channels and prolong conductance, therefore increasing depolarization. Pyrethroids antagonize GABA and glutamic acid and are much more effective as insecticides than pyrethrins. Both compounds are frequently used in combination with other enzymes to ensure effectiveness and prolong toxicity.
Pyrethrins are not particularly toxic or dangerous to mammals.
Fact. Pyrethrins are actually one of the safest insecticides for mammals and are even safe to use topically in cats if used at an appropriate concentration. Overdosing and ingestion of pyrethrins can certainly still cause signs of toxicity and even inhalation can cause symptoms consistent with asthma in our pets or in people. However, when used appropriately, pyrethrins are quite safe. Pyrethroids are also generally safe in mammals with the exception of cats. The most commonly used pyrethroid in the world of pet applied insecticides is permethrin, which is metabolized by glucuronide conjugation. Since the feline liver is especially inefficient at glucuronide conjugation, permethrin is highly toxic to our feline companions.
I've got this--pyrethrin is safe for use on cats but not permethrin.
Fiction. Why can't this be easy, you ask?! The truth is that permethrin is also safe to apply to most cats but only at a concentration of 0.05-0.1% as compared to the 45-65% concentration used in topical canine permethrin products. Unfortunately, feline exposure to toxic levels of pyrethroids can occur through multiple potential routes. Inadvertent dosing with another pet's medication is a common cause of exposure along with intentional dosing with a less expensive product labeled for another size or type of pet. Accidental ingestion of insecticide applied to the pet in question, or to another pet in the household, is another common means of exposure. The sad truth is that sometimes even if everything is done right, some animals will simply be more sensitive to pyrethrins or pyrethroids and may develop toxicity when these medications are used strictly by the book.
Pyrethrins and pyrethroids can be toxic not only to cats but also to dogs and fish.
Fact. Everybody has heard about the toxicity of these products in cats but don't be fooled, cats are not the only species at risk. Pyrethrin/pyrethroid toxicity is also noted in dogs with greater risk of toxicity in smaller breeds of dogs. Typical symptoms of toxicity include vomiting, hypersalivation, tremors, ataxia, and seizures but not all reactions are neurologic. In addition to this type of toxicity, dermal reactions can be noted. These are characterized by localized or generalized pruritus and occasionally dermal erythema or excoriation from self-mutilation. As mentioned earlier, it is also possible to show respiratory symptoms secondary to inhalation of these products. All forms of pyrethrins and pyrethroids are highly toxic to fish so make sure pet owners clean up well between application of these products and handling anything that is going into a fish tank. Nobody wants to know that their actions resulted in the death of their prized arowana when it could have been avoided!
When faced with a patient suffering tremors and/or seizures secondary to pyrethroid toxicity, the best approach is to throw up ones hands, curl rapidly into the fetal position, and wait for the symptoms to pass.
Fiction. In fact, we have many means of intervention that can save the lives of these patients. Generally the first order of business is controlling tremors or seizures adequately to allow our other treatments. The best control of tremors secondary to pyrethroid toxicity is provided by methocarbamol IV but this is safest administered via an IV catheter that might not be so easy to place in a tremoring/seizuring patient. Most of us that treat these patients on a regular basis are not shy, starting our methocarbamol doses at 50-100 mg/kg IV and repeating as needed up to 330 mg/kg/day. Diazepam is unlikely to provide complete control of tremors and will not last long but a single IV or rectal dose (0.5 mg/kg) can be used to facilitate placement of IV catheter. Once we have a glimmer of control of tremors, we promptly cover up our IV catheter and bathe our patient all over with a mild detergent such as dish soap to remove as much of the toxin as possible. Avoid replacing any collar or harness that has not been laundered to similarly remove any toxin residues. IV fluids are started to protect the kidneys from the myoglobin that will surely be flowing through them shortly. For patients with refractory tremors or seizures, phenobarbital, propofol, or inhalant anesthesia may be necessary to control these symptoms. Treatment length varies depending on the exposure and independent patient sensitivity, anywhere from 12-48 hours.
Dermal reactions to pyrethin/pyrethroid exposure are treated similarly to any other basic allergic reaction.
Fact. As with any allergic reaction, treatment with an antihistamine and steroid are very helpful in treating dermal reactions to these toxins. In addition to those traditional treatments, these patients will also benefit from bathing all over with a mild detergent. Avoid replacing contaminated collars or harnesses on these pets as well.
I now understand and no longer fear the arrival of my next pyrethrin/pyrethroid toxicity case.
This article was very interesting and I didn't tear my hair out reading it. More, please!


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Gear Design Simplified, Third Edition, a classic reference, is a compilation of a series of gear-designing charts illustrating by simple diagrams and examples the solutions of practical problems relating to spur gears, straight-tooth bevel gears, spiral-bevel gears, helical gears for parallel shaft drives, helical (spiral) gears for angular drives, herringbone gears, and worm gears.
Contains a series of simply diagrammed gear-designing charts, illustrating solutions to practical problems.
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Atribuição de uma Bolsa de Investigação pós-doutoral
Atribuição de uma Bolsa de Investigação para Estudante de Mestrado
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I think I am finding the whole panel on both sides annoying. I appreciate the work that Jenny McCarthy has done in raising awareness, but I think the singular focus on vaccines reduce the funding available to other causes and environmental triggers to the genetic component. When every discussion on autism devolves into a debate about vaccines, it depresses me, like there is no hope for better treatments or cures for Jimmy. I think there is a genetic component and an environmental trigger - saying there is an autism shot is an oversimplification.


"…a vibrant, bustling, outdoor sustainability-themed festival featuring stellar live music, organic and sustainable foods and beverages, information booths, sustainable products, educational workshops, and fun activities for families and children. The live music lineup includes musical performers Weinland, Portland Cello Project, Stephanie Schneiderman, Freak Mountain Ramblers, the March Fourth Marching Band and others.
The Muddy Boot Organic Festival's mission is to promote sustainable living practices within our local communities, thereby enhancing the health of our world, our neighborhoods and ourselves. The theme of this years festival is Connecting Communities in a Changing Climate."
Sounds festive – and interesting. Best of all, I have two free tickets to give away to the keynote speech on Friday night by author and environmentalist Bill McKibben. His talk titled "The Most Important Number in the World" addresses climate change and starts at 7:00 pm this Friday night. Opening remarks will be made by former Oregon Secretary of State, Bill Bradbury.
McKibben is the author of The End of Nature, the first book on climate change aimed at a general audience, Deep Economy: The Wealth of Communities and the Durable Future and many other works. He is also a cofounder of 350.org – whose mission is to inspire the world to rise to the challenge of the climate crisis. The number 350 is significant because it is the level scientists have identified as the safe upper limit of parts per million of CO2 in our atmosphere. According to scientists, we are already above 350 ppm, and 350.org s goal is to mobilize an international movement to bring our planet back to 350. The founders of 350.org are coordinating a planetary day of action on October 24, 2009, just a few weeks after our Muddy Boot Organic Festival."
So, on to the give-away: the first person to answer this plant-related question correctly on the comment section of the blog will win two tickets to Bill McKibben's keynote speech on Friday night at 7 pm.
Question: what kind of "cape" is the name of the plant "Cape fuchsia" (Phygelius) referring to? Drop me a line – let me know before anyone else does and we'll give you two free tickets.


January, from Janus, the Roman God of beginnings and transitions, depicted with two heads, one facing the past and the other looking to the future. For most, January holds high expectations and promise for a great New Year. For some, January can be the cruelest of months with its frigid temperatures, bleak skies, and mountainous heaps of snow. I suppose it depends upon which way the winds blow.
This month, ten days into the New Year, the winds were not so favorable.
My mother passed away unexpectedly.
As we dig out from one snowstorm, then another, hope springs eternal.
I leave you with a glimpse of a great woman: smart, independent, artistic and caring... my mom, Edna Levine.
Here's a portrait mom took of herself with her Canon AE1, while studying photography in college later in life. Her lifetime was heavily invested in art: printmaking, ceramics, large paper pieces and so much more.
Here are a few of her handmade paper pieces... taken under plexiglass with an ipad... not optimum conditions, but you can still get a feel for what she accomplished.
So much to say... too emotional to say much else.
Best to leave you with the words of a poet.
Thank you so much for your kind words. It's very comforting to know that we are held in your thoughts.
Terry you brought tears to these sad eyes... happy tears!
What a lovely sentiment and fabulous story. I can envision my mom having 'big' plans for your Indian wrap, but the fact that you gave it to her to make paper says a lot about how you valued her friendship.
So glad you were a part of mom's life and now ours.
I've been thinking of the two of you daily, realizing the amount of work involved with your mom's estate, and appreciating all you are doing. Thank you.
I also miss her. It reminds me of when my mom passed away..such a loving, but complicated relationship. Even in death, I understand more about my mom as a woman, mother and wife. There are more questions I wish I could have asked, and more things I wish I could tell her now. But I have learned to have no regrets..our parents, as well as ourselves, continue to grow with experience and the passage of time. We learn life lessons as time marches on, if we are open to them. Grieving is the first step...my heart wishes you peace.


text:
Interview: Robert Brady: Desert Canto
Robert Brady is an accomplished potter. His history of making pottery goes back to his high school days, but his work long ago expanded beyond the traditional territory of the potter. Exploring a wide range of forms from small to very large pieces, he became established as a major West Coast artist working in clay. Then he began exploring wood as a sculptural medium. For many years now Brady has worked in a number of media, turning out a prolific body of work, always with his particular eloquence which frequently seems to embody ancient, archetypal qualities. We talked at some length about the artist's early life, his love of the desert and some important early experiences.
Richard Whittaker: I enjoyed your talk at CCA [California College of Art] and wanted to hear more about your high school experiences. You said you ran around with some miscreant youth.
Robert Brady: [laughs] Well, I was playing that up a little bit. I was actually generally accepted by the cool crowd, the popular kids, but I tended to run around on a daily basis with kids who maybe weren't in that crowd. The picture I showed in the lecture of the ceramic club that I started had in it one guy who was a golden gloves boxer who came very close to going to the Olympics. He was from a background very much like mine. Divorced mother. Single parent and middle to lower middle class. Next to him was a guy who was just kind of a goof, Lloyd Brethauer. I liked him a lot and ran around with him. Next door to me there was a guy who built Ascot speedsters.
RW: Were you into all that, the car thing?
RB: I know quite a bit about engines being a product of the fifties. My brother, who was older than me, was building an engine to put in a car to take to the drag strip, and my dad was a car salesman. He was quite a few things. He was basically tied to the gambling industry in Nevada, but when he would get dissatisfied with the business, he would pull out for a few years at a time. He was a car salesman when I was young. Before my parents got divorced, I can remember, my dad sold Lincolns and Mercurys, and he would pull into the driveway with any one of those cars on a daily basis and say, "Hey, jump in. We'll go for a ride!"
I was five, or maybe six. I do remember that so well. If he ever got a little dissatisfied with a car, he'd just get rid of it and get something else. He owned a very hot-rodded up 1957 Buick at one point. Later on he had a Corvette with the biggest engine. I used to borrow that, so I feel like I grew up in a time when car culture and motorcycle culture was in the air. It definitely was in my family, and to this day, I love things with wheels on them—bicycles, motorcycles, cars.
RW: That's evocative for me, too. I remember the mystique, the attraction of cars.
RB: Where did you grow up?
RW: I was a teenager out east of LA.
RB: I also lived in LA from 1957 to 1960. LA is still the fashion capital of just about everything, but surely cars are revered more in Southern California than maybe anywhere else.
RW: Do you remember looking at cars and having special feelings about the way some of them looked? I can remember my own examples of that.
RB: Well first I'm going to guess about the American relationship with the vehicle—that it represents freedom, going anywhere you want, roaming about. You can get out and drive a hundred all day long across Nevada.
But I remember that my friend and I would have this game. We'd ride our Hondas around and stop at this place where you could get 19-cent burgers. We'd sit there and take turns identifying every car that would come by, "'53 Chevy." I still find it pretty interesting to look at the designs of these cars from the point of view that it's somebody's idea of good design.
RW: I can remember, for instance, that I loved the '53 Lincoln, especially the design of the rear fender and the tail light on that model. I could dwell on such things.
RB: I remember the '53 Lincoln. It had a tail light that came down like this [gestures].
RW: That's right. And I remember the amount of feeling I invested in these things and in certain color combinations, too. Do you connect with that at all?
RB: Well, yes. So what's that feeling? How do you express that feeling?
RW: I think it's a deep thing, actually. How I express it, I don't know, but I still see this sometimes with a certain combination of colors. For instance, in that small space before anything closes in, there's that same feeling I'd feel when I was seven or eight years old, or even younger…
RB: So it recalls an earlier response to something.
RW: Yes.
RB: What I do now when I look at cars or motorcycles, or even bicycles, is make a judgment in terms of form and shape and design. I find it interesting how the same body with a different color and slightly different tires, can be pretty damn right, but the same car with the wrong color combinations and funny wheels can just be out of balance. When it's really right, I savor its design balance. I tend to just admire it for its overall integrity and beauty. But still, that's not answering the question of what it represents exactly.
But vehicles, first of all, they're forms of transportation. Then, besides just the functional aspect, it begins to allow freedom of movement, and that leads to experience you couldn't have otherwise. So I think naturally that all vehicles, universally, trigger that response, whether it's conscious or unconscious.
RW: So vehicles, on a conscious or unconscious level, point in the direction of freedom.
RB: And escape. [laughs] You get the hell out of here, in more ways than one! Yes.
RW: Escape. Maybe that's even more powerful. How do both of those things resonate for you?
RB: When I was young I could not wait to get a motorized vehicle. When I was living in Los Angeles, and was too young, I'd look in the back of Popular Mechanics. They'd have these little scooters with these little four-stroke Briggs and Stratton engines. At thirteen and a half, I talked my mom into letting me buy one and just have it in the garage, but when she wasn't looking, I was riding it. And there's a certain kind of elixir in the feeling of riding and the slight risk, or the speed factor.
RW: Experiences on the Honda?
RB: Or with a car. If I step on the gas and run that car up to 95 for a few seconds, my hands get a little sweaty. It's a little bit of a thrill. Part of that is not wanting to get caught by a cop, and if you don't, it's kind of a rush. In a sense, I guess, that's an escape from a more static condition that we normally experience.
RW: I wanted to go back to how sometimes a car or bicycle might have just the right design. You said you would savor that. Could you say anything more about that savoring?
RB: It's not unlike looking at anything that is pleasurable to look at, including art, fine art. I would look at it like many other things, a good pot, a sculpture, possibly a painting.
RW: You'd get a feeling there?
RB: Yes. Although, I guess it's different knowing that there are maybe a hundred thousand of that same vehicle out there. When I see one—whether it's a car, a motorcycle or even a bicycle—that's aesthetically balanced and well designed, it makes for a total appreciation. It's just like, yeahhhh… I love that! I guess I don't want to try to contrive a greater philosophical slash emotional explanation of what I'm getting from it than that.
RW: Well, I mean, artists say—and with justification—"If I could put this in words, I wouldn't have to make the art."
RB: Well, it's a little bit why one artwork can completely stop us in our tracks. I mean, I saw a pot one time in the Philadelphia Museum. I was going to give a talk there that night, and I had the day free. I started at the bottom and just worked my way up through every floor. I saw a lot of good things—Brancusis, Martin Puryears, there was a whole room of Shaker stuff. Beautiful! I love the reductive, depersonalized quality in that work; there is no extraneous design, or anything like that.
So I had looked at all that, and I got to the top floor and finally walked toward the elevator to leave. I walked past this little vitrine right by the elevator. In it was a little pot about this big [gestures]. I stopped and looked at it, and this pot just gave me this flutter in my chest. I'm looking this thing and thinking, How can it be that this little object here can compete and rise above everything else I've seen in this museum? It was about seven hundred years old.
I love Japanese pottery, but this pot didn't remind me of anything, quite. So I kept looking at it. Then I began wondering, how did these people back then know how to make a form that had so much power? That caused me to start thinking about how did form come about, period? How did the Greeks arrive at the amphora shape? In the end I could only guess a little bit, but I still couldn't really explain what it was about this pot that made it so incredible.
RW: That is a very interesting moment you're describing.
RB: I've had a few of those, very few.
RW: Tell me about the other ones.
RB: The funny thing is that they all relate to clay and, more often than not, to a vessel form. There was a show at the Oakland Museum about twenty-five years ago, the Johnson's Wax collection. It had one piece from everybody in ceramics who was supposedly anybody in the country.
I go through the whole show. There were some funny ceramics here and some interesting ones there. There was a big Arneson wall that was really ambitious. I also get to the very end of that little trek, and I'm getting ready to go up the stairway when I notice two little covered jars, the same size basically, sitting next to each other, both similar but subtly different. Both were made by Byron Temple, a very well-known functional potter who died about five years ago. He was an old friend of Sandy's (Brady's wife, potter Sandy Simon).
Those two pots just spoke to me in a way that was so powerful. They blew everything else away! And I'm going, "I don't get it." How can this pot, which is meant to hold some sugar, or something, compete with that wall over there of Arneson's? That says something about me, and my love of pottery and the archetypal qualities of function, and that beauty a lot of people don't regard as highly.
Then another experience was when the Abstract Expressionist Ceramics show was at the San Francisco Museum of Modern Art in about 1965 or 66. I went through that whole show and it was a Peter Voulkos piece that just had a profound hit on me. The power and authority of his ceramics is really extraordinary. So those were unforgettable, they almost border on the religious experience or some very powerful things that have happened to me in nature, unexpectedly.
RW: You remember these moments even today, forty years later. So how do these two little pots overtake this incredible wall by Arneson, as you say?
RB: It really isn't unlike… One time I was driving from Needles, California. We started out on a day like this, pure blue sky, probably 80 degrees at six in the morning. By the time we got to Las Vegas, a windstorm was starting up. We could see only a block or two ahead of us, then it got worse and worse as we headed north out of Las Vegas. My car couldn't go more than thirty miles an hour with everything it had! Then that finally lifted. As we were approaching Tonopah, a long sloping climb, it started snowing! I mean from a beautiful clear blue sky in the morning, to blinding dust storms, and now we had snow coming down and sticking to road signs and all the sagebrush. I said, "I can't believe this!" And going up this long hill, there's mayhem!—cars spun out in crazy positions! I had quite a bit of experience driving in the snow, and I had these kids with me, in a front-wheel drive Renault. So I said, "You'll have to jump out when I say and push the car!" If the car stopped we'd never get going again. I'd say, "Now!" and they'd jump out at three miles an hour and push! I wove, slipping around between all these cars scattered helter-skelter and, finally I said, "Okay, jump in!" and we pulled away. That was just a great experience!
So we go further, and now the snowstorm is over. Now we're just driving through the Nevada desert, and there are giant cumulous clouds! Just fucking amazing clouds! And there are big showers just dancing across the desert floor. I'm driving along and, all of the sudden, I just got this overwhelming connection with nature.
For me, it was a religious experience, a connection to the profundity of what this world is, and our experience in it. That's not really different from what I felt when I saw those pieces. It really isn't. It almost wants to make you cry from a certain kind of joy, and a certain kind of gratitude.
RW: Your story reminds me of once when I was driving alone in the desert. A lot of snow had fallen and everything was white, except where the rocks were bare. The clouds were all breaking up, some sitting right on the ground and up on the ridges. Sunlight was breaking through and scattering light around. It was atmospheric and ephemeral. At one point there was simply a configuration of all this more beautiful than anything I'd ever seen in my life. I really thought, this must be what heaven is like.
RB: And it took you.
RW: It touched me in a way hard to describe, and it only lasted for about five minutes. You would know something about this.
RB: Yes. I do know. And it's kind of curious because I oftentimes have thought about this. I mean, sure it was beautiful out there, but I've been in so many extraordinary different geographies and places that could engender the same kind of experience, but not have it. I'm guessing there's more involved. It's almost like we're always waiting, consciously or unconsciously. We need that, but you can't make that happen, necessarily.
RW: Clearly not.
RB: Just to say a little more about that. I find the desert to be much more powerful in an essential kind of way than any other nature situation. I've noticed that I can be by the seashore and can be witnessing one of the greatest parts of our universe, the power of the ocean and all that. I've been in the most beautiful, sublime Alpine meadows and babbling brooks and shimmering leaves and sunlight and deer and whatever, But the desert… I mean, we have sagebrush out there, little animals, a lot of nocturnal animals, foxes, coyotes, so certainly it's a living landscape. But it seems like the artifice and the frills and the dressing has eroded and cannot exist there. So there is more of the bearing of the fundamental, geological soul of this universe there. It's like the Truth, you know? And the desert, no one has attempted to "fix" it, except in communities like Phoenix and so on, but the general desert is left alone. I just love that!
RW: I love how you're putting it. No one has tried to "fix" it.
RB: They haven't even bothered, you know? The desert is just so real!
RW: You spoke in your talk at CCA of your love of Pyramid Lake. Would you say something about that?
RB: I love Pyramid Lake. First of all I have a kind of sentimental connection there that goes back to my childhood. We used to go out there from time to time. My dad liked to drink and when we'd go on a fishing trip, for instance, it was pretty typical for him to have a beer between his legs driving down the highway in the middle of Nevada throwing the cans out the window and getting another one.
He liked to drive out to Pyramid Lake for a little sojourn. He'd go to this little tavern there and drink for an hour or two and we'd screw around down on the beach. There were these myths that there was a serpent in that lake and you had to be careful swimming there. And for me, as an adult, it still represents a kind of mystery and a bit of a hallowed space. On the east side, where the pyramid exists, there's nice little cove and on the shore there are these tufas. Have you been there?
RW: No. But I've seen the tufas at Mono Lake.
RB: The tufas sometimes look like three, four ice cream scoops on top of each other. They might be 60 feet high. And sometimes, when they're clustered, you can climb them. They're real toothy, like coral. On the very top there's an open pot, a crater. It's like a fort. These things are amazing—just like from another world! Those are juxtaposed with the pyramid, a giant rock structure which, come to find out, is simply created by geothermal hot water rising from the ground that is so calcium rich that, as it gurgles up out of the lake bed right there, it begins to deposit and just keeps depositing! To this day, hot water is leaking out all around the base of that pyramid.
One time we decided to circumambulate the whole pyramid. When you get on the far side, there's very hot water squirting right out constantly like a hose bib turned on full. At the northwestern end are these things called the pinnacles. These things are flat out amazing! They rise up and you can climb them. When you get on top there's a generous space maybe five or six times as big as this whole floor. You can look down on the lake. There are minnows about this big [gestures] that travel in schools that are so large they look like clouds under the surface of the water. That dark value of the fish school moving, undulating and changing shape constantly, is an amazing thing to see from up there! If you inspect the sides of these pinnacles, you can see that they are created completely by microorganisms!
So Pyramid Lake has the Pinnacles and there are the tufas and the magnificence of the lake with its azure color, which is generated from the calcium particulate which is always present in the water. When the sunlight hits it, it refracts the light in a way that other lakes don't. The water's clean and slightly sweet because it's slightly alkaline, and generally speaking, there's hardly anybody there.
It has such an essential quality and there's so much history that you can feel that's been stripped and put before you. It's impossible not to think about a vast amount of time and the influence of geologic activity. That's why I love the desert.
RW: The desert. Yes. Well, I also wanted to ask you about something else. In high school you ended up in a class where you were introduced to clay. Tell about how that happened and about that first pot you made.
RB: Well, in my senior year I was scrambling to graduate on time with my fellow classmates due to the fact that I was ill much of my junior year. I was in the hospital for three months and home in bed, too. So when I entered my senior year, I had classes to make up. I found myself beleaguered by the amount of homework and found out I could drop an algebra class and still graduate. I heard you could go and take a crafts class where you just screwed around, so I went over to that class with no expectation of learning anything. Well, I left the office and I got to that class a little late. Everybody was working. I reported and gave the teacher my transfer slip. He looked around and said, "Let's go over to the clay table." He got a bag of clay out and handed me a rolling pin, and said, "Make a slab-built pitcher." Then he walked away.
Well, I knew what a rolling pin does. My mom made pies. So when the bell rang, I'd finished my piece. It looked kind of like a cowboy coffee pot. It had a coffee pot spout on the side and a lid that had a knob on it that reiterated the pot's form in reverse. And there was a side handle that reiterated the pot's form once again. So even in that very first piece, I had some design consciousness going on.
So I was done with it, and I already knew I liked this thing a lot. My experience making it was complete concentration, as much as I knew was possible at that time. I wanted to put it somewhere where no one would mess with it. So I climbed up on the counter and went all the way up to the top of these shelves and slid a plastic bag over it and left, very enthused and, in fact, in love with that thing.
The rest of that day, when a class had ended, I'd sprint down there, jump up on the counter and lift the bag off the piece and just look at that thing. Most of the time I'd bring a damp sponge with me and I'd just rub it. I'd turn it and look at it, and then I'd slip the bag over it and run off to my next class.
Then it came time to fire it. I glazed it and somehow the glazes worked really perfectly. It was a red, low-fire clay with a yellow shiny glaze. The glaze thinned at all the edges to show the reddish clay. It really worked out. The teacher liked it and put it in the showcase in the hallway. So every day I'd walk down the hallway and see my piece in there. So between falling in love with creating this thing and then getting some positive feedback, I was just gone, you know?
What I noticed back then was that for the first time I was doing something that was completely mine. Nobody was meddling with me, and I just loved that— the personal involvement and that freedom, complete freedom! It was mine! Everything came out of me, came out of my mind, came out of my feelings, it was just complete ownership and autonomy. No compromise! I mean it links a little bit to the idea of what a vehicle represents, in a way, of freedom. It was a very freeing experience, and I saw it as such.
RW: So that was a profound experience.
RB: It was very profound. It did build over time, but it started just like that. The trajectory was from the moment of that first class. Then I started the Potter's Club and we were making more stuff. Then the teacher started saying, "I think you ought to go to art school."
RW: I think you mentioned in your talk at CCA that before that class you'd sort of assumed you'd be a car salesman or work in the casinos like your father had.
RB: Yes. Up until then I thought I'd go to the University of Nevada, Reno, like all of my friends did, but knowing me and my indifference to academics and education, I had this expectation that I would just kind of drop out after a while. I'd picked up from my dad some interest in being a real estate person or a car salesman, or working in the gaming industry. There was one point in my life when my mother, my father, my brother and myself all worked in the same casino.
RW: What did you all do?
RB: My mom worked throughout the year either as a cocktail waitress or, in this case, she was a cashier. My dad was a Keno expert and a pit boss. My brother was a shift boss in Keno. Do you know what Keno is?
RW: Sort of, but not really.
RB: It's derived from a Chinese lottery game that I've heard was developed when they built the Great Wall of China. There's a piece of paper with eighty little squares and numbers from one to eighty.
I'm going to tell you about this, because it connects to my artwork a little bit in the funny way we learn things. In the old days, a customer would go to a kiosk where the paper is supplied and they would have an inkpot and a Chinese brush. You would take the brush and dip it in this blue ink and mark these numbers, up to as many as fourteen of them, and the black numbers would still show through. Anyway you'd mark the paper and then you'd bring it to over to me. I'd ask, "Sir, do you want to play this for sixty cents?" or a dollar? or whatever. Then I'd take a piece of live paper that had the actual race—we called them "races"—and replicate your marks with my brush. Then I'd write more information in the margins and then stamp them both with a date/time number. I'd give you my copy and keep your original as proof of exactly what you marked in case there were any disputes.
Well, certain Keno writers took pride in having a really nice brush, even customizing it, taking some hairs off or tightening up the farrel a little bit to stiffen it up so they could make beautiful marks that had a wide, and then a tail coming off, pushing left—that kind of a thing. It was a very Asian kind of aesthetic.
So I developed an ability with the brush, and I developed that in the gambling industry. [laughs]
RW: That's fascinating.
RB: Anyway, that's what I thought I'd do because nothing in school, up until that point, had interested me that much. But that teacher helped change my life. He saw what was going on in me and he nurtured that, and he put pressure on me. He said, "You need to go to art school." I said, "Really?" And by the end of the year I believed him. There was no doubt that I had been struck, and it was going to be a life-changing experience. So, when I went away to art school I was as serious as I could imagine being. However, it wasn't until maybe a year and a half or two years later that I realized that I was going to be more serious than I could ever have imagined before.
When I left high school I wanted to get a degree in art and come back and be just like my high school teacher. He was my hero. I wanted to make pots. I wanted to make things. I had no doubt about that. But how voracious, how prolific I'd be, well, after a year and a half or two years, I realized that I was so immersed in making things, and thinking about making things, that it exceeded my naive expectations. I realized I couldn't be a high school teacher and be the artist I wanted to be. I saw that wasn't going to work, but I knew I had to make a living somehow, so I upped my goal to being a college teacher and having a job that only caused me to work two days a week.
That would be permissible in terms of me being an artist. So what I'm saying is that something happened in that crafts class that very day, but it was going to get more complex than I could even imagine.
[There was a break. When we resumed, the conversation had returned to Brady's family.]
RB: Well, first of all, my mother was from a fundamentalist, religious background that was extreme. So when she left home and eventually got married and had children, she in no way wanted to impart any of that to us. But little by little, a neighbor here, a neighbor there would say, "Hey, you want to go to Sunday school?" So a few times, I went. I was also in a foster home for a period, but it was kind of voluntary. My brother was put in one and I wanted to go and hang out with him.
RW: Is this after your father had left?
RB: Oh, yes. It was long after they'd been divorced. My father had remarried and my brother and that lady did not get along.
They first separated when I was four. I remember we all lived in Las Vegas. When they separated—I didn't know what had happened—my mom and I drove to Reno, and then my dad and brother didn't come for six months or a year. So that was a weird time. Then they came and we acted like a family. That lasted for a couple of years and then they got divorced. That went on for five or six years, and then they got remarried "for the sake of the kids." They actually got remarried. That lasted for about a year and a half, and then they got divorced again. Now where was I?
RW: You were talking about your mother's fundamentalist upbringing, and then Sunday school.
RB: Yes. At the foster home, they'd send us to church every Sunday. It was a Christian Science church, too. I've never read the Bible and don't know anything about any religious structure of any sort. What I did like about going to church was that sense of community; that's a beautiful thing that I think we all want, also. I love it when everybody sings together. So I've thought about my place with all that.
I took pre-Columbian art history when I lived in Mexico and I found I could really identify with their attitude about nature, and the power that nature had. They attributed a spirit and a power to each thing. A tree had a different spirit and power than a rock, and even an obvious power. If a rock hits you on the head it could kill you. There was a realistic and elemental response to the world—not contrived or symbolic.
It dawned on me at that point that religions other than Christianity made a lot more sense to me. Superficially I might know more about Zen Buddhism than any other, however the reason religion keeps coming up in my mind is that I see these religious themes in my work. Sometimes I see them after I've done them. "Hmmm. Look at that!"
It's happened time and time again in fairly obvious ways and other people notice, too. Then there is a less perceptible quality in quite a bit of the work that connects to that. I have ideas sometimes that maybe haven't been expressed as much that also might touch on western religion and icons and symbolism, even though I just said that I have no particular affinity to Christianity. I'm more interested in eastern religions. However I do think that all religions, in their most fundamental, pared-down format, have a similarity.
So getting back to this thing that everybody needs, I think that religion is essentially an affirmation, or a gratefulness, or a mindfulness, about being one part of this whole universe. We are a living organism. It's just simply that. That feeling of being really connected is what all people need and want, but it's hard for modern day people, more and more, to have that.
RW: Would you say that as an artist, working, you know already that there will be certain states you arrive at and then the next day, you're not in that state. You know what I mean?
RB: Yes. I know. That's why I think those experiences we're talking about in nature, we think it was the weather that day, like with the dust storm. Those things are part of it, but there's something else, too, some readiness to let yourself go into that, some ability to let yourself into that. And I think there is resistance to that, in some way, too.
It's related to art. That state that can happen where you're almost in a suspended place where you're fully concentrated, fully concentrated, but not over-controlling. You're part of that small universe, or part of the whole universe, in a way that is so poignant, so involved, but at the same time, so unegotistical. Stuff happens then.
For sure, there may be intent. It's not like you're wandering or floating aimlessly, but at the same time, you're so open that, in retrospect, it's kind of surprising sometimes. You think, "How did I even do that?" I think that's where, obviously, the most creative things happen.
It doesn't have to be quite that high a level all the time, either. That's why one needs to work often, and put in fairly long periods of time working. That self-consciousness begins to erode and a certain kind of just being there and connectedness occurs with all the things that participate, the tools, the material and everything else. You begin to just fall into this place where something can be birthed instead of dug up.
RW: That's a nice way to put it. I was interested in how earlier you were talking about the Shaker room. You used this word "depersonalized," and you just spoke of getting into this space where the ego recedes. It's interesting that there's a lot of ego that often goes with art. Do you have any thoughts on that?
RB: Well, I've heard people say that a good artist has to be somewhat egotistical. It takes a fairly strong ego, but there's a difference between being egotistical and even a bit selfish as a person, and standing next to one's artwork and having a pretty high egotistical profile. There's a difference between that and allowing that ego to disappear when the making process is happening so that something more genuine and more deeply connected to a feeling space and thoughtfulness can occur. If the ego is really a conscious factor, "I'm important, this is important," those things go against the birthing, or the unveiling—against the possibility of something coming about, that "something" which some work has that's hard to describe, you know?
Richard Whittaker is the founding editor of works & conversations and West Coast editor of Parabola magazine


Don't forget X-Boximus distracted them by challenging them to a Halo game.
With the writers strike, we have our first SCAB movie script right here. I bet it could be in theaters by XMAS.
nice, I like where your head's at.
In a surprise twist, HBK-Bot will switch sides and superkick Mountain Dewbot's head off, saving Optimus Prime at the last second.
Optimus Prime needs no one to save him! Also Im wondering how the poll is going.
Looks like Sideswipe is a Transformer....congratulations Sideswipe!
Yes well done Sideswipe, though it was pretty close there.
I shudder at how you've all missed the obvious. Sideswipe has cleverly led you all away from the truth, chasing the false trail of his questionable status as a possible Gobot.
See, the truth is that he really is a Transformer. However, remember that Transformers are "robots in disguise".
Red Alert is a repaint and slight remold of the Autobot named Sideswipe."
Sunstreaker was one of the first generation of Autobots in the original Transformers television series. He was the twin brother of Sideswipe, another Autobot, and like him also turned into a Lamborghini Countach."
Ironically enough, Sideswipe's profile itself is rife with alternate (disguise?) forms as well.. one of which includes a blue Go-bot form.
Let the controversy begin... er, continue... um... let there be controversy in either case!
Thank you loyal friends who can see the truth of my non Go Botness. Pay no attention to Jinto, for he obviously knows not what he is talking about, I give him a customary, burn in hell.
Oooooh, me thinks the lady protests too much! I see smoke!!
We might have to have a run-off between the top two finishers just in case this new evidence has merit.


text:
Lower East Side man captured on video having sex with girlfriend's dog
By Lisa Colangelo , Andy Mai , Shayna Jacobs and JOHN ANNESE
Jesus Gutierrez faces two misdemeanor charges — torturing an animal and sexual conduct with an animal. (Kevin C. Downs for New York Daily News)
A Lower East Side man was caught on video having sex with his girlfriend's pet Maltese Wednesday afternoon, police said.
Jesus Gutierrez, 39, lives with his 43-year-old girlfriend and her dog, Princess, in an apartment on Clinton St. near Madison St., according to prosecutors.
She went to work Wednesday, but had set up a camera inside the apartment, and at 3:45 p.m. it captured footage of Gutierrez with the dog, authorities said.
Prosecutors said Gutierrez assaulted the dog for a half hour, sodomizing the dog with his fingers. He also rubbed himself against the dog's genitals, sources said
The dog was visibly distressed in the video, prosecutors said.
Gutierrez's lawyer, Jack G. Goldberg, said he'd seen "no evidence" of the assault and had not seen the video.
Gutierrez was intoxicated during the incident, which he described as a "difference between him and a woman he was with," Goldberg said.
"He's a father to six children and a hard-working man," Goldberg said.
Police busted Gutierrez just after 7:30 p.m. Wednesday, and the traumatized dog was taken to a veterinary hospital, cops said.
Gutierrez, who was charged with misdemeanor torturing of an animal and sexual conduct with an animal, needed a Spanish interpreter at his arraignment in Manhattan criminal court. He was released on his own recognizance at his arraignment Thursday.
"No English, no English," he told a reporter as he left the courtroom.
Gutierrez's girlfriend did not return messages seeking comment, and a relative who answered the door of her home declined comment.


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