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David Rabe by Evangeline Morphos
BOMB 93 Fall 2005
Eliot Weinberger and Forrest Gander by
Lionel Shriver by Jenefer Shute
Lincoln Perry by Ann Beattie
Jennifer Bartlett by Elizabeth Murray
Arturo Herrera by Josiah McElheny
Yinka Shonibare by Anthony Downey
Noah Baumbach by Jonathan Lethem
George Lewis by Jeff Parker
American Genius, A Comedy by Lynne Tillman
Three Poems by Peter Gizzi
The One Marvelous Thing by Rikki Ducornet
Three Poems by Laurie Blauner
Chroniques de L'Algérie Amère Algérie 1985–2002 by Anouar Benmalek
Three Poems by Elena Alexander
Three Poems by Brenda Shaughnessy
Two Poems by Tomaž Šalamun
Teachable Moment by Pierre Hauser
Artists On Artists
Gedi Sibony by Anthony Huberman
Stanley Whitney by Mimi Thompson
Jon Kessler by Saul Ostrow
Clarence Morgan by Jan Estep
Mary Ellen Caroll's Federal by Charles Renfro
Cannon Hudson by Rachel Kushner
Stephen Vitiello's Buffalo Bass Delay by Paul Pfeiffer
Eri Morita's Home Drama and Stuart O'Sullivan's How Beautiful This Place Can Be by Allen Frame
Andrew Benjamin's Disclosing Spaces: On Painting by Saul Ostrow
Give My Regards to Eighth Street: Collected Writings of Morton Feldman by Victoria Miguel
James Frey's My Friend Leonard by Marc Joseph
Aimee Bender's Willful Creatures by Melissa Sandor
Adam Curtis's The Power of Nightmares by Linda Hoagland
Annie Baker by Elianna Kan
David Rabe's Vietnam plays— The Basic Training of Pavlo Hummel , Sticks and Bones and Streamers —were among the most evocative works to come out of that dark period in America's history. More than war plays, these were about the moral crises individuals encountered when faced with power struggles that were beyond their control, and often beyond their understanding. Rabe continued to explore these issues in other contexts. In plays like In the Boom Boom Room , Hurlyburly , Those the River Keeps and A Question of Mercy , his characters try to find a right path in a morally complicated world, sometimes encountering terrifying aspects of their own subconscious in the process. For Rabe, we are in an untamed, but not untamable universe.
Rabe is unflinchingly honest with his characters as they move through harsh realities. Whenever I teach his work in my classes, students always have the same reaction: they are awestruck by the truth of his writing. Rabe never takes the easy route, and as dark as some of the plays are, there is always a strong moral center. This past season's enormously successful revival of Hurlyburly presented New York audiences once again with this masterpiece of Rabe's work—dark, horrifying and often very funny. This fall, a new collection of short stories, A Primitive Heart , will be published by Grove.
I first met Rabe when I was working on a production of Those the River Keeps at the McCarter Theater. I have since produced two of his plays off-Broadway— Those the River Keeps and The Dog Problem —as well as worked with him in a number of other contexts, including spending an amazing summer with his family at a theater and film festival in Italy. What always strikes me about Rabe as a person is his enormous gentleness, generosity, and humor. In rehearsals, he is a caring, patient, and lively collaborator. He is an incredible mentor to other writers, both gifted and giving.
David Rabe.
Evangeline Morphos Let's start with your collection of stories, which is about to be published. What transition did you make moving from writing in a dramatic medium to prose?
David Rabe It's been gradual and ongoing. When I started writing in college, I wrote mostly prose. Later, as I wrote plays, I continued doing prose pieces that I wouldn't finish, and that included novels.
EM So these stories in A Primitive Heart are ones you had begun years ago?
DR They were started earlier, but I devoted a chunk of the last year to rewriting and in some cases doing new sections.
EMThe characters or the story continue to intrigue you?
DR My way seems to be to work, move on, and then go back. Streamers , for example, came out in three periods of writing consisting of four or five hours at each sitting, but these sittings were spread out over seven years. It was only after the last one that I felt I had a play. So it was maybe 20 hours spread over seven years. Yet when production came, very little needed changing. After the army, I tried prose, but my sensibility was more equipped for the sprint. Even the short story doesn't feel like a sprint the way a play does. As time has gone on, I've shifted.
EM Shifted?
DR I like the patience required by prose now. My plays seemed a metaphoric burst from the unconscious that would bring this archetypal, organizing momentum.
EM Almost mythological?
DR Some unconscious charge. Often my characters don't know what the issues of the play are. They think they're doing one thing but something else is actually orchestrating their lives and hence the play.
EM It's almost impossible to think of the stories in A Primitive Heart as plays.
DR My ideas seem to arrive as one or the other. In the plays, as I said, there's this metaphor bringing size to the characters and events. In In the Boom Boom Room , the go-go bar is a metaphor. In Streamers , it's the parachute that doesn't open. Basic Training is training by the army, but also "basic" training about life, being guided and misguided. With certain experiences, though—as in the stories "A Primitive Heart" and "Holy Men"—it feels impossible to do them as theater. So for years I'd start stories and get to where I had them under control and then move on. Each story has a different style. Which is true of my plays, too. The use of language changes from play to play. And I find going back and reconnecting with the life of something started in the past satisfying. It may be due to the Streamers experience, those seven years, which made clear that my way is to leave something and then come back.
EM In going back, are you drawn to a repeated theme, or a character moving through several works, like Phil, who is in Hurlyburly and Those the River Keeps?
DR With Phil, I wrote Hurlybury , and then was dissatisfied with the way he was perceived—
EM In the production?
DR In the way people saw him in the play. I felt connected to him, that through him I could explore things I was thinking about, which had to do with the way the past hangs onto you and shows up in spooky ways. Sometimes as new people who embody things left behind, feelings, events. The things and people you leave behind don't always like being left. They hunt you down in the shape of new people, or sometimes in your head, and they're—in the sense of the metaphor of the title, Those the River Keeps —they're waiting and lonely at the bottom of the river.
EM Do you mean in your perception of the past and whether you accurately remember?
DR What you remember, or even what you forget. But it isn't a particular person so much as a force embodied by different people in the plays, so that in Those the River Keeps , Phil, who is the force of upheaval in Hurlyburly , is no longer in that role. He's attempting an orderly life and Sal is the explosive one. In Streamers , it's Carlyle. In The Dog Problem , Uncle Mal. It isn't something I do intentionally, but—in Sticks and Bones , it's the vet, David.
EM In your first novel, Recital of the Dog , one simple incident triggers chaos.
DR There's a scene in Hurlyburly when Darlene and Eddie have a screaming fight about a restaurant until they realize that what they're really fighting about is their unhappiness in the relationship. Everything seems nice, and then they're screaming about restaurants, and the only way to understand what they're fighting about is to see the truth of what's really bothering them, and then the relationship's over. That's a threat constantly in one's life, and sometimes you're the person who finds the passion you think you've put away and "dealt with," as we like to say, pouring out of you, and you're kind of unknown even to yourself in that moment, even though the emotion is definitely your own.
EM In some of the plays and many of the stories, a baby seems to be an answer, but also in some way a threat. In "A Primitive Heart" an expectant father has ambivalent feelings. In "Veranda" the son is both a comfort and an opportunity for despair.
DR In "Veranda," when the father's leaving the family, the little boy is shrieking that he wants his daddy to stay. Suddenly, they're in this primal moment in the midst of suburbia. There's something inescapable in powerful feelings. They're enriching and threatening because they make you feel alive and connected but it's also like being possessed or kidnapped.
EM The word romance occurs in there somewhere—pertaining to the bond between father and son. Romance literally implies a story, a beginning, middle, and end.
DR You're not just going to walk away from it.
EM The first part of "Veranda" is in fact a very romantic story: it begins with the line "Someone is weeping on the veranda, but it doesn't seem connected with the present moment."
DR I don't mean this literally, but at times I feel a story is something that I would whisper, and a play is something I would shout.
EM One scene in "Veranda" does feel whispered. The father has been away in California after his marriage has dissolved, and he's been writing letters to his son that tell a fictional story about a little boy. When he visits his son, he reads them aloud to him, and the son has heard them before but still is riveted. After the last of the letters, the father, who is the narrator, tells us, "I wait and then I say, 'I wonder what will happen next.'" The story goes on: "His eyes respond with a bright and crucial revelation, for in my question he finds a mirror of his own present state and perhaps far more than that. This is exactly where he was stuck; it's exactly what he was wondering … . I can see it well up from some concealed, serious, very private place inside him. He can't believe how much we are alike. 'I don't know,' he says, grinning at me."
DR I'm sitting here wondering if I'd tried writing that story as a play whether such a moment would have occurred.
EM The story "Holy Men" is about two men who have taken very different paths. A young journalist comes back to reconcile with his mentor, a priest. The priest reads to him from his poetry, and that exchange is almost a substitute confessional.
DR Their bond is writing, teaching, literature. They've ended up in different places. The priest is older and was the mentor and feels he still should be on some level. He remains a priest, and the other guy has left the church; they have this affection, but it's imperiled by the positions they've taken. And so the story is how they work their way through this very complicated, somewhat drunken and necessary evening.
EM That one struck me as a very personal story, a story about writing.
DR I don't ever expect to write a memoir, because I think everything's a kind of fiction anyway. So you might as well treat it that way, even when you think you're remembering exactly what happened.
EM Is part of the appeal having a narrator's voice, which you can't have in the theater?
DR Narrators, as I've used them, occupy a consciousness with limitations. "Holy Men" is in the first person. A tricky technical element is the way the story appears to be told in the moments being narrated, but there's a sense layered in at the start that lets the reader feel that the story is being told from a point in time a while after the events. That perspective, had it been eliminated, would have made a certain development near the end impossible. And yet the sense of immediacy for much of the story had to be protected. At one point in the rewrites I almost lost this balance, because I wasn't fully conscious of how it worked until then.
Hurlyburly, 2005.
EM Is there more control in prose without the collaborative input that's in theater?
DR It's more an experience of being finished. The book is just there, waiting.
EM Were the stories written in the order in which they appear?
DR The order is based on my sense of how they would interact if they were read in sequence.
EM Does the violence of some of your characters surprise you? The violence that lurks inside them surprises them.
DR That's truer in the plays. There's some violence in one story. A lot of psychological violence in another. The plays have surprised me. The end of Sticks and Bones was startling. Recital of the Dog , my first novel, certainly surprised me. (laughter) Over and over, I thought, who is writing this?
EM The violence there is triggered by a seemingly simple incident. A man, a painter, living in the country with his family shoots a dog that's been chasing his cows.
DR And you don't get to know the piteous thing that drove him to shoot the dog and launch the subsequent terrors until near the end. The book tries to manifest the unconscious past, and maybe even the unknown past, in someone as it overtakes their present. As I worked on it, I thought that the reader would become aware as the story progressed—and then be constantly aware halfway in of the growing shadow of this man's childhood. There seemed no other possible explanation than that he was reenacting some horrific childhood and that realization would be a prism through which the story was viewed. I felt there would be this accompanying ghost image as the character's perceptions became extremely distorted, and you would see what he described, but alongside that perception you would see what was really happening—what you would see if you were present—and it would be different from what he described. It may be that I was asking too much, because he couldn't know he was re-enacting his past, because he is becoming too crazy. It's all real to him. I've wondered if I shouldn't write a prequel, you know. His life before. (laughter) Once he gets involved with the old man who was the dog's owner, there's a scene where he decides that the only way to make the old man happy is to let the old man throw dirt and rocks at him and to pretend he's having a good time—that seemed a dead giveaway of a childhood scene. The more sadistic the old man becomes, the more enjoyment he takes from hitting the narrator, who's running around the backyard pretending to have a good time—what else could that be?
EM Childhood is a very perilous place in your world, a place where children are buffeted by events that the grownups construct around them. And yet, the children in these short stories seem to be okay; they survive.
DR There's certainly a lot of effort to help the little boy in "Veranda" survive, but he's under a lot of stress. The child in "A Primitive Heart" never materializes fully. There's an Anne Sexton poem that goes something like, "They pick me up and put me down and move me here and there." That's not exact, but it stuck in my head for years—the idea of childhood. It's from poems about fairy tales, and those lines are about—I can't remember which figure, but a female.
EM In the plays, in the stories, certainly in Recital of the Dog , the death of a dog is a big part of it.
DR As they mix with us, animals exist in a world they no longer understand. On their own, in the wild, they're experts. Where I live now, there are deer and foxes and all the other ordinary creatures. I love the fact that I can walk out and be startled by five or six deer looking at me. I love the way my dogs go about their lives. The things that interest them, that they remember.
EM Is part of it a purity of motive?
DR Most dogs are perfectly "dog," in a way people are rarely perfectly "people." Dogs are committed completely. My dogs are very individual—Tizja and Saz—both committed to their dogness. Tizja insists on getting her way. I know that she's deluded. It seems true about all of us. I mean, the dog is completely dependent on the people who live here. Her sense of who she is, her sense of her prerogatives, could be wiped out in a second. But I love her being assertive, expressing, testing, communicating her will. It's touching, because she dares to think she has the right, when she's really totally in our world. Dogs were large in my imagination growing up. I always wanted a dog, but I couldn't have one, even though I grew up in the Midwest. I lived in an apartment building most of my childhood, and dogs weren't allowed. Not only that, the landlord killed them. There was one dog—when I was small. I lived with my grandparents during World War II, because my mom was working in an ammunitions plant and Dad was welding in a shipyard. We all lived with my grandparents in a little town in Illinois. Grandpa and Grandma had a dog that I was close to, but I never had a dog of my own until the '80s when my wife picked out Blueberry. We've had them ever since.
EM Some of your characters have a problem with the Catholic Church. Is it the presentation of a world in which the rules are clear?
DR To the degree that the church is Aristotelian, it's logical. But the other side is very mysterious.
EM That's actually a trump card that one of the characters in "Holy Men" plays.
DR If you're in the Church and arguing issues, sooner or later you will be told, "Well, that's an article of faith. You have to believe it. We can't prove it and we don't have to." I grew up very much a believer. Partly I suspect it was because I was imaginative or susceptible to imagination. In college I started to find things not quite making sense, but it was a long struggle. They had reason in one hand and the trump card of faith in the other. Reason is tricky. Useful. But dangerous if overvalued, because given a set of false premises, reason can't help but race to a "reasonable" but wrong conclusion. Reason can't take everything into account, and because it can't, but still acts like it has, it's actually not reasonable, but only pretending, and so suspect.
EM In your essay about Arthur Miller, you talk about your difficulties with the consequences in a well-made play being "proportionate" to the actions that cause them. You said you had two influences in thinking about these things, one being the unconscious and the other being physics.
DR I claim only a slight understanding of physics, but what I felt was that the Newtonian worldview presented the universe as a machine and the well-made play was a reflection of that set of ideas. Clockwork universe, clockwork play. Certain motions delivered certain consequences in a predictable, proportionate way. It just didn't seem true of living things. The way a seed produces a tree is somehow not proportionate. Considering in a simple way nuclear fission in the atomic bomb, you find that a small substance can obliterate cities. Huge structures of what would seem far more substantial materials—even human beings themselves—all this is obliterated by ounces. Where's the proportion in that? And our psyches are similar. On the most basic level, take road rage. Someone is driving and someone else cuts in front of them, and that leads to a furious person trying to run somebody off the road. The stimulus seems to have no proportion or even bearing on the result. The cause has passed through a psyche where it was magnified by something lurking in the perpetrator's unconscious that resulted in a consequence larger than the cause could ever prompt if proportion ruled. My play Streamers appears well-made up to the point where the violence occurs.
EM And that point isn't the endpoint. You think that it should end, but the arc keeps going.
DR Once the force of rage is let loose, it keeps going. I guess I was in fact taking the form and blowing it up. Two people are headed for a collision, Carlyle and Billy, and when they actually collide, violence erupts between them. The well-made play would end things there. But in Streamers this sergeant who has no idea what's been going on, no idea of the motivations and feelings let loose while he was somewhere else, walks in—he just happens by, and the violence swallows him up too. It doesn't care about its cause or the motives that might have set it free. The violence has its own life once it's loose.
Sticks and Bones, 1969.
EM Let's talk about Chekhov and how you got involved in adapting a story of his into a play.
DR I just happened to listen to a book on tape driving somewhere. My wife had left the tape in the car. One of the stories was "The Black Monk." It was so compelling I felt a desire to inhabit it. So I set about adapting it.
EM I'm struck by your wanting to inhabit his world. Keats talks about a quality of "negative capability." In Shakespeare's writing, it's as if, as a writer, he negated himself and allowed the actor or the audience into the world of the play.
DR It's true of Shakespeare, not only that you can enter the plays, but that it's probably how he wrote them. That's why people don't know who he is. Everyone's saying, "Who the hell is this guy?" There are all these debates about his origin, was he this guy or that guy, and he had to have lived in the court. I think he was pure genius, and that he's just not there, you can't really identify him. He was capable of being open to whatever the hell source he had flowing through him. It's a negative capability for the characters to show up, and for language, too. Clearly he's beyond most of us. I feel he's the Buddha of playwrights, a highly spiritual creature. I can't find any other explanation for the wisdom, the abundance. Like Beethoven composing symphonies of astonishing complexity when he's totally deaf. Now that's genius, that's not background.
EM No, and it's not training.
DR What surprised me in Chekhov's stories was the irrationality. The mysticism. I'd thought of him as realistic, but he's impressionistic. "The Black Monk" is enigmatic. Is it a mystical story, or a story about a crazy man? Chekhov doesn't decide for you.
EM You don't decide those kinds of things for many of your characters either.
DR The way "The Black Monk" ends, which was hard to duplicate on stage, and I don't know that I succeeded—it's a moment in which you really have no idea whether the man at his death was visited by a spirit to whom he had an allegiance, or a psychotic delusion that destroyed his life. Nothing in the story will tell you. And so you're left with the suggestion that maybe there's no difference.
EM Did you come to a conclusion about that in the play?
DR I tried to do the same as the story.
EM In the Arthur Miller essay, you talk about a nearly lifelong engagement with his work.
DR With many others I was invited by Christopher Bigsby to contribute to a book of essays in response to Miller. Once I started to trace my relationship with this man, whom I met twice but didn't know in any real way, I realized it went way back. I found I could chart some of my development as an ongoing exchange with him conducted in my head, sometimes with a sense of counsel, often with a sense of argument. I saw the movie All My Sons when I was 12 or so and home sick from school, and it was a big experience. Then I reread the play in college and felt it didn't hold up. It seemed implausible that the corruption in faulty airplane parts during World War II could return to this guy's doorstep and kill his son. It seemed well-made and deceitful in the sense that form was satisfied, but the chaos of life wasn't represented. In later plays that I loved, he developed these themes, but they were thought less successful: After the Fall and The Price , for example. But as far as All My Sons , I had to change my mind again when later on I happened to watch a news magazine story about an admiral in Vietnam who was instrumental in dispensing Agent Orange through certain sectors of Vietnam. His son, who had been in one of those sectors, was dying from Agent Orange. Immediately, I thought of All My Sons .
EM In the essay you also talk about Miller being criticized for using the image of Marilyn Monroe in After the Fall . In your story "Early Madonna," a young woman is eager to become the image of the star singer. It's an idea that moves through a lot of your work; the appropriation of a popular image by the need to imitate what is contrived.
DR Most of us need guides. Adolescents look to pop culture. The girl in "Early Madonna" wants to perpetuate what she believes was the best of Madonna. Of course there are other Madonna figures lurking in the story: the Catholic one, and one from antiquity. So what is she really after?
EM The play in which you most overtly use a mythical image is The Orphan , where you take the Orestia as a framework, and shuffle that with the images of violence in America—the Vietnam War and the Manson family.
DR I was freshly back from Vietnam and listening to arguments for and against the war, the "reasonable" assertions of why we were there. Then I saw a production of Iphigenia at Aulis . There's a moment where the priest explains why Iphigenia has to die—he laid out the bones of this dead bird and said they declared the reason for her death, which was that it would let the becalmed fleet sail. It struck me as a metaphor for all the explanations of why we were in Vietnam. In Iphigenia at Aulis everybody kind of nods and says, "I see." Given the premise that a priest is an expert who can read the messages contained in the entrails of a dead bird, the conclusion is reasonable. When I wrote The Orphan , the first act struggled with this absurdity, the young girl being sacrificed because garbage said to do so. The more I delved into it, the more I was fascinated to find out the Temple of Apollo was given over to Dionysus for part of the year. In other words, the Greeks saw that reason was simply the flip side or dark side of unreason. I thought I had all these new ideas, but they were ancient. I played with the idea of Orestes being like me—the new person who arrives thinking, "I can solve all the problems. I know good from bad. I'll take care of things." I put him in the company of Charles Manson who was Mr. Unreason, but certainly had his own premises and logic.
EM What you just said strikes me as the core of much of your work. A character arrives thinking, I know good from bad, I can take care of things, but in fact he can't know what the circumstances will bring.
DR You never know what your behavior can ignite in other people. What can be ignited in you. Who's primed to explode.
EM You don't excuse your characters. I'm thinking of the husband's less than sympathetic reactions in "A Primitive Heart." The honesty makes him totally believable.
DR His reactions seemed real and understandable. Some of them are primal. He didn't like them either, but there they were.
EM He encounters a description of a fetus at a particular point of development, where it has a "primitive heart." The phrase resonates with him.
DR In researching, I read that description. It's important that he encounter it in a scientific setting, where it means rudimentary, barely working. But for him it brings manifestations of "wild" and "natural." They enter his dreams, float in his thoughts.
EM I wonder who your influences are in addition to Chekhov?
DR One person I went back to recently was John Cheever. There are a number of contemporary writers—Lorrie Moore, Deborah Eisenberg, Mary Gaitskill, Ann Beattie, Mary Gordon, Jonathan Franzen, Thom Jones—a couple of his stories are amazing. Denis Johnson can take you on a trip. And then there are the long shadows: Mailer, especially The Deer Park , Executioner's Song , Ancient Evenings , An American Dream . To The Lighthouse by Virginia Woolf is something I've read many times. When they finally arrive at that damn lighthouse and she completes her painting, I can't get over how I feel. From Here to Eternity . I'm going back in time now. Updike. Salinger. Fitzgerald. Hemingway. A book called Stoner that I read recently. I guess I'm just listing what I've loved.
EM And what's after the stories?
DR I'm working on a novel that I had to put aside to do a screenplay to pay the bills. I don't mean to be cynical, but I've written so many screenplays that never will be done. But when I'm finished, I'm going straight back to the novel. I've done about 440 pages over the last year and a half. I took time out to do the stories, got pulled into another hundred pages on a different novel, and then Hurlyburly was done in New York. But I'll be back at it soon, and I anticipate that I can finish in about three months.
Evangeline Morphos has produced more than 15 plays off-Broadway, including two by David Rabe. Most recently she produced The God of Hell by Sam Shepard. She teaches at Columbia University, where she heads the program in television, and will be working this season on The Bedford Diaries, an upcoming series for the WB network.
production and direction
Branden Jacobs-Jenkins by Hilton Als
The playwright discusses his formative years, rejuvenation of historical material, and how race is coded into theatergoing itself.
Unconditionally Loved by Christoper Paul Wolfe
"I need to talk to you," she says.
An Entire Family Disappears by Gunnhild Øyehaug
THE GRANDUNCLE (stands up in the middle of the wake. Taps his glass with a spoon)
BOMB 93, Fall 2005
Featuring interviews with Arturo Herrera and Josiah McElheny, Jennifer Bartlett and Elizabeth Murray, Lincoln Perry, Anthony Downey and Yinka Shonibare, Eliot Weinberger and Forrest Gander, Lionel Shriver, Noah Baumbach and Jonathan Lethem, George Lewis and Jeff Parker, and David Rabe and Evangeline Morphos.
How do I build a fugitive choreography, one that's always in the process of escaping itself, then coming back to reaffirm itself, only to slide away again? The act of interpreting a choreography is made live by the performers, which is the invitation in my work.


Here's an interview with Mark Forman, the USA e-envoy equivalent talking shop about e-government. I don't think I've come across an interview with him before. Best quote? Easy. "We had 22,000-plus Web sites, and more than 30 million documents and Web pages. Now, it's up to 180 million documents and pages. We're online, but the issue is how effective and efficient the federal government is in serving the citizens." A week ago in Romania I guessed that there were 30,000 sites at a Federal level and perhaps 100,000 including state and local government. Looks like I might have been conservative. This is government's biggest problem. We still think like government when we talk to people - and noone takes the citizen's view. We need people who are going to champion the view of the people and lay it on the line to make sure that the services that are delivered are important for the citizen, not important for government.


If you can't go shot for shot with Ina, then you can at least have the decency to listen to a story about Jeffrey.
Celebrity chef Ina Garten, aka the Barefoot Contessa, went day drinking with Seth Meyers and the results are legitimately magical. For one, Meyers, 45-year-old late night host and father of two, can chug the hell out of an artisanal cocktail. And Garten can cast some perfect shade, which she spent all nine minutes of this video doing on Seth, McDonalds dipping sauce, and the general concept of a directed interview. It is delightful. See the sheer amount of anguish on her face when asked to try Arby's Horsey Sauce?
For the longer version, Garten and Meyers sat down for a Bloody Mary before getting into a full cocktail battle. Naturally, Garten brought her own drink-making tools. Meyers used the ole "eye method" when measuring out rum. You can guess who had the better drinks. But the real treat is when Garten thinks she's going to make Seth tell the difference between her recipes and common fast-food substitutes and gets duped into eating KFC gravy, which she assesses by saying, "It tastes like gravy." She is the perfect food snob we all deserve.
Eventually, Garten takes control of the show by accurately pairing three women's bare feet to their headshots (how?!) and pairing every celebrity chef with their quote. By the end, Seth is hammered and yells at her about bringing up an elaborate story about her husband Jeffrey. What I'm trying to say is that this is, perhaps, the most perfect video of 2019.
You can watch the whole thing below, but remember, if you're making a cocktail with egg whites, it's best to get it from your own chicken coop. If you don't have chickens, store-bought is fine... but secretly, Ina Garten thinks you're garbage.
Who Should Back Up Seth Meyers on Late Night?


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NEWS / PUBLICATIONS
Freemasonry is one of the oldest non-religion based fraternities. Through this description, we define Freemasonry, as practiced by the Grand Lodge of Greece, which is the governing body for numerous lodges in Greece and Cyprus, in order to clarify certain misconceptions.
The philosophical, progressive, and philanthropic nature of Freemasonry aims toward the moral and spiritual alleviation of its members, through self-knowledge, the pursuit of Truth, solidarity, and the application of social and mora virtues in their daily lives. Members are taught to assimilate these virtues through a series of allegorical rituals based on Ancient Rites, illustrated by the ways and the symbols of the ancient stone-masons, as allegorical guides.
Basic criteria for admission
The foremost criterion for admission to the Craft, is belief in God, and his Will.
Men of any race or creed fulfilling the basic criterion, and having strict morals and sound judgement are eligible to join.
Freemasonry and Religion
Freemasonry neither is a religion, nor does it attempt to substitute one. It accepts men of any creed, who are free to follow their own faith. For this reason, any discussion on religion is strictly prohibited in any masonic building.
There is no specific God for Freemasonry. God to a Freemason, is the God of his own faith. In order to avoid conflict of any manner among masons, with regard to faith or dogma, God is defined under the generic term: The Great Architect of The Universe.
The Volume of the Sacred Law, ever present in masonic labors, constitutes proof of belief in God, depending on the prevalent Faith in each country. The most common examples are The Holy Bible, The Quran for Muslims, the Vedas for Brahmin etc.
The Three Grand Principles of Freemasonry
Every true Freemason will exhibit tolerance, respect, politeness, and understanding toward the opinions of others.
Masons, deeply concerned for the well being of society as a whole, are taught to feel and practice charity.
Freemasons are champions of truth, aiming to maintain high moral values, and striving throughout their lives to uphold these. Masons believe that maintaining these values only, one can guarantee a higher quality of life for all mankind.
Freemasonry and Society
It should be clarified that Masonic membership does by no means excuse a Freemason from his obligations toward society. On the contrary, it is a masons' duty to be exemplary in the discharge of his civic duties. His masonic duties are fulfilled through his personal, public, and professional life, as well as the love for his Native country.
Freemasonry demands that all its members respect and abide by the laws of the country they reside and work in. The Principles of Freemasonry do not, in any way, contradict one's civil duty, occupational, family, or other public duty. On the contrary, Freemasons are urged to firmly uphold these public and private responsibilities. This way, there is no contradiction whatsoever, between Freemasonry, and social duty.
Use of masonic identity for mercenary (personal or professional) interest, is looked down upon from the brotherhood, as it contradicts commitments a mason pledged on, during his admission to the Craft. A masons' civil duties should always superimpose any unlawful, or dishonest attempt to defend another mason. The opposite is a masonic offence, and subject to disciplinary action.
Use of masonic identity
A mason should never use his identity to promote personal, or professional interests. This is repeatedly made crystal clear, during his early masonic life, so that no one can claim to be unaware to it. A mason that violates this rule, is put in an inactive state, or even expelled from the brotherhood.
As per Article 2, Paragraph VI of the General Charter of the Grand Lodge of Greece: "devotion to ones family, respect to all social institutions, love toward ones native land, and fulfillment of ones civic duties, are sacred to a Mason, and not contrary to the love he owes to all mankind, aligned to the ideals of brotherly love, and justice."
The Secrets of Freemasonry, are entirely comprised of the traditional modes of recognition. There simply are no other secrets, and thus Freemasonry is NOT a secret organization. Just like any private club or company, certain internal issues need not become public. Members are free to disclose their masonic identity if they wish to do so, when this is inquired upon. The Charter and General Regulations of Grand Lodge, are known to the state, and thus subject to administrative, and financial audit, if requested.
Freemasonry is not a political organization, and there is no relation whatsoever to political parties. Thus political conversations are strictly forbidden during masonic meetings.
Masonic Appendant Bodies
In each country, Freemasonry is governed by a "regularly established, and operating Grand Lodge". In Greece, it is governed by the Grand Lodge of Ancient and Accepted Masons, which is based in Athens, at Acharnon st. 19, 104 38.
There are several other masonic side orders throughout the world, the most prominent of which are the Scottish Rite, and the York Rite. These are governed by separate Grand Councils, and include several other degrees, that a mason is free to follow, should he wish to do so, after completing the three main masonic degrees of Entered Apprentice, Fellowcraft and Master Mason.
The regular operation of these Grand Councils requires recognition by the Grand Lodge of the jurisdiction they operate in. The Grand Lodge of Greece recognizes and has since 1872 held amicable relations with the Scottish Rite Supreme Grand Council of the 33rd Degree for Greece, while since 1993, it has recognized the Grand Council for the York Rite, which was founded and operated under its auspice. Both of these side-orders meet on different days from Craft Lodge, in order to avoid any overlap.
There are several other self-defined lodges or para-masonic organizations that do not follow the necessary characteristics, either by not being regularly established, by allowing or encouraging the participation of women as members, or do not require belief in A Supreme Being. These lodges and organizations are not recognized by the Grand Lodge of Greece, and any masonic relation with these is strictly forbidden. In order for a Grand Lodge to be recognized as regular by the Grand Lodge of Greece, it needs to have the following characteristics:
It needs to be legally consecrated by a regular Grand Lodge, or by three or more Lodges recognized by a Regular Grand Lodge.
It needs to be truly independent, and self-governed, with absolute control over the basic Craft Degrees (Entered Apprentice, Fellowcraft, and Master Mason) in its jurisdiction, and should not belong to any other Masonic Body.
Masons belonging to its jurisdiction should be exclusively male, and masonic relations with lodges including female members should be prohibited.
Masons belonging to its jurisdiction should believe in A Supreme Being.
Masons belonging to its jurisdiction should assume their obligation in the presence of the Volume of the Sacred Lay, or other Book, sacred to the man taking the Oath.
The Three Great Lights of Freemasonry (The Volume of the Sacred Law, Squares and Compasses) should always be present when Grand Lodge, and the lodges belonging to it are in labor.
All religious and political discussion is strictly forbidden.
The Antient Landmarks, and Customs of the Brotherhood should be strictly followed, and enforced upon all lodges.
A mason is encouraged in fulfilling his duties toward God (in whichever name expresses This Supreme Being) though his faith and practice, toward his family, and finally toward mankind through charity, and relief. Additionally, a mason should at all times constantly strive to achieve ethical and spiritual improvement.
Freemasonry is not a secret organization, nor a religion, and has no involvement in politics whatsoever.
Like many other clubs and private companies, certain internal issues, are personal affairs of its members.
The purposes and principles of Freemasonry are not secret. The General Charter and Regulations are available to all interested parties.
The secrets of Freemasonry, include only the traditional modes of recognition. What takes place at meetings is not secret, but does take place in private.
Only a very small amount of information about Freemasonry cannot be stated at any casual conversation.
When circumstances call for it, a mason is free to disclose his identity, and should furthermore be proud of it.
THE GLOBAL HISTORY OF FREEMASONRY
THE HISTORY OF FREEMASONRY IN GREECE
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Chinese New Year is celebrated worldwide. It is one of the most important traditional holidays for the Chinese and is celebrated by everyone cleaning the house thoroughly to sweep away any ill-fortune and to make way for incoming good luck. Windows and doors are adorned with paper messages of good fortune, happiness, wealth and longevity paper.
Eating as a family certainly plays a very important role in all Chinese celebration. Unfortunately for those who are not confident of their smiles or teeth, the obligatory family selfie can be a source of embarrassment. A picture perfect smile is never complete without showcasing a set of healthy and aesthetically appealing teeth.
If several of your teeth are missing, then instead of replacing the missing teeth one by one using implants, a bridge restoration can be used to secure the teeth, to give natural looking results. Bridge restorations require a minimum of two implants to remain secure. It avoids the need of preparing the adjacent teeth, as required by a conventional bridge. Once you have the missing teeth replaced, not only will your smile be perfect but you will also be able to clean your teeth effectively and eat/chew the foods that you like with ease.


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text:
Jane Gelfman
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Claire Nozieres
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Bohjalian
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Chris Bohjalian is the author more than 15 books, including New York Times bestsellers, Secrets of Eden, Skeletons at the Feast, The Double Bind, Before You Know Kindness, The Law of Similars, and Midwives.
Chris won the New England Book Award in 2002, and his novel, Midwives, was a number one New York Times bestseller, a selection of Oprah's Book Club, a Publishers Weekly "Best Book," and a New England Booksellers Association Discovery pick. His work has been translated into over 25 languages and twice become movies (Midwives and Past the Bleachers).
He has written for a wide variety of magazines, including Cosmopolitan, Reader's Digest, and the Boston Globe Sunday Magazine, and has been a Sunday columnist for Gannett's Burlington Free Press since 1992. Chris graduated from Amherst College, and lives in Vermont with his wife and daughter.
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The Flight Attendant
The Sleepwalker
The Sandcastle Girls
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@novelvisits @Backmanland @john_boyne @MillerMadeline @reid_iain @tjenkinsreid @amortowles @MegWolitzer Susie, I lo… https://t.co/vO0X46uaJs
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This is an excellent novel filled with suspense and gritty portrayal of the dark side of life. Callie is an alcoholic, a high functioning alcoholic but one who drinks to the point of blacking out. Her inhibitions and judgement vanish when she drinks and as a flight attendant she can be anonymous on international trips. The plot brings to light Soviet & American relations and how they are perhaps more tense than we would like to believe. The character development is very deep with flashes that help you understand why certain behaviors prevail. A very satisfying read for any fan of intrigue.
Jackie Willey
Fiction Addiction on The Flight Attendant
Bohjalian revisits the notion of what happens when an individual loses control of his or her environment in a read-in-one-sitting escapade that is as intellectually satisfying as it is emotionally entertaining.
Carol Haggas
Booklist on The Flight Attendant
Here's a milestone: Bohjalian is publishing his 20th novel, and as always it combines popular tropes with a serious examination of social issues. Binge-drinking flight attendant Cassandra Bowden wakes up with another bad hangover in a Dubai hotel room and finds the man she spent the night with lying dead beside her. She flees, lying her way from the ride to the airport through the flight to Paris to her encounter with FBI agents at flight's end. What really happened? And what are the consequences of addiction, deception, and denial? Fans are lining up.
on The Flight Attendant
Mr. Bohjalian twists the tension tight and keeps the surprises startling. For a good half of "The Flight Attendant," the reader is rooting for the story's dubious protagonist
Wall Street Journal on The Flight Attendant


Scancell Holdings plc, the parent company of Scancell Limited (`Scancell'), the developer of therapeutic cancer vaccines based on its patented ImmunoBody(tm) platform, is pleased to announce that it has been awarded a £250,000 Grant for Research and Development (`GRD') by the East Midlands Development Agency (`emda'). The GRD will be used towards the costs of progressing Scancell's SCIB1 ImmunoBody DNA vaccine as it commences Good Manufacturing Practice (`GMP') production in 1Q2009 and applies for Clinical Trial Authorisation (`CTA') to commence clinical trials of SCIB1 in the UK in 1Q2010.
The emda grant will be used to help fund the preparatory programme for phaseI/ IIa clinical trials that are anticipated to commence in 2010. The programme includes: optimisation of the ImmunoBody(tm); GMP process manufacture, formulation, stability and scale-up; pre-clinical efficacy and safety testing, and; toxicological assessment. The data derived from these studies will be utilised by Scancell in order to obtain CTA to allow the first clinical trial of SCIB1 in melanoma patients.
emda is one of nine Regional Development Agencies in England, set up in 1999 to bring a regional focus to economic development. Its primary goal is to increase the economic growth of the region while reducing disparities between the East Midlands and other English regions. The key role of emda is to be the strategic driver of sustainable economic development, working in partnership with public, private and voluntary organisations to deliver the goals of the Regional Economic Strategy.
"We are delighted to have received a £250,000 grant from emda, the proceeds of which will be used to further progress SCIB1 and to further explore the manifold opportunities we expect that our ImmunoBody(tm) platform will present for the treatment of cancer, and other serious diseases. We are also pleased to be recognised by emda as a contributor to the economic growth prospects of the East Midlands region and appreciate the support that emda is providing towards building our business and the successful development of our innovative technology."
"Scancell is just the kind of innovative company that we are looking to support through the Grant for Research and Development. The grant will help it to develop a revolutionary new treatment which will not only help thousands of people affected by cancer, but which will also enable the business to develop and grow, creating new jobs for the region." The Directors of the issuer accept responsibility for this announcement.


A collaboration providing vision, strategic insights, inspiration and active leadership for our world's forests.
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Each month representatives from Canopy, H&M, Inditex/Zara, M&S, Stella McCartney and EILEEN FISHER come together to envision, strategize and inspire the CanopyStyle initiative.
This nimble group represents a subset of the over 160 brands, retailers and designers who are each and all responsible for the collective success of the initiative. Together we are forwarding forest protection in irreplaceable forests such as the Great Bear Rainforests, realizing consent of local communities prior to logging and action on past grievances, shifting the supply chain away from ancient and endangered forests and forwarding innovative fabrics made from fibre once considered waste.
Our model of change is the power of collective and together we are making change. Taking action and inspiring this leadership is the CanopyStyle Leaders for Forest Conservation.
Meet our CanopyStyle Leaders for Forest Conservation!
See the complete list of brands, retailers and designers who turn vision to reality.


To ensure that your schwartz heat treatment system will deliver consistent performance at all times, we use a lifecycle-based service approach. Thus, you can rely on us as a competent partner through the entire operational life, from the date your equipment is installed.
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Education being the epicenter of all the development, hasn't itself developed much since the inception of Pakistan. The curriculum has a lot of loopholes; constant reinforcement of traditional subjects (math, physics, chemistry, and biology) makes it even worse. Students barely get time to have some exposure to art subjects or science and technology beyond describing what a computer is and what a mouse is (even though mice themselves have become obsolete).
What if someone wants to become a painter? Or actor? Or anything other than "doctor" or "engineer"? And no, I'm not talking about private or elite private schools. I am talking about low cost private or government schools, where there is teacher-centered learning. While the elite schools sure have much more "creative freedom" there actually isn't much wiggle room there, either.
Apart from this, the government is a big stakeholder for bad implementation of education policies. They should ensure the availability of career counsellors in all the institutes in order to facilitate all the students equally. And it's a request to parents; for heaven's sake, give your child the freedom of choice and come out of the stigma of raising them to become a Doctor or Engineer.
It's perfectly alright for students to opt for fields of their interest, however, things start getting problematic when they don't assess the market properly and begin to live in a fairy tale as they avoid the creeping reality of looming failure.
The youth of any nation is the most valuable asset and deciding factor about the prosperity and direction of the economy. Sadly, in Pakistan, we haven't used our assets to an optimum level. Our youth lacks direction and perseverance. Just like in any marketplace every sane person assesses the supply and demand so why should we not act sanely and forecast the supply and demand regarding utilization of our youth. What if we forecast the availability of jobs and then allocate the seats for enrolment in universities? This will not only reduce jobless professionals but will also open new horizons towards other fields. The people will get to know that there are tendency and scope in other genres of education too.
What we need to do is get organized at a national level. Nadra is already computerized with an advanced database. So with collaboration and access to the database along with education department, a database can be created where one can forecast the upcoming professionals in accordance to the need of the hour. As easy as it sounds it would not be. But what is the worth of a fruit that is effortless? And we are talking about a revolution at a national scale with the involvement of youth; it sure would not be a piece of cake. Let us look at the prospects of the idea. We will have a greater sense of direction. There would be more fields and more development. New subjects would be available. Students can choose from a wide variety of options rather than two or three reputable vocations. As far as the database working is concerned, we will be needing data from public and private sectors regarding vacant positions presently and in the future for forecasting. Also, new ventures to be launched and their requirements will be needed so that vocations can be created accordingly. After this, on the other hand, there will be a division of professions either equally or according to the location of opportunity amongst the provinces. After the success of the database for one or two years only then can we start for long term predictions in which we can devise plans for 4 to 5 years in advance. Not only bachelor's degrees but masters and specialization can also be tapped under this idea. Yes, every idea or policy has its cons which cannot be neglected but certainly can be improved with time. There will be more competition for certain degrees like engineering and medical. There might be an alteration of quota system. Students might skip or waste year(s) to get their desired programs but even in present policies students repeat or wait. Also, the budget for education will have to be enhanced so that the idea can be implemented. Furthermore, experts will be needed to design the database with minimum loopholes. Control check-in universities will have to be observed. The private education sector would most probably difficult to tap as most private institutes are specifically providing certain programs which may be reduced due to the number and allocation of seats. Even if there is a division of public and private seats still there might be a lot of turmoil. But tapping all the sectors and unifying the education system for better results is utmost important.
I would like to conclude with the statement that rather than producing jobless professionals it would be effective to produce needed professionals. There are a lot of professions that are considered unimportant or non-serious in our society. The example is given NUST started geo-informatics engineering a few years back with deals with urban planning and is referred to as the field of future worldwide as it has applications in each and every other field of engineering. But here in Pakistan, it is considered a low merit degree. Let us think collectively for the betterment of our nation and its economy so that we can benefit and extract what our youth has to offer. I conclude this article with the highest of hopes.


Available Mid/Late March:This stunning bi-level apartment is sure to impress! Located just around the corner from Rittenhouse Square, so naturally, you'll have plenty of options for dining, shopping, and entertainment. You'll be a short walk to Broad Street's Avenue of the Arts, and surrounded by fantastic local favorites like Parc, Rival Bros, Federal Donuts, Metropolitan Cafe, La Colombe and SO many more! This unit is on the top two floors, and boasts bright, spacious rooms with high ceilings, hardwood floors, exposed brick, huge windows, a private balcony, and a spacious floor plan with modern updates throughout. The kitchen has a lofted ceiling with an exposed brick accent wall, stainless steel appliances, and access to your private balcony. Your main hallway opens up into your living room, complete with a fireplace and room for a dining area, although this open layout is extremely versatile with room for a variety of furniture setups. Upstairs, you'll love the original details-- antique mirrors line the hallway, with storage behind. The master bedroom is at the front of this level, featuring exposed beams along the ceiling and lots of closet space! The master bath is luxurious, with a large soaking tub and glass door shower, with dual sinks and beautiful tile flooring. This apartment includes a washer and dryer in-unit, and the building has private storage lockers in the basement. Schedule your showing today!Generally, first month, last month, one month security deposit due at lease signing. Other terms may be required by landlord. $45 application fee per applicant. Strictly, no pets. Tenants responsible for all utilities: $50/month flat water fee, gas, electricity, cable/internet.


This is an advertisement for Bailey Brothers Exhibition Cement. The Victorians were very proud of their homes and the middle and upper classes could spend considerable sums on them, this was partly to make them more comfortable and partly to demonstrate their prosperity to their friends and family. Ornaments, paintings, embroidered panels and vases were all popular decorative items. It was fashionable to have a large number of ornaments arranged on shelves, mantle pieces and tables. Breakages would have been common so a product like this cement would have been very useful.


What happens when you visit a fake clinic?
Medical experts share the devastating impact that fake clinics have on vulnerable pregnant people.
One of our volunteers, Cheryl, found herself with an unexpected but wanted pregnancy and was referred to a CPC by the Department of Public Health. Cheryl and her partner were under the impression that they were being seen by a real nurse; instead, an unlicensed, untrained volunteer in scrubs spent the visit lecturing them. Instead of providing accurate medical information, Cheryl was given an incorrect due date, which delayed her first prenatal visit with her primary care physician. A legitimate health care provider would have been able to diagnose Cheryl with a medical condition that would have put her on bed rest, but she didn't find out until too late. Cheryl went into preterm labor and lost her baby.
Georgia has some of the worst maternal mortality rates in the country, with rates that are nearly four times higher for Black women than for white women. Meanwhile, Georgia is investing in CPCs that do nothing to address these disparities, and may actually be directly contributing to them.
Crisis Pregnancy Centers are not medical providers. Pregnancy care, like all medical care, must meet a standard that is evidence-based and centered around the client. When a fake clinic gives out false information about pregnancy options and promotes services that they aren't equipped or qualified to provide, they are harming women's health and well-being. Their very existence further stigmatizes unintended pregnancies and the women who have them: for many women, an unintended pregnancy is not a "crisis" and can even be an empowering experience that gives her greater confidence in other areas of her life.
But for some women, an unintended pregnancy can put her life and safety in danger. CPCs' approach to the role of fathers is a threat to women's safety: pregnant women are at a higher risk of homicide by an intimate partner than other women, yet CPCs pressure women to include men in their decision, even if it's dangerous for her. Legitimate healthcare providers work hard to support women in coercive or abusive relationships whose partners may be using pregnancy to gain even more control. All women deserve nonjudgmental, compassionate care that empowers them to make the best decision for their health and lives.
Crisis Pregnancy Centers don't provide health services that women are looking for. Instead, they lie, shame patients, and stigmatize abortion care in an attempt to limit options. By giving patients false information and promising financial support (that doesn't materialize or isn't enough), CPCs get women to delay abortion or prenatal care, which creates barriers and increases health risks. CPCs often set up next to abortion clinics and use similar names and signage in order to lure patients through their doors.
We can't trust CPCs to be honest about what they do, but we can help patients understand the difference between CPCs and legitimate healthcare providers. CPCs advertise their services with phrases like "pregnant, need help?" That's not an approach healthcare providers would take – we're up front about what we do and the services we provide. CPCs hide behind misleading advertising instead of being honest about what they do and the services they can (and can't) provide. Once you walk through the doors of a clinic, look for a statement of privacy practices and health information privacy forms. CPCs discourage people from seeking medical services – both abortion and prenatal care. Legitimate healthcare providers wouldn't steer patients away from seeking healthcare.
Sammi* was in the clinic with her mother. Her mother was the spokesperson. Sammi was 17, and very pregnant. She was living in Las Vegas with relatives when she found out. She had gone to a "clinic" that said they would help her. That clinic was really a crisis pregnancy center (CPC). Sammi told us how they gave her a free ultrasound, but that it was broadcast all over the clinic on monitors for everyone to see. The woman who was talking to her that day gave her a due date, after Sammi had told them that she wanted to end the pregnancy and that she would fly back to where her mom lives and have the abortion there.
The woman from the CPC began calling her almost daily and telling her aggressively that she would die, or end up in hell, or get very sick, if she were to go through with the abortion. This woman would hide under the guise of "checking up on her." Finally, Sammi called her mom, who lives in California, and her mom flew her out. Based on the due date given by the CPC, Sammi and her mom thought they had more time to seek the abortion. But when they went to a Planned Parenthood and another ultrasound was performed, they were referred to us, because she was too far along. The CPC had given her a false due date—making it so that she would be "too late" to get her abortion in California when she came back. Luckily, when we got her referral we brought her in that day to do an ultrasound. She was over 23 weeks, but still under the gestational age limit.
Hearing her mother tell the story about how her daughter was harassed and lied to, we could tell that she was angry. Sammi was worried that she would not be able to get an abortion as she had started out trying to do when she was earlier in her pregnancy. Once they knew we would take good care of her, Sammi began to open up. She had plans for after high school. She definitely wanted people to know about this awful experience she had with the CPC, as did her mother. We were able to give Sammi her life back, but think about all of the other women who are lured into these CPCs, told falsehoods and misinformation, and harassed about their decisions, who don't make it to us or another safe place to have their abortions. There are many more women like Sammi who do not make it in time.
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A crisis pregnancy center opened in 1999 directly next door to what was then Dr. George Tiller's practice in Wichita, Kansas. Trust Women now operates a clinic there, offering comprehensive reproductive health care. We lean in to abortion care.
Over the years, the CPC next to us has openly welcomed anti-choice groups that harass and intimidate our patients, staff and doctors.
The CPC advertises on its website that it offers 'factual' information about fetal development and abortion. As those of us in the reproductive rights movement know, what anti-choice groups — and crisis pregnancy centers — consider truths are alternative facts. CPCs are often staffed by people who are not trained medical professionals, and they do not present women with all of their choices. This does a great disservice to women and their families.
CPCs are known to deliberately mislead women about how far along in pregnancy they are, a blatant attempt to limit their choices. Doing so is morally reprehensible.
Our clinic may be next door to a CPC, but trust me, it is no neighbor of ours.
I am an OB/GYN who provides reproductive health care — including prenatal and abortion care — in Alabama. The majority of my patients have visited a Crisis Pregnancy Center before coming to my office. Patients have been misled to believe that they must go there for proof of pregnancy in order to apply for WIC or Medicaid.
Over time, this CPC has managed to weave its way into our local medical community, though It is not a legitimate medical facility. In exchange for the pregnancy test and unofficial (sometimes inaccurate) ultrasound, patients are given medical misinformation, forced to listen to religious rhetoric and anti-abortion propaganda. A patient even tells me she was asked to "REPENT!" No one should be subjected to CPC's judgement and harassment, no matter what they decide about their pregnancies.
Another patient had an ultrasound at the CPC. When she told them she planned to see to me for prenatal care, they encouraged her to go to another doctor because I provide abortions. "I know," she replied. "Dr. Robinson performed my abortion three years ago. That's why I'm going there." CPCs don't understand that abortion, pregnancy, and birth are all normal parts of a woman's reproductive life, and my patients want a doctor who trusts that they are the experts in their own lives.
Since 2011, access to women's healthcare in Arizona has become ground zero with the passage of 30 laws regulating or prohibiting reproductive care. Americans United for Life named Arizona its 'Pro-Life All Star State' over several recent years for having a super-majority of legislators working closely with in-state and national anti-choice organizations to pass model legislation. This model legislation is then introduced in other states and at the federal level. Legislation like the Wrongful Life/Birth laws that prohibit patients and their families from seeking legal actions against CPCs and medical doctors' offices or hospitals who withhold medical care from patients whom they believe are 'abortion-minded'. While Texas has claimed the national spotlight, Arizona had already passed measures forcing closures of abortion care centers all over the state that led to a dangerous shortage of abortion providers. Now, providers are in the centrally located, capitol city of Phoenix, leaving the mostly rural communities without science-based reproductive care. Some women must travel over four hours one-way to get abortion care. These burdens are incredibly difficult - while at the same time state funding and legislative measures have also been passed protecting these so-called pregnancy care centers.
A big issue that stems from the combination of a lack of medical professionals and an abundance of spiritual (in particular, Christian spirituality) figures is that none of this is listed on the WCN's main (consumer-aimed) website. If you visit http://www.imissedmyperiod.com(what a URL!) you won't find any reference to religion, spirituality, or the fact that they DO NOT OFFER ABORTIONS. Even more incredulously, they do not refer women to a clinic where they can actually attain an abortion. This seems kind of crazy. I mean, if you're calling yourself the Women's "CHOICE" Network, then you'd think to attract women who are looking for exactly that – a choice of what to do with their pregnancy. However, if the WCN does not offer abortion services, and then refuses to give women information about clinics that do offer abortion services, then how is this offering any woman a choice in her reproductive health rights? Its false advertising, clear and simple. The only choice a woman has with the WCN is that of the religiously geared staff and volunteers.
On top of the fact that the WCN does not offer any abortive services, despite advertising in a way that attracts "abortion vulnerable women", the WCN actively persuades women against making the choice of abortion. Let's go back to my visit to the North Oakland office with Amy, who was giving me a tour of their resources. Other than the badly painted facade of "we're a totally legit medical facility that doesn't have trained medical staff on hand" – the most shocking part of the tour was the "counseling room." The room was located in the back of the office, painted a soothing light blue, and filled with comfy chairs and pillows. Amy said that this is where "women are counseled about their pregnancy options." Considering the WCN does not help with any options other than going through with a pregnancy, I can only believe that this "counseling room" should have more accurately been called the "persuasion room" – aka a place that is made to intimidate women with medical falsehoods and "counseling professionals" into going through with a pregnancy they may have been seeking to end.


A clinical-stage Australian biotechnology company, PolyActiva, has recruited patients into its Phase I clinical trial for a new ocular implant that could improve the daily lives of millions of glaucoma patients.
PolyActiva has used its proprietary polymer prodrug technology to develop ocular implants that, when placed in the eye, provide sustained treatment over a six-month period, compared to current glaucoma treatment where patients often need to administer eye drops daily. The revolutionary technology could in the future mean millions of people with open-angle glaucoma no longer need to use daily eye drops.
The potential of removing the reliance on the patient to remember to use eye drops, and the associated difficulty in administering them from the paradigm of glaucoma treatment, is being heralded as major potential health breakthrough by ophthalmologists. Several studies have demonstrated that up to 46 percent of patients have been found not to remember to use their drops or administer them poorly1. Failure to adhere to treatment can lead to faster progression of glaucoma, one of the most common causes of blindness.
Glaucoma is the second leading cause of irreversible blindness globally, affecting 300,000 Australians and is expected to affect approximately 80 million people worldwide by 2020. Increased intraocular pressure (IOP) in the major risk factor for the optic nerve damage that results in blindness. Treatment is designed to reduce IOP. Eye drop therapy is the mainstay of glaucoma treatment however there are two main deficiencies associated with drop therapy – poor patient adherence resulting from the need to administer drops daily and local side-effects resulting from the topical administration of the drug to the eye. Alternative methods of delivering drugs to the eye are required to increase patient adherence to treatment.
PolyActiva's first clinical candidate is designed to provide a constant daily therapeutic dose of latanoprost free acid for at least 26 weeks, which is the active ingredient of a commonly prescribed glaucoma eye-drop (Xalatan®).
The clinical trial will assess the safety and tolerance of the implant when administered to glaucoma patients. The implant is also designed to biodegrade within 90 days after the treatment period and is capable of being administered in an ophthalmologist's office under a slit-lamp using a custom-designed administration device.
The Phase I clinical trial is being conducted under the Therapeutic Goods Administration Clinical Trial Notification (CTN) scheme at the Royal Victorian Eye and Ear Hospital in Melbourne, Australia, through the Centre of Eye Research Australia (CERA). The Phase I clinical trial will see seven glaucoma patients enrolled to evaluate the safety and tolerability of its PA5108 ocular implant, with initial results expected in Q1 2019.
1 Laura E. Dreer, Christopher Girkin and Steven L. Mansberger. Determinants of Medication Adherence to Topical Glaucoma Therapy. J Glaucoma. 2012 Apr; 21(4): 234–240.
Whist warming your cockles by the fire this winter, spare a thought for your eyes. Mostly our time is spent thinking about how best to keep warm in the winter months and we can forget to care for our eyes. The following are a few eye care tips for winter – to keep your peepers healthy.
Be mindful of dry environments – Much of our time during winter months are spent huddling round an open fire place or in the air conditioned comfort of our offices. As comforting as this can be such artificial environments can have adverse effects on your eyes. If you begin to experience any discomfort from dry eyes try distancing yourself from the heat source or use over the counter eye drops. Humidifiers can also be useful in alleviating dryness.
Sunnies are your friend – The sun can be just as damaging – if not more so – in the winter months than in the summer months. In winter the sun sits lower in the sky and often shines directly in your eyes. Best protection is given from sunglasses that shade from the sides as well as the front.
Snow White Snow Bright – Hitting the slopes? Protect your eyes from the sun by wearing protective ski goggles with 100% UVA & UVB protection. Skiing, snowboarding and other outdoor activities can be hazardous to your vision. Not only do you risk irritation or injury from both debris and other obstacles, but the reflective nature of the snow itself can double the harmful effects of sun on the eyes.
Protect your children's eyes – Make sure your children are also wearing appropriate UV goggles and eyewear. Sun damage is normally acquired from a young age and over time, your eyes can be harmed just as much as your skin. Using UV eye protection from a young age will counter these harmful effects.
If you are experiencing any eye discomfort this winter please contact your eye specialist to make an appointment.


text:
Q: logging in + database issue Every time I log in, the password is erased from the database. The rest of the data is intact. I am a beginner in web programming and I have no clue about this. What could be the possible reason for this?
[code copied from the comment]
$user= $_POST['username'];
$pass = $_POST['password'];
if((isset($user))&&(isset($pass))) {
  $query ="Select password from table1 where user_name='".$user."'";
  $result = mysql_query($query) or die();
  $r= mysql_fetch_assoc($result) or die();

  if(!strcmp($pass, $r)) {
   echo "succesful";
   session_start();
   $_SESSION['username']=$user;
   $_SESSION['logged']=1;
   header("Refresh: 0; URL = ..\home\index.php");
  }
}

A: You need do session_start at first line, when check isset($_POST['username'])
session_start();
$user= isset($_POST['username']) ? trim($_POST['username']) : false;
$password = isset($_POST['password']) ? trim($_POST['password']) : false;

if($user !== false && $password !== false) {

when you do this correct:
$r= mysql_fetch_assoc($result) or die();
if(!strcmp($pass, $r['password'])) {

and header:
header("Location: ..\home\index.php");

redpajama_set_name: RedPajamaStackExchange


text:
You are here: Home / H.U.A. Blog / Combat Role to Suddenly Civilian (part 1)
Combat Role to Suddenly Civilian (part 1)
By Helena Kaufman | H.U.A. Blog
I had the privilege of talking with Teresa Broadwell Grace, a former member of the Army's 194th Military Police Company who, in 2003 was awarded the Purple Heart and the Bronze Star with "V" for Valor in Iraq.
A female American soldier mans a machine gun on a vehicle during clashes in the northern Iraqi city of Mosul in June 2003. The war in Iraq, which has killed or wounded more U.S. women in combat than any other conflict, has redefined their role in the military and triggered a rethink of their place on the front line. Women who serve in the Army are barred from engaging in combat under rules drawn up by the Pentagon. But the battlefields of Afghanistan and Iraq, where fighting an insurgency and no front line exists as such, have been proving grounds for the women soldiers. Photo credit: U.S. Department of Defense"
Combat, an outstanding story of survival, management of post traumatic stress and an unexpected transition back into the civilian world are part of Teresa Grace's story. All this as she began her third decade of life.
The story series is reprinted from the author's website (helenakaufman.com) and was originally written for Lanterloon.com, a military writing site.
The original interview went a little differently than expected in January 2012. It was scheduled around Teresa Grace's roles of wife, office assistant and household manager. Then it was rescheduled because of a priority call to mommy duty for three children, all under the age of six.
At the start, life pretty much sounded like the average American family raising small children. She scrambled to budget time and money, manage the resources and the routines that help care for a young family where mom is a veteran and dad is still on active duty.
Home is now Ft. Hood, Texas. Life "on post" provides an instant military family. Grace relies on a close neighbor and friend to care for her children when she does get work outside the home. People on base help. People understand. Each family has their own stories and scars.
Life changed quite a bit for "little Teresa Broadwell" as a classmate called his petite friend when he found out she was serving overseas. Grace worked after her 2002 high school graduation until she enlisted that November.
Within a year, she was deployed to Iraq.
On Oct. 16, 2003, then-Pvt. Broadwell who was 20 at the time, rolled into a coordinated ambush in the city of Karbala. She was with her military police company on patrol to enforce a weapons ban at a time of mounting tensions. Responding to the sudden sound of nearby gunfire and a radio call for help from a trapped unit, her team raced to the rescue in an armored Humvee.
The attack engulfed them.
The diminutive gunner did what her combat training dictated. At 5'4", she was too short to target her fire using the M-249 machine gun's eye hole atop the vehicle's now dangerously exposed turret. Relying instead on tracer rounds to target her shots, she quickly laid down controlled fire with sufficient precision to keep insurgents' heads down.
Her calm and methodical rapid bursts gave her comrades the chance to get out of the death trap alive and kill several insurgents. She continued to get up and fire despite getting knocked back time and again by explosions landing in front of her Humvee. After actions reports show Grace killed 20 or more insurgents in the firefight.
At least two other female MPs and medic were involved in the deadly battle that left several of the comrades dead, including their battalion commander, Lt. Col. Kim Orlando.
For her actions that day, then-Maj. Gen. David Petraeus, commander of the 101st Airborne, pinned the Bronze Star and the Purple Heart on her uniform.
It was Pvt. Broadwell's first combat experience.
Up next: We find what life had in store for the soon to be Army Specialist.
Yes, my husband said that in civilian life, there is no chain of command to make civilians do anything. (EllieRae)
Mary, and of course your blogger self, the esteemed EllieRae!
Yes, out in 'the free market' … that phrase often reminds me of free range chickens doesn't it?… well out here there are other forces at work to motivate or reward people in the work force… I think whether we talk about it as the new economy or same ol' … It must be a new way of working to people just out of the military milieu.
No doubt it's a challenge.
It's very similar, in my mind, to when I taught communications and business writing to people shifting from regular hours working staff to entrepreneurs.
Military Success Network is presenting a series now on a young woman who entered the military single and not long after High School grad and is now an army wife, mother of 3 and growing her own business.
To quote one of our Site's co-founders, Nate Brookshire: "Exciting times."
I am glad we are on the same team EllieRae, sharing info and insights.
Thanks, Helena.
From PTSD to daily life details | militarysuccessnetwork.com says:
[…] She had sent the Purple Heart and the Bronze Star with V for Valor she earned that were pinned on her by Maj. Gen. David Petraeus, commander of the 101st Airborne Division, home to her mother in Dallas, "for her to hang on to until I get back," said Grace, then Pvt. Teresa Broadwell. Read the background on the incident here Read more in Part 1 […]
Prior to Panetta news – one woman in combat | militarysuccessnetwork.com says:
[…] just did what I was trained to do," she said in part 1 of an interview that took place in January 2011 and was posted on Military Success Network. […]
Col. Ted Spain shares his motivation to write "Breaking Iraq" | militarysuccessnetwork.com says:
[…] earliest interview was with Teresa Grace who was a female MP who served in Col. Spain's brigade. She was one of those awarded a Bronze […]


text:
Photographer, Lydia Whitmore
Spotlight / Creative Spotlight
Lauren Catten
Lydia Whitmore is a photographer who spins many plates simultaneously with ease and aplomb. An exceptional set designer in her own right and an incredible collaborator, she creates original scenes with punchy, colourful celebrations of form.
Lydia and I have been working together for the last few months on a series focusing on the fun in games of our youth, from the fairground to sleight of hand. The results are a wonderful pairing of the familiar and the unexpected. I spoke to Lydia about her process and working practice.
[Lauren Catten]: Could you tell me a bit about your background?
[Lydia Whitmore]: I grew up in a remote part of the Sussex countryside and as soon as I had the chance went to art school in London. From there, I worked in a film lab and somehow talked my way into a job assisting a photographer. I think it had more to do with the fact that I make a great quiche (part of the job was cooking every day)!
[LC]: How do you feel art and photography influence your compositions?
[LW]: I studied painting in art school and strangely I've found that it's very similar to photography in terms of creative approach. You just have a different physical way of adding a bit of a highlight here or moving a shadow there. I'm really into Matthew Barney for his approach to making work.
[LC]: You're obviously a great photographer, but your set designs are also amazing – is this an aspect of the process you particularly enjoy?
[LW]: I've learnt over the years to not try and do everything myself. It's very easy for me to get this mindset of 'if you want something done right, do it yourself' but I've come to the conclusion that collaborating is actually one of the strongest things you can do – to open yourself and your ideas up to someone else's perspective.
[LC]: What has been your best set?
[LW]: I just did an editorial shoot with set designer Jaina Minton that involved giant paper Walkmans and cassettes. It was so much fun and something I would never have been able to make myself.
[LC]: I love the way you are able to create these other worlds in your work, what led you to experimenting in that way?
[LW]: I grew up in a fairly remote part of the world. I think I was trying to make fantasy worlds from a young age. I was inspired by the woods around me and what I saw in the horror videos my brother used to sneak home.
[LC]: What would you say is a trademark Lydia treatment?
[LW]: I feel like I've always had a consistent style and there's no point fighting against that or you'll just lose yourself. I tend to make things look fairly punchy, bright, and aggressive. I've tried to be feminine and delicate but it's just not me!
[LC]: How did you get started in photography? Did you begin with still life or was that a transition as you discovered what you liked to shoot?
[LW]: I stumbled into photography in general when I started assisting a photographer full time. I had no technical experience at all, but he just had amazing faith that I would learn. But suddenly for me all the pieces fell into place and I realised it was exactly what I wanted to be doing.
[LC]: Do you strike at random as an idea comes, or are you more methodical?
[LW]: I have a constant notebook of ideas that I'm always adding to, and when I get a chance between commercial jobs I dip into it and figure out what I can achieve with what I have in terms of time, budget, and materials.
[LC]: What's the most important mistake you've made while photographing and how did it change your understanding of your job?
[LW]: For the most part when I approach a job I know exactly how it's going to come out because there's so much planning involved. If there are any unknowns, I'll usually schedule in a test day so that I can anticipate any problems. I think there are more happy accidents in fashion photography and I do miss that sense of capturing a moment.
[LC]: Do you have any particular themes or props that you like to revisit?
[LW]: I always seem to keep going back to the same themes in my personal work, which are futuristic sci‑fi style landscapes and more Wicker Man type ritual altars.
[LC]: What do you do to keep things exciting day to day and keep progressing? Do you look at any magazines or sites for inspiration?
[LW]: I tend to find inspiration in films more than anything else, I feel that sometimes following other still life photographers' work on social media can result in feeling more competitive than creative. I think it's good to look outside of your own industry. For me, horror films are super inspiring!
[LC]: Is there an image that stands out to you in your own archive as a moment that was extra challenging to capture or feels more special than the rest?
[LW]: It's an amazing feeling when you suddenly nail something and you realise it's going to be an image you'll have in your folio forever. I did feel like that about one of the last shoots I did for Getty Images!
[LC]: What would you say to people coming up through the process to be a professional photographer?
[LW]: I would say that the best way to get into the industry, and a good way to figure out if it's something you really want to do, is to assist as many people as possible. You'll get a really good feeling for what the job really entails, it's much more than just technical proficiency.
[LC]: What is your go‑to app?
[LW]: I guess that we're all pretty deeply immersed in Instagram but I really try to stay away from my phone as much as possible. Having said that, Exhibitionary is an app for finding exhibitions and openings and it's amazing!
[LC]: What are you listening to at the moment?
[LW]: There are some really amazing cosmic jazz‑inspired artists around like Kamasi Washington, Shabazz Palaces, and Flying Lotus.
[LC]: What is the view from your window?
[LW]: I look directly onto the train tracks of Haggerston station in London so I try to keep the blinds shut, because bored commuters tend to just stand and stare at me!
[LC]: What is next on the cards for you?
[LW]: I'm planning to make a short horror film with a friend of mine. It's something we both keep coming back to and hopefully we'll crack it one of these days!
Explore More of Lydia's Portfolio
Explore More Conceptual Still Life
Photographer, Yixun Sun


text:
Sybil Craig
CRAIG, Sybil Mary Frances
Australian | English
Enfield, London, England View on map Close map
Australia from 1902; England, France 1922
Artist (painter) | Drawer | Printmaker
Worked: Australia (VIC). Linocuts, Monotypes
8 Dandenong Road, Caulfield, Melbourne, Victoria, Australia
Born in Melbourne, Sybil Craig first studied drawing with the etcher John Shirlow, who was a family friend. In 1924 she joined the School of Drawing at the National Gallery School, and from 1927 to 1931 continued her studies in painting under Bernard Hall and W. B. Mcinnes. In 1932 she held her first one-woman exhibition at the Athenaeum and the next year exhibited with the Melbourne Society of Women Painters. Craig studied design and printmaking under Robert Timmings at the Melbourne Technical College in 1935 and in 1936 experimented with linocuts. From 1934 to 1951 she exhibited with the Victorian Artists' Society and in 1947 became a member of the 'Twenty Melbourne Painters'.
© Roger Butler, 1981.
Published in Melbourne Woodcuts & Linocuts of the 1920s & 1930s, exhibition catalogue, Ballarat: Ballarat Fine Art Gallery, 1981.


As a leading NDT and Inspection company Bangladesh Industrial X-Ray (BIX) is interested in receiving job applications from qualified engineers, inspectors, supervisors, and technicians who wish to put their knowledge and experience to good effect.
The following listing details some of the categories of personnel BIX requires from time to time.
If you are interested in being considered for employment please forward a C.V. to bix_ray@yahoo.com. Your C.V. should include details of your qualifications, career progression, work experience and any relevant specialist knowledge. Copies of your qualifications or certificates should accompany your C.V.
Duties include the supervision of other NDT Technicians and the performance of film interpretation to client and industry standards. Will be required to undertake any other NDT work as necessary.
Must successfully qualify by examination to Level II in film interpretation including written general and specific papers and a practical examination. These qualifications are renewable every three years.
Duties include: Ultrasonic flaw detection and thickness measurement, magnetic particle and dye Penetrant testing.
- Must have knowledge of ASME Sec. V, API 1104, ANSI B-31, AWS D1-1.
- With Working Experience of at least 3 years in flaw detection.
Must have the training, education and experience required to qualify as an American Welding Society-Certified Welding Inspector (AWS-CWI), or equivalent.
Must be competent in film interpretation with a thorough knowledge of industry codes such as: AWS D1.1, API 620 or 650, ANSI B31.4 or B31.8, ASME section V & IX or equivalent standards.
A minimum of 5 years industrial experience is required including at least 6 years experience in Welding Inspection.
Must have background experience or thorough knowledge of fabrication or manufacturing of Coded Pressure Vessel, Columns and Heat Exchanger Units. With a minimum of five (5) years experience (continuous). Preferably having an active Mechanical Engineering background or have been a Welder by previous experience and has related developed skills in the discipline.
Has full knowledge of the inspection requirements of static equipments per ASME Section VIII, TEMA from material preparation, and fit-up assembly to full welding. Can read and interprets fabrication working drawings.
Has complete familiarization and working knowledge of Industry Codes and Standards. Has knowledge of materials specification per code.
Must have a valid up to date AWS-CWI or CSWIP Certificates.
Must have current Level III certification issued by ASNT or equivalent in one or more methods i.e. UT, MT. PT, RT, ET etc.
Must be capable of fulfilling the full scope of a practicing Level III including, but not limited to: method application, interpretation of results, interpretation of national codes and standards, preparation of procedures, training of Level I and Level II personnel, etc.
A minimum of 12 years industrial experience is required including at least 6 years experience in the particular methods.
Must have the training, education and at least 10 years experience in industrial field.


text:
Als Selbstheilungskraft (auch Heilkraft der Natur genannt) bezeichnet man die Fähigkeit des Körpers, sowohl äußere als auch innere Verletzungen bzw. Krankheiten zu heilen. Die Nutzung und Intensivierung der Selbstheilungskräfte, auf die (gemäß Brigitte Lohff) letztlich jede Therapie aufbaut, stellt einen wichtigen Aspekt jeder therapeutischen Behandlung dar (Operation, Bestrahlung, Medikamente usw.).

Die Selbstheilungskraft kann zu einer Spontanheilung oder einer Spontanremission führen. Von Heilung spricht man, wenn der Patient dauerhaft gesund wird; ein spontanremittierter Tumor dagegen kann nach einer gewissen Zeit wieder aufblühen.

"Selbstheilung" von Technik
Der Begriff der Selbstheilung wird in der Technik verwendet, wenn Leckagen ohne manuelle Reparatur wieder dicht werden, beispielsweise
 wenn ein in einen Fahrradschlauch eingefülltes Reifendichtmittel (Flüssigkunststoff bzw. Reifendichtgel) ein aufgetretenes Loch selbsttätig abdichtet,
 die Wirkung von Bentonitfolie als Vorsorge-Abdichtung bei Wasserbecken. In Kontakt mit Wasser quillt der Bentonit auf und mithilfe des Wasserdrucks der darüberlagernden Wassersäule verstopfen die feinen Poren des Untergrunds.
 die Selbstabdichtung von Rissen in WU-Beton durch abgeschiedenen Kalk
 Siehe auch die "Selbstheilung von Elektrolytkondensatoren"

Siehe auch
 Selbsterhaltung
 Resilienz (Ökosystem)

Literatur
 Hans-Harald Sedlacek: Selbstheilungskräfte und Arzneimittelwirkungen. Synergien und Grenzen. De Gruyter, Berlin 2016, ISBN 978-3-11-044607-4.
 Brigitte Lohff: Selbstheilungskraft (Heilkraft der Natur). In: Werner E. Gerabek, Bernhard D. Haage, Gundolf Keil, Wolfgang Wegner (Hrsg.): Enzyklopädie Medizingeschichte. De Gruyter, Berlin / New York 2005, ISBN 3-11-015714-4, S. 1317 f.

Einzelnachweise

Allgemeinmedizin
Alternativmedizin

redpajama_set_name: RedPajamaWikipedia


"Test connection unsuccessful. Test connect failed. (ER995). Please view the Help contents or contact Support for troubleshooting information as applicable."
Doe's someone have a solution or Debbug proccess ?!
And this account has appropriate rights on my vCenter.
There should be a vcenter.log in var/log/ That might be worthwhile to check.
Hi thanks' for the reply.
but i can't find the vcenter.log in /var/log/ directory.
Most of the time the error is related to credentials so it might be worth double checking if you use the correct ones.
now that i;m from the erc, i see in the vcenter.log that the problem is the UserName or Password.
but the vcenter administrator claims he fallowed the McAfee guide and the username and password is correct.. i dont know what to do.
here is the output of "vcenter.log"
Nov 14 23:41:02 L_ERROR 04240|ServerFaultCode Cannot complete login due to an incorrect user name or password.
Nov 14 23:41:02 L_ERROR 04240|Failed to log on to the vCenter Server.
Failed to log on to the vCenter Server.
This seems related to credentials. Are there any errors recorded in the vCenter server logs? Could you try another set of credentials maybe?