Debian project, but does not indicate endorsement by the project."
does not have anything against the Debian policy.
"The name of the Copyright Holder may not be used to endorse or promote products derived from this software without specific prior written permission."
On the other hand, in my opinion, this statement in open logo license should be updated to include a limitation of usage of the logo to refer to the Debian Project. I mean, it should say what the bug reporter understands: "This logo may "ONLY" be used to refer to the Debian project." So the logo is protected. And it also should include another limitation as prohibiting referral of the Debian Project with a modified logo so Debian's image can be protected.
This would be good I believe: "This logo may only be used to refer to the Debian Project and any modified version may not be used to refer to the Debian Project without prior written permission."
Let's say this update is done or we understand the current statement as containing this limitation. The license would again be perfectly compliant with the DFSG. The license allows modifications and derived works and allows them to be distributed "under the same terms as the license of the original" which contains referral to the Debian project. In other words, I can distribute the logo under the original license and also refer to the project with it. Even with my too much stricted version of the statement, I will still be "free" to "modify" and "use" it in a theme used in Debian Releases because the project itself distributes it after acceptance as a contest winner which can be considered as the written permission. Then everybody will be free to redistribute it with it's current modified situation since it is allowed with written permission.
Using a logo means using it to refer to the thing which it represents. Using a logo does not mean taking it and making it the logo of another thing. Using Debian Logo without referring to the project is not a freedom guaranteed under DFSG, and for my personal opinion should not be considered a freedom at all.
Other statements from the DFSG does not have any contradiction with the license statements current situation nor the stricted version I offered. The license does not restrict the use of the logo in a specific field, you are free to use it anywhere, it is a logo. You can use it on your hosting website referring to Debian. Limiting your use of it to resemble Debian and not allowing, for example, using it to refer to Freebsd, which is not the situation by the current license anyway, does not mean to "restrict anyone from making use of the program in a specific field of endeavor."
The last statement mentioned in the bug report, the license does not "attach the rights on the logo with its' being part of the Debian System." You can use it on a T-Shirt or a Coffee Mug or the door of your apartment, any of which are not a part of the Debian System.
In his second message reporter mentions "the fact that the debian text written beside the swirl was done from scratch" This fact has nothing to do with the logo license nor DFSG. It makes the logo original or modified which are not seperated. Even if you draw it from scratch, it is Debian Logo. Even if you use different fonts, it can be claimed to be the Debian Logo at the court if it is not "too" different. However, the license, unfortunately for me, allows all of the uses stated here as examples.
Lastly, I feel that there is something not right at removing your own logo from your own release! If we can not use our own logo on our own releases, what is freedom, really? I am working on a theme to send for the contest for Wheezy and I want to "FEEL FREE" to use Debian Logo on Debian Releases. Can I FEEL FREE? Please let me know if this issue is solved for everyone or not.


One of the Islanders' lowest paid players last season at $350,000, restricted free agent left wing Brad Isbister is seeking a deal that could reach $1 million per season.
That's peanuts nowadays for the Islanders, as CEO of Computer Associates, Islander co-owner Charles Wang was paid up to $95 million (including stock options) in fiscal year 2000 according to a filing with regulators yesterday.
Isbister's agent Steve Reich told The Post yesterday that he has begun preliminary discussions with Isles general manager Mike Milbury about a contract.
Reich said the 23-year-old Isbister, who is coming off his first season with the Isles, would want to sign a two or three year deal.
The 6-foot-4, 228-pound Edmonton native was one of the club's best players last season. In 64 games, Isbister churned out 22 goals and 44 points, second on the club (to Mariusz Czerkawski) in both categories.
But this being his first time as a free agent, Isbister's bargaining power is limited. He is ineligible to go to arbitration and hasn't qualified for Group 2 free agent status, either.


Use Google Earth yourself to zoom down on the area and take your own photos! At the end of the article are more downloaded pictures of the Canadian terrain that appears as an INDIAN. After examining details of the image, the conclusions are obvious. The copper colored hills, like an Indian Head penny, were shaped and not natural formations. What is an Indian doing in Canada?
THE INDIAN IN THE MOUNTAINS IS THE FIRST EVIDENCE OF PREHISTORIC CANADIANS!
There are no pyramids, monoliths, stone circles, petroglyphs, mounds or ancient burials in Canada. But, there SHOULD be evidence of early Indians in the vast northern country. If Indians walked to the Americas from Asia over a land-bridge at the Bering Strait, why is there no trace of prehistoric ruins of any kind in Canada? This mystery is huge and ignored by archeologists and educators. The Indian-absence means their entire picture of the past is wrong and backwards! Thor Heyerdaul did not prove Indians arrived by boat. His better built, second attempt at proving an obsolete misconception sank with the Ra II.
The farther back we go in time, the MORE advanced technically (and mentally) were the Indian civilizations. We know this by 'reading' or studying the physical stonework, what ruins they left behind. The Anastasi, Hopi and Cahokia Mound-Builders were more advanced than the later Indians of the Old West. The Aztec Stone-Builders were more advanced than the great earth-movers, the Anastasi/Cahokians. The Maya were superior to the Aztec. The Toltec Age came before the Maya and they were greater than the Maya. Toltecs' ancestors were the Inca; they built impossible stonework on top of the Andes Mountains! Incas farmed on mountaintops many thousands of years ago where no one can live today. The Pre-Inca constructed stonework 'impossible' by present-day standards. They had no hieroglyphs because of the unbelievable reason that the PRE-INCA HAD NO NEED for a written or spoken language! (psychic-society) The same can be said for the Pre-Egyptians an ocean away. They were the survivors of, yet another, superior and previous Age…the Age of Atlantis.
THE INDIANS CAME TO THE AMERICAS BY AIR!
Canada should be the ancient home of the Inca with cut, trimmed and transported monoliths everywhere. Canadian provinces should contain MORE standing stones than England and northern France. Mountain ruins of intricately cut (lasered) and moved (anti-gravitated) blocks that cannot be duplicated by today's state-of-the-art technology…as they exist in South and Central America…should cover the Canadian hillsides. Imagine what Canada SHOULD be if history were correct: Snow-covered, massive, stone monoliths that defy our wildest dreams among great forests that have grown over the millennia. That is not the case; there is not even an arrowhead in Canada. Canada tells us history is wrong.
A truer picture of history is a NORTHWARD migration of Indian from the Peruvian Andes…to Central American pyramid-builders and, down the tech-spiral but geographically 'up' the map, to the simpler (less advanced) Old West Indians. The movement of Indian Civilizations over time was NORTH, not south as schoolbooks report. Indians also became LESS advanced over time. Teepee Indians had pyramid-building ancestors. This is the exact opposite of the always-progressing, technical curve that we are traditionally taught.
Examine the 13 locations of the ATLANTIS POWER GRID. The article will briefly explore the most obscure of these Cradles of Civilization. Humanity flourished in prehistoric times around these culture-centers; upon each 'node' of the GRID; the same mysteries and parallels occurred at all of the 13 locations. Here is another major mystery of multiple origin-areas for the human race. There should be ONE starting point, not MANY; not on tops of the Andes, on remote Easter Island; in the middle of the Sahara Desert; Japan; Europe; far away Australia; deepest Africa in Zimbabwe; India; Russia; Brazilian jungles and now Canada? How did humans get everywhere on the planet, even to isolated regions? The same building techniques, great knowledge of math and astronomy, same burials, beliefs…and the same story of an advanced civilization instantly appeared and mysteriously disappeared at the GRID positions, should SHOCK investigators! Instead, traditional researchers ignore the forest for the trees. Pyramids were not tombs. Ancient (impossible) stonework functioned as 'utility poles' in a TESLA-based system, rather than idols to pagan gods.
If our ancestors were primitive, the titanic stonework of the past (pyramids, monoliths, great statues, etc.) would not exist. The Stone Age was not a primitive, caveman period; it was an age where human gods built upon the Earth. If traditions were correct, then the only evidence of the distant past would be unearthed in the fossil record. There would be fossilized thatched roofs, simple implements and the most basic of things. Instead, we discover the Power System of the Gods in impossible stonework in impossible places!
The Cradles of Civilization were built on a global grid. The significance of this geographical FACT is the 12 Atlantean colonies were all connected to the main Power-Station in the Atlantic. Global grids (as they would in today's wired world) exist IN A PATTERN, connected in a worldwide system. If we observe a repeating, global pattern or network around the entire planet…we are forced to conclude a high-tech 'intelligence' was the architect. In the case of a technical 'Eden,' that prehistoric empire was Atlantis. Atlantis was not a legend, but the ancestors of the Pre-Egyptians and Pre-Incas.
The discovery of the 12th LOCATION ON THE GRID happened in the fall of 2003.
The 1974 MAP of 13 positions, in a pattern, predicted such a discovery would happen in Brazil and it did. In an area that was long thought to be too hostile for a human city, there were organized roads and parks 'in grid-like patterns.' Ancient Amazons managed large areas and were far more advanced than previously thought.
The 11th LOCATION ON THE GRID was discovered in 1985 by Kihachiro Aratake under the waters of the South China Sea and called 'Yonaguni.' Beautiful blue/green photos of the quasi-pyramid structure can be downloaded off the Internet. The monument has wide terraces, ramps and large steps. Japanese scientists have documented marks on the stones that indicate they were hewn. A stairway carved into the gigantic rock on the ocean floor proves the structure was not natural.
Lemuria was an Asian Empire BEFORE Atlantis that primarily dominated the Pacific Ocean area. It is reasonable to assume the Asian Culture reformed as an Atlantean outpost around the Japanese sub-station. Yonaguni, just southwest of Japan, is physical evidence IN THE ANTICIPATED AREA of (again) an advanced race of Stone-Builders. Asians are not Indians, yet they may have utilized the World Wireless location predicted for Japan.
The 10th LOCATION ON THE GRID is in prehistoric Russia. There are ancient Russian megaliths! They, too, were stone-cutters and transporters of many tons of megalithic rock. Again we see a culture, thousands of miles away from the jungles of Central America, constructing massive totems. Russian megaliths resemble the Mayan stele. Like the standing stones of England and Australia, the harsh lands of the Soviets also contain similar monuments. In the Caucasian Mountains and all around the Black Sea, there are 'dolmens.' They are early, bizarre, stone dwellings. Some stand alone, some are in groups (in patterns). There are similar structures in North Europe and in India. They were not primitive. Sophisticated technicians, similar to Egyptian artisanship, had to have produced these buildings. Were they prehistoric bomb shelters?
The 9th LOCATION ON THE GRID is in central Australia, near Alice Springs. The first Aussies are now thought to have occupied the continent 60,000 years ago. The present climate in the Outback is a very hot, dry desertland. Many thousands of years ago, Australia was a 'green,' fertile terrain where 'giant animals roamed.' Bushmen, rich in legend, believe they are native to the continent. 'Down Under' is another land with ancient, monolithic, standing stones.
Near Alice Springs, archeologists have found 'fused rock' and glasslike particles. The only way such formations could have been produced is by an incredibly intense HEAT! The rocks may have melted together in an atomic devastation. The recurring theme of a fertile land, now devastated is a common occurrence on the GRID locations. There are numerous Aussie drawings and rock carvings that seem to depict strange visitors wearing helmets, antennas, gloves and boots. This is very similar to what is found at Tassili; strange, ancient paintings among a wasteland.
Ayer's Rock (Uluru) is one of Australia's most recognizable landmarks. It is the planet's largest megalith and is considered one of the great wonders of the world. It is a MAGNETIC mound similar to Silbury Hill in England. The huge rock is a giant spike in the ground and we only see its red top. Could the entire natural phenomenon have been 'electrified' in ancient times and used as an oscillating Power Pole as Tesla had demonstrated? Central Australia is one of the Map-locations, yet the entire continent seems to have slipped southward away from the GRID pattern.
Tassili is the 8th LOCATION ON THE GRID. In Algeria, there are mountains that rise from the Sahara Desert and resemble the mountains on the Moon. Again, a mysterious race of people came from parts unknown and settled in an inhospitable environment. They took refuge in the high caves. Tassili 'is as remote as you can get.' There are hundreds of thousands of rock paintings. Painted by 'realistic' artists, the images show African elephants; giraffes; rhinos; hippos; horses; the ancestors of domesticated cattle; herds of antelope; flowers; wild fauna and flora; colorful meadows; grasslands; waterholes, etc. What is wrong with this picture? The paintings are prehistoric and in the center of the largest desert on Earth.
All experts agree on the incredible age of the drawings. They were not a matter of hundreds of years old, but many thousands of years old! Beyond the age, there is something incredibly ODD about the depictions. A small percentage show MODERN images! There are figures with large, bulbous, 'round-heads.' Some figures seem to be horizontally floating in air. Some appear to have modern accessories such as zippers; belts; wristbands; backpacks; antennae, etc. Henri Lhote called an 18 foot high giant, painted on the cave walls, Great God Mars. There was one particular 'round-head' in a modern, uniform-suit with antennae that operated an apparatus. Illustrated in the background, was a SAUCER with thrusters!
Consider that these were the survivors of some great, atomic cataclysm as mentioned in the prehistoric books of India. Where else would people go to escape the fallout…but in the caves? The desert did not form naturally. Given this scenario of a nuclear holocaust, it could explain the modern figures with round heads. They wore radiation suits. People, from other lands (a few) with the technology, could have been tested radiation levels and account for the strange images. Cave dwellers, with high quality paint, observed them.
'The whole of the Sahara is dotted with artistic engravings and paintings on rock faces.' These other locations are on the roofs of rock caves and mainly in the highlands. It is possible that there was less radiation, the higher the altitude. Tassili occupies one more grid-point on the map of 13. If we only examined the cave paintings, we are mystified. If we study the big picture, we can begin to make some sense of it and rewrite traditional history.
After centuries of study, scientists finally resolved the composition of the 'miracle' alloy. It was BLACK MAGNETITE! The prehistoric Pillar carried a magnetic charge! Experts have concluded that its creators were super-skilled metallurgists and machinists to have formed a non-rusting hunk of METAL that large. More importantly, its manufacturers had to have mastered 'electricity' to account for its high Electro-Magnetic properties.
The Pillar could have functioned as a Tesla Utility Pole that oscillated with fantastic EM power. The (misnamed) Ashoka Pillar may have been the energy source for the many, early accounts of flying vehicles. The virtually 'alien,' rust-free Pillar stands on the exact opposite side of the Earth as Easter Island. The significance of the geological fact has to do with MAGNETIC POLES. Easter Island exerts a higher-than-normal EM attraction; compass needles point to Easter Island.
Called 'house of stones' or 'sacred house,' Zimbabwe was the center of a 'prosperous high culture.' The curved walls and conical towers (33′ high) once had a population in the tens of thousands. Zimbabwe is, again, another major mystery ignored by historians because they have no place for it in tradition. The curved, massive masonry of the first Africans is not the only mystery. The SAME type of stone architecture was used by the Inca on Andes mountaintops thousands of miles away. The Great Zimbabwe complex stands in the center of a vast network of smaller, stonework that are scattered over many thousands of square miles! Would it surprise you to discover the little stonework (sub-stations) in the region covers a large area IN A PATTERN? Are you seeing a pattern?
Europeans were reluctant to believe that Africans could have built Zimbabwe. British archaeologists David Randall-MacIver and Gertrude Caton-Thompson, early last century, have absolutely established that the ruins were of African origin. The Black Race began in Zimbabwe. They were the noble children of kings and queens. Here was one more culture rich in legend and primeval history. As with all cultures along the GRID, later when the power ended and the empire fell, a LESS advanced society took its place.
Archeologists and educators fail to praise the fantastic achievements of the grand, Zimbabwean architecture in STONE. Our impressions of early Africans consist of primitive natives living in crude huts. SINCE WHEN WERE THE FIRST AFRICANS GREAT STONE-BUILDERS? Zimbabwe destroys our preconceptions of the past. Yet, the ruins are basically no different than other points on the Atlantean GRID. Give the prehistoric Africans the credit they deserve and place them up there with other, impressive Stone-Builders.
The soil around the main Zimbabwe fortress (Power-Station) was poor and cannot sustain a large community. Once again, we have titanic monoliths transported far from the quarry and fit together without mortar. We have a pattern of smaller stones surrounding a main complex; same as pyramids, mounds and standing stones. This was all a system of 'wireless electricity' transmission. Atlantis was a World System of power distribution to the GRID points, then the energy was stepped-down to local areas. Zimbabwe falls perfectly along the GRID and is connected to the other, similar colonies around the planet. The physical evidence of a 'primary surrounded by many secondaries' repeats in the pyramid civilizations, mound-builders and standing monoliths (totems) or statues. These independent cultures, separated by thousands of miles, were not isolated…they were all connected to a global system.
Researchers make the fatal mistake of only studying Stonehenge or Easter Island or the Great Pyramid. Some experts have concluded that it was as if the 'same construction company' went out to these locations and built the Cradles of Civilization. Stand back and see the entire picture. Investigate all of the 13 sites and note the similarities in mysteries.
1. ATLANTIS once a continent in the Atlantis Ocean, (the prime Power-Station).
2. GREAT PYRAMID at Giza in the exact, geographical center of all landmasses.
3. INCA Civilizations in Peru around Lake Titicaca.
5. EASTER ISLAND and the colossal 'maoi' stone giants on a remote, volcanic island.
Found by Donna Epstein; she emailed me this recent discovery, the 13th location! IT WAS THE LAST PIECE TO A PUZZLE THAT HAD HAUNTED ME SINCE 1974. She had read my (little-known) 'Wireless World' article and knew I had been in search of: SOMETHING just north of the U.S. and precisely on the border of Alberta and Saskatchewan. This is the exact area of the Indian carved in the mountains. The article that states the MAP-GRID prediction was posted on the World-Mysteries.com and Farshores.com websites ever since 2002; before piece #12 and #13 were found (Brazil & Canada). The coincidence is these just happen to be CANADIAN UFO and Mystery websites.
Imagine a large map of CANADA on the wall, and in 1974, you predict that the first sign of ancient Canadians will appear…(then throw a dart from across the room) on the spot the dart lands. This is precisely what has occurred only the GRID LOCATIONS were not arrived at by the random throwing of darts. You can write to me at dugx@sbcglobal.net and receive interviews/radio shows (also the map) where the origin of the 13-point map is revealed. Its origin is extraordinary and as unique as the Betty Hill Star Map. Yonaguni proved my MAP's validity. The unexpected grid-parks in Brazil proved its credibility. NOW…without question, the carved Indian mountains have appeared thanks to Google Earth…in the anticipated area. The MAP is proven. ATLANTIS IS DISCOVERED!
These physical facts (I believe) prove that the Canadian image was carved and could be connected to the global empire of Atlantis! As in all of the GRID points, a real mystery truly stands in each of the spots. The IRONY is that the Canadian image is an INDIAN! It is the LACK of Indians in Canada that demonstrates the error of traditional history. Many of the 13 locations were obliterated; some left deserts after what could have been ancient, atomic wars. Some remote colonies were never rebuilt; while others, their very spots were reused repeatedly. All traces of prehistoric Canadians were wiped out as great forests replaced what could have been a thriving metropolis. What was NOT erased by the holocaust was a giant, Nazca-like Indian. Was the image a guardian of the past or its own prophecy of simpler Indians in future generations?
Now, your last assignment: Study the Wardenclyffe tower (NY 1900-1905), the work of Nikola Tesla; especially his 'World System' of Magnifying Transmitters and wireless electricity! You will discover that in the 19th Century, this super genius planned to OBSOLETE his AC invention with wireless power. It was only the basic principle, the blueprint of the far superior Atlantean System, yet it would work and could bring on an age of gods and goddesses. Tesla realized we are not ready for Paradise and dismantled his crowning life's achievement. The Earthlings would make wars with the first Magnifying Transmitter rather than let it freely power cities!
When this writer read that Tesla planned for a World System of NINE TOWERS to complete his global grid; Wardenclyffe was only the first…I concluded that the MAP OF 13 ATLANTIS COLONIES operated on the same principle!!! Atlantis mastered what Tesla only proved on a basic level. The human race (in Eden) fed off the power and flourished…until even the greatest of empires FALL. Atlantis had a system of 13; Tesla's design was a global grid of 9 locations. Could Atlantis have been the ORIGINAL 13 colonies?


According to an announcement by the Federal Reserve (click here), "financial institutions must have an effective, independent real estate appraisal and evaluation program" and that appraisers preparing reviews are compelled to "have the knowledge and expertise to assess compliance with the Federal Reserve's appraisal regulations and guidelines." Ace Appraisal (970) 731-1986 provides appraisal review services that are independent, expert, professional and square with the Federal Reserve's regulations.
A review appraisal should pursue: whether the original appraisal or evaluation is well-suited for the transaction, the risk inherit in the transaction, and whether the processes by which the property valuation is accomplished ensures independence and quality. Moreover, they must indicate whether the appraisal or evaluation report is in line with the engagement letter, which gives an account of the extent of the appraisal assignment. Lastly, the Federal Reserve also goes on to say that "some banks supplement routine reviews with post-funding evaluations of appraisal quality for some of their higher-risk or greater-value transactions as a control to assist in detecting valuation problems".
If you need a real estate appraisal review or have questions regarding an appraisal, call Ace Appraisal (970) 731-1986 today.
In addition to tailoring our work to the practices and guidelines of our review clients, there are four Fannie Mae forms that are normally used for review services, and we can prepare an appraisal review on any of them. They include an appraisal "desk" review, a "field" review, a "short" form and a "narrative" form. Here at Ace Appraisal (970) 731-1986, we are skilled in every type of appraisal review, review practice and the obligations of review appraisers.
We are aware of what the most prevalent reporting inadequacies are, specifically in our housing market. We also know what constitutes a quality appraisal. At the same time, we're skilled enough to distinguish that our competition in our market are skillful in doing good work. The Uniform Standards of Professional Appraisal Practice, or USPAP, govern appraisal reviews as well as appraisal reports, and you can rely on Ace Appraisal (970) 731-1986 to ethically valuate appraisal reports carried out by others. And those others might be reviewing our work, too!
In short, when you choose Ace Appraisal (970) 731-1986, you can count on our independent judgment, because we offer professional, impartial, ethical appraisal review services for our clients. Contact us to learn more about our qualifications, expertise and service offerings.


Ever," from the Atlantic Monthly 5 – The article is integrated into the personal statement about student's desires for the class. There is clear evidence that the article has been read, absorbed, and employed in the student's statement. There are minimal to no grammar/spelling issues which impair the meaning of the sentences. There is a clear voice from a student who is personally interested in the subject matter. 4 – The article has clear use in the student's personal statement. There may be a few grammar/spelling issues, but the overall impact on the paragraph is minimal. There is a clear statement of personal desires/outcomes for this class. There is a voice from a student who is personally interested in the subject matter. 3 – There may be reference to the article by Ms. Ripley, but the references may not be integrated into the paragraph. There may not be a clear relation to the paragraph, or there may not be balance between the article and the student's personal desires. There may be some spelling errors or grammar issues which impact the flow or meaning of the sentences. There is a voice from a student who is interested, but there may be unevenness or inconsistency in the voice. 2—There is either a lack of development on either the personal statement or the use of the article, although both may be mentioned. There is little evidence that the article has been read or employed. May contain multiple grammar/spelling errors. The voice of a student interested personally in the subject matter is weak. 1 – There is no reference to the article or there is no reference to personal goals for the class. There is little development or thinking. May contain seriously flawed grammar and/or spelling issues. The voice of a student who is personally interested in the subject matter is absent.


1) CS540 – Right out of the gate the new CS540 is fast becoming the headset of choice for wireless communication among businesses both large and small. With all the latest technology built into it, besides offering the lightest headset on the market, it's no wonder it's shooting up the popularity charts.
2) CS55 – Still one of our most popular headsets. With two different ways to wear the headset, 10 hours of talk time, ease of use and 300 feet of roaming distance, it's not hard to see why people enjoy this little workhorse.
3) CS55/Hl10 – Combining their most popular wireless headset with their signature handset lifter, Plantronics offers you the freedom to take calls wherever you are and be more productive. It's the perfect package to get you started in wireless communication.
4) CS70N – Weighing just 25 grams and offering a selection of different size ear buds, the CS70N is still one of the most comfortable headsets to ever rest on an ear. A discreet and effective way to stay connected around the office.
5) W740 – One of the new flagships from Plantronics, the W740 is the comfortable way to always stay connected whether you're on your phone, computer or mobile. Incorporating all the latest wireless technology, the W740 Savi makes talking on the phone fun.


Generally, each party bears their own costs of conciliation. However, the WorkSafe Agent or Self-Insurer is liable to pay your reasonable transport expenses to and from the conciliation conference and reimburse you for any loss of income incurred by attending the conciliation conference. You will be provided with a form at the conclusion of the conference that can be used to claim these costs.
You will need to forward the completed form to the VWA Agent or Self-Insurer.
The above rates are indexed annually and published in the Victorian Government Gazette.


Tamoil is an italian company who is specializes in downstream industry like oil refining,supply and trading,shipping ,storage and distribution and marketing and retail.
Tamoil group has almost 25 years of experience.The company operate in many european countries like:Italy,Switzerland,Germany,Spain,Netherlands.
Recent the company introduced a new branding concept "HEM" which was used since de 90′s to differentiate the part of Deutche Tamoil network.
Today the company activities in Germany are branded in HEM after the company decided in the new logo to mantain a good position on german market.
The new HEM logo was created for the firs time in 2009 and tested on a pilot.


InFocus Corporation (www.infocus.com) will showcase its latest solutions for the conference room, classroom and desktop June 17-19 at InfoComm booth 2017. New and coming products on display will include: Mondopad 2.0, LightCast technology in projectors and the JTouch Whiteboard with LightCast interactive display, Saturn video conferencing display system and new high-performance HD projectors.
InFocus' new LightCast technology allows people to wirelessly cast content from their devices – including Android, Windows, Apple iOS and OSX – to a LightCast-enabled display screen or projector. LightCast devices also include built-in whiteboard tools and a Web browser to enable Internet without connecting to a separate device.
Mondopad 2.0, which has LightCast embedded, can pair with a second touchscreen, such as the InFocus InFocus JTouch a large-format touch-enabled digital display, to run dual applications, such as a video conferencing and PowerPoint files simultaneously on separate screens.
InFocus will show its new LightCast technology in projection with a preview of the IN1118HDlc projector, a mobile projector with embedded document readers, video player and tools for projection on-the-go.
InFocus will also preview its latest affordable, classroom-optimized IN119HDx projector. At less than $700, this new projector features 3200-lumen brightness and 15,000:1 contrast ratio to fit school and government budgets and the ambient-light levels of most classrooms.
The IN128HDs, a color-correct SRGB projector for video applications and designers, will also be previewed.
InFocus will demonstrate its affordable hand-held Q Tablets and the MVP100 video phone.
InFocus will preview its Saturn multi-configuration video conferencing display system that displays wall-sized, multi-endpoint video conferencing and simultaneous content sharing in an executive boardroom, office or headquarters.
For more information visit www.infocus.com.


text:
Vulnerable to Attack: Businesses Should Boost Cyber Defenses
By Joyce M. Rosenberg | March 15, 2019
When cyberthieves attacked Empire Industries' computer network, technology manager Rich Shemanskis could see files in the process of being infected by malicious software.
"We were looking at the network, and I noticed it, and another guy noticed it. We're looking at the files and watching them change," Shemanskis recalls about the attack three years ago.
Shemanskis told staffers to quickly shut down their PCs, which helped limit the malware's spread, but the company did lose about a day's worth of work. The saving grace for the Manchester, Connecticut, manufacturer of building materials was it had backed up most of its files.
A cyberattack that leads to down time and lost data can be more costly for smaller companies than for larger businesses—an average of $763 per affected computer or other device versus $470, according to a 2018 study by the Poneman Institute, which researches data protection. Many small businesses don't have sophisticated systems to protect themselves from hackers, viruses, malware and what's called ransomware, which renders files inaccessible unless a computer user pays thieves to release them. And many owners aren't tech-savvy enough to anticipate potential problems or don't make use of technology staffers or outside help to strengthen their defenses.
After the attack, Empire reassessed its security. "We already had antivirus protection, but we upgraded everything—we added more layers of security," Shmanskis says.
Empire's experience shows why it's critical for small businesses to keep strong defenses against cybercriminals.
"The nature of the threat continues to evolve," says Diana Burley, a professor at George Washington University's Graduate School of Education and Human Development whose expertise includes cybersecurity. Cyberthieves use increasingly advanced technology and develop attack methods that are harder to detect and foil, she says.
A company's computers can be invaded indirectly—a supplier or customer could be attacked and the virus or malware is passed along if computer systems are linked. That's how cyberthieves hacked into the computers of discount retailer Target in 2013—they broke in after first invading the system of one of Target's vendors. Target had to settle legal claims for having not protected customers' information that was stolen.
Smaller businesses are likely to be even more vulnerable, Burley says, adding that "it is the responsibility of the business to be aware that those things can happen."
Sometimes the invasion is more low-tech. Jay Marose, who has a Los Angeles-based publicity business, allowed a longtime friend who was also a client to use his password to access his website-building account. The friend logged into the account after their work relationship ended, took files that didn't belong to him and reversed his payment to Marose. The incident cost the publicist $10,000 and two clients.
Marose realizes that giving the password to someone else was a mistake. But the theft was made easier by the website company's weak security—it didn't use two-factor authentication, which requires a temporary passcode in addition to a password. Moreover, the theft happened during a hurricane and the company was shut down for 10 days; Marose couldn't get any help.
Marose now guards his information closely. "It changed the way I do business going forward," Marose says.
The attack on Amanda Naor's website showed her why it's critical to back up content and data. Naor, who has a photography business in Los Angeles, tried to log into her site early last year but her password was rejected. Technicians at the company that hosted her site found that someone had hacked in and changed the password. Naor created a new password, but a week later was again locked out and her website was completely disorganized—pictures and text were jumbled haphazardly. She had no backup.
A website security company Naor hired found malware on her site and was able to restore her content. Technicians said she was targeted because cyberthieves develop their skills by practicing on small websites.
"Essentially, I was a playground for a hacker," says Naor. She now has a backup and an ongoing relationship with the security company.
When hackers get hold of a small business owner's personal information, the company can suffer. Josh Lamont's Social Security number was stolen five years ago when he became a joint depositor on his mother's account; unbeknownst to the family, her identity had been stolen and the thieves had access to all the information on her accounts. Lamont discovered his accounts had been hacked when a $13,000 charge to an adult website appeared on his credit card. His bank froze his accounts, including those used in his consulting business, while it investigated what had happened.
"I didn't have access to a single account for a good three or more weeks," says Lamont, whose business, JRL Strategies, is based in Menlo Park, California. Moreover, he had to help with the investigation; that cut into his work time.
Lamont has been taking steps to make his business more secure, among them obtaining an Employer Identification Number from the IRS to be used on business accounts instead of his Social Security numbers.
As can often happen when an identity is stolen, thieves struck again 15 months later. This time Lamont got a provisional line of credit.
Last month, Lamont got an email warning that his files would be attacked by ransomware; it turned out to be a hoax.
But, "even as a hoax, it caused missed meetings and a rescheduled pitch to a new client," Lamont says.
Video: Wi-Fi 7 operates across frequency bands
EE students get a new RF lab full of test equipment
5G radio tester supports over 500 test cases
6G: A tale from two conferences

redpajama_set_name: RedPajamaCommonCrawl


text:
Belur Keshavamurthy Ravi (born 17 November 1965) is an Indian cricket umpire. He has stood in games in the 2015–16 Ranji Trophy.

References

1965 births
Living people
Indian cricket umpires
Cricketers from Bangalore

redpajama_set_name: RedPajamaWikipedia


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text:
C-SPAN: A Space Odyssey: Past, Present and Future
Richard Branson confirms Virgin is aiming for space tourism
Filter: Media | Good - Clear Filters
Media / Vehicles (Good)
8 January 2005 by G B Leatherwood
Space Ship One and Space Ship Two
A media review
by G.B. Leatherwood
21 June 2004 by Sam Coniglio
Real Space Commerce Has Come of Age
A triumph of ingenuity and willpower
By Samuel M. Coniglio, IV
Media / Tourism (Good)
7 August 2003 by Carol Pinchefsky
Spaceflight Revolution by David Ashford
A book review
By Carl Roberts
1 June 2003 by Carol Pinchefsky
Private Space Vehicles on NPR
Public radio covers public space
By Carol Pinchefsky and Alan Breakstone
28 March 2002 by Alan Breakstone
US TV Network Highlights Space Tourism
Breaking the Myth of the Right Stuff
US television viewers learned about the exciting new world of space tourism on the American Broadcasting Company's (ABC) "World News Tonight," the network's nightly world news broadcast.
29 January 2002 by Carol Pinchefsky
Space: The Final Vacation
Documentary on the Travel Channel
A documentary on space tourism will be appearing on Thursday, January 31, at 9pm EST on the Travel Channel. _Space: The Final Vacation_ promises an out-of-this-world look at the armchair astronaut's most coveted destination.
13 June 2001 by Patrick Collins
Space Tourism to be Discussed Live on Air
Listeners' Questions Welcome
A transcript of the show should be available from Space Future at some point in the future; keep an eye on the 'What's New' page for announcements.
Media / General (Good)
10 August 2000 by Carol Pinchefsky
Who Wants To Be a Mir-ionaire?
"Survivor" in Space
According to MSNBC, Mark Burnett, the producer of "Survivor" who envisioned and realized 16 castaways duking it out for survival, like Gilligan's Island with an edge, has made an even more daring programming decision: He plans a new "Survivor" series that will send 13 to 15 contestants to Star City, Russia. After a process of elimination, one lucky winner will be sent to Mir Space Station.
18 October 1999 by
SF Chronicle on Space Tourism
Customers Lining Up to Tour Space But a ticket may cost almost $100,000
This article appeared in the business and finance section, not the human interest section. Next milestone is for it to appear in the travel section, where future space tourists will lust for the ultimate "get away from it all" vacation.
30 March 1999 by Patrick Collins
"October Sky": Movie with a Space Tourism Message
Author to become new recruit for the cause?
"October Sky" is a delightful film based on the autobiographical book "Rocket Boys" by Homer Hickham Jr, which tells of his inspiration as a teenager by the launch of Sputnik 1 in October 1957. As a result he decided he wanted to build rockets, although his father wanted him to follow in his footsteps as a coal-miner. Encouraged by his school-teacher and his mother, Homer began building model rockets with some friends, and through persistence they ultimately won a national science competition - and scholarships that allowed them to escape from coal-mining. (Homer himself ended up working for NASA , from where he recently retired.)


Plantar Fasciitis – how do you make it go away?
The plantar fascia is basically a thin, broad "rubber band" on the bottom of your foot. It holds your foot bones together and gives you a little spring in your step. But when that rubber band gets stiff, every step can be painful, especially the first few steps in the morning. So what would you do with a stiff rubber band that needs to fit around a deck of cards? You'd stretch it gently until it could fit around them, right? Well, as it turns out, that's the best course of action for plantar fasciitis. There are many different ways to stretch the fascia (like rolling a tennis ball under the bottom of your foot) but my favorite method is: the night splint.
What's a night splint? They're little booties that keep your feet at a 90 degree angle when you're lying down. This gentle stretching works while you sleep, so it couldn't be easier. Night splints are available online or at most surgical supply stores, and cost upwards of $30. Try them for several nights in a row, and see if it makes a difference in the pain you've been feeling when you take your first steps of the day. Keep it up for a week or two, and you may have cured yourself.
Have you tried night splints? Still having pain? Find out what else might work in the next blog entry! This post originally appeared on Dr. Val's blog at RevolutionHealth.com.


My name is DW Page, I've been recording, mixing, and making music and beats for over 20 years now. I've worked with a lot of local artist from my home town and from Texas, Atlanta, and Chicago. I love what I do its a passion of mind. Your music is in good hands with me, I take my time and do the job right and I listen very closely to my clients.


Naoëlle d'Hainaut might have been acclaimed as France's Top Chef for 2013, but a fateful moral slip involving a bowl of shrimp has brought a tidal wave of hatred upon her. Our French Face of the Week won the prize money, but at what cost?
She is the pretty, unscrupulous 29-year-old chef who won the French version of the TV talent show Masterchef this year which in France is called Top Chef.
Well winning Top Chef was enough to get her into the news but the fact she progressed to the show's finale only after stealing shrimps from her rival, Yoni, while his back was turned during their cook-off, meant her victory sparked outrage among fans of the show and the public at large.
D'Hainaut's moment of dishonesty got moral pulses racing all over France, and she immediately became a figure of hate.
After pocketing the €100,000 prize money, thousands clamoured for her Machiavellian triumph to be overturned.
This week the public got a semblance of revenge.
On Monday night, d'Hainaut faced off against last year's winner Jean Imbert, and in a public phone-in to choose the victor, d'Hainaut was somewhat predictably massacred by a gleefully vengeful French audience, despite earlier apologizing for her behaviour.
In the end d'Hainaut – who is by all accounts quite a promising and accomplished chef anyway – makes a sort of Faustian pact: stealing the shrimp and winning the show, but at the same time losing the love of the public.
Pretty hateful, to be honest. A Facebook page called 'Anti-Naoëlle Top Chef 2013' has more than 81,000 likes, and a photo of d'Hainaut reacting to her 77 to 23 percent rejection by the French public, has been shared by more than 500 users.
One user loved the concept and spirit of the campaign, but disapproved of its profile picture – a straightforward photo of D'Hainaut herself.
Others, including the page's moderator, seem to be more interested in an orchestrated, strategic lobbying campaign to reverse d'Hainaut's triumph, though the TV channel M6 have dismissed any such attempts.
"Please – do not watch Monday's contest. It's the only means at our disposal to make our message heard…M6 will make money from your text messages…And anyway the winner was already chosen a long time ago…" said a post on May 3rd.
As for the ethical opprobrium, it has been well-articulated and widespread, as one Twitter user reflected.
@naoelletopchefJe trouves que tu manques énormément d'humilité!! La compétition ne necessite pas forcement la bassesse comme tu l'utilise!
Well, before she sent 77 percent of French TV viewers into moral outrage, d'Hainaut was sous-chef at the world-famous Bristol hotel in Paris.
Originally from the Oise department in northern France, she was by her own account a troubled, directionless teenager until a schoolteacher got her interested in cooking.
With her €100,000 in prize money, d'Hainaut has said she intends to set up a restaurant of her own in the south of France.
However after all the outrage she caused it might be a good idea if she opened it under a different name.


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Theatre West Four
Come and join Chiswick's premier theatrical group!
The Browning Version & Harlequinade by Terence Rattigan
Our November Production: SHE STOOPS TO CONQUER
NOVEMBER PRODUCTION
At the recent Group Choice meeting a vote was cast for the next production and the members present (thanks to all who attended the meeting) elected to present
(The Mistakes of a Night) by Oliver Goldsmith
Wealthy countryman Mr. Hardcastle arranges for his daughter Kate to meet Charles Marlow, the son of a rich Londoner, hoping the pair will marry. Unfortunately, Marlow prefers lower class women, finding them less intimidating than women of high society. On his first acquaintance with Kate, the latter realises she will have to pretend to be 'common' to get Marlow to woo her. Thus Kate 'stoops to conquer', by posing as a maid, hoping to put Marlow at his ease so he falls for her. Marlow sets out for Mr. Hardcastle's manor with a friend, George Hastings, an admirer of Miss Constance Neville, another young lady who lives with the Hardcastles. During the journey the two men get lost and stop at an alehouse, The Three Jolly Pigeons, for directions.
Tony Lumpkin, Kate's step-brother and Constance's cousin, comes across the two strangers at the alehouse and, realising their identity, plays a practical joke by telling them that they are a long way from their destination and will have to stay overnight at an inn. The "inn" he directs them to is in fact the home of the Hardcastles. When they arrive, the Hardcastles, who have been expecting them, go out of their way to make them welcome. However, Marlow and Hastings, believing themselves in an inn, behave extremely disdainfully towards their hosts. Hardcastle bears their unwitting insults with forbearance, because of his friendship with Marlow's father.
Kate learns of her suitor's shyness from Constance and a servant tells her about Tony's trick. She decides to masquerade as a serving-maid (changing her accent and garb) to get to know him. Marlow falls in love with her and plans to elope with her but, because she appears of a lower class, acts in a somewhat bawdy manner around her. All misunderstandings are resolved by the end, thanks to an appearance by Sir Charles Marlow.
The main sub-plot concerns the secret romance between Constance and Hastings. Constance needs her jewels, an inheritance, guarded by Tony's mother, Mrs. Hardcastle, who wants Constance to marry her son, to keep the jewels in the family. Tony despises the thought of marrying Constance — he prefers a barmaid at the alehouse — and so agrees to steal the jewels from his mother's safekeeping for Constance, so she can elope to France with Hastings.
The play concludes with Kate's plan succeeding: she and Marlow become engaged. Tony discovers his mother has lied about his being "of age" and thus entitled to his inheritance. He refuses to marry Constance, who is then eligible to receive her jewels and become engaged to Hastings, which she does.
The play will be directed by Tony Traxler and is scheduled for performance 21 to 25 November at The Questors Studio Theatre.
Auditions will be held on
Sunday 23 July at 3 pm and Thursday 10 August at 7.30 pm at The Friendship Club, Age Concern Chiswick, Oxford Road North, W4 4DN
If you are unable to attend these dates but wish to take part in the production get in touch with Tony direct (07899 961813) to arrange for private auditions on his casting couch. There ae quite a number of large and small roles for all ages available
This entry was posted in Auditions, Events, Meetings, News, Productions, Upcoming on July 9, 2017 by fredmauwer.
This entry was posted in Promoted Post on October 30, 2020 by Selena Jackson.
Letter of thanks from Jean Silva at Age Concern
(Dear Freddie and the Theatre West Four team
I can't thank you enough for your wonderful donation. It is so very kind of you all to think of Age Concern Chiswick and to give us £300 of your hard won funds. I know only too well how difficult it is to raise funds today. So your generosity is magnificent.
I have seen th excellent piece about us that you placed in the programme you produced for Separate Tables. It must have had a really positive influence on the audience as the collection box contained a tremendous £52.12. Very many thanks for your kindness in raising that additional amount.
I can assure you that your donations will be put to good use at Age Concern Chiswick as we continue to offer activities to older people in Chiswick and Brentford. All our volunteers give their time freely and, as you know, we receive no government funds. We rely on our own fund raising initiatives and the support of donors. We are therefore really touched by the fantastic gesture of your friendship.
Sincere thanks from all the of Age Concern Chiswick.
Jean Silva (Mrs) Chair)
This entry was posted in Events, Meetings, News on June 26, 2017 by fredmauwer.
DONATION TO AGE CONCERN CHISWICK
On a scorching and sunny June afternoon, Neil and myself visited Age Concern to present Jean Silva and Di Skingle and a few of their members, with the donation we pledged of the profit of our last show Separate Tables in May. We were able to present them with a cheque for £300 and also a collection tin which was held at our Front of House desk which resulted in a further £50. The team at Age Concern were delighted with the proceeds and most grateful.
SEPARATE TABLES – Our 2017 May production
Images from a wonderful production
Directed by Tony Traxler
Cast includes: Ellie Hopkins, Alice Klapwyk, Nicola Foster, Gerri Heneghan, Mary Ennis,
David Bickerstaff, Juliet Cassidy, Clare Pengelley, Daniel Davis, Richard Scott, Sofia Morin. Lauren Powell, Tony Traxler
This entry was posted in Past, Productions, Uncategorized on May 14, 2017 by fredmauwer.
Our next production 9 – 13 May 2017
Membership Theatre West Four
At a General Meeting last year it was agreed that as the Group seemed to have now evolved into a Production Company, our Membership Structure should be changed to reflect this altered situation.
Our membership will still run annually from October to October but we will no longer have an Associate Membership scheme and Associate members will now be classified as Full Members.
Annual General Membership fee has been reduced to £10 per person which includes all benefits like attending meetings, voting rights at Meetings, standing for Committee positions, receive copies of our in-house Magazine 'Scene', rights to auditions for all productions, etc.
However, we will now introduce a one off Annual Production fee of £30 (£15 concessions), running for the same annual period October to October) should you be cast in a production or productions during a current membership year.
We feel that this will more appropriately reflect the current situation of the Group and our Constitution will be amended to incorporate this change.
This entry was posted in Joining, Membership, News on February 19, 2017 by fredmauwer.
Our May 2017 Production 'Separate Tables'
At the play reading last Thursday 12th January the Group decided to select Terence Rattigan's 'Separate Tables' as our next production to be staged at the Questors Studio Theatre on May 9 – 13, 2017. Tony Traxler will be directing.
A reading of the play has been scheduled for Thursday 2nd February at 7.30 pm at The Friendship Club, Age Concern Chiswick, Oxford Road North, W4 followed by open auditions on Thursday 9th February 7.30 pm and Sunday 12th February 2.00 pm at the same venue. For further information email info@theatrewestfour.co.uk or text 07860 448597.
Everyone is welcome to attend so we look forward to see you
This entry was posted in Auditions, Events, Meetings, News, Productions, Upcoming on January 17, 2017 by fredmauwer.
IMAGES FROM OUR 'THE MERCHANT OF VENICE' November 2016
An exciting and very successful production of one of the Bard's most popular plays 'The Merchant of Venice'
This entry was posted in Events, Past on January 17, 2017 by fredmauwer.
NEW COMMITTEE ELECTED 2016-2017
At the Annual General Meeting held on Thursday 6th October, a new Committee has been elected and installed for the 2016 – 2017 Season as follows:
Acting Director – Tony Traxler, Technical Director – Neil Hopkins, Secretary – Vivienne English, Treasurer – Trevor Woodham, Public Relation Officers – Christina Balmer & Clare Pengelley, Membership Secretary – Freddie Mauwer, Without Portfolio – Hazel Collinson & Adam Kimmel
Congratulations to the new team and we trust that members will support them in the coming season
This entry was posted in Meetings, News on October 13, 2016 by fredmauwer.
OUR NOVEMBER 2016 PRODUCTION
Venice, Italy, To help his friend find love, Antonio becomes bound to Shylock, a Jewish moneylender. Alienated by his religion, Shylock proves not to be the only outsider in Shakespeare's most oft-debated play.
"There's no right or wrong interpretation" says Director Peter Woods, who brings this production to the Questors Studio Theatre. "Shakespeare passes no judgement on his characters, but rather leaves us to make up our own minds'"
Prejudice, revenge and love versus self-interest are examined in the Bard's classic drama. Don't miss this exciting production 22 to 26 November at The Questors Studio Theatre
The wonderful cast includes:-
Gratiano – Tony Traxler, , Lancelot Gobbo – Oliver Simkin, Shylock – Adam Kimmel, Duke of Venice/Prince of Aragon – Jim Simpson, Salerio – Alistair Slaughter, Antonio – Andy Farrant, Nerissa – Jane Douglas, Lorenzo – MichaelTaktak, Prince of Marocco – Iskander Najmuddin, Jessica – Magdalena Jablonska, Old Gobbo – Mick Cawson, Staphana – Jo Parton
22-26 November 7.30 pm £13 26 November 2'30 pm £10 Concessions n Tue, Wed Thurs only £10 (TW4 members £10 on Tuesday) Box Office 020 8567 5184 or http://www.questors.org.uk
This entry was posted in Events, News, Productions on September 25, 2016 by fredmauwer.
Our next event
Tickets Now on Sale Agatha CrustyOctober 29, 2019
Agatha Crusty is coming to town
Age Concern
Oxford Road North
W4 4DN
info@theatrewfour.co.uk
Every Thursday from 7.30 pm to 10 pm
amdram.co.uk Find out what's going on in the world of amdram – auditions, productions, etc.
Arts Educational Schools ArtsEd offers, in addition to full time training in the Performing Arts, a wide range of weekend and drop-in courses for all ages, interests and abilities
http://thechiswickcalendar.co.uk/ 'The Chiswick Calendar, a website about Chiswick which has comprehensive listings of what's going on in and around the area'.
St. Michael's Players Chiswick's other venerable theatre group
The Questors Theatre The Questors is the largest community theatre in Europe.
Ou Next Production
SYLVIA'S WEDDINGNovember 20, 2018


text:
LOVE, SIMON Review
I'm a middle aged straight cis white guy, so Love, Simon isn't my story. But at the same time I found Love, Simon to be a story I could identify with deeply, personally and immediately, because Love, Simon is a truly human story with truly human concerns. For me this movie rebuts the silliness of retrograde white male issues with onscreen representation skewing away from us – if the movie is good and you're open-hearted, even the most specifically identity-based story can speak to everyone in some way.
Based on the novel Simon vs the Homo-Sapiens Agenda, Love, Simon is maybe the first movie set in a truly post-21 Jump Street high school. Remember how one of the big jokes in that movie was that the next generation of kids were super woke and incredibly nice (man, was that prophetic or what)? Love, Simon happens in that milieu, where every kid in school is sort of supportive of one another and where people are surprised that anti-gay bullies actually exist.
On the surface this makes protagonist Simon's dilemma low stakes. He's secretly gay, but he's secretly gay in a school where there is already a gay kid, and a super flamboyant one at that. He's secretly gay in a school where the drama club is putting on Cabaret and it's maybe not lame to be in it. He's secretly gay in a post-ELLEN and post-gay marriage society.
But the stakes are incredibly high for Simon. Not in the way they would have been in a touching issues-based movie thirty years ago – he might be terribly beaten, or even killed – but in the way that is identifiable for all young people who are coming to terms with who they are, and how to present that to the world. The stakes are all personal – how this will impact his friendships, his relationship with his family, his own sense of self. Simon is gay, but not in that effervescent Queer Eye For the Straight Guy way – he wears a lot of hoodies and jeans, he's into Daniel Radcliffe, not super-built athletes, he likes musicals but can't see himself in a big rainbow-colored dance number (and yes, he does imagine one) – and so he's trying to define himself not just in terms of his sexuality but where he personally exists within the cultural understanding of that sexuality.
I'm not trying to appropriate anyone else's experience, but if that isn't a universal coming of age concept, what is? This is what we all do as teens, try to figure out who we are and how we do or do not fit in with the world around ourselves. This, I think, is why we need to see other people's stories in the movies, so that we can understand the ways in which they are just like our own. In recovery I learned a phrase: Look for the similarities, not the differences. Nobody's story is exactly like yours, but everybody's story has elements that resemble elements of yours. Every experience is unique and different, yet every experience echoes with other people's experiences. By being open-hearted and by looking for the similarities we can find the places our stories intersect and we can understand that none of us are that different after all.
None of this would work if the movie were not good, and I think Love, Simon is wonderful. Greg Berlanti – best known, perhaps, for his CW DC superhero shows – has made a film that feels absolutely and truly of the moment, filled with hyper-specific things that relate to the world we live in now. This grounds Love, Simon not in a John Hughes-esque fantasy teen universe but in a very specific and tangible world. I have questions about how this film will age (more on that later), but one thing Love, Simon will forever do is define the late 2010s for generations to come. The music, the clothes, the pop culture references and the ways these kids interact with technology are all of the present moment; Berlanti isn't forcing his late 80s high school experience into a modern setting. Sure, these kids are REALLY cool (Simon listens to The Kinks on vinyl, for fuck's sake), and they are clearly influenced by the pop culture of the 80s and 90s, but they're kids of today.
Nick Robinson plays Simon, and it's a beautifully interior performance without being emo or mumbly. Robinson has heart and charm, and he really gets at the subtle nuances of this character. Yes, Simon is a rich white kid, but he's confused and scared, and he does things with that confusion and fear that hurts other people. Robinson plays that well, never reducing the dickery to which Simon stoops but also letting us see the flustered decency that motivates his shittier actions.
Simon's a great character because of that aspect – he hurts his friends, but he does it out of a misplaced attempt at self-defense. This is how we hurt most people most of the time; we're not out there being malicious, we just think that we need to say/do things to protect ourselves, to advance our interests. Simon is so wrapped up in his own stories and his own concerns that he can't see how his actions will impact others.
That's selfishness, sure… but it's selfishness we all indulge in. And like in Simon, our selishness is always driven by the stories we tell ourselves. Love, Simon visualizes this in a great way; Simon, still closeted, strikes up an email relationship with another closeted kid at his school. He doesn't know who his email pal is, but throughout the movie he meets people and extrapolates these stories about them being his secret correspondent, and when that turns out to not be the case, Simon suffers. And because he's so interested in advancing these stories he's telling himself he takes actions that hurt his friends.
We all do this. We all get trapped in the stories we spin – we meet someone at a cafe and all of a sudden we're planning a date, a wedding and a divorce. Sometimes when we really get caught up in these stories we bend over backwards to avoid reality, to not let our stories be punctured, and that's when we make truly unwise choices.
Simon's situation is complicated when resident nerd Martin discovers his emails. Martin uses the emails to blackmail Simon into helping him get with Simon's friend Abby Suso, a new girl at school. Here Simon is trapped in the story of his life as it has been lived so far, and he's afraid of the changes that will happen when he comes out. Because he's clinging to his present story (Simon as normal high school kid with undefined sexuality) he's willing to make more unwise choices to maintain that story.
Martin, played by Logan Miller, is a really interesting character. He's the 'bad guy' here, although Love, Simon is so full of compassion that it even allows itself to see Martin's side of the story. But what makes him really fascinating is that Martin is the hero of any previous teen romcom – a comedy nerd (he wears Caddyshack and National Lampoon shirts, has a Young Frankenstein poster in his room) who loves old movies and is just trying to find his own place as himself in this world… while also scheming to win the hot (but slightly outcast) new girl. Martin's John Cusack in the 80s, or maybe Seth Rogen or another member of the Freaks & Geeks cast in the 90s/early 2000s. He's given to over-the-top demonstrations of affection that he learned in the movies, and he treats Simon's journey and life as just a subplot in his own story and life. Again, we see how the stories we tell ourselves about our lives leads to us making bad decisions.
Martin comes across like Berlanti thumbing his nose at a whole generation of outcast romcoms that never included his experience, and in fact made being gay the butt of jokes. It's hard to look at Martin and NOT see him as a clapback against Judd Apatow's entire oeuvre… but one presented with a kind of empathy that is usally only afforded Apatow's protagonists. Martin is, in effect, a demolishing of all of my generation's ideas of outcasts and romance, and I think it's great to see happen. Not only because my punk roots make me always want to see the new generation destroy the old, but also because as I've grown "wiser" I've come to understand that Say Anything is kind of poison, and that High Fidelity filled me with some less-than-great ideas about relationships, and because I can't imagine revisiting 40 Year Old Virgin's "Know how I know you're gay?" scene without wincing. Don't get me wrong – I will always like and treasure those movies for what they are and understand them in their context, but at the same time I am so excited to see the culture move beyond the blind spots and limitations of my generation.
The supporting cast is pretty phenomenal. Berlanti (working from a screenplay by Isaac Aptaker and Elizabeth Berger) gives the supporting characters enough room to breathe but truly relies on the actors to bring something special to their scenes. I had seen Alexandra Shipp before, but it wasn't until her performance as Abby that I realized this actress would be someone who was going to be huge. Looking at his IMDB it seems that Jorge Lendeborg Jr, who plays Nick, will be very busy, and Love, Simon truly proves why. He's got this affable screen presence and a deep vulnerability that makes you love him so completely. When Simon hurts him you're truly angry with our lead – nobody should make Nick that angry!
I do wonder how Love, Simon will age. Movies like this – the kind of movies that feel like milestones when they're released – are often the ones that people look back at with scorn. Will it be the upper classness of Love, Simon that ages poorly? Or are there representation issues that will become more apparent in the years to come (no non-binary characters)? However a future generation judges this movie by their own standards, I hope they can take a moment to also experience it in context. This is a gay teen love story without tragedy, a movie where being gay isn't a fast lane to terrible abuse or death. It's a movie where a gay teen has loving parents who, while not perfect, are doing their best and who accept him. It's a movie that approaches being gay and coming out not as a world-shattering deviance but something pretty normal.
But more than its milestone aspects, Love, Simon is just a beautiful and funny coming of age story whose details are specific but whose broad strokes will be identifiable to anyone who ever tried to figure out who they are, and where they fit. I laughed often and warmly with the film, and I spent the last third crying so hard – sometimes from sadness, more often from joy and love – that I had a huge headache as the credits ran. There's a poster quote: "This movie gave me a headache." But it was a great headache, a cathartic and joyful headache that reminded me I could go to a movie and experience someone else's truth while also having my own truth reflected in unexpected and unusual ways.
Posted in Reviews	alexandra shippgreg berlantijorge lendeborg jrlogan millerlove simonmovie reviewsnick robinson
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