title: Hinkley groundwater contamination

text: California was the first state to put into effect an MCL for hexavalent chromium (chromium 6) in drinking water in July 2014, setting a limit of 10 ppb. A 2015 United States Geological Survey (USGS) report, based on the EPA's 2010 review of the health effects of chromium 6 in drinking water, re-examined related federal regulations. Following California's 2014 limit, Illinois began research in collaboration with the USGS which was published in 2015. According to the USGS report, the EPA proposed in 2010 to "classify Cr(VI) as likely to cause cancer in humans when ingested over a lifetime." Concentrations of chromium 6 in water are given in micrograms and milligrams per liter (µg/L and mg/L), with 50 µg/L equal to 50 ppb and 50 mg/L equal to 50 ppm.


title: Hinkley groundwater contamination

text: Since January 1, 1988, all cancers in California have been reported to California Cancer Registry (CCR) regional registries. Hinkley, in San Bernardino County, is covered by the Desert Sierra Cancer Surveillance Program (DSCSP) with the California Department of Public Health. Epidemiologist John Morgan began working with the DSCSP in 1995.


title: Hinkley groundwater contamination

text: Morgan has published over 100 abstracts, presentations and reports, some of which have been peer-reviewed. Many of his PowerPoint presentations and online posts attempt to debunk allegations that chromium pollution caused the cancer cluster in the Hinkley area and downplay the number of cancer cases there. In his often-cited 2010 California Cancer Registry study, Morgan wrote that cancer rates in Hinkley "remained unremarkable from 1988 to 2008". In a study co-authored with M. E. Reeves, he wrote that "the 196 cases of cancer reported during the most recent survey of 1996 through 2008 were less than what he would expect based on demographics and the regional rate of cancer."


title: Hinkley groundwater contamination

text: Morgan used cartoon characters in his 2012 PowerPoint presentation at the Proceedings of the North American Association of Central Cancer Registries (NAACCR) Conference, saying: "Inhaled Cr[VI] powder is accepted as a carcinogen, while the role of aqueous Cr[VI] as a human carcinogen has been challenged." He wrote a letter to "The Connection" to publicize a poster of his. In 2013, the Center for Public Integrity found weaknesses in Morgan's 2010 analysis which challenge the validity of his findings: "In his first study, he dismisses what others see as a genuine cancer cluster in Hinkley. In his latest analysis, he excludes people who were exposed to the worst contamination."


title: Hinkley groundwater contamination

text: Dennis Paustenbach has been an expert witness and consultant for a number of companies facing lawsuits over products, environmental practices or product safety. Paustenbach was the founder and director of ChemRisk, and Brent Kerger was one of his senior scientists. Their clients included PG&E and BP.


title: Hinkley groundwater contamination

text: Paustenbach was at the center of a publishing scandal involving the research of Chinese scientist Jian Dong Zhang, who published a paper in 1987 reporting an association between chromium pollution of drinking water and higher rates of stomach cancer in residents of three villages in Liaoning Province (in rural northeastern China) who lived near a chromium-ore smelter and drank tainted water for years.


title: Hinkley groundwater contamination

text: According to Allan Hirsch, CalEPA's 2008 review of Zhang's 1987 paper agreed with his findings that the rates of stomach cancer in the three villages were significantly higher than those in the province. PG&E hired ChemRisk, a for-profit scientific consulting firm.


title: Hinkley groundwater contamination

text: According to the Center for Public Integrity, "[Zhang's] revised [1997] study—which did not reveal the involvement of PG&E or its scientists—helped persuade California health officials to delay new drinking water standards for chromium." The EPA cited the article when it allowed the continued use of chromium in a wood preservative, and the Agency for Toxic Substances and Disease Registry discounted chromium 6 as an oral carcinogen because of the revised study.


title: Hinkley groundwater contamination

text: In 2006, the "Journal of Occupational and Environmental Medicine" conducted a six-month internal review of the 1997 retraction. Although Zhang had died by the time the "JOEM" made its investigation, his co-author agreed that the revised paper should be retracted. The retraction, written by "JOEM" editor Paul Brandt-Rauf, said:


title: Hinkley groundwater contamination

text: It has been brought to our attention that an article published in JOEM in the April 1997 issue by Zhang and Li failed to meet the journal's published editorial policy in effect at that time ... Specifically, financial and intellectual input to the paper by outside parties was not disclosed.


title: Hinkley groundwater contamination

text: According to a 2005 article by Peter Waldman in "The Wall Street Journal", ChemRisk had authored the article as consultants for PG&E (who were "being sued for alleged chromium pollution"). In addition to ChemRisk, Paustenbach later worked with Exponent; he and ChemRisk have "drawn the scrutiny of investigative journalists."


title: Hinkley groundwater contamination

text: In September 2010, EPA scientists concluded that "even a small amount of a chemical compound commonly found in tap water may cause cancer." Steven Patierno, who had been an expert defense witness in seven chromium-6 lawsuits, was named by the EPA to the peer-review panel critiquing the agency's chromium-6 findings in a potential conflict of interest. A team of investigative journalists from the Center for Public Integrity made the disclosure in a series entitled "Toxic Clout".


title: Hinkley groundwater contamination

text: Patierno, an expert witness for PG&E, was deputy director of the Duke Cancer Institute and a former professor of pharmacology at the George Washington University School of Medicine and Health Sciences who had conducted a number of studies on chromium and said that "drinking low doses of chromium (VI) does not cause cancer." Patierno has co-authored papers with ChemRisk's Paustenbach, another expert witness for PG&E. In 1996, Paustenbach and Patierno co-authored an article saying that chromium 6 is not genotoxic.


title: Hinkley groundwater contamination

text: The contamination and lawsuit became the subject of "Erin Brockovich", a 2000 biographical film which starred Julia Roberts as Brockovich. The film was a critical success, with Roberts winning a Golden Globe Award for Best Actress in a Motion Picture – Drama and an Academy Award for Best Actress. Brockovich, who said that the film was about 98 percent accurate, made a cameo appearance.


title: Ichor

text: In Greek mythology, ichor () is the ethereal fluid that is the blood of the gods and/or immortals. The Ancient Greek word () is of uncertain etymology, and has been suggested to be a foreign word.


title: Ichor

text: Ichor originates in Greek mythology, where it is the ‘ethereal fluid’ that is the blood of the Greek gods, sometimes said to retain the qualities of the immortals’ food and drink, ambrosia and nectar. Ichor is described as toxic to humans, killing them instantly if they came in contact with it. Great heroes and demigods occasionally attacked gods and released ichor, but gods rarely did so to each other in Homeric myth.


title: Ichor

text: In Ancient Crete, tradition told of Talos, a giant man of bronze. When Cretan mythology was appropriated by the Greeks, they imagined him more like the Colossus of Rhodes. He possessed a single vein running with ichor that was stoppered by a nail in his back. Talos guarded Europa on Crete and threw boulders at intruders, until the Argonauts came after the acquisition of the Golden Fleece, and the sorceress Medea took out the nail, releasing the ichor and killing him.


title: Ichor

text: It [a magical herb] first appeared in a plant that sprang from the blood-like ichor of Prometheus in his torment, which the flesh-eating Eagle had dropped on the spurs of the Kaukasos.


title: Ichor

text: Prometheus was a Titan, who made humans and stole fire from the gods and gave it to the mortals, and consequently was punished by Zeus for all eternity. Prometheus was chained to a rock for his liver eaten by an eagle. His liver would then regrow, just to be eaten again, repeated for all eternity. Prometheus bled ichor, a golden, blood-like substance that would cause a magical herb to sprout when it touched the ground.


title: Ichor

text: In pathology, "ichor" is an antiquated term for a watery discharge from a wound or ulcer, with an unpleasant or fetid (offensive) smell.


title: Ichor

text: The Greek Christian writer Clement of Alexandria [deliberately] confounded "ichor" in its medical sense as a foul-smelling watery discharge from a wound or ulcer with its mythological sense as the blood of the gods, in a polemic against the pagan Greek gods. As part of his evidence that they are merely mortal, he cites several cases in which the gods are wounded physically, and then asserts that


title: IBook

text: iBook is a line of laptop computers designed, manufactured, and sold by Apple Computer from 1999 to 2006. The line targeted entry-level, consumer and education markets, with lower specifications and prices than the PowerBook, Apple's higher-end line of laptop computers. It was the first mass consumer product to offer Wi-Fi network connectivity, which was then branded by Apple as AirPort.


title: IBook

text: The iBook had three different designs during its lifetime. The first, known as the "Clamshell", was inspired by the design of Apple's popular iMac line at the time. It was a significant departure from previous portable computer designs due to its shape, bright colors, incorporation of a handle into the casing, lack of a display closing latch, lack of a hinged cover over the external ports and built-in wireless networking. Two years later, the second generation abandoned the original form factor in favor of a more conventional, rectangular design. In October 2003, the third generation was introduced, adding a PowerPC G4 chip, USB 2.0 and a slot-loading drive.


title: IBook

text: They were very popular in education, with Henrico County Public Schools being the first of many school systems in the United States to distribute one to every student.


title: IBook

text: Apple replaced the iBook line with the MacBook in May 2006 during the Mac transition to Intel processors.


title: IBook

text: In the late 1990s, Apple was trimming its product line from the bewildering variety of intersecting Performa, Quadra, LC, Power Macintosh and PowerBook models to a simplified "four box" strategy: desktop and portable computers, each in both consumer and professional models. Three boxes of this strategy were already in place: The newly introduced iMac was the consumer desktop, the Blue and White G3 filled the professional desktop box, and the PowerBook line served as the professional portable line. This left only the consumer portable space empty, leading to much rumor on the Internet of potential designs and features. Putting an end to this speculation, on July 21, 1999, Steve Jobs unveiled the iBook G3 during the keynote presentation of Macworld Conference & Expo, New York City.


title: IBook

text: Like the iMac, the iBook G3 had a PowerPC G3 CPU, and no legacy Apple interfaces. USB, Ethernet, modem ports and an optical drive were standard. The ports were left uncovered along the left side, as a cover was thought to be fragile and unnecessary with the iBook's new interfaces, which lacked the exposed pins of earlier connectors. When the lid was closed, the hinge kept it firmly shut, so there was no need for a latch on the screen. The hinge included an integrated carrying handle. Additional power connectors on the bottom surface allowed multiple iBook G3s to be charged on a custom-made rack. The iBook G3 was the first Mac to use Apple's new "Unified Logic Board Architecture", which condensed all of the machine's core features into two chips, and added AGP and Ultra DMA support.


title: IBook

text: The iBook was the first mainstream computer designed and sold with integrated wireless networking. On the iBook's introduction, Phil Schiller, Apple's VP of Marketing, held an iBook while jumping off a height as data from the computer was transferred to another in order to demonstrate the wireless networking capability. The display bezel contained the wireless antenna, which attached to an optional internal wireless card. Lucent helped create this wireless capability which established the industry standard. Apple released the AirPort Wireless Base Station at the same time.


title: IBook

text: There was heated debate over many things such as the aesthetics, features, weight, performance and pricing. To provide sufficient impact protection, the iBook was larger and heftier than the PowerBook of the time, and yet had lower specifications. Standard features like PC card slots were absent, and so were speculated features such as touch screens and an ultra-long battery life. The iBook gained the label "Barbie's toilet seat", due to the distinctive design. Nevertheless, this same design made the iBook G3 unmistakable in movies and television shows.


title: IBook

text: The iBook was a commercial success. The line continually received processor, memory, hard disk upgrades and new colors. FireWire and video out were later added. The design was discontinued in May 2001, in favor of the new "Dual USB" iBooks.


title: IBook

text: The design was clearly influenced by Apple's consumer desktop, the iMac. In fact, one of the marketing slogans for the iBook was "iMac to go." The clamshell design also echoed the eMate 300. Apple continued its trend of using transparent colored plastics for the shell, and released the iBook clamshell series in several colors, starting with Blueberry and Tangerine, later adding Indigo, Graphite and Key Lime colors. However, unlike the iMac, the iBook did not feature pinstripes. Steve Jobs announced that the Key Lime color, "a little less conservative, a little more fun", was exclusive to the online Apple Store. This resulted in some crowd members booing, to which Jobs replied: "Don't you like buying on the Apple Online Store?"


title: IBook

text: Compared to follow-up iBook and PowerBook notebook computers, the Clamshell iBook proved to be the more reliable model. The original iBook is on exhibition at the London Design Museum and the Yale University Art Gallery. Vestiges of design ideas first adopted in the iBook G3 can still be seen today: moving interface ports from the back to the sides and leaving them uncovered, omitting a latch for the computer's lid, and providing multiple color options.


title: IBook

text: The original iBook's only customer-serviceable parts were the RAM and AirPort card, accessed via two slots under the keyboard. No other modifications were possible in-warranty. There was no PCMCIA port for additional expansion capabilities. 40 screws needed to be removed to access the hard drive. The optical drive, however, can be accessed far more easily, requiring only 11 screws and one standoff to be removed. Later on, some users transplanted a 1024×768 LCD from the more recent white iBook into a clamshell iBook. This is only possible with the "FireWire" and "FireWire SE" models, as they have 8 MB of video RAM; the older ones only have 4 MB.


title: IBook

text: All clamshell iBooks shipped with Mac OS 8.6 or 9.0. All clamshell iBooks supported Mac OS X 10.0 through 10.3.9. Mac OS X Tiger (v10.4) can also be installed.


title: IBook

text: Apple debuted the next-generation iBook G3 at a press conference in Cupertino, California, on May 1, 2001. The previous bold colors and bulky form-factor were abandoned, as were the handle, latch-less design and additional power connectors on the bottom surface.


title: IBook

text: The resulting iBook was available in white only, hence the name "Snow" and incorporated transparent polycarbonate in its casing. It was 30% lighter, and occupied less than half of the volume of the model it replaced, being smaller in all three dimensions. Despite that, it added an extra USB port and a higher resolution screen. Apple claimed the compact design did not sacrifice durability, saying it was "Twice as durable" as the previous model.


title: IBook

text: With this revision, Apple began transitioning to translucent and white polycarbonate casings in most of its consumer line, such as the iMac and the eMac. In contrast, most of its professional products used an anodized aluminum finish. Near the end of its run, the Snow iBook G3 case became opaque and white instead of translucent white and magnesium.


title: IBook

text: Apple added a PowerPC G4 chip to the iBook line on October 23, 2003, finally ending Apple's use of the PowerPC G3 chip. A slot-loading optical drive replaced the disc tray. The iBook G4 notebook also features an opaque white case finish and keyboard and a plastic display hinge. This is also the last iBook laptop released before MacBooks replaced the iBook line in 2006.


title: IBook

text: The iBook keyboard lifts up, allowing installation of the AirPort (wireless) card and additional memory. This gives the keyboard a "spongy" effect, especially in PowerPC G3 models with the translucent keyboard. The "sponginess" was corrected in the PowerPC G4 models.


title: IBook

text: Accessing the hard disk drive is complex and time-consuming, involving partial disassembly of the unit and the removal of over 30 different-sized screws.


title: IBook

text: The memory in the iBook G4 is covered by a removable Airport card, and accessible by removing the RAM shield with a Phillips#00 screwdriver. While some of the earlier models (e.g., 800 MHz and 933 MHz) have a specified 640 MB RAM limit, it is possible to have a total of 1.12 GB of RAM installed (128 MB built-in, plus a 1 GB SO-DIMM), or 1.25 or 1.5 GB in the later models with 256 or 512 MB of RAM soldered to the logic board.


title: IBook

text: Although no longer officially supported by macOS versions beyond those given in the chart above, the system has also been supported via MorphOS (an Amiga compatible OS) since version 3.2.


title: IBook

text: Display issues with the iBook line were caused by a notoriously problematic graphics chip, which could have issues with the heatsink or the BGA soldering work done at the factory. This would manifest in symptoms such as system lockups (as the graphics chip hangs from reaching the thermal limit), or visible graphical artifacts appearing on the screen (from the graphics chip failing).


title: IBook

text: Apple initiated the "iBook Logic Board Repair Extension Program" in January 2004, which covered the expense of repairing display problems of iBook G3 models for three years. In June 2004, the Repair Extension Program was expanded to cover all White G3 iBooks.


title: IBook

text: Early models of the iBook G4 also suffered from display problems similar to those of the iBook G3, but were not covered by the repair extension program. Owners of iBooks that required expensive repairs for these problems submitted new class action lawsuits in December 2006.


title: IBook

text: On May 2, 2007, the Danish Consumer Board published an extensive 3rd party report concerning the Apple iBook G4 logic board issue. A press release referred to the global consequences that this could have for possible guarantee claims.


title: IBook

text: Some owners of the iBooks that experienced this flaw solved these issues temporarily through applying pressure to the heatsink or graphics chip, using a thin metal shim placed between the heatsink and the graphics chip. This both pushed the heatsink and graphics chip together, bridging the thermal gap, and pushing the graphics chip against the motherboard, temporarily reheating the solder beads back together.


title: Laura Gemser

text: Laurette Marcia Gemser (born 5 October 1950) is an Indonesian-Dutch retired actress, model and costume designer. She is primarily known for her work in Italian erotic cinema, most notably the "Emanuelle" series. Many of her films were collaborations with directors Joe D'Amato and Bruno Mattei.


title: Laura Gemser

text: Gemser left Indonesia in 1955, at the age of four, and moved with her parents to the Netherlands. She grew up in the Dutch city of Utrecht, where she attended the MULO Regentesseschool high school. After that, she attended the Artibus Art School in Utrecht, where she specialised in fashion design.


title: Laura Gemser

text: After modelling in various magazines in the Netherlands and Belgium, in 1974 she moved to Italy to star in the erotic film "Amore libero - Free Love". The film was a box office success and launched Gemser's career. She played one of the masseuses in the 1975 film "Emmanuelle 2" (aka "Emmanuelle, The Joys of a Woman"), and later that year took the starring role in Bitto Albertini's "Black Emanuelle". She starred in 5 "Black Emanuelle" films in less than three years.


title: Laura Gemser

text: She starred as Laotian actress Keo Sirisomphone in Michael Landon's 1983 American television film, "Love Is Forever", in which she was credited as Moira Chen. During the 1970s and 1980s, she made many movies with Joe D'Amato. Gemser continued to make films, at times working with her actor husband, Gabriele Tinti (m. 1976-1991). In the 1990s, she retired from films to work on costume designing for film, and completely vanished from the public life. In 1990, she had made the costumes for what is considered one of the worst movies ever made, "Troll 2".


title: Felipe Rose

text: Felipe Rose (born 12 January 1954) is an American musician who was an original member of the disco group the Village People. While in the group, he performed as a Native American character - usually wearing a costume consisting of an imitation war bonnet, loincloth and theatrical face paint. Rose was a member of the group from 1977 until 2017, when the name of the group was turned over to original lead singer Victor Willis. Rose subsequently launched a solo career and released the single "Going Back to My Roots" in 2018.


title: Felipe Rose

text: Felipe Ortiz Rose was born in Manhattan to a Puerto Rican mother. He currently claims Lakota/Taino descent, but at other times has said he is Apache. He was raised in Brooklyn, where he displayed an interest in the arts during his childhood. His mother was his main inspiration as she herself had been a dancer for the Copacabana during the 1940s and 1950s.


title: Felipe Rose

text: Rose began as a nightclub dancer. He describes being encouraged by an aunt to begin dancing "in his father's tribal regalia", which he says led to his costume in the Village People. Rose was working as a dancer and a bartender in the gay New York discotheque The Anvil, dressed "as an [American] Indian" when he was discovered by French producer Jacques Morali and executive producer Henri Belolo and so became the first recruit for Village People.


title: Felipe Rose

text: In 1977, Village People had their first hit with "San Francisco", although this song became a hit only in the United Kingdom. Then in 1978 they had their first hits in the U.S. with "Macho Man" followed by "YMCA"


title: Felipe Rose

text: He is a member of the band's board of directors, called Sixuvus Ltd ("six of us" - named for the six members of the Village People).


title: Felipe Rose

text: In 2000, Rose began to work on his solo career. His single "Trails of Tears" won a NAMMY (Native American Music Awards) for Best Historical Recording. In 2002, Rose was the opening act of the fifth Annual Native American Music Awards celebrated at the Marcus Amphitheatre in Milwaukee, Wisconsin. His media company is the "Tomahawk Group".


title: Felipe Rose

text: Rose has appeared in the movies "Can't Stop the Music" (1980), "The Best of Village People" (1993), and "Feathers and Leathers: The Story of the Village People" (1999). He also participated in the 2000 documentary, "Village People: The E! True Hollywood Story".


title: Felipe Rose

text: For a time Rose lived in Richmond, Virginia, and briefly in Jersey City, New Jersey, though he found it to be too crowded. In a 2008 interview, he stated that approximately four or five years prior, he moved to Asbury Park, New Jersey on the advice of several friends who lived there, saying, "So I came down and I just fell in love with the shore... I love the diversity of Asbury because it brings everyone together. There is a very large gay and lesbian community here, but the diversity of artists is amazing; it’s become very bohemian."


title: Lyna Khoudri

text: Lyna Khoudri (, born 3 October 1992) is an Algerian-French actress. For her role in the Sofia Djama-directed film "Les Bienheureux" (2017), she won the Orizzonti Award for Best Actress at the 74th Venice International Film Festival. In 2020, for her role in "Papicha", she won the Cesar Award for Most Promising Actress. She worked for several years for this role, with director Mounia Meddour, who also won the César Award for Best first feature Film in 2020. She portrays a student activist in Wes Anderson's ensemble film "The French Dispatch" (2021).


title: Lyna Khoudri

text: Khoudri was born in 1992 in Algiers, Algeria, to a journalist father and a violinist mother. The family moved to Aubervilliers, France, as exiles due to the danger of her father's profession during the Algerian Civil War. Khoudri received her professional training at Théâtre national de la Colline.


title: Lyna Khoudri

text: In 2014, Khoudri received her first acting role in the French television series "Josephine, Guardian Angel".


title: Lyna Khoudri

text: In 2019, she played Louna in the Canal+ miniseries "Les Sauvages" for several episodes. That year, she also played Nedjma in the film "Papicha", about a young Algerian woman who uses fashion as cultural resistance during the Algerian Civil War.


title: Lyna Khoudri

text: For "The French Dispatch", Khoudri's role is as a militant student activist and the girlfriend of Timothée Chalamet's character; their storyline centers on a student riot. Khoudri attended the premiere with Anderson, Chalamet, and other members of the cast at the 2021 Cannes Film Festival where the film competed in the official selection for the Palme d'Or.


title: Jake Plummer

text: Jason Steven "Jake" Plummer (born December 19, 1974) is a former professional American football player, a quarterback for ten seasons in the National Football League (NFL). He was selected by the Arizona Cardinals in the second round of the 1997 NFL Draft, and spent his first six seasons with the Cardinals and the last four with the Denver Broncos. Plummer played college football at Arizona State University. Since retiring from the field, he made a career transition to mushroom farmer at MyCOLove Farm in Fort Lupton, Colorado. In addition, he launched UMBO, a functional mushroom supplement company alongside Former UFC Champion Rashad Evans.


title: Jake Plummer

text: His nickname, "Jake The Snake", was given to him as a tribute to professional wrestler, Jake "the Snake" Roberts. Coincidentally, Roberts adopted his nickname as a tribute to his favorite NFL player, former Oakland Raiders quarterback Ken Stabler, who was nicknamed "Snake."


title: Jake Plummer

text: Born in Boise, Idaho in 1974, Plummer and his two older brothers spent much of their youth at the family lumber mill and warehouse in Smiley Creek, a town of 50 in the Sawtooths. Plummer attended Pierce Park Elementary, Hillside Junior High, and graduated from Capital High School in 1993. He was a three-sport star in high school, playing baseball and basketball in addition to football. Plummer was selected all-state as both a quarterback and punter and passed for 6,097 yards and 68 touchdowns in his junior and senior years. Plummer originally wanted to play football at Stanford, but they only offered him a preferred walk-on offer; he instead accepted a full-ride from California until Hue Jackson, then a coach at Arizona State, heavily recruited Plummer and eventually successfully convinced him to recommit to the Sun Devils. Plummer also received scholarship offers from Boise State, Idaho, Montana, Oregon State, Washington State, and Wyoming.


title: Jake Plummer

text: Plummer accepted a football scholarship to Arizona State University in Tempe. He did not redshirt and took over as the starting quarterback (from Grady Benton) early in his freshman season in 1993. He had consistent, but not outstanding, statistical output during his career, and never led the Pac-10 in any major statistical category. He threw for an impressive 1,650 yards in his freshman season, but also had seven interceptions to just nine touchdowns. He broke 2,000 yards in 1994 as a sophomore, and upped his touchdowns to 15. As a junior in 1995, his 2,222 yards and 17 touchdowns, many coming at pivotal moments in games, earned him a strong fan-base and all-conference honors despite a lackluster 6–5 record.


title: Jake Plummer

text: His senior season in 1996 was arguably the best in school history. Arizona State attracted national attention on September 21 when they shut out top-ranked Nebraska to snap the Huskers' 26-game winning streak. Plummer evaded a sack to toss a 25-yard touchdown on the game's opening drive, and finished 20 of 36 for 292 yards, setting a new school record for career passing yards in the process. He led ASU to an undefeated regular season and a Pac-10 championship, aided in no small part by fellow all-conference linebacker and close personal friend Pat Tillman. In the Rose Bowl, he scored a sensational 11-yard go-ahead touchdown run late in the fourth quarter, but Ohio State responded and won A victory likely would have meant a national championship as the only undefeated team in the nation, but their final ranking was fourth. Plummer was third in the Heisman Trophy voting behind Florida's Danny Wuerffel and Iowa State's Troy Davis, was a second-team All-American, and the Pac-10's Offensive Player of the Year.


title: Jake Plummer

text: Plummer ended his career with several school records; most have since been surpassed, but his 34 games with a rushing or passing touchdown remains an ASU record. A dedicated student, Plummer was also a two-time Academic All-Conference player. A 2013 review listed Jake Plummer as the best player to wear number 16 in Sun Devil history.


title: Jake Plummer

text: Plummer was drafted in the 2nd round of the 1997 NFL draft by the Arizona Cardinals. He played behind Kent Graham and Stoney Case at the start of his rookie season. He took his first snap late in the 4th quarter of the seventh game, and promptly led the Cardinals on a 98-yard drive, going 4-of-6 for 87 yards and capping it with a 31-yard go-ahead touchdown. He led the Cardinals to three of their four victories that year. Already locally popular from his days at ASU, according to teammate Chad Carpenter he was now treated "like a god. We go to a restaurant and people stand up and clap when he walks by." In 1998, the Cardinals drafted Plummer's friend Pat Tillman, and the two started all sixteen games en route to a 9–7 regular season record. In the tenth game against Dallas Cowboys, he threw for a stellar 465 yards and three touchdowns. In the playoffs, he led the Cardinals to an upset of the same Cowboys for the franchise's first postseason victory since 1947, before losing in the second round to the Minnesota Vikings.


title: Jake Plummer

text: Plummer had a disappointing season in 1999; he went 3–8 as a starter, threw nine touchdowns to 24 interceptions, and the Cardinals finished 6–10. Regarding Plummer's season, the Football Outsiders commented: "At the start of the 1999 season, Jake Plummer was being celebrated as one of the NFL's best young quarterbacks, the man who would make the Cardinals respectable again. By the end of the 1999 season, Plummer ranked as the league's worst quarterback." His reputation as a risk-taking "gunslinger" became a liability. In 2000 Plummer threw for 2,946 yards, 21 interceptions, and had a 66.0 quarterback rating. Although he reached 10,000 career passing yards (in 47 starts), Plummer compiled a 3–11 record and the Cardinals finished last in the NFC East.


title: Jake Plummer

text: Plummer bounced back in 2001 with his best statistical season with the Cardinals. He was one of only two NFL quarterbacks to take every snap for his team (Kerry Collins was the other), and he passed for 3,653 yards, eighteen touchdowns, and fourteen interceptions. During the season, he had a stretch of 142 consecutive pass attempts without throwing an interception. Plummer also led the NFL in fourth-quarter passing yards (1,227) and the Cardinals to a 7–9 record.


title: Jake Plummer

text: Plummer's last season with the Cardinals was 2002 and again his statistics were down (65.7 passer rating, 2,972 yards, eighteen touchdowns and twenty interceptions). On September 22 against the San Diego Chargers, he eclipsed 15,000 career passing yards.


title: Jake Plummer

text: After spending 5 seasons in Arizona, Plummer signed as a free agent with the Denver Broncos in 2003, replacing Brian Griese. Though the laid-back Plummer would clash often with the domineering head coach Mike Shanahan, his guidance helped Plummer finish with a career-high 91.2 quarterback rating. On September 22, he had the longest run by a Broncos QB on Monday Night Football, a 40-yard scramble in a 31–10 win over the Oakland Raiders. He led the Broncos to a wild card playoff berth, where the Broncos were beaten 41–10 by the Indianapolis Colts.


title: Jake Plummer

text: In 2004 he matched or surpassed several of Broncos Hall of Fame QB John Elway's passing records (including passing yardage and passing touchdowns in a single season). In the opening game victory against Kansas City, he reached 20,000 career passing yards. In the eighth game, he threw for a spectacular 499 yards and four touchdowns against Atlanta. However, continuing a career-long shortcoming, he also threw three interceptions in the loss, and led the league that season with twenty. He led the Broncos to a second straight wild card playoff berth, but the Broncos were again beaten by the Colts 49–24, despite Plummer's 103.1 passer rating in the contest.


title: Jake Plummer

text: In 2005, Plummer experienced arguably his best season as a professional. He threw 229 passes without an interception, the longest such streak of his career. He also began serving as Denver's holder, which he would continue to do through the 2006 season, as well. Along the way, Plummer helped the Broncos compile a 13–3 record, a #2 seed, and a first round bye in the AFC playoffs (behind the Colts). The Broncos' first game was against the New England Patriots in the AFC Divisional Game at Invesco Field. Although not outstanding, Plummer's performance (15-for-26 for 197 yards, one touchdown, one interception) helped the Broncos break the Patriots' winning streak of eleven postseason games and gain their first postseason victory since Super Bowl XXXIII. However, Plummer accounted for four turnovers in the AFC Championship game and the Broncos were defeated 34–17 by the eventual Super Bowl champion Pittsburgh Steelers.


title: Jake Plummer

text: On November 27, 2006, after a lackluster performance in the first eleven games, and following back-to-back losses to the San Diego Chargers and Kansas City Chiefs, head coach Mike Shanahan announced that Plummer would be replaced at starting quarterback by rookie Jay Cutler. The decision to hand a 7–4 team over to a rookie quarterback was met by fans and media with mixed reactions. Those who viewed Plummer as inconsistent heralded the change as one that would revive the Broncos' struggling offense; others claimed such a move was ill-advised, especially given that Plummer had guided the Broncos to the AFC Championship game the year before; Plummer had also been 40–18 with Denver in both regular season and playoff games, while leading his teams to thirty game-tying/winning drives in his career, a league high. In the last game of the season, Plummer came off the bench against the San Francisco 49ers after Cutler suffered a concussion. He played the remainder of the first half before Cutler played the second half.


title: Jake Plummer

text: On March 3, 2007, Plummer was traded to the Tampa Bay Buccaneers for a 2008 conditional draft pick. However, rumors began to surface that Plummer was going to choose retirement over competition with the Buccaneers' four other quarterbacks on the roster (Bruce Gradkowski, Tim Rattay, Jeff Garcia, and Luke McCown). On March 9, Plummer ended the speculation by announcing his decision to retire. Plummer also confirmed his retirement through the Jake Plummer Foundation's website.


title: Jake Plummer

text: Since he was still under contract to the Buccaneers and had already been given his contract signing bonus, Tampa Bay coach Jon Gruden met with Plummer in July to try to convince him to reconsider and report for training camp. However, the attempt was unsuccessful and the team sued for recovery of the bonus. A settlement was finally reached on June 10, 2008 in which Plummer was required to pay back $3.5 million to the Buccaneers.


title: Jake Plummer

text: Since his retirement from the NFL, Plummer has been an avid player of four-wall handball. He attended his first professional handball tournament in 2007 when he entered the Simple Green US Open of Handball (with brother Eric) in the pro doubles division where the pair lost to future Hall of Fame members John Bike and Danny Bell. In 2008, Plummer hosted his own pro invitational and lost in the finals of the pro consolation bracket to #37 ranked, Jeff Kastner. Also in 2008, Plummer lost in the semifinals of the 2008's Idaho State Singles Championships to his brother (the eventual champion).


title: Jake Plummer

text: On March 23, 1997, Plummer was accused of fondling three women at the Tempe, Arizona night club, Club Rio. The women stated to police that Plummer reached under their skirts and down their pants while dancing with them and consuming alcohol. When one of the women objected, he allegedly kicked her in the leg. Plummer was formally charged on May 28, 1997, with felony sexual abuse. He later struck a plea bargain, received two years probation, was also fined $1,020, and ordered to perform 100 hours of community service. Plummer's off-the-field reputation remained rocky throughout his career, with much attention devoted to flipping off a fan, a loud traffic dispute, and a feud with a Denver gossip columnist. Plummer has also stirred controversy with his support of medical marijuana, which he claims to use regularly to deal with lingering post-football injuries, and hostile reaction to Jerry Jones' dismissal of NFL players with brain injuries. Plummer also started an Alzheimer's foundation, made time during his career to walk dogs at a shelter he donated $10,000 to on retirement, and developed personal connections with children affected by 9/11.


title: Jake Plummer

text: Plummer married former Broncos cheerleader Kollette Klassen on August 26, 2007, who he met in 2005. In June 2010, Kollette gave birth to the couple's first child. After retiring from the NFL, Plummer moved to Sandpoint, Idaho (though the couple also has a house in Boulder, Colorado) where he lived in relative anonymity. His former agent Leigh Steinberg said he is "one of the minuscule few that I could see living a completely fulfilled life away from sport... he was as close to an egoless major star as I've seen." When a concerned Meals on Wheels supervisor in Sandpoint insisted her jobless, "scruffy", long-time volunteer keep track of the miles he drove for the organization for reimbursement, she was "dumbstruck" to discover he was a former NFL star.


title: Jake Plummer

text: In September 2007, Plummer was inducted into the Arizona State Hall of Fame. Later that year, he made a brief appearance in the 2007 Holiday Bowl, when he introduced the ASU players prior to the team playing game. On October 29, 2010, Plummer was honored, along with all Sun Devil Quarterbacks, at a Legends Luncheon hosted by the Arizona State University Alumni Association and Sun Devil Club. Other honorees included Danny White, Andrew Walter, John F. Goodman, and Jeff Van Raaphorst. Plummer has been an assistant football coach at Sandpoint High School since 2009.


title: Jake Plummer

text: Plummer was a teammate with safety Pat Tillman, at both Arizona State and the Arizona Cardinals, and the two became close friends. After the 2001 season, while Plummer was still with the Cardinals, Tillman joined the U.S. Army Rangers in response to 9/11. During leave in January 2004, the two showed up unannounced at a handball tournament in Seattle in support of Jake's brother, Eric.


title: Jake Plummer

text: Following Tillman's death in Afghanistan on April 22, 2004, all NFL players wore a memorial decal on their helmets on September 24 in honor of Tillman and the Cardinals continued to wear this decal throughout the 2004 season. Plummer, who by this point was with the Broncos, also requested to wear the decal for the entire season, but the NFL turned him down because his helmet would not be uniform with the rest of his team. For the 2005 season Plummer grew an untrimmed, full beard and wore his hair long in honor of Tillman, who had worn such a style in the NFL before cutting his hair and shaving off his beard to fit military uniform guidelines. Plummer delivered Tillman's funeral eulogy in a suit and flip-flops in honor of his friend's trademark style.


title: Jake Plummer

text: Plummer uses cannabidiol (CBD) to treat the pain, inflammation, and headaches that he has experienced as a result of his years playing football. Plummer says his condition improved so much after he started taking CBD that he considered a return to the NFL, almost a decade after retiring. Plummer has served as a spokesperson for CW Botanicals, a company that manufactures CBD products. He has also helped raise funds for cannabinoid research.


title: Jake Plummer

text: In November 2016, Plummer was among the signatories of an open letter addressed to the NFL, urging a change in the league's policy towards cannabis. The letter was penned by Doctors for Cannabis Regulation and signed by several other NFL players. Plummer is also a member of the Doctors for Cannabis Regulation NFL steering committee.


title: Deadpool and Korg React

text: Deadpool and Korg React is a 2021 American superhero promotional short film featuring the Marvel Comics characters Deadpool and Korg. The film was written and directed by Ryan Reynolds, with him and Taika Waititi respectively starring as Deadpool and Korg. In "Deadpool and Korg React", Wade Wilson and Korg react to the trailer of "Free Guy" (2021) before discussing the possibility of joining the Marvel Cinematic Universe (MCU). Reynolds reprises his role from the "X-Men" film series, while Waititi reprises his role from the MCU films "" (2017) and "" (2019).


title: Deadpool and Korg React

text: "Deadpool and Korg React" was originally released to Reynolds' YouTube channel on July 13, 2021, as promotion for "Free Guy", which also stars Reynolds and Waititi. Responses to the short praised it as a tease for "Deadpool 3" and for showing the character's narrative potential in the MCU. Its humor was also highlighted by many critics.


title: Deadpool and Korg React

text: After making a trailer reaction video for "Cruella" (2021) as part of a series called "Deadpool's Maximum Reactions", Deadpool invites Korg to make a similar video for the trailer for "Free Guy" (2021). Deadpool asks Korg of his opinion of Taika Waititi while commenting as to his own lack of resemblance to Ryan Reynolds' character in the film. Following the video, Deadpool asks Korg about his own chances of joining the Marvel Cinematic Universe (MCU), to which Korg responds by complimenting the possibilities and telling him to keep an eye out for an email from Marvel Studios.


title: Deadpool and Korg React

text: After the acquisition of 21st Century Fox by The Walt Disney Company was announced in December 2017 and completed in March 2019, all "X-Men" films in development were canceled, including "X-Force" and Fox's "Deadpool 3", with Marvel Studios taking control of the franchise. Disney CEO Bob Iger said that Deadpool would be integrated into the Marvel Cinematic Universe under Disney, and the character's films could remain R-rated "as long as we let the audiences know what's coming".


title: Deadpool and Korg React

text: By Disney's acquisition of 20th Century Fox, "Free Guy" had been in development since 2016, and is one of the first Fox films to continue production under Disney ownership, as well as under the studio's new name 20th Century Studios. "Deadpool and Korg React" references the film's release delays, from July 2020 to August 2021. Reynolds had first pitched a short film featuring Deadpool interrogating the hunter who killed Bambi's mother, from the 1942 film "Bambi", and would have seen Deadpool trying to find out how to become a loathed character. After that pitch was denied by Disney, development on "Deadpool and Korg React" began.


title: Deadpool and Korg React

text: "Deadpool and Korg React" was released to Ryan Reynolds' YouTube channel on July 13, 2021, acquiring over 4million views within 24 hours.


title: Deadpool and Korg React

text: Upon its release, "Deadpool and Korg React" received a positive response. "Empire" praised the dialogue and the chemistry between both characters. "Syfy Wire" commented that seeing the two "fan-favorite" characters together for the first time was "incredibly cool", and speculated it could be a way to get fans used to the idea of Deadpool becoming a part of the Marvel Cinematic Universe before an actual introduction, while Nerdist considered it to be "a very unexpected way" for Deadpool to officially join the shared universe. Other outlets expressed doubt over it being an official integration of the character to the universe.


title: ZSU-57-2

text: The ZSU-57-2 Ob'yekt 500 is a Soviet self-propelled anti-aircraft gun (SPAAG), armed with two 57 mm autocannons. 'ZSU' stands for "Zenitnaya Samokhodnaya Ustanovka" (), meaning "anti-aircraft self-propelled mount", '57' stands for the bore of the armament in millimetres and '2' stands for the number of gun barrels. It was the first Soviet mass-produced tracked SPAAG. In the USSR it had the unofficial nickname "Sparka", meaning "twin mount", referring to the twin autocannon with which the vehicle is armed.


title: ZSU-57-2

text: During World War II, ground-attack aircraft emerged as a significant threat to mechanized units on the move. Conventional towed anti-aircraft artillery (AAA) was an inadequate response under such conditions owing to the time needed to bring anti-aircraft machine guns into action. This experience made it clear that an anti-aircraft tracked vehicle, armed with small-bore autocannons or heavy machine guns, was needed. Vehicles such as the German Wirbelwind and specialized variants of the US M3 Half-track had been used to good effect in the final battles of World War II, both by the US and nations which had received the M3 through Lend-Lease.


title: ZSU-57-2

text: In 1942, Soviet engineers developed the T-60-3. The vehicle, based on the T-60 light tank chassis, was armed with two 12.7 mm DShK heavy machine guns; but the prototype did not go into production because of flaws in the design. The SU-72 SPAAG and several other experimental vehicles based on the T-60 or T-70 light tank chassis and armed with 37 mm autocannon were also tested in 1942–1943. The ZSU-37 was based on the chassis of the SU-76M self-propelled gun (SPG) and armed with a 37 mm 61K anti-aircraft autocannon in an open-top rotating armoured turret. The vehicle entered production in February 1945 and was in small-scale production until 1948.


title: ZSU-57-2

text: After World War II it became clear that the firepower of a single 37 mm AA gun was insufficient to destroy high-speed, low-altitude targets. SPAAGs based on light tank chassis had poor maneuverability in difficult terrain, slow off-road speed and insufficient range in comparison with medium tanks and SPGs. Thus the ZSU-37s were retired from service by the end of the 1940s.


title: ZSU-57-2

text: For several years after World War II there were no new SPAAG models in the USSR except for the BTR-152A (which were armed with two or four 14.5mm KPV heavy machine guns, designed ZTPU-4) and the BTR-40A (ZTPU-2) wheeled SPAAGs. Two of the USSR's potential enemies – the United States and Great Britain, had high-quality air forces with substantial ground-attack experience. The need for a new tracked AA vehicle was apparent.


title: ZSU-57-2

text: In February 1946, the Design Bureau of Works No. 174 in Omsk and the Research Institute No. 58 in Kaliningrad, Moscow Oblast submitted a joint project for a SPAAG based on the T-34 tank chassis, to be armed with four 37 mm AA guns, to the Technical Council of the Ministry of Transport. However, the project did not proceed due to the desire to concentrate attention on the newest tank chassis available.


title: ZSU-57-2

text: The Design Bureau of Research Institute No. 58 (NII-58) (formerly known as the Central Artillery Design Bureau, TsAKB), under the supervision of V.G. Grabin, began the development of a twin 57 mm S-68 automatic anti-aircraft gun based on the 57mm S-60 in the spring of 1947. The first S-68 prototype (with ESP-76 diesel-electric drive), was ready in 1948. It was initially mounted on a S-79A four-wheel carriage; that system passed various tests but did not go into production.


title: ZSU-57-2

text: The final project of the ZSU-57-2 (Ob'yekt 500), armed with twin S-68s and based on a light-weight T-54 tank chassis, was finished in 1948. The first prototype ZSU-57-2 was built in June 1950, the second in December 1950. After official tests, taking place between 27 January and 15 March 1951 in which the vehicle was driven for 1,500 km and 2,000 rounds were fired from its guns, six more prototypes were built for service tests. These prototypes had some improvements included, such as an increased ammunition load (300 rounds), but development stopped again due to the absence of improved S-68A guns. Various updates continued in 1952 and 1953. The service tests, in which two vehicles participated, took place in December 1954. This was due to delays in the development of drives for the S-68 guns. The ZSU-57-2 officially entered service in the Soviet Army on 14 February 1955.


title: ZSU-57-2

text: Based on past experiences with SPAAG designs, Soviet engineers designed a vehicle that used a modified T-54 chassis, with four twin road wheels per side instead of five, and much thinner armour. The vehicle was armed with twin 57 mm S-68 autocannon in a new, large, rotating, open-topped turret. The ZSU-57-2 consists of three compartments: driver's in the front, fighting in the middle and engine-transmission at the rear. The hull is more spacious in comparison with the T-54 because of the thinner armour and has different locations for some equipment. The general layout, with transverse mounting of the engine, is the same.


title: ZSU-57-2

text: The driver's compartment is located on the left hand side of the front of the hull. The driver's seat is moved forward and to the left in comparison with its location in the T-54. The compartment is equipped with a single-piece hatch cover opening to the left and two periscopic vision devices. One of them can be replaced by the TVN-1 infrared vision device which is operated together with the infrared headlamp (active night vision), which is mounted on the right track board. A fire-fighting equipment signal panel and a spare parts case are also located in the driver's compartment.


title: ZSU-57-2

text: The open-topped box-type welded turret has a ball-bearing race ring 1850 mm in diameter. The turret rear can be removed, which makes replacement of the guns easier. The turret can be covered in the travelling position by a tarpaulin which has 16 plexiglass windows.


title: ZSU-57-2

text: To aim the guns, base data such as the target's speed, direction and range must be entered into the sighting system by the sight adjuster, who sits to the left of the guns at the rear of the turret. The target's speed and direction is determined by visual estimation, while range can also be estimated visually or with the rangefinder. The upper front of the turret has two small ports with armoured covers meant for collimators of the sight.


title: ZSU-57-2

text: To fire the guns, the breeches must first be opened. The left and right loaders, located in the forward part of the turret on both sides of the main armament, load clips into the magazines of their respective weapons. The loaders' travel seats should be stowed in clamps on the turret sides before opening fire. The gunner, seated on the left hand side in the middle of the turret, aims ("lays") the gun and opens fire using an electric trigger, which fires both barrels, or two-foot pedals, which can fire either barrel independently. If manual mechanical backup gunlaying is used instead of electro-hydraulic drive, three crew members instead of two should work with the sight. The commander, who sits on the right hand side in the middle of the turret, lays the gun in azimuth, the gunner in elevation and the sight adjuster enters data into the sight. The loaders feed clips into the twin autocannon manually as needed, similar to the Bofors 40mm.


title: ZSU-57-2

text: The twin S-68s are recoil-operated and weigh 4,500 kg. Their construction was based on two 57 mm S-60 AA autocannons. The guns have a recoil of between 325 and 370 mm. The individual weapons cannot be swapped from one side to the other as they are mirror images. Each air-cooled gun barrel is 4365 mm long (76.6 calibers) and is fitted with a muzzle brake. They can be elevated or depressed between −5° and +85° at a speed of between 0.3° and 20° per second, the turret can traverse 360° at a speed of between 0.2° and 36° per second. Drive is from a direct current electric motor and universal hydraulic speed gears (a manual mechanical drive is also provided in case of electrohydraulic failure; with the use of mechanical drive, elevation speed is 4.5° per second and the turret traverse speed is 4° per second).


title: ZSU-57-2

text: The guns firing together are capable of firing up to 210–240 fragmentation and armour-piercing tracer (AP-T) shells per minute, with a practical rate of fire of between 100 and 140 rounds per minute, which gives a fire time of 2-3 minutes before running out of ammo. Muzzle velocity is 1,000 m/s. Each clip has 4 rounds, each of which weighs 6.6 kg; the charge in each round consists of 1.2 kg of 11/7 nitrocellulose powder, a projectile weighs 2.8 kg. Maximum horizontal range is 12 km (with an effective range against ground targets of up to 4 km / 2.5 miles. Maximum vertical range is 8.8 km with a maximum effective vertical range of 4.5 km / 14,750 ft). Fragmentation rounds have a safety-destructor which activates between 12 and 16 seconds after being fired to ensure the shells won't fall back to ground, so the maximum slant range of anti-aircraft fire is 6.5–7 km. BR-281 armour-piercing rounds are able to penetrate 110 mm armour at 500 m or 70 mm armour at 2,000 m (at 90° impact angle).


title: ZSU-57-2

text: The S-68 autocannon was the most powerful AA gun installed on SPAAGs at that time. According to the statistical data of the Air Defence Research Institute No. 2, a direct hit of a single 57 mm shell could destroy a contemporary jet aircraft. In order to shoot down a jet bomber of the Canberra type, an average of 1.7 hits were deemed necessary.


title: ZSU-57-2

text: The vehicle carries 300 rounds, and the ammunition is stowed as follows: 176 rounds in clips inside the turret, 72 rounds in clips in the hull front, and 52 separate (unclipped) rounds in special compartments under the turret floor. Armour-piercing rounds in clips are placed in the rear part of the turret to the left and right of the guns. Empty shell cases and clips are removed via a conveyor belt through a special port in the turret rear into an external metal wire basket on the back of the turret.


title: ZSU-57-2

text: The ZSU-57-2's armour is welded rolled steel sufficient to protect the vehicle from 7.62mm armour-piercing bullets at 250 meters.


title: ZSU-57-2

text: The ZSU-57-2 has a maximum road speed of 50 kilometres per hour, which is reduced to around 30 km/h off-road. The vehicle has better acceleration compared with the T-54 because of its better power-to-weight ratio (18.6 hp per tonne). It has an operational range of 420 km on roads and 320 km across country. The vehicle can cross 0.8 m high vertical obstacles, 2.7 m wide trenches, ford 1.4 m deep water obstacles and climb 30° gradients.


title: ZSU-57-2

text: The ZSU-57-2 uses the same engine as the T-54. It is a water-cooled V-54 4-stroke diesel V12 engine with a displacement of 38.88 litres, which develops 520 hp (388 kW) at 2,000 rpm. The engine itself weighs 895 kg. Fuel capacity is 830 litres carried in three fuel tanks inside the hull (640 L total) and two external fuel tanks on the right fender each of 95 L; fuel capacity was increased in comparison with the T-54. External rear-mounted supplemental fuel tanks can increase the road range to 595 km.


title: ZSU-57-2

text: The mechanical transmission in the rear part of the hull consists of a change gear quadrant, a primary multiplate clutch unit with metallic friction pads, a manual gearbox with five forward gears, two multiplate planetary steering clutches with band brakes and two in-line final drive groups.


title: ZSU-57-2

text: The chassis has four twin rubber-tyred road wheels with individual torsion bar suspension, a rear drive sprocket with detachable sprocket rings (lantern-wheel gear) and an idler wheel on each side. The first and last road wheels each have a hydraulic rotary shock absorber. The track is 12.33 m long, 580 mm wide and has 90 links; despite having four road wheels instead of five the ground contact area of the track is the same as the T-54 (3.84 m). Track center distance is 2.64 m The vehicle has a ground pressure of 0.63 kg/cm.


title: ZSU-57-2

text: The ZSU-57-2's electrical power unit partially differs from the T-54, in that it consists of a more powerful G-74 direct current generator which develops 3 kW (108 A at 27–29 V) at 2100 rpm and six 24 volt 6-STEN-140M or 6-MST-140 accumulator batteries (total battery capacity is 420 A-h), the batteries are used for starting the engine and an electrical power supply when the generator is shut down.


title: ZSU-57-2

text: The ZSU-57-2 is equipped with an automatic anti-aircraft sight of the plotter type with two collimators which can supervise a target with a speed of up to 350 m/s, a dive angle of between 0° and 90° and a slant range of up to 5,500 m; a simple mechanical sight is provided in case of failure. There is also an optical sight for direct fire at ground targets.


title: ZSU-57-2

text: The 10RT-26E portable radio transceiver is located on the right hand side of the turret interior. It has a range of 9 to 20 km when the vehicle is stationary, and from 7 to 15 km when the vehicle is on the move. It was later replaced by R-113 or R-113 radio transceivers. The TPU-4-47 intercom system was later replaced by R-120 or R-124 intercom systems.


title: ZSU-57-2

text: The main weakness of the ZSU-57-2 was the lack of a search or fire-control radar; the vehicle was equipped with an optical mechanical computing (analog) reflex sight as the sole fire control system, so it could engage visible targets only. Night firing was also impractical. Also, the manual gunlaying and manual clip loading was not good enough, the rate of fire is not high enough, particularly considering that air-cooled barrels require quite long pauses for cooling at high rates of fire and the turret traverse is not fast enough to effectively intercept high-speed attack jet aircraft at low altitudes. The vehicle cannot perform aimed fire on the move.


title: ZSU-57-2

text: Although the ZSU-57-2 had the highest firepower among production SPAAGs of its time, the anti-aircraft fire efficiency of a battery of four vehicles was even lower than that of a battery of six towed 57 mm S-60 anti-aircraft guns controlled by the PUAZO-6 anti-aircraft artillery director with the SON-9 fire control radar or later by the RPK-1 "Vaza" radar. It became obvious that the hit probability on a jet aircraft of the era was very low using only determination of target speed by aircraft type and determination of distance to the target by eye or by rangefinder; the ZSU-57-2 was designed to defend tank units against NATO attack aircraft flying at subsonic speeds, but it entered service ten years too late. Aircraft technology had improved to the point that a SPAAG required a much higher rate of fire, turret traverse speeds of 50–100° per second and a fully automatic radar-controlled fire control system. Works No. 174 started a modernization programme for the ZSU-57-2 in parallel with the beginning of its serial production in 1957, but this programme was rejected due to the development of new radar-guided SPAAGs armed with small-bore autocannons and another tracked chassis.


title: ZSU-57-2

text: The ZSU-57-2 still retained some of the features of its predecessor, the ZSU-37. One of them was the lack of an armoured roof on the turret. The advantages of an open turret for SPAAGs, such as very high elevation angle for AA autocannons, excellent visibility of the combat situation by the gunners and no need for induced ventilation of the fighting compartment during intense fire were significantly over-shadowed by the disadvantages. The open turret of the ZSU-57-2 made it vulnerable from above, and prevented operations under NBC conditions. This flaw was partially nullified in the modified Bosnian Serb ZSU-57-2s, which had improvised overhead armour protection.


title: ZSU-57-2

text: Nevertheless, its Western counterparts that were operationally available in the 1950s, such as the US M19 Multiple Gun Motor Carriage (based on the M24 Chaffee light tank) and the M42 Duster SPAAGs (both armed with the famous 40 mm Bofors M2A1 twin AA gun), had similar problems and were armed with less powerful weapons. The M42 Duster was tested with a T50 radar system in 1956 though it was a failure (production of the ZSU-57-2 had not started at this point).


title: ZSU-57-2

text: The Soviet Union would launch a program to replace the ZSU-57. The ZSU-37-2 and -23-4 were the products of the attempt, and the ZSU-23-4 "Shilka" would see widespread service in various countries.


title: ZSU-57-2

text: Although the vehicle entered service in 1955 and in the same year the No. 174 Works located in Omsk began producing the hulls and turrets, the first vehicles were completed in 1957 after the first 249 57 mm twin S-68 guns were produced by the Artillery Works No. 946 located in Krasnoyarsk. A total of 5,300 of these weapons were produced by the end of the 1950s. The hulls and turrets were produced by No. 174 Works where the final assembly also took place while the Krasnoyarsk Works, belonging to the Ministry of Heavy Engineering, participated in some production stages. The ZSU-57-2 remained in production until 1960 when the No. 174 Works stopped producing the hulls and turrets for ZSU-57-2. More than 2,023 ZSU-57-2"s" were produced in Soviet Union.


title: ZSU-57-2

text: 250 ZSU-57-2 SPAAGs based on the Chinese Type 59 (a copy of the Soviet T-54A) tank chassis were produced under license in North Korea. The turrets were bought from the USSR and delivered between 1968 and 1977. Since the production of the ZSU-57-2 turrets ended in 1960 the turrets that North Korea bought must have come from decommissioned Soviet ZSU-57-2"s". The turrets were ordered in 1967.


title: ZSU-57-2

text: The ZSU-57-2 officially entered service with the Soviet Army in 1955. The first vehicles began replacing BTR-40A's and BTR-152A's in the anti-aircraft batteries of tank regiments in 1957. It was first shown publicly during the military parade in Moscow on 7 November 1958.


title: ZSU-57-2

text: Initially, tank regiments had a single battery equipped with four SPAAGs, later increased to two batteries, each equipped with four SPAAGs. The vehicle was also used by some motor rifle regiments (which in the 1960s had one battery equipped with four SPAAGs or, more likely, with six 23 mm ZU-23 towed twin AA guns). The anti-aircraft performance of the ZSU-57-2, however, was quickly found to be unsatisfactory and, because of rapid air force development, the vehicle was deemed obsolete by the early 1960s.


title: ZSU-57-2

text: ZSU-57-2s were gradually replaced by radar-guided ZSU-23-4 Shilkas from the beginning of 1965. Towards the end of the 1960s, a frequent configuration was one battery of an AA battalion in a tank regiment equipped with ZSU-23-4s and another battery equipped with ZSU-57-2s. Unpopular in the Soviet Army, the ZSU-57-2 was completely replaced by ZSU-23-4s by the early 1970s.


title: ZSU-57-2

text: Most ZSU-57-2s were put into reserve storage while a few remained in service in tank training centres (as vehicles for driver training), until the end of the 1970s. Some were converted by army workshops into bulldozers. The last ZSU-57-2s were scrapped in the 1980s, while some dismantled vehicles were used as gunnery range targets. One is preserved in the Kubinka Tank Museum.


title: ZSU-57-2

text: ZSU-57-2s were exported like other Soviet equipment. Five other Warsaw Pact members—Poland, East Germany, Hungary, Bulgaria and Romania—used it, as well as Cuba, Egypt, Iran, Iraq and Syria. North Vietnam and North Korea may have received theirs without payment.


title: ZSU-57-2

text: The first foreign operator of the ZSU-57-2 was East Germany as it received its first vehicles in September 1957. From 1957 to 1961 the National People's Army received 129 vehicles, eventually replacing them with ZSU-23-4s between 1967 and 1974. The ZSU-57-2 was completely gone from East German service by 1979. Some of the vehicles were converted into FAB 500U training vehicles for T-54 drivers and were passed on to the unified German state.


title: ZSU-57-2

text: Poland received its 129 ZSU-57-2s between 1957 and 1961. They were also offered a production license for twin S-68 AA autocannons, but declined it. Eventually, Poland replaced all its ZSU-57-2s with ZSU-23-4s. Seven Polish ZSU-57-2s are preserved, one at the Lubuskie Military Museum in Drzonów, one in Wicko Morskie, the largest anti-aircraft artillery firing range in Poland, one at the Land Forces Museum in Warsaw, one at the History and Tradition of Suvalkai Soldiers Museum in Suwalszczyzna, one in Koszalin and two at the Polish Army Museum in Warsaw.


title: ZSU-57-2

text: Three other Warsaw Pact members, Hungary, Bulgaria and Romania, received ZSU-57-2s once the ZSU-23-4 was introduced in the Soviet Army. Czechoslovakia imported one ZSU-57-2 for testing but it was rejected when it was realised that the domestically produced M53/59 Praga was comparable to the ZSU-57-2.


title: ZSU-57-2

text: The Socialist Federal Republic of Yugoslavia ordered 100 ZSU-57-2s in 1963. Deliveries were completed between 1963 and 1964. They were passed on to the successor states during the 1992 breakup of the federal state. They were then used by the Federal Republic of Yugoslavia. There were 54 of those vehicles in service as of 1999, but this number decreased to 36 in the subsequent decade; they were withdrawn from active service by 2003. However the Yugoslav military still possessed them and after the creation of Serbia and Montenegro they were scrapped. Two vehicles captured by Croatian forces during the Croatian War of Independence and were later also scrapped.


title: ZSU-57-2

text: The air defence battery of the 44th "Wolves" armoured-mechanized battalion stationed in Pivka, belonging to the 4th Regional Command Postojna operated ZSU-57-2"s". All vehicles were retired from service in late 90"s".


title: ZSU-57-2

text: Finland imported 12 ZSU-57-2 SPAAGs between 1960 and 1961 alongside other kinds of Soviet equipment. The ZSU-57-2"s" were designated 57 ItPsv SU 57-2, some of them remained in service to the end of the century. A ZSU-57-2M modernization programme was being developed in Finland which would equip the vehicle with radar and configurable ammunition. However, after the prototype was produced the project was abandoned because of high costs. ItPsv SU-57"s" were withdrawn from service in 2006.


title: ZSU-57-2

text: The People's Republic of China was approached by Iraq in the early 1980s to develop a copy of the ZSU-57-2 system and a few examples were delivered to the PRC for reverse-engineering. To meet Iraq's production order, NORINCO attempted to manufacture a copy with the improved amphibious chassis of the Type 69-II tank. Several Type 80 SPAAGs were tested and accepted into service by the People's Liberation Army (PLA) in small numbers. It was originally intended for the export market but didn't sell well. Greater success was achieved by Chinese-made proximity fuses which could be used to modernize the S-60 and S-68 ammunition.


title: ZSU-57-2

text: Iraq ordered 100 ZSU-57-2"s" in 1970 from Soviet Union, which were delivered between 1971 and 1973. The New Iraqi Army does not use these vehicles.


title: ZSU-57-2

text: Iran ordered 100 ZSU-57-2"s" in 1966 from Soviet Union and they were delivered between 1967 and 1968. Around 90 remained in service until 2002.


title: ZSU-57-2

text: Egypt ordered 100 ZSU-57-2"s" in 1960 from Soviet Union and they were delivered between 1961 and 1962. ZSU-57-2s were not very successful during either the Six-Day War in 1967 or the Yom Kippur War in 1973. Despite that, the Egyptian Army operated 40 ZSU-57-2"s" as of 2003 and equipped them with radars. Egypt also bought Chinese-made proximity fuzes for its S-60 and S-68 ammunition.


title: ZSU-57-2

text: The Israelis captured a number of ZSU-57-2s from the Egyptians or Syrians. One resides at the Yad La-Shiryon armor museum in Latrun, West Bank, another at the Israel Defense Forces History Museum in Tel Aviv, and the third (captured in 1973) at the Israeli Air Force Museum in Hatzerim.


title: ZSU-57-2

text: Cuba received 25 ZSU-57-2s alongside other heavy equipment from Soviet forces stationed on the island in 1962 during the Cuban Missile Crisis. They remain in service.


title: ZSU-57-2

text: While primarily an anti-aircraft weapon the ZSU-57-2 was also used in the role of ground support vehicle.


title: ZSU-57-2

text: The ZSU-57-2 first saw major use in the Vietnam War by the Vietnam People's Army (VPA), in the beginning of the Easter Offensive in 1972. It also saw action during the Ho Chi Minh Campaign in 1975. Several batteries of ZSU-57-2s were used for the air defence of the 201st and 202nd tank regiments during the Easter Offensive of 1972. ZSU-57-2s were used by the VPA against US aircraft but it proved to be more effective against ground targets. South Vietnam also used captured ZSU-57-2s. About 500 ZSU-57-2s survived the war. 200 are still in service.


title: ZSU-57-2

text: ZSU-57-2"s" were used during several conflicts in the Middle East including the Six-Day War in 1967 and the Yom Kippur War in 1973, in both cases by Egypt and Syria. A battery of Egyptian ZSU-57-2"s" together with T-34"s" defended El-Arish airstrip. These were defeated by a company of Israeli M48 Patton MBTs belonging to the 7th Armored Brigade during an intense action on 6 June 1967. ZSU-57-2s were not generally successful and a number fell into Israeli hands. In 1976, during its intervention in Lebanon, Syria used ZSU-57-2"s" against the leftist militias. During the 1982 Lebanon War, they unsuccessfully engaged Israeli air force aircraft over the Beqaa Valley. However, the vehicles fared better when used against land targets.


title: ZSU-57-2

text: During the Iran–Iraq War, ZSU-57-2s were used by both Iraq and Iran. Iraq also used Chinese Type 80s during this conflict and the First Persian Gulf War. Iraqi ZSU-57-2s, which could receive information from the radar on ZSU-23-4s or 9K31 Strela-1 (SA-9 Gaskin)/9K35 Strela-10 (SA-13 Gopher) surface-to-air missile systems were employed against Iranian AH-1J SeaCobra attack helicopters.


title: ZSU-57-2

text: When the Syrian Civil War started, only 10 (out of 250) ZSU-57-2 were in active duty in the Syrian Army. During the war this vehicle was rarely seen and not documented in use. However, there is at least one piece of footage (which has since been removed by YouTube) showing that this vehicle was used by the Syrian Army in the Spring of 2014, in the fights at Harasta, Rif Dimashq Governorate. The purpose of these vehicles probably has changed to ground support only.


title: ZSU-57-2

text: ZSU-57-2s saw service during the Yugoslav Wars, usually in light batteries used by Serbs and Montenegrins of the JNA for attacking ground targets. They were used during the war of independence when Croatian forces captured two ZSU-57-2s from the JNA. They were also used in the air defence role in 1999 during the NATO air raids against Yugoslavia when the Yugoslavs operated 54 of these vehicles.


title: Avril Lavigne (album)

text: Avril Lavigne is the fifth studio album by Canadian singer-songwriter Avril Lavigne. It was released on November 1, 2013, through Epic Records in North America and Sony Music Entertainment worldwide. Lavigne collaborated with numerous producers including Martin Johnson, Peter Svensson, David Hodges, Matt Squire, and Chad Kroeger. In both musical and lyrical aspects, the album represents a departure from the acoustic-oriented production of her previous album "Goodbye Lullaby" (2011), featuring a more uptempo pop sound juxtaposed with power and piano ballads. "Avril Lavigne" also incorporates electronic music, industrial and punk rock. The album features two vocal collaborations: Kroeger and American industrial metal singer Marilyn Manson, making "Avril Lavigne" Lavigne's first album to contain featured vocalists. The album marks her first and only release through Epic Records, and is her final release for Sony Music, to which, under BMG, she signed in 2000.


title: Avril Lavigne (album)

text: "Avril Lavigne" received generally positive reviews from music critics, with many praising its carefree, feel-good vibe while others criticized its "rebellious" attitude in some tracks, calling it forced and unnatural. The album debuted at number five on the "Billboard" 200, selling 44,000 copies in its first week. While this proved to be her fifth consecutive top-five album on the chart, it also tallied the lowest first-week sales of Lavigne's career. It also peaked at number two in Japan, selling 47,873 copies in its first week, the highest opening for the album in a particular country. Worldwide, the album impacted moderately on the charts, reaching the top-ten in over twelve countries, while peaking at number one in China and Taiwan.


title: Avril Lavigne (album)

text: Three singles were released from "Avril Lavigne" worldwide. "Here's to Never Growing Up" was released as the lead single in April 2013 and was an international success, reaching number one on the Taiwan and Philippines charts, while reaching the top ten in China, Ireland, Japan and Russia among others. The second, "Rock n Roll", had less impact, while the third, "Let Me Go", performed well internationally, reaching the top 20 in Czech Republic, South Korea, and Canada. Lavigne also generated publicity with a controversial music video for the Japan-only fourth single "Hello Kitty". To further promote the album, Lavigne embarked on her fifth concert tour, The Avril Lavigne Tour.


title: Avril Lavigne (album)

text: Three months after the release of "Goodbye Lullaby", Lavigne announced that work on her fifth studio album had already begun, with eight songs written so far. Lavigne stated that the album would musically be the opposite of "Goodbye Lullaby", with a release date rumored for sometime in 2012. Lavigne explained, ""Goodbye Lullaby" was more mellow, [but] the next one will be pop and more fun again. I already have a song that I know is going to be a single, I just need to re-record it!" In late 2011, Lavigne confirmed that she had moved to Epic Records, which is now headed by L.A. Reid, who signed Lavigne to Arista Records in 2000. In August 2012, it was reported that Lavigne had completed work on the album, stating on her Twitter, "That's a wrap boyz @hodgesmusic and chad @Nickelback !!! Woo hoo. Super stoked for this record."


title: Avril Lavigne (album)

text: In September 2012, Epic Records chairman L.A. Reid told "Billboard" that Lavigne "just completed" the album and that she enlisted her then-fiancée Chad Kroeger for a song. "She worked with Chad Kroeger, who is now her fiance, and they did a really good record," says Reid. He also revealed, "We're in the mixing process now and I expect to release it very soon. I'd like to get it out this year, but time seems to be flying. If we don't, it will be top of the new year." The same month, French website "Charts in France" announced that the album would be released in March, however, in April 2013, the singer announced that she was still working on the album, stating, "I've been working on this record for a year, so it's been quite a while," she said. "As soon as I played [producer LA Reid] the song, he wanted to put it out right away. So I'm actually still in the studio - I'm still making my record. I still have one more song left to write that I'm going to do by myself, because I love to do that. It's important for me. But it's just - it's all happened so fast, and I'm so excited."


title: Avril Lavigne (album)

text: On August 8, 2013, Lavigne announced that the album would be a self-titled released and also revealed the cover art for the album via her Instagram account. The cover features a closeup of her face against an all-black background, with her eyes ringed in smeared eyeliner, while her hair is pulled back tight on her head. In an interview on Extra in September 2013, Lavigne said of the artwork: "I like it because I always wear my hair down, so I put my hair up and it's a little more fashion, I guess. I went nuts with the eye make-up, just a ton of black eye oil." In an interview at the radio station WRVE, Lavigne confirmed that the album would be available to pre-order on September 24, 2013, and would be released later on November 5, 2013. The official track listing was later revealed on September 5, while the entire album streamed on iTunes and her official website on October 29.


title: Avril Lavigne (album)

text: Recording sessions began in November 2011, and took place over a period of almost two years, concluding in July 2013. One of the first confirmed producers and writers for the album was Nickelback's frontman Chad Kroeger. The first song they wrote was "Let Me Go", a breakup ballad. "We started off [in March 2012] just getting to know each other, and then we really bonded through music," Lavigne said. Eventually, Lavigne and Kroeger became romantically involved in July 2012, and a month later they got engaged. Kroeger co-wrote 10 songs on the album, being the producer of three, and co-producer of four. They promised power ballads, piano ballads, string arrangements and a duet. Lavigne also worked with Evanescence former member David Hodges, commenting, "I’ve just spent 17 days working with Chad Kroeger and David Hodges. And the three of us have been writing a lot of songs together. A lot. And recording and having a really good time, having a really great time. They’re very talented musicians and it feels good for me to be around people like that."


title: Avril Lavigne (album)

text: Boys Like Girls frontman Martin Johnson also worked with Lavigne on the album, co-producing five songs, including the lead-single "Here's to Never Growing Up". In a "Billboard" interview, Lavigne revealed that she worked with Marilyn Manson on a track called "Bad Girl". She said about the collaboration, "It's a heavier tune and I thought his voice would be perfect on it, so I hit him up. I called him and he came over to the studio and he really liked the track and he just put some vocals down on it. He was a pro and he did an amazing job. I really appreciate him as an artist and I love his style and I really respect him and his art, and I thought it was really cool to have him on this record."


title: Avril Lavigne (album)

text: In an interview for "4Music", Lavigne teased a female collaboration, but it didn't make to the album. Because Lavigne had written so many songs for her fifth album, she was considering releasing two back-to-back albums. This is the second time that Lavigne has mentioned writing enough material for more than one record, the first during the production of "Goodbye Lullaby". "I kinda wanna do the back-to-back records because I've worked so hard on writing a ton of songs and I just wanna make it perfect. And then because there were so many it was like, 'OK well what makes sense?'," she commented.


title: Avril Lavigne (album)

text: In an interview for Nylon, Lavigne stated that the album was "more artistic" than her previous efforts, explaining, "This time it's not just all songs about relationships and dudes. I just wanted to write songs and make something that was a little more artistic. I wanted to go down that road, I wasn't trying to write a big radio record." While discussing the album's style for "Entertainmentwise", Lavigne opined, "The album is really all over the place. There's piano songs which are just piano and vocals, some very raw, emotional pieces. There's a few summer songs, it's nostalgic." Regarding the album's lyrical meaning, she commented, "Lyrically I pushed myself to talk about different subjects I haven't talked about before. I didn't want to be so simple. I tried to really express myself and go deeper." [...] "There's a bunch of summer songs then a couple of songs which are pretty nostalgic, about looking back like ‘17’. I guess I didn’t mean for it to turn out like that but it's good."


title: Avril Lavigne (album)

text: While discussing the songs on the album, Lavigne revealed, "I'm really excited about the song 'Hello Kitty' that I've written for this record, because I'm obsessed with Hello Kitty and it's really fun and the sound is different," she said. "It sounds like nothing I've done before, and I even throw a little bit of Japanese in it." She also described the song called "Rock n Roll" as "LOUD, impressive and it stands for so many other things than just music – that's really what it comes down to - and it's a song that I’m just putting the final touches to now." She also called her duet with Marilyn Manson as "heavier" and "rock". While responding what was her favourite song on the album, Lavigne answered, "'Give You What You Like,' 'Hush Hush' and 'Bad Girl.'"


title: Avril Lavigne (album)

text: The album's opening track "Rock n Roll" is an upbeat, pop punk song, about a boisterous declaration of rebellion on which Lavigne puts up her "middle finger to the sky" to "let 'em know that we're still rock and roll." The second track and lead single, "Here's to Never Growing Up", is a celebration of being forever young. The third track "17" was considered a "fizzy, buzzing look back on adolescence," over a "steady" beat, "long acoustic" strums and "yelping" vocals that refract the mischievous glow of youth. It also stays the course, recalling her high school days of "learning how to break the rules". The fourth track, "Bitchin' Summer", is a mid-tempo song where she and the object of her affection are like "high school lovebirds" and she's picking him up at the liquor store. "Let Me Go", the fifth track, is a duet with Lavigne's husband and Nickelback's frontman Chad Kroeger, and was described by Lavigne as "the journey of love through one's life, going from one stage in one love into finding the right one." The sixth track "Give You What You Like" is a sensual-sounding ballad about the exchange of physical pleasures to combat loneliness.


title: Avril Lavigne (album)

text: The seventh track "Bad Girl" finds Lavigne teaming up with Marilyn Manson in a rock, industrial and nu metal arrangement, with Manson singing about his perverted "daddy" fantasies while Lavigne invites him to "do whatever" and more. "Hello Kitty" sees Lavigne flirting with electronic music and techno pop, while also featuring a dubstep breakdown. Lyrically, Lavigne pointed out that the song "is about her love of the Japanese brand" but also has a "flirtatious" meaning. The ninth track, the pop rock "You Ain't Seen Nothin' Yet", finds its protagonist rounding "third base and headed for a home run," while the bouncy "Sippin' on Sunshine" with lyrics about the sunshine being delivered by way of a kiss. The breakup track "Hello Heartache" has a background vocal hook crawling "la-la-la" and a skittering backbeat, which amplify Lavigne's pain. The twelfth track "Falling Fast" is a country pop influenced song. The song's guardedly celebrates new love with "hushed" rock elements and "crystallized" melody, which was described by Jason Lipshutz of Billboard as "at home on a Taylor Swift album". "Hush Hush", the last track on the album's standard edition, is a piano-driven ballad which emits a rush of feelings - regret, anger, desperation, nakedness, and finally, faint hopefulness.


title: Avril Lavigne (album)

text: Lavigne promoted the album with a series of live performances. First, she went to Los Angeles' famed Sunset Strip club, "the Viper Room", performing a range of tracks, including "17". On September 21, 2013, Lavigne performed on the iHeart Radio Festival, performing "Here's to Never Growing Up", "Rock n Roll" and other hits. In October 2013, Lavigne performed at "We Day 2013", which took place in Vancouver, British Columbia, Canada. She performed "Let Me Go" with Chad Kroeger, as well as "Girlfriend" and "Here's to Never Growing Up". On November 5, 2013, during the album's release day in the United States, Lavigne performed "Let Me Go" and snippets of "Girlfriend" and "Sk8er Boi". She also performed "Let Me Go" on "The Katie Couric Show", on November 8, 2013 and on "Conan", on November 11, 2013. On December 4, 2013, Lavigne performed on Q102's Jingle Ball, singing "Here's To Never Growing Up", "Girlfriend", "Let Me Go" and "Sk8er Boi".


title: Avril Lavigne (album)

text: On April 9, 2013, the album's lead single, "Here's to Never Growing Up", produced by Martin Johnson of the band Boys Like Girls, was released. The song received mixed reviews, but was the album's most successful single.


title: Avril Lavigne (album)

text: The track peaked at number 20 on the "Billboard" Hot 100 in the United States, also reaching the top-twenty in Australia, Canada and the United Kingdom, while reaching the top-ten in Ireland and Japan. A lyric video featuring submitted photographs of fans "never growing up" was released onto Lavigne's official Vevo account the same day as the release of the single. The song's official music video was later released on May 9, 2013.


title: Avril Lavigne (album)

text: The second single, "Rock n Roll", premiered on Lavigne's official YouTube channel on July 18, 2013, and was released on August 27, with the music video premiering a week earlier on August 20, while the lyric video for the song, featuring fan-made videos submitted through Instagram, was released onto Lavigne's official Vevo account on August 12, 2013. The song received very limited commercial success, being a success in Japan, where it reached number five. However, it only managed to peak at number 37 in Canada, number 45 in Australia, number 68 in the United Kingdom and number 91 in the United States.


title: Avril Lavigne (album)

text: "Let Me Go" featuring Chad Kroeger was confirmed as the album's third single. It premiered on the radio station KBIG on October 7, 2013. It was officially impacted contemporary hit radio in Italy on October 11, 2013. It was later made available for purchase on iTunes along with its music video on October 15, 2013. Worldwide, "Let Me Go" was more successful than "Rock n Roll", reaching a peak of number 12 on the Canadian Hot 100 chart and the top-forty in Austria. Elsewhere, it also achieved moderate impact in the United Kingdom and the United States.


title: Avril Lavigne (album)

text: On February 27, 2014, Lavigne revealed on her Twitter page that she would be releasing two singles in two different territories. Later, she revealed that "Hello Kitty" was going to be released in Asia, shooting its music video in March 2014. Lavigne also revealed the cover art for the single and its music video was released on April 21, 2014. Its music video was heavily criticised by critics, with "Billboard" labelling it "abhorrent" and "lazy". Its depiction of Japanese culture was met with widespread criticism, which has included suggestions of racism, with Lavigne denying it. "Hello Kitty" debuted at number 75 on the "Billboard" Hot 100 chart, due to the popularity of its music video.


title: Avril Lavigne (album)

text: On March 21, 2014, Lavigne confirmed that "Give You What You Like" would be released as the album's fifth single. Almost a year later, on February 2, 2015; the official artwork for "Give You What You Like" was uploaded via Lavigne's official Twitter account along with the announcement that the song would be featured in the upcoming Lifetime film "Babysitter's Black Book", which premieres on February 21, 2015. The following day, a 30-second clip of the music video, including footage from the film, was posted on Vevo. On February 10, 2015, the music video for "Give You What You Like" was released. The song was released to the radio by Epic Records on March 30, 2015 as the album's fifth single.


title: Avril Lavigne (album)

text: The only promotional single "How You Remind Me" was released in Japan on December 11, 2012, as a digital download on the "" soundtrack. It was released on December 19, 2013, as a digital download in the UK. The song was included in the Japan, Taiwan and China Tour Edition of the album as one of the bonus tracks.


title: Avril Lavigne (album)

text: To further promote the album, Lavigne embarked on her fifth concert tour, "The Avril Lavigne Tour", starting in Asia, followed by South America. In the United States, Lavigne served as opening act on the Backstreet Boys tour, "In a World Like This Tour".


title: Avril Lavigne (album)

text: At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, it received an average score of 65, based on 9 reviews indicating "Generally favorable reviews". Stephen Thomas Erlewine of AllMusic gave the album a rating of 3.5 out of 5 stars, calling it "one of Avril's livelier and better albums; it's all about the good times, no matter how temporary or illusionary they may be." Erlewine also wrote that the "hooks are stronger, better than so many of Avril's songs since her 2002 debut, "Let Go"." Jason Lipshutz of "Billboard" praised the album for "encapsulat[ing] everything worth loving about the 29-year-old's long-running artistry," highlighting that "unlike 2011's "Goodbye Lullaby", which featured moments in which Lavigne sounded unsure of herself, the singer is fully in control here." Nick Catucci of "Entertainment Weekly" was also positive, praising Lavigne for "revealing her grown-woman wisdom," noticing that the album "reminds us that maturity sometimes means doubling down on what's expected of you." Sowing Season of Sputnikmusic wrote that the album "couldn't be a better representation of her career up to the present day. It's fun, easily digestible pop for the masses, featuring the soaring choruses and melodies that made us fall in love with her over the past ten years."


title: Avril Lavigne (album)

text: Sam Lansky of "Idolator" lauded the album as his "favorite pop album of the year," labeling it "the Avril-iest album of Avril's career. It's brimming with character, jagged with contradictions, deeply nostalgic, occasionally annoying, likably bratty and mostly great." Laurence Green of "musicOMH" praised the album, writing that "the eponymous effort goes a long way to restore the singer to her rightful place as purveyor of some of the most carefree, feelgood pop around." Craig Manning of "Absolute Punk" acknowledged that, "It's not going to be a new favorite album for anyone other than Avril Lavigne's most ardent admirers, but a handful of great summer mixtape songs and a few other exercises in mindless pop fun are still enough to make 'Avril Lavigne' the eponymous singer's best record in nine years." Caroline Sullivan of "The Guardian" echoed the same thought, calling the "bratty nostalgia trip", "the best thing she's done in years." In a more negative review, Chuck Eddy of "Rolling Stone" found that the album features "soggy ballads, sometimes vaguely goth or R&B, and tries in vain to keep up with Taylor Swift," but praised "Hello Kitty" for feeling "truly playful." Kyle Fowle of "Slant Magazine" also found the exploration of life-affirming mantras and boasts of rebelliousness "forced, as if she's trying to capture an attitude, and craft a persona, that she no longer lives."


title: Avril Lavigne (album)

text: "Avril Lavigne" debuted at number five on the U.S. "Billboard" 200 chart, selling over 44,000 copies, becoming Lavigne's fifth straight top 10 album. However, it also heralded her lowest peak and first-week sales on the chart. In its second week, the album dropped from number 5 to number 26. As of September 2015, the album has sold 156,000 pure copies in the United States and received a Gold certification from RIAA with 500,000 units sold in the US. In Canada, the album debuted at number four, with sales of 8,500 copies. With this chart position, Lavigne managed to have all of her albums debut on the chart within the top five. In Japan, the album debuted at number-two, shifting 47,873 copies in its first week, becoming the second album by Lavigne to peak in this position, the other being "Goodbye Lullaby" (2011). As of 2014, the album has sold over 210,000 copies in Japan.


title: Avril Lavigne (album)

text: In the United Kingdom, the album debuted and peaked at number 14 with a little over 9,000 units sold, becoming her first album to enter and peak outside the top 10 within the United Kingdom, leaving the charts after one week. As of September 2015, "Avril Lavigne" sold 50,000 copies, becoming the least successful album by Lavigne in the United Kingdom. In Australia, the album debuted at number 7, selling 2,829 copies and remained on the chart for two weeks. In China and Taiwan, the album debuted at the top of the charts, eventually receiving Gold certification in China with sales of 10,000 copies. The album is the 9th best selling album of 2013 in Taiwan with sales of over 36,000 sold making Lavigne the only female western artist on the Top 10 list. "Avril Lavigne" selftitled album has sold 650,000 copies worldwide as of April 2014.


title: Geomorphology

text: Geomorphology (from Ancient Greek: , ', "earth"; , ', "form"; and , "", "study") is the scientific study of the origin and evolution of topographic and bathymetric features created by physical, chemical or biological processes operating at or near Earth's surface. Geomorphologists seek to understand why landscapes look the way they do, to understand landform and terrain history and dynamics and to predict changes through a combination of field observations, physical experiments and numerical modeling. Geomorphologists work within disciplines such as physical geography, geology, geodesy, engineering geology, archaeology, climatology, and geotechnical engineering. This broad base of interests contributes to many research styles and interests within the field.


title: Geomorphology

text: Earth's surface is modified by a combination of surface processes that shape landscapes, and geologic processes that cause tectonic uplift and subsidence, and shape the coastal geography. Surface processes comprise the action of water, wind, ice, fire, and life on the surface of the Earth, along with chemical reactions that form soils and alter material properties, the stability and rate of change of topography under the force of gravity, and other factors, such as (in the very recent past) human alteration of the landscape. Many of these factors are strongly mediated by climate. Geologic processes include the uplift of mountain ranges, the growth of volcanoes, isostatic changes in land surface elevation (sometimes in response to surface processes), and the formation of deep sedimentary basins where the surface of the Earth drops and is filled with material eroded from other parts of the landscape. The Earth's surface and its topography therefore are an intersection of climatic, hydrologic, and biologic action with geologic processes, or alternatively stated, the intersection of the Earth's lithosphere with its hydrosphere, atmosphere, and biosphere.


title: Geomorphology

text: The broad-scale topographies of the Earth illustrate this intersection of surface and subsurface action. Mountain belts are uplifted due to geologic processes. Denudation of these high uplifted regions produces sediment that is transported and deposited elsewhere within the landscape or off the coast. On progressively smaller scales, similar ideas apply, where individual landforms evolve in response to the balance of additive processes (uplift and deposition) and subtractive processes (subsidence and erosion). Often, these processes directly affect each other: ice sheets, water, and sediment are all loads that change topography through flexural isostasy. Topography can modify the local climate, for example through orographic precipitation, which in turn modifies the topography by changing the hydrologic regime in which it evolves. Many geomorphologists are particularly interested in the potential for feedbacks between climate and tectonics, mediated by geomorphic processes.