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This Is Me... Then

This Is Me... Then is the third studio album by American singer Jennifer Lopez. It was released on November 25, 2002, by Epic Records. Prior to its release, Lopez began a high-profile relationship with Ben Affleck and a media circus ensued. Her relationship with Affleck served as her main inspiration for the album, which is dedicated to him. Initially scheduled to be released the following year, This Is Me... Then's release date was quickly pushed forward after its lead single, "Jenny from the Block", was purposely leaked by Tommy Mottola, the head of Sony Music Entertainment.

For the album's recording, Lopez once again recruited Cory Rooney, Troy Oliver and Dan Shea, all of whom she had worked with on her previous albums. She decided to shift away from a dance-pop to more of an R&B and soul sound, influenced by the soul music she grew up listening to. The record's throwback material was integrated with mainstream hip hop and pop music. During its production, Lopez was influenced by the works of Michael Jackson, Luther Vandross and Stevie Wonder among others.

This Is Me... Then received mixed reviews from music critics. Some praised its musical direction, deeming it her strongest album to date, whilst others criticized its production and Lopez's vocal performance. The album went on to achieve commercial success, reaching number two in the United States where it has sold 2.6 million copies. It also reached the top ten in countries such as Canada, France, Germany, Japan, the Netherlands, Sweden, and Switzerland, selling over 6 million copies worldwide.

The album's lead single, "Jenny from the Block" featuring Styles P and Jadakiss of The Lox, became an international success, peaking at three in the United States. However, its release was followed by the notoriety of its music video, which featured Affleck. The single has since been used as a nickname for Lopez in the media, known as one of her signature songs. The album's second single "All I Have" featuring rapper LL Cool J also achieved commercial success, becoming her fourth number-one single in the United States. "I'm Glad", the third single, performed moderately. The single's music video was met with critical acclaim, but caused controversy for recreating scenes from the 1983 film Flashdance. Sony and Lopez were sued over this, but the lawsuit was dismissed. ''This Is Me... Then'' spawned a fourth single entitled "Baby I Love U!"

On November 25, 2022, which was the album's 20th anniversary, Lopez announced that she would be releasing a sequel album in 2024 titled This Is Me... Now.

Background
In June 2002, Lopez split from her former back-up dancer Cris Judd to pursue a relationship with Academy Award winning actor and director, Ben Affleck, "Hollywood's Golden Boy". That November, Affleck proposed, resulting in a higher amount of attention towards the couple. The public and media began to refer to them as "Bennifer" and they became a prominent supercouple in the media and popular culture. "Bennifer" became a popular term, which was eventually entered into urban dictionaries and neologism dictionaries as notable, and the name blend started the trend of other celebrity couples being referred to by the combination of each other's first names.

Speaking of the publicity, Lopez told MTV News: "We try [to keep things private]." "I'm not saying there's not times that we wish [we] could just be going to the movies and come out and there's not a crowd there waiting. You just want to spend your Sunday afternoon not working, but at the same time we both love what we do. If that's something that's part of it, then that's fine. We feel the love and we're very happy about it," she stated. While speaking of the damage that could be caused, Lopez said: "I think [the media can cause damage] if it's not a real thing. I've been in relationships where they were kind of unstable, and so the media messed with it a lot." The overexposure from the media and public interest in their relationship resulted in less admiration for their work and negatively affected their careers.

Writing and recording
Affleck became Lopez's muse when writing and recording the album. "I wrote a lot of songs inspired, in a way, by what I was going through at the time that this album was being made, and he was definitely a big part of that," she told MTV News. The singer took more of a "hands-on role", co-writing more material than she had on her previous albums. The album was titled This Is Me... Then, as it was something she wanted to look back on in retrospection. Lopez explained, "Who you are at that time, what kind of music you like, what kind of beats you're into, what kind of state of mind you're in, what you're attracted to ... it's all very telling of where you are in your life at that point. ... Twenty years from now, if I give this [album] to one of my kids, I'll be like, 'This was me then, at that moment.'" Lopez dedicated the album to Affleck, with the words "You are my life ... my sole inspiration for every lyric, every emotion, every bit of feeling on this record" written on the disc jacket. As of 2022, he remains the only man she has done this romantic gesture to.

Lopez wrote lyrics for the album in a small red leather diary, which she described as her "magic book". In it, she often scribbled down her thoughts and ideas. The album's artwork and liner notes were modeled after this book, which would "further the feel of an intimate portrait of Lopez's soul". "I wanted the pictures to look kind of aged, like it was a scrapbook. ... All the writing [in it] is all kinds of crazy and upside down and sideways just as it is in my book," Lopez stated. While creating the album, she listened to a vast range of blues and soul music, which she listened to growing up. Artists such as Stevie Wonder, Luther Vandross and Michael Jackson among other had a profound influence on the album's sound. According to Lopez, she attempts to "elicit a similar feeling" in her own songwriting from these artists' songs on the album, because they made her "heart sing". Vandross and Wonder's records "just stay with you" according to Lopez, who wanted to make something that was true to her upbringing as well as her current love life.

The majority of This Is Me... Then was recorded over two weeks. Lopez was drawn to the "contagious" melodies of Michael Jackson's album Off the Wall (1979), which led her to summon the record's mixer and engineer, Bruce Swedien, to work on This Is Me... Then. Lopez felt that Jackson's "clear and spacious" records made her feel a "certain way". She said, "It has such a beautiful quality on it, and every time I looked at a record [I liked], it would be engineered and mixed by Bruce Swedien. I was like, 'Who is this guy? I want this guy.' So I tracked him down and he was like, 'I want to do something with her. I know exactly what she needs. I'm coming in.' And it made a huge difference." Lopez worked closely with longtime producer Cory Rooney on the album. Discussing the process, Rooney stated, "This is by far the best record that I've ever worked on or done [...] In the beginning of the recording [process] she said it's important that she makes a record that is a few notches above everything else she did. She wanted to show growth musically and vocally." Other producers Lopez worked with primarily were Troy Oliver, Loren Hill and Dan Shea. She had previously collaborated with Oliver and Shea on J.Lo (2001).

Lopez has cited this album as her favorite album she has ever done many times over the years. Saying in part: "At that time I truly realized that being an artist meant you have to be vulnerable and bare your heart and soul...it takes courage to do that...to really show who you are at any given moment in time."

Composition
This Is Me... Then was considered a departure from Lopez's previous work, with more of an adult-oriented contemporary R&B sound, which included multiple ballads. The Age newspaper described the album as a "declaration of love" for Ben Affleck. Boston Globe's Steve Morse wrote, "[the] love affair has fired up Hollywood and now pop listeners can now share the vibe. This is one hot album, as [Lopez] sings to lovers everywhere with a soulful passion that will quicken pulses and libidos." Entertainment Weekly described it as having a Minnie Riperton sound, while The Guardian noted the musical influence of Diana Ross and likened its sensuality to Marvin Gaye's Let's Get It On (1973). The album evokes 1970s soul music, and blends "streetwise" hip hop with "old-school soul".

The album's opening song, "Still" is built around a sample from Teddy Pendergrass' "Set Me Free", and its lyrics concern an ex-lover. Entertainment Weekly observed that it may be about Lopez's ex-boyfriend Sean Combs, with lyrics such as "Do you ever wish we never split?" The song was likened to the music of Deniece Williams. "Loving You" samples Mtume's "Juicy Fruit" and George Benson's "Never Give Up on a Good Thing", while the ballad "I'm Glad" incorporates a part of Schooly D's "P.S.K. What Does It Mean?". The instrumentation of "I'm Glad" consists of a piano, guitar and classical harp runs, which are laced throughout a computer-generated beat. In "I'm Glad", Lopez discusses finding true love, and declares "I think I'm in love/Damn, finally!" Two versions of the song "The One" are featured on the album. The first version, which is the fourth track on the album, is based around "You Are Everything" by The Stylistics.

"Dear Ben", originally titled "Perfect", opens to an "atmosphere of lush strings and sparse percussion", described as a "starry-eyed paean to fiancé Ben Affleck". It contains lyrics which detail the characteristics of Lopez's perfect man, such as "You will always be ... To me, my lust, my love, my man, my child, my friend and my king" and "God made you for me". "Dear Ben" was considered a profession of Lopez's love for Affleck to the media, and has been described as the album's "glowing centerpiece". Lopez made the decision to change the song's title to "Dear Ben" the day before This Is Me... Then was sent for manufacturing. "All I Have", a duet with LL Cool J which samples Debra Law's "Very Special", is a breakup song, and has been noted to conjure up her publicized split with Combs. "Jenny from the Block" features lyrics about Lopez remaining humble despite fame and fortune. It samples several songs, including "Hijack" by Enoch Light and KRS-One's "South Bronx". The Age wrote that the song intones Lopez's "modest childhood roots, vowing she wishes to remain simple despite her diamonds", while MTV said that she finds "the middle ground between Hollywood A-Lister and Big Apple B-Girl" on the "club-banging" song. In the ballad "Again", Lopez considers finding love again; "I was scared to let go and trust your love," she sings in the second verse. The theme of Lopez's relationship with Affleck is also evident in the vintage-sounding mid-tempo song "Baby I Love U!", which features a guitar and piano instrumentation that includes a "haunting" interpolation from the theme of the film Midnight Cowboy (1969). The song, described as "cheesy" and "blissful", has Lopez singing about being a hopeless romantic ("Can you love me for a lifetime/ In just one night?"). The album closes with a second version of "The One"; this version contains a slightly different production and a new verse was written in place of the original. The lyrical content remains the same. Both the album and song end with Lopez singing "I can be anything you need", like in the original, except silence is heard after that line is said.

Singles
On September 26, 2002, a song entitled "Jenny from the Block" by Lopez featuring Styles P and Jadakiss of The LOX was leaked online. A pop radio station in Hartford, Connecticut, later picked up the song from the internet. "Jenny from the Block" was then immediately distributed to other stations owned by Infinity Broadcasting as the album's lead single. Cory Rooney later revealed in 2016 that it was Sony Music executive Tommy Mottola who leaked the song. Rooney and Lopez initially wanted a song titled "Glad" to be the album's lead single, but Mottola favored "Jenny from the Block". Rooney recalled: "When we played 'Jenny from the Block,' he said, 'This is your single.' So right away we both were like no no no that’s not the single. He told us, 'You guys are crazy. This is the single I don’t give a shit what you say you’re gonna destroy the album if you don’t listen to me.'" According to Rooney, Mottola leaked the single the following day without their knowledge, noting: "He pulled the trigger and all over the world they were playing that record that day." "Jenny from the Block" went on to experience international commercial success, peaking within the top ten in the United States as well as over twelve other countries. An accompanying music video for the song, directed by Francis Lawrence and featuring Affleck, was released. According to The Spectator, "Before celebrities become stars, they dream about gaining fame, fortune, and being in the spotlight [...] The video is basically about how she cannot find privacy with her fiance Ben Affleck. A lot of glamour is associated with fame and fortune; however, along with that glamour comes the loss of privacy". The music video became one of the most controversial ones in pop culture at the time. Considered "the video that killed Ben Affleck's career", the actor stated, years after his engagement to Lopez ended, that he regretted filming it.

On December 14, 2002; "All I Have" featuring rapper LL Cool J was released as the second single from This Is Me... Then. Not only did it become the album's second consecutive top-ten single in the United States, "All I Have" became Lopez's fourth song to top the Billboard Hot 100. The song also performed well internationally, ranking within the top ten of numerous charts. The song samples the 1981 track "Very Special" by Debra Laws. Laws later filed a lawsuit in 2003 against Lopez, LL Cool J and Sony Music Entertainment for "misappropriating her voice and name" in the song. More than three years later, the district court discovered that Law's music label had given Sony permission to use a 10-second sample of Law's song. The lawsuit was dropped, and Laws was advised to sue her own label and publisher for "breach of contract for entering a license agreement without her authorization". According to Lopez, she initially didn't want "Jenny from the Block" or "All I Have" to be released as singles from the album. She felt that the tracks were too similar to her previous singles such as "Ain't It Funny" and "I'm Real"; she felt like she was "visiting old territory". "Those tracks were like a different era for me, and I didn't want people to perceive it like I'm just trying to capitalize on the same thing. But the record company was like, 'Who cares what they think, those are hits mama!'". Lopez, who stated she "calls the shots", eventually agreed.

On April 8, 2003, "I'm Glad" was released as the album's third single. Unlike its predecessors, "I'm Glad" failed to enter the top ten in the United States, while performing moderately in the international market. Its accompanying music video was a remake of the 1983 film Flashdance which was based on Maureen Marder's life, who was a "construction worker by day and dancer by night". The music video, described as a "homage" to the film, impressed the filmmakers and they began talks with Lopez about creating a re-make. However, Paramount Pictures threatened to sue Sony over copyright issues. A representative for Epic Records confirmed that this issue was settled. Marder also filed a lawsuit against Sony and Lopez which was quickly dismissed by the courts. That August, "Baby I Love U" was released as the album's fourth and final single, but failed to gain notable chart recognition.

Promotion
Upon its initial release, 200,000 copies of This Is Me... Then included a four-panel insert that featured information about her fragrance Glow by JLo, and a peel-off fragrance label that allowed those who purchased the CD to test the scent. On September 27, 2002, a spokesperson for Lopez revealed that she planned to take a break from acting to launch a tour in support of This Is Me... Then in April 2003. However, in late July 2003, Lopez clarified that these plans had been canceled.

Critical reception
This Is Me Then… garned mixed to average reviews by music critics, According to the reviewer aggregator Metacritic, which sampled nine reviews of This is Me... Then, the album garnered mostly "mixed or average" reviews. Writing for Billboard magazine, Michael Paoletta gave This Is Me... Then a favorable review, stating that "even naysayers will have to serve props to Lopez for the considerable growth she reveals as both a performer and tune-smith". Allmusic's Stephen Thomas Erlewine gave the album a positive review, calling the feel of it "sexy, stylish, and fun, and there are numerous highlights, all feeling effortless". While Erlewine thought the title was "nonsensical and bewildering", he opined that this was the "strongest, sultriest, best music [Lopez] has recorded". Tom Sinclair of Entertainment Weekly stated "the girl has a way with hooks, even if they're often borrowed", and audiences are "seduced by the breezy pleasure of her new music".

Arion Berger of Rolling Stone, however, was not positive. Berger criticized the songs as being "pitched too high for her register", while calling the production "cheap". Berger also observed that "love has dulled whatever street edge she might have had". Similarly, The Village Voice's Jon Caramanica was unfavorable, writing: "This Is Me is like the gift you get from your grandmother—awkward, unwanted, and blindly self-righteous. Used to have a little, and still does." Slant Magazine's Sal Cinquemani on the other hand gave the album a favorable review stating that "This Is Me...Then manages to find the right formula for Lopez's slinky vocal and is more unified than its predecessors". Cinquemani felt that "Lopez will no doubt earn a grain of respect from critics". Yahoo! Music's James Poletti was also positive, stating that while Lopez's voice "frequently sounds a trifle thin accompanied by the sort of sounds that we're better used to hearing behind a Creative Source or Gwen McCrae vocal", the "honeyed backing massages any real concerns from your mind".

Commercial performance
This Is Me... Then was a commercial success, although not as successful as J.Lo. Released on November 26, 2002, the album debuted on the Billboard 200 at number six, with first-week sales of 314,132 in the United States. This marked the highest opening sales week of Lopez's career. Rolling Stone noted that despite this, "unlike her previous releases, the field wasn't empty for this album to dominate". In its second week, it dropped to number seven with 171,000 copies sold. Throughout December, the album remained in the chart's top ten, and was later ranked by the magazine as the twelfth most successful album of 2003. It sold 1.28 million copies within a month of release. For the week ending December 22, 2002, This Is Me... Then sold 345,150 copies, moving from number eight to number five as a result of holiday season gains.

For the week of January 2, 2003, the album remained in the top five of the Billboard 200, selling 233,000 copies. For the week ending January 18, 2003, This Is Me... Then made its biggest jump on the Billboard 200, climbing from number six to number two, with sales of 88,000 units, blocked from reaching the top spot by Norah Jones' Come Away With Me (2002) which sold 108,000 copies. Throughout February 2003, the album continued to perform strongly, averaging close to 80,000 copies sold each week, while remaining in the top ten. Additionally, the album peaked at number five on Billboard's Top R&B/Hip-Hop Albums chart. By June 2013, This Is Me... Then had sold 2.6 million copies in the United States, making it her third best-selling album.

Internationally, the album entered the top ten of most countries. In Australia, the album debuted and peaked at number 14 on the ARIA Charts for the week ending December 8, 2002. Commercially, it became one of her lowest-charting albums there. However, This Is Me... Then remained on the ARIA Charts until July 6, 2003, allowing it to be certified platinum by the Australian Recording Industry Association for shipments of over 70,000 units. In the United Kingdom, the album peaked at number 13, selling 47,000 copies in its first week. This was eleven positions lower than her previous album, J.Lo. It was eventually certified double platinum by the British Phonographic Industry in July 2013, marking shipments of over 600,000 copies. This Is Me... Then peaked at number five in Canada, and fell to number eight the following week with sales of 17,900. In total, the album has sold over 200,000 copies in Canada, earning a double platinum status in March 2006. In France, it debuted and peaked at number four for the week ending November 30, 2002. After re-entering the French Albums Chart on multiple occasions, it made its final appearance on August 1, 2004, at number 179. The Syndicat National de l'Édition Phonographique certified This Is Me... Then gold. The album peaked at number four in Germany and was certified Gold by the International Federation of the Phonographic Industry for shipments of 150,000 units. In Greece, the album peaked at number one and was certified Gold there for sales of 15,000 copies in 2003. Additionally, it peaked at number 10 in Finland, and has sold 19,998 copies there. This Is Me... Then has sold over 6 million copies worldwide.

Track listing
Notes
 * undefined signifies a remixer.
 * undefined signifies an additional producer.
 * "Still" contains elements of "Set Me Free", written by LeRoy Bell and Casey James and performed by Teddy Pendergrass.
 * "Loving You" contains:
 * a portion of "Juicy Fruit", written by James Mtume and performed by Mtume.
 * an interpolation of "Never Give Up on a Good Thing", written by Michael Garvin and Tom C. Shapiro and performed by George Benson.
 * "I'm Glad" contains a sample of "P.S.K. What Does It Mean?", written and performed by Jesse "Schoolly D" Weaver Jr.
 * "The One" and "The One (Version 2)" contain an interpolation of "You Are Everything", written by Thom Bell and Linda Creed and performed by The Stylistics.
 * "All I Have" contains a sample of "Very Special", written by Lisa Peters and William Jeffrey and performed by Debra Laws.
 * "Jenny from the Block" contains:
 * an interpolation of "Hi-Jack" (1975), written by Jose Fernando Arbex Miro.
 * a portion of "South Bronx" (1987), written by Lawrence Parker and Scott Sterling.
 * portions of "Heaven and Hell Is on Earth" (1975), written by Michael Oliver.
 * "You Belong to Me" contains a sample of "Catch the Beat", written by G. Andrews, K. Nix, Brad Osborne, T. Ski Valley and performed by T. Ski Valley.
 * "Baby I Love U!" contains an interpolation of "Midnight Cowboy" (1969), written and performed by John Barry.

Personnel
Musicians

 * Jennifer Lopez – vocals
 * Omar Hakim – drums (tracks 1, 4, 9–12)
 * Verdine White – bass guitar (tracks 1, 4, 10–12)
 * Larry Gold – conductor, performance arrangement (tracks 1, 4, 5, 10)
 * LaKindra Pierce – vocals (track 1)
 * One Up Entertainment – programming (track 1)
 * Natasha Ramos – vocals (tracks 2–4, 7, 11)
 * Troy Oliver – drum programming, programming (tracks 2, 7, 8)
 * Dan Shea – programming (tracks 4, 10–12), keyboards (4, 10, 11); acoustic guitar, guitar (11)
 * Shelene Thomas – vocals (tracks 4, 10–12)
 * René Toledo – guitar (tracks 4, 10, 12)
 * Cory Rooney – vocals (tracks 4, 11, 12)
 * Billy Lawrence – vocals (track 4)
 * Davy Deluge – keyboards, programming (track 4)
 * Focus... – all instruments (track 5)
 * Makeba Riddick – vocals (track 6)
 * B-Money – scratches (track 7)
 * Reggie Hamlet – acoustic guitar, bass guitar (track 8)
 * Tavia Ivey – vocals (track 9)
 * Reggie Hamilton – bass guitar (track 9)
 * Kamil Rustam – electric guitar (track 9)

Technical
 * Bruce Swedien – mixing (all tracks), engineering (tracks 1–6, 8–12)
 * Peter Wade Keusch – mixing (all tracks), engineering (tracks 1–6, 8–12)
 * Jean Marie Horvat – mixing (tracks 2, 3, 7)
 * Jeff Chestek – engineering (tracks 1, 5)
 * Rob Williams – engineering (track 6)
 * Jon Kaplan – engineering (track 7)

title: This Is Me... Then


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User talk:RyanG

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Manzanita Lake

Manzanita Lake is a lake located in Lassen Volcanic National Park. The name means "little apple" in Spanish.

Manzanita Lake was formed when Manzanita Creek was dammed 300 years ago by a rock avalanche from the northwest slope of the Chaos Crags, which also resulted in the debris formation known as Chaos Jumbles.

The area around the lake features the Loomis Museum, a campground, and the Manzanita Lake Naturalist's Services Historic District. Located near the park entrance, the lake is open for fishing and has rainbow, brown and brook trout.

Climate
Manzanita Lake has a warm-summer humid continental climate (Dsb) using the 0 °C isotherm or a warm-summer mediterranean climate (Csb) using the -3 °C isotherm with short, warm summers and cool winters, with most precipitation falling in the winter months.

title: Manzanita Lake


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AMC 34

The AMC 34 was a French tank originally built for the French Army's cavalry units. Its production was cut short, and the few vehicles produced were out of service by the time of the Battle of France in the Second World War.

Development
Alarmed by the rapid build-up of the Red Army, the French Army, on 24 December 1931, conceived a preliminary plan for the mechanisation of the Cavalry. This foresaw the development of several types of automitrailleuses — the official term for cavalry tanks because chars ("tanks") were by law part of the infantry arm — among which an Automitrailleuse de Combat (AMC), a lightly armoured (weighing no more than nine tons) but swift (30 km/h cruise speed) and strongly armed (47 mm gun) combat tank, capable of fighting enemy armour. The plan was affirmed by the French Supreme Command on 23 January 1932, and approved by the ministry of defence on 9 December.

Even before Plan 1931 was put on paper, Louis Renault was informed of its probable contents. In the autumn of 1931, he ordered his design team to build an AMC. The team proposed to use welded steel plates, but Renault refused as this entailed hiring expensive professional welders. Nevertheless, the team took the initiative to build the Renault VO, a fully welded prototype of a Char Rapide, that could also serve as an alternative for the AMR 33 developed at the same time. When the vehicle was finished in 1932, Renault was charmed by the proposal, but after long consideration decided against it and ordered a riveted version to be built. This quickly proved to be much too heavy and this caused a complete redesign of the project into a much smaller vehicle, the Renault YR, which was presented to the French materiel commission, the Commission de Vincennes, on 12 October 1933, still fitted with the welded turret of the Renault VO. After testing by the Section Technique de la Cavalerie the prototype was improved by installing larger fuel tanks and a stronger clutch and gearbox. On 9 March 1934, an order was made for a pre-series of twelve hulls of the AMC 34; later a choice would be made from the range of standard turrets. The first was delivered on 17 October 1935.

Description
The AMC 34 is a small vehicle with a length of 3.98 m and a width of 2.07 m. The suspension of the prototype is identical to that of the AMR 33; the production vehicles use a type that was originally envisaged for the AMR 35: a central bogie with a vertical spring; two other wheels in front and behind with an oil-dampened horizontal spring. The engine, a 7.125 litre V-8 120 hp with a fuel tank of 220 litres rendering a top speed of 40 km/h and a range of 200 kilometers, is located on the right; the driver on the left with a hatch in front of him and an escape door behind him. The armour is 20 mm on the vertical plates; the weight — of the hull only — 9.7 metric tons.

Plan 1934
Before the first vehicle was even delivered, it was decided on 26 June 1934, as part of the Plan 1934 to improve both quantity and quality of French tank production, to change the specifications for an AMC: its armour had to be immune to anti-tank guns. As the AMC 34 was not strong enough to carry the extra weight it was redesigned into the AMC 35. No more orders of the original type were made.

France and Morocco
France, however, had such a dearth of modern tanks that it could not afford to forget the twelve pre-series vehicles. In January 1936 they were taken into use with the 4th Cuirasssiers, at first fitted with gun turrets removed from Renault FTs and then with the APX1 turret also used for the Char D2s, armed with an SA34 47 mm gun. By 1937 the growing production of more modern tanks allowed the AMC 34 hulls to be shipped from France to Morocco to be used by the 1e Régiment Chasseurs d'Afrique, which received them on 15 December 1937. They were at the time the most modern armoured vehicles in the colonies, but were refitted with the two-man APX2 turret. It took many months before 25 mm guns could be fitted as well; until that time the tanks drove around with just the 7.5 mm machine guns. The tanks used the ER 28 short wave radio (all AMCs were supposed to have radio sets); also a better protected fuel tank at the back was installed together with a safer horizontal ventilation grille on the back engine deck. In November 1939 the AMC 34 was replaced by the "H 39"; three vehicles were taken by 5 RCA and used for driver training. These and the other nine vehicles do not appear on the armistice control lists, so they were either already scrapped in the summer of 1940 or hidden.

Order by Belgium
In 1935 the Belgian cavalry started a mechanisation programme. It was planned to equip all six cavalry regiments with an organic squadron of twelve tanks: eight T-15 and four guntanks. To fill the latter position on 13 September 1935, 25 AMC 34 hulls were ordered with Renault, at a unit price of 360,000 French francs, and 25 turrets with APX. The AMC 34 had been chosen over the competing Vickers Medium Tank Mark F after testing the prototype from 7 until 10 November 1934. It was stipulated that the production vehicles would be of an improved configuration and be delivered in a rate of three per month from October 1935 onwards. However, due to technical and financial problems, Renault was unable to deliver. Only after a delay of over three years, ten hulls were exported of the more modern AGCI1 or AMC 35. The ordered APX2 turrets were refitted with Belgian 47 mm guns and 7.65 mm Hotchkiss machine guns; thirteen were used on coastal defence pillboxes.

title: AMC 34


text:
User talk:Joelf

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title: User talk:Joelf


text:
Ohio Women's Hall of Fame

The Ohio Women's Hall of Fame was a program the State of Ohio's Department of Job and Family Services ran from 1978 through 2011. The Hall has over 400 members. In 2019, the Hall's physical archives and online records were transferred to the State Archives in the Ohio History Center.

History
The Hall was created in 1978 within the Women's Programs at the Ohio Department of Job and Family Services. The Hall "provided public recognition of the contributions Ohio women have made to the growth and progress of Ohio, the United States, and the world."

The Hall inducted women in the following categories:

After the program ended, its physical archives were transferred to the Ohioana Library, where they were held until they were transferred in 2019 to the State Archives in the Ohio History Center.

title: Ohio Women's Hall of Fame


text:
HNoMS Start

The Taube was first constructed in 1909-1910 by Austrian Igo Etrich and later developed into a two-seater military aircraft in 1912. Many Taubes were built under licence by a wide array of manufacturers but most were produced by the Rumpler Flugzeugwerke. By 1912 the design had evolved to a 2-seater reconnaissance aircraft for military use

Built by Rumpler as a 2-seat Taube floatplane, Start was the Royal Norwegian Navy's very first aeroplane, bought in Germany and arriving in Horten on 25 May 1912, at a cost of 30,000 Norwegian kroner. Funding came from private contributions after a speedy initiative from the commander and officers of the submarine HNoMS Kobben, Norway's first submarine; one of the largest contributors was H.M. King Haakon VII of Norway.

The first flight was made on 1 June 1912 by Secondløytnant Hans Fleischer Dons (who was also second in command on the submarine HNoMS Kobben). He took off from Gannestad in Borre Municipality, flew over Karljohansvern naval station and Moss before landing in Øra, not far from Fredrikstad. The flight was 48 km long and took 35 minutes. Dons was congratulated by both the King and the Government of Norway.

Start was officially given as a gift to the navy on 1 August 1912 and is today displayed at the Norwegian Armed Forces Aircraft Collection.

Operators

 * Royal Norwegian Navy Air Service
 * Royal Norwegian Navy Air Service

title: HNoMS Start


text:
Talk:Sweet and sour sauce

Comment 1
Sweet and Sour is a sauce, why would you want to include it in a specific meal? It's like merging ketchup with french fries with ketchup.

Only a Euro-centric proletraite would consider sweet and sour sauce and sweet and sour pork to be the same thing

 * Yes, but as the only interesting thing about sweet and sour pork is that it contains sweet and sour sauce, why would you want articles on both? JulesH 08:44, 23 September 2006 (UTC)

The difficulty seems to be that the sweet and sour pork article has been made to heavily overlap with the sauce article. Sweet and sour pork in both its iterations (gulaorou) and (tangculiji) have distinct enough traditions and variations within Chinese cuisine that they could be kept apart from 'sweet and sour sauce', particularly since sweet and sour sauce differs so widely in preparation within China, and the rest of the world. Sabodav October 2006

--Is all sweet and sour sauce of recent Chinese origin? I was pretty sure that it was a common flavor in Central Asia (Indian date-tamarind relish, for instance) and into Eastern Europe (many variants of stuffed cabbage are sweet and sour). Thus I'd have imagined, if it was Chinese to begin with, that it spread via the Silk Road long before Chinese restaurants.
 * I don't think it's old enough to spread via the Silk Road, besides, Silk Road is far from its origin, it's more likely came from early Chinese immigrants to California. cecikierk

Why is Sweet & Sour usually colored red?
In many (most?) American Chinese restaurants, the sweet & sour sauce has red food coloring added. why is this? Richardmasoner 19:47, 1 May 2007 (UTC)
 * The original Cantonese recipe calls for ketchup in addition to vinegar. In fact the vinegar is served to save the amount of ketchup used.  The colour is red as a result of this, although many of the Western world's Chinese restaurants now omit ketchup altogether to save cost and used red food colouring as substitute. --JNZ 07:33, 9 September 2007 (UTC)

"Always popular in China"?
I removed the phrase "It has always been popular in Chinese cuisine", because it's always been more popular overseas than in China. USER: cecikierk

Confusing apparent contradiction
The article now says:

 * Chinese restaurants in Western countries commonly serve chicken, pork, or shrimp that has been battered and deep-fried, then served with a sweet and sour sauce poured over the meat. Although this preparation is considered traditional across American and European countries, it does not resemble authentic Chinese methods of preparation, except for those found in certain Cantonese or Hunan regions.

That is to say, "It isn't authentically Chinese, except it's regional Cantonese or Hunan." Which seems to imply that regional Cantonese or Hunan cusisine is not authentically Chinese. How can this possibly be right? --FOo (talk) 05:21, 20 April 2010 (UTC)

 * It's nonsense; I've deleted it. 99.234.64.72 (talk) 14:16, 30 September 2010 (UTC)

title: Talk:Sweet and sour sauce


text:
Wikipedia talk:Articles for deletion/TrekBBS

Comment Since UGO doesn't have a Wikipedia article (that I could find), I fail to see how UGO membership makes a forum deserving of an article. Tanizaki 19:03, 25 August 2005 (UTC)

Comment Hello again, Tanizaki. The note has already been made on the Stardestroyer.net VfD, so I might as well make it here. WP:WEB is only a proposed set of guidelines, and is still open to editing and commentary. As such, caution should be exercised if one chooses to quote it to support their actions.GMT 19:48, 25 August 2005 (UTC)

Comment I would like to know why Tanizaki lied about the article by saying it did not meet WP:WEB.And why none of the Delete voters (except 1) bothered to check weather he was telling the truth. Elfwood 15:55, 26 August 2005 (UTC)

Closing Admin please take in to account that some of these delete votes may have been be under the false impression that the VFDer was correct that the board violated WP:WEB. Since many say they agree with him and that was his only argument.Elfwood 17:58, 26 August 2005 (UTC)

Don't VFDs end after 5 days? This VFD is yet to be closed out. Alyeska 08:05, 1 September 2005 (UTC)

How about that
Well what do you know, even with all the effort to kill this page, TrekBBS is back up. Alyeska 21:29, 30 August 2007 (UTC)


text: User talk:70.20.56.112

title: User talk:70.20.56.112


text:
User:William M. Connolley/motion in a rotating system

This is a page, sort of notes for myself, and perhaps one day a wike page.

If you feel inclined to comment, please refraim for now. Its just starting.

Coriolis effect and its discussion refers, as does http://www.physics.oregonstate.edu/paradigms/Publications/GreatCircles.html. CT gets some credit for forcing me to think about this, as does PB.

First, and perhaps foremost, the problem at issue is to understand how an object, moving without imposed forces in an inertial system, moves when viewed in a rotating system (this is all in Newtonian dynamics, so that makes sense). This is on the (correct) assumption that we understand how it moves (F=ma) in an inertial system. There are essentially two ways of doing this. The first (which I prefer) is simply to say that in a rotating system two forces (the Coriolis and Centrifugal) appear, and when these forces are added to the equations of motion the correct motion is predicted. The second is to say, that looking from "above" from an inertial system we can explain that a rotating observer sees "apparent" motion. The second version appeals to some, but runs the risk of becoming distinctly wordy and qualitative. Of course, both view must in the end be equivalent.

Note also that there are similarities and differences between the dynamics of motion on a turntable and on a sphere(oid), the second being more complicated.

Motion on a turntable
A flat frictionless turntable rotates, with observer R at rest upon it. Observer I is at rest in an outside inertial system. A particle is placed on the turntable (not on the rotation axis), initially at rest as seen by I. It therefore remains at I_rest. From R, it therefore moves in a circle.


text:
Lou Guzzo

Louis R Guzzo (January 11, 1919 – June 29, 2013) was a journalist, author, and television commentator in Seattle, Washington. He was an art and theater critic for 20 years at the Seattle Times, then served as the managing editor of the Seattle Post-Intelligencer, where his investigative team wrote stories that led to the indictments of more than fifty government officials.

Guzzo was an ally of Washington state governor Dixy Lee Ray. He worked with her at the U.S. Atomic Energy Commission, co-authored books with her, and helped in her successful bid for governor in 1976.

Guzzo appeared regularly on KIRO-TV and KIRO (AM) radio, where he was also an editorial consultant. In 1986, a commentary attacking "punk rock" fans caught the attention of the Seattle crossover thrash band The Dehumanizers. In response the group recorded a satirical song "Kill Lou Guzzo" on their debut 7-inch EP. The record used unauthorized audio clips from Guzzo's TV editorial. Group members later received a cease and desist letter from KIRO and Guzzo.

He had several e-books published, and has had numerous speeches, talks, and commentaries posted to YouTube. After his retirement from KIRO, Guzzo maintained a website where he continued to write a daily commentary on current events. He was a resident of Newcastle, Washington. Guzzo died in 2013 at the age of 94.

title: Lou Guzzo


text:
Elizabeth Stuart (theologian)

Elizabeth Bridget Stuart (born 1963 in Kent) is a British theologian specialising in Queer Theology.

Academic positions
Stuart is Professor of Christian Theology at the University of Winchester and was founding chair of the Centre for the Study of Christianity and Sexuality. She is the founding editor of the academic journal Theology and Sexuality. In August 2008 she took up the position of Pro Vice-Chancellor, Academic. In 2011, she became the Senior Pro Vice-Chancellor at the University of Winchester.

In 2013 she was appointed Deputy Vice-Chancellor. On 1 April 2021, Stuart became Vice-Chancellor of the University of Winchester succeeding Professor Joy Carter.

She was appointed Member of the Order of the British Empire (MBE) in the 2024 New Year Honours for services to higher education.

Bishop
Stuart was consecrated as a bishop in the Open Episcopal Church, a small, independent grouping within the United Kingdom. In 2006 she became Archbishop of the Province of Great Britain and Ireland of the Liberal Catholic Church International. She retired in 2016 and was replaced by the Reverend Angie McLachlan.

In 2020, Stuart was ordained a priest in the Church of England.

Published writings
Stuart's published writings include:
 * Gay and Lesbian Theologies: Repetitions and Critical Difference
 * Just Good Friends: Towards a Lesbian and Gay Theology of Relationships
 * Daring to Speak Love’s Name
 * Religion is a Queer Thing

These works show Stuart moving from a liberationist approach to an approach grounded in queer theory. She now argues that gender and sexuality are not matters of ultimate theological concerns and that the Christian duty is to refuse to work theologically with such categories.

Jeffrey John argued against the model proposed in Just Good Friends in his booklet Permanent, Faithful, Stable: Christian Same-Sex Partnerships.

In 2008 Stuart received the Lesbian and Gay Christian Movement Award for "energetic and prophetic advocacy on behalf of LGBT people, numerous pioneering theological books, and for remaining a loyal member of LGCM".

In 2008 the French academic Stephane Lavignotte published a book about Stuart's theology: Au-delà du lesbien et du mâle: la subversion des identités dans la théologie 'queer' d'Elizabeth Stuart (published by Van Dieren).

Personal life
Her grandfather was Ronald Niel Stuart VC.

title: Elizabeth Stuart (theologian)


text:
User talk:Diablo~enwiki

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Diablo. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Diablo~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:26, 19 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 12:08, 22 April 2015 (UTC)

title: User talk:Diablo~enwiki


text:
Wikipedia:Miscellany for deletion/Wikipedia:WikiProject Wikipedians for encyclopedic merit

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was Speedy keep, as bad-faith nomination; renomination after less than a week. --Carnildo 19:41, 25 August 2005 (UTC)

I have nominated WikiProject Wikipedians for encyclopedic merit for deletion as it obviously violates the NPOV standard of Wikipedia, as well as several WP:NOT. Additionally a single look at the page shows that it is inhabited by Trolls and POV pushers, as such it is detrimental to the project and a consensus needs to be reached. Gibadabmoob 19:07, 25 August 2005 (UTC)
 * Example of Censorship from the project.

 * Speedy keep per Votes_for_deletion/WikiProject_Wikipedians_for_Decency; note that User:Gibadabmoob's only contribution to Wikipedia is to VfD this page again. I'm still concerned that this project violates WP:NPOV but there's no reason to believe consensus on this will be reached by rerunning last week's VfD. --Ngb 19:12, 25 August 2005 (UTC)

 * Speedy keep Wait two weeks and try again. Hipocrite 19:23, 25 August 2005 (UTC)

 * Speedy keep. No chance consensus to delete will be reached this soon after the other monstrosity. Though I still strongly oppose the Project in question I want this vfd to be out of the way as soon as possible. Lomedae 19:24, August 25, 2005 (UTC)

 * Bah What's the point of a VfD, the last time the thing became such a mess you couldn't tell who was voting for what, and why, we had to add entire sections just for random debates, even a designated sock puppet section, laffo, this is so pointless, I'd have to guess Gibadabmoo is probably a strawman--64.12.116.204 19:33, 25 August 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
State of the Nation Address (Philippines)

The State of the Nation Address (SONA ; Talumpati sa Kalagayan ng Bansa) is an annual address by the president of the Philippines to a joint session of the Congress of the Philippines. Mandated by the 1987 Constitution, the speech is delivered every fourth Monday of July at the Plenary Session Hall of the Batasang Pambansa Complex in Batasan Hills, Quezon City.

The SONA, which is often broadcast, serves as a means to inform the nation about its present economic, political, and social condition. It is also a vehicle for the president to summarize the accomplishments and plans of their program of government both for a particular year and until the end of their term of office.

Ceremonial of the President
The Address is usually delivered at around 16:00 PST (UTC+8). Before the appointed time, legislators enter the Plenary Session Hall, with members of Congress and their consorts in recent years sporting traditionally-inspired bespoke couture that, in some cases, expresses their legislative agenda or ideological leanings.

The President meanwhile arrives at the Batasang Pambansa Complex some minutes before the beginning of the joint session, and enters the main building through a back entrance. The President is then welcomed with military honors, and greeted by the Speaker of the House, the President of the Senate, and the welcoming committee, before proceeding to the Presidential Legislate Liaison Office.

The President then enters the Plenary Session Hall as the Presidential Anthem is played. The Secretary General introduces the President, who approaches the rostrum and is seated. The President of the Senate and the Speaker of the House then convene the joint session, and the House of Representatives Choir leads the now standing assembly in singing Lupang Hinirang. Representatives of various religious groups then lead the assembly in an ecumenical prayer.

The Speaker then introduces the President in English or Filipino with words similar to the following: "[Ladies and gentlemen], [honorable] members of [the] Congress [of the Philippines], [His/Her Excellency], [Name], [the] President [of (the Republic of) the Philippines]."

The Address, which can last anywhere from one to several hours, is broadcast on television, radio, and online streaming by state agencies such as Radio Television Malacañang, as well as private media organizations.

Malolos Congress
An early form of the Address was in place during the First Philippine Republic, which was established in 1899 in Malolos, Bulacan. The revolutionary government took ideas from European parliaments, where the magisterial role of the head of state in the legislature was to mark the legislature's official opening.

The Malolos Constitution of 1899 provided for the President to preside over the opening of Congress, as well as convey his messages to the legislature through a secretary. When Emilio Aguinaldo addressed the Malolos Congress in Spanish on September 15, 1898, he simply congratulated the formation of the first representative body of the Philippines and Asia. This is not considered a State of the Nation Address because the Malolos Constitution did not explicitly provide for one.

American Period
The State of the Nation Address as an annual practice began during the Commonwealth Era.

The Jones Act enacted in 1916 was the first instance where a report about the Philippine Islands was required to be submitted. However, the law only mandated a report by the Governor-General to an executive office assigned by the President of the United States. This was in the form of a written document that discussed the transactions and movements of the Insular Government.

When the Commonwealth of the Philippines was created and the 1935 Constitution enacted, it provided for an annual report of the President of the Philippines to Congress:

"'The President shall from time to time give to the Congress information on the state of the Nation, and recommend to its consideration such measures as he shall judge necessary and expedient.'"

The first formal State of the Nation Address was delivered by President Manuel L. Quezon on June 16, 1936 at the Legislative Building in Manila. The dates of the SONA were fixed on June 16 of every year at the start of opening sessions of Congress, by virtue of Commonwealth Act No. 17. However, CA 49 changed the date of the opening of Congress to October 16. In 1937, October 16 fell on a Saturday, and the opening of Congress was moved to 18th, when Quezon gave the second State of the Nation Address. The opening date of Congress was again changed that year to the fourth Monday of every year. President Manuel L. Quezon delivered his final State of the Nation Address on January 31, 1941, prior to the onset of World War II.

Second World War
José P. Laurel, president of the Japanese-sponsored puppet Second Republic, was able to deliver his only message before the special session of the National Assembly, led by Speaker Benigno S. Aquino, Sr., on 18 October at the Legislative Building—four days after the Second Republic's establishment. This is, however, not considered a SONA as the 1943 Constitution did not—as President Laurel himself pointed out—provide for such an address.

With the 1945 defeat of the Japanese Empire and the re-establishment of the Commonwealth Government, the now-bicameral Congress of the Philippines convened on June 9, 1945, the first time since their election in 1941. During this special session, President Sergio Osmeña addressed lawmakers at their provisional quarters (a repurposed schoolhouse) along Lepanto Street in Manila, and gave a comprehensive report on the work carried out by the Commonwealth Government during its three-year as a government-in-exile in Washington, D.C. Furthermore, he described the conditions prevailing in the Philippines during the Japanese Occupation and an acknowledgement of the invaluable assistance rendered by recognized guerrillas to combined Filipino and American forces in the liberation of the Philippines.

The last Address of the Commonwealth was delivered by President Manuel Roxas on June 3, 1946. President Roxas would later deliver the first SONA of the Third Philippine Republic in front of the First Congress on January 27, 1947.

Third Republic
Beginning in 1949, the SONA was delivered at the rebuilt Legislative Building. Only once did a President not appear personally before Congress: on January 23, 1950, President Elpidio Quirino, who was recuperating at the Johns Hopkins Hospital in Baltimore, Maryland, delivered his SONA to a joint session of Congress via RCA. The Address was picked up by a local radio network at 10:00 Philippine Time (GMT+8), in time for the opening of the regular session of the 2nd Congress.

Martial Law and the Fourth Republic
The tradition of delivering the SONA on the fourth Monday of January ended in 1972, when from 1973 to 1977, President Ferdinand E. Marcos delivered the Address every September 21—the official anniversary of his imposition of Martial Law upon the country. Since Congress was abolished with the promulgation of the 1973 Constitution, these addresses were delivered before a legislative assembly either in Malacañang Palace or at Rizal Park, except in 1976 when the Address was given during the opening of the Batasang Bayan at the Philippine International Convention Center.

President Marcos began giving the Address at the Batasang Pambansa Complex on June 12, 1978 during the opening session of the Interim Batasang Pambansa. From 1979 onwards, the SONA was delivered on the fourth Monday of July, following the provisions in the 1973 Constitution and the superseding 1987 Constitution. The only instances deviating from this pattern occurred in 1983, when the SONA was delivered on January 17 to mark the anniversary of the 1973 Constitution's ratification and the second anniversary of the lifting of Martial Law. Another exception took place in 1986, after the People Power Revolution, where President Corazón C. Aquino did not deliver any SONA. This was due to the dissolution of the Batasang Pambansa and the absence of a ratified new constitution at that time.

Fifth Republic
With the re-establishment of Congress in 1987, President Corazon Aquino delivered her first SONA at the Plenary Hall of the Batasang Pambansa. All her successors in the office have since delivered their respective Addresses in the same venue.

Responses
The political opposition has had a response to the address, known as "kontra-SONA". Usually, the Minority Leader of the House of Representatives delivers the response in a session of Congress, a few days after the actual SONA. In the Senate, the kontra-SONA has been delivered more sporadically, but there were instances of it being done.

Protests are done on the day of the address itself. Protests usually occur for the second and subsequent addresses of each president, with the first address usually free from such. Protests are done at Commonwealth Avenue, Quezon City, the main road leading to the Batasang Pambansa Complex, and Mendiola Street, fronting Malacañang Palace. Leftist groups such as the Bagong Alyansang Makabayan usually burn an effigy of the sitting president as a highlight of the protest.

Variations
Local chief executives also give their own addresses modeled after the State of the Nation Address. These speeches are not mandated by law, but are given usually as a matter of practice or tradition.
 * At the provincial level, the governor's speech is called a "State of the Province" Address (SOPA).
 * At the civic and municipal level, this is called either a "State of the City Address" (SOCA) or "State of the Municipality" Address (SOMA), given by the mayor.
 * At the barangay level, the barangay chairman speech is called a "State of the Barangay" Address (SOBA).
 * It is also the practice of the Philippine Independent Church, a Christian denomination formed in the wake of the Philippine Revolution in the spirit of a national church, to release an annual "State of the Church" Address coming from the Obispo Máximo (Supreme Bishop).

Criticism
Recent addresses have been the subject of criticism by various sectors for being too ostentatious and flashy, with politicians and media personalities treating the event as a red carpet fashion show, thus others dubbing it as the country's version of the Met Gala. Senator Miriam Defensor Santiago blasted the organizers and called the event a "thoughtless extravagance" where "peacocks spread their tails and turn around and around, as coached by media in a feeding frenzy." Presumptive House Speaker Pantaleon Alvarez for the 17th Congress urged representatives to dress in simple business attire for future addresses, preferably the barong tagalog for men and "short" Filipiniana for women, in preparation for President Rodrigo Duterte's first address in 2016.


text:
Jason Vargas

Jason Matthew Vargas (born February 2, 1983) is an American former professional baseball pitcher. He played in Major League Baseball (MLB) for the Florida Marlins, Seattle Mariners, Los Angeles Angels, Kansas City Royals, New York Mets and Philadelphia Phillies. The Marlins drafted Vargas in the second round of the 2004 MLB draft. He made his major league debut in 2005. In 2017, he was an All Star and tied for the American League lead in wins.

Amateur career
Vargas was born in Apple Valley, California. He attended Victor Valley High School in Victorville, California, where he played for the school's baseball team under his father, who was head coach. His father retired in 1998, and Vargas transferred to Apple Valley High School in Apple Valley. Vargas graduated in 2001.

The Minnesota Twins drafted him with the 1,273rd pick in the 2001 Major League Baseball draft. He declined to sign with Minnesota, and instead enrolled at Louisiana State University (LSU) to play college baseball for the LSU Tigers. As a freshman at LSU, Vargas had a 1–1 win–loss record with a 3.43 earned run average in 13 games. He also saw occasional playing time as a first baseman and designated hitter. In his first college at bat, he launched a pinch hit grand slam to lift the Tigers to a victory over Mercer.

Vargas decided to transfer out of LSU after the 2002 season to Cypress College for the 2003 season, picking a junior college so he would still be eligible for the draft. He was 11–3 with a 3.10 ERA and 101 strikeouts in 107.1 innings as he batted .374. He was the Southern California junior college player of the year for his work on the mound and at the plate. However, as the season wore on, his arm slot dropped, and his velocity fell into the mid-80s. That, combined with Vargas' signing bonus demands, depressed his draft stock, so he went undrafted.

Vargas transferred to California State University, Long Beach to play for the Long Beach State 49ers for his junior year. At Long Beach, he learned to keep his top half aligned with his lower half over the rubber and not drift toward the plate as he twisted through his delivery. The tweak allowed Vargas to repeat his mechanics and keep his arm higher, which in turn increased the velocity on his fastball and improved the break on his curveball. The new work ethic paid off, and in 2004 Vargas went 7–4 with a 4.14 ERA in 18 games on the mound, while hitting .354 with 14 doubles and five home runs as the team's designated hitter.

Florida Marlins
The Florida Marlins drafted Vargas out of Long Beach State with their second-round pick in the 2004 MLB draft, and he was signed by scout Robby Cosaro; he was a collegiate teammate of Jered Weaver, who was the Anaheim Angels' first-round pick in 2004. Vargas was the 68th player taken overall in the draft. He signed with the Marlins in time to make eight starts in 2004 with their Low A affiliate, the Jamestown Jammers, with whom he went 3–1 with an ERA of 1.96 in eight starts, and was named the #3 prospect in the New York=Penn League by Baseball America. He was the Marlins Organizational Pitcher of the Month for August. He finished 2004 with three starts at the end of the 2004 campaign with one of the Marlins' Single-A affiliates, the Greensboro Grasshoppers of the South Atlantic League. He had a record of 2–1, an ERA of 2.37, and struck out 17 batters in 19 innings pitched.

Vargas was then promising enough that Baseball America listed him 8th among the Marlins' top 10 prospects for 2005; those above him were Jeremy Hermida, Scott Olsen, Yorman Bazardo, Jason Stokes, Josh Willingham, Eric Reed, and Taylor Tankersley. Baseball America predicted that Vargas would start the season in Greensboro and finish it in High A with the Jupiter Hammerheads; Vargas would very easily surpass that expectation during the 2005 season.

Vargas did start the 2005 season with Greensboro, as was expected, but he advanced quickly through the Marlins' minor-league system. He made five starts with Greensboro, going 4–1 with an earned run average of just 0.80 in five starts and was named South Atlantic League Pitcher of the Week on April 24, and the Marlins Organizational Pitcher of the Month for April, and Minor League Player of the Week honors for the week of April 18–24. He was then promoted to Jupiter, where he went 2–3 with a 3.42 ERA in nine starts; while there, he struck out 60 batters in 55$1⁄3$ innings. With his third club of the year, the Double-A Carolina Mudcats, he made three starts, going 1–0 with a 2.84 ERA and 25 strikeouts in 19 innings pitched. He led all Florida minor league pitchers in 2005 with a 2.50 ERA.

The Marlins noticed Vargas's success in the minor leagues and, when faced with injuries to their own pitching staff, decided to make him the fourth Mudcats pitcher to play in the major leagues in 2005 (the others were Logan Kensing, Olsen, and Bazardo). He made his major-league debut on July 14, 2005, the same day on which the Marlins designated veteran starter Al Leiter for assignment. His first start in the majors would come on July 18 against the Arizona Diamondbacks. Unlike Kensing, Olsen, and Bazardo, Vargas enjoyed nearly immediate success upon his arrival in the major leagues, and after Ismael Valdéz returned from a leg injury, the Marlins moved Brian Moehler to the bullpen and left Vargas in their rotation. On August 21, Vargas started against the Dodgers and pitched his first complete game in the majors, giving up one run on six hits and striking out seven. He finished the 2005 season with a record of 5–5 and a 4.03 ERA in 17 games, 13 of which were starts. Vargas received one third-place vote from the Baseball Writers' Association of America in the 2005 MLB Rookie of the Year voting.

Vargas started the season in the Marlins' starting rotation, but he struggled there; in five starts, he went 1–1 with a 5.40 ERA, 20 walks, and 14 strikeouts in 23$2⁄3$ innings. For the month of May, the Marlins moved him to the bullpen, where he gave up one run in 5$1⁄3$ innings over his first three appearances. In his fourth appearance out of the bullpen, he allowed eight runs (seven earned) over 3$1⁄3$ innings; the Marlins optioned him to the Triple-A Albuquerque Isotopes on May 14. Vargas started improving with Albuquerque, going 2–2 with a 4.54 ERA in seven starts and earning another promotion to the major leagues on July 6.

However, over his next three games with the Marlins, all in relief, Vargas allowed 13 runs (12 earned), four home runs, and five walks in 10$1⁄3$ innings; he struck out five batters. The Marlins sent him back to Albuquerque on July 29, where he stayed for the rest of Albuquerque's season. Vargas continued to struggle in his second stint with Albuquerque, allowing 38 earned runs on 56 hits in 31$1⁄3$ innings.

The Marlins did not call him up again in 2006 after the major-league rosters expanded in September. Overall, Vargas went 1–2 with a 7.33 ERA in 12 games (five of which were starts) for the Marlins, and 3–6 with a 7.43 ERA in 13 starts for the Isotopes in 2006.

New York Mets
On November 20, 2006, the Marlins traded Vargas to the New York Mets along with fellow starting pitcher Adam Bostick in exchange for relief pitchers Matt Lindstrom and Henry Owens. Vargas began the 2007 season with the Triple-A New Orleans Zephyrs, compiling a 2–3 record with a 5.30 ERA, which Mets manager Willie Randolph described as "so-so".

He was called up to the Mets on May 13 after an injured Moisés Alou was sent to the disabled list, and took over the rotation spot previously held by Mike Pelfrey, who was optioned to New Orleans after posting an 0–5 record in 6 outings. His first outing as a Met was on May 17, a no decision in a 6–5 victory over the Chicago Cubs. His next outing as a Met was on July 3 against the Colorado Rockies. Vargas pitched 3.1 innings, giving up nine earned runs. He pitched only 10.1 innings for the Mets in 2007.

Vargas had a bone spur removed from his left elbow in October, and had surgery to repair a torn labrum in his left hip on March 17, 2008, following which he missed the entire 2008 season.

Seattle Mariners
On December 10,, Vargas was one of seven players sent to the Seattle Mariners in a three-team trade between the Mets, Mariners, and the Cleveland Indians.

Vargas was optioned down to the Triple-A Tacoma Rainiers on July 7,, to make roster room for Chris Shelton. On September 1 Vargas was called up to the Majors. He had been 4–3 with a 3.14 ERA in nine starts with Tacoma. In 2009 with Seattle he was 3–6 with a 4.91 ERA in 23 games, 14 of which were starts.

Vargas started the 2010 Mariner season in the squad's starting rotation, and through June proved to be one of the most surprising success stories on the troubled Seattle team's roster. Through 14 starts he had posted a 6–2 record over 91.1 innings, with a 2.66 ERA, 60 strikeouts, and 23 walks. By the end of the season Vargas had thrown 192 innings over 31 starts, and posted a 9–12 record with a 3.78 ERA and 116 strikeouts. He kept left-handed batters to a .200 average, which was 9th-lowest in the American League.

In 2011 he was 10–13 with a 4.25 ERA in 32 starts, and his three shutouts were 3rd in the league while his four complete games were 4th in the league, and his 13 losses were 7th in the league.

In January 2012 the Mariners and Vargas agreed on a 1-year deal worth $4.85 million for the 2012 season. In July, Vargas went 5–0 in six starts, had an AL-best 1.64 ERA, and was named the AL Pitcher of the Month. For the season, he was 14–11 with a 3.85 ERA, his 33 starts were fourth in the league, and his 217.3 innings pitched were sixth in the American League, while his 35 home runs given up were second in the league.

Los Angeles Angels of Anaheim
On December 19, 2012, Vargas was traded to the Los Angeles Angels for first baseman Kendrys Morales. In May 2013 he was again AL Pitcher of the Month. In 2013, he was 9–8 with a 4.02 ERA in 24 starts, and his two shutouts and his three complete games were each 3rd in the league. He became a free agent following the season.

Kansas City Royals
On November 21, 2013, Vargas signed a four-year, $32 million contract with the Kansas City Royals. He opened the 2014 season as the number three starter for the Royals and posted a career-best 3.71 ERA over 187 innings, as he was 11–10 in 30 starts. His 1.97 walks per 9.0 innings ratio tied for 10th in the American League, and was third-best among AL left-handers.

On July 21, 2015, during a game against the Pittsburgh Pirates, Vargas was forced to leave the game after throwing only 26 pitches, with an apparent injury to his throwing arm. The next day, Vargas was diagnosed with a torn UCL in his left elbow, forcing him to undergo Tommy John surgery and miss the remainder of the 2015 season and much of the 2016 season. For 2015, he was 5–2 with a 3.98 ERA in nine starts. Although his season ended prematurely before the Royals' World Series run in 2015, he did receive a World Series ring.

On September 17, 2016, he made his first start following his recovery from surgery, against the Chicago White Sox. In 2016 he pitched only 12 innings, all of which were scoreless.

The 2017 season was Vargas's fourth year with the Kansas City Royals, and his first full season since undergoing Tommy John surgery. Vargas started strong, going 12–3 in the first half, and was named to the American League All Star team for the 2017 Major League Baseball All-Star Game. It was the first-ever All Star selection of his career. In the second half Vargas struggled, posting a 2–8 record, including a four-game losing streak. He rebounded, however, winning four straight decisions in the month of September, and in the process establishing a career-high for wins. Vargas finished the season with an 18–11 record and an ERA of 4.16 in 179.2 innings, with his 18 wins tied for the American League lead, and his 32 starts 9th in the league. He led major league pitchers in percent of balls pulled against him (48.8%). He also led all major league pitchers in changeup percentage (32.7%). On defense his 23 assists as a pitcher were 5th in the league, as his 1.60 range factor/9IP was 4th in the league and he fielded 1.000. He became a free agent following the season.

Return to the Mets
On February 18, 2018, Vargas signed with the Mets for two years and $16 million, plus an $8 million option for a third year. On March 16, Vargas suffered a non-displaced fracture of the hamate bone in his right hand. He missed the first month of the season due to the broken right hand. On June 25, he was once again placed on the disabled list, with a calf injury. On August 29, he struck out his 1,000th batter becoming one of 16 active left-handers to reach that milestone. In 2018, he posted a 7–9 record with a 5.77 ERA in 20 starts.

On June 23, 2019, Vargas threatened a Newsday reporter with bodily harm (i.e., being punched out) in the Mets locker room after a game against the Cubs. The following day Vargas was fined $10,000 by the Mets for his actions. At the time that he was traded in 2019, he was 6–5 with a 4.01 ERA for the Mets, in 19 games, 18 of which were starts.

Philadelphia Phillies
On July 29, 2019, the Mets traded Vargas and $2.9 million to the Philadelphia Phillies for Double-A minor league catcher Austin Bossart. In 2019 with the Phillies, Vargas was 1–4 with a 5.37 ERA, and in 11 starts he pitched $55 1⁄3$ innings. Vargas became a free agent following the season on November 4, 2019.

Pitches
Vargas throws four pitches: a two-seam and four-seam 85 mph fastball, a 71 mph curveball, and a 79 mph changeup.

Personal life
Vargas married his high school sweetheart, Shelly. They have three children.

title: Jason Vargas


text:
User talk:142.16.22.18

May 2013
Hello, I'm Materialscientist. An edit that you recently made to Gary Levy  seemed to be a test and it has been removed. If you want more practice editing, the sandbox is the best place to do so. If you think I made a mistake, or if you have any questions, you can leave me a message on my talk page. Thank you. Materialscientist (talk) 22:26, 10 May 2013 (UTC)

January 2015
Hello, I'm Meters. I wanted to let you know that I undid one or more of your recent contributions to Near miss (safety) because it did not appear constructive. If you would like to experiment, please use the sandbox. If you think I made a mistake, or if you have any questions, you can leave me a message on my talk page. Thanks! Meters (talk) 19:47, 9 January 2015 (UTC)

Please stop your disruptive editing. If you continue to vandalize Wikipedia, as you did at Near miss (safety), you may be blocked from editing. Meters (talk) 19:58, 9 January 2015 (UTC)

Welcome!
Hello, and welcome to Wikipedia! Thank you for your contributions, such as the one you made to June 28. I hope you like the place and decide to stay.

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Happy editing!  SAMI  talk 20:03, 28 January 2015 (UTC)

title: User talk:142.16.22.18


text:
Dumped

Dumped is a British reality television programme which started on 2 September 2007 and aired nightly until 5 September 2007 on Channel 4. It involved 11 contestants living for three weeks on a rubbish dump next to a landfill site near Croydon in South London. The contestants who "survived" the 21 days and used only what they found on the dump were awarded £20,000 to share equally between them. The working title of the programme was Eco-Challenge. One contestant, Darren Lumsden, voluntarily left the programme on Day 3. The series was promoted with a large publicity campaign, which included advertisements on websites and a concert by the Royal Philharmonic Orchestra. The programme achieved a peak of 2.4 million viewers, although this was marginally less than the number of people watching other channels at the same time. The programme was criticised because it was filmed on an artificial landfill and for its choice of "fame hungry" contestants.

Production and format
Dumped, which was filmed in June 2006, was initially scheduled for Channel 4's Spring 2007 line-up. However, this did not occur and the programme was then postponed until the start the channel's period of "creative renewal", which was established due to the racism controversy that occurred during the fifth series of Celebrity Big Brother in January 2007.

11 participants, who were not initially informed of their task, must live on a purpose-made rubbish dump adjacent to a working landfill site for 21 days after being left equipped only with a sleeping bag, drinking can and one roll of lavatory paper each. Rob Holdway, director of environmental consultancy Giraffe Innovation, presented the programme and set the contestants regular challenges. The participants had to wear Kevlar gloves, protective boots and face masks when working on the real landfill site. Every person working on the programme was given tetanus, polio and hepatitis vaccinations for their safety.

Contestants
The 11 contestants who participated "represented the complete spectrum of public opinion on environmental issues". Potential participants were not told that the programme would involve living on a landfill, but were instead told that they would be part of "a unique eco-challenge". One participant, Darren Lumsden, voluntarily left the programme after just three days, claiming that the experience had taught him nothing, though years later he would turn up on another reality TV show called The Chop (in October 2020).

Pre-series publicity
Described as Channel 4's "biggest marketing campaigns of the year", Dumped was promoted via various methods. Advertisements for the programme appeared on websites such as Yahoo, The Guardian, New Scientist, The Daily Telegraph and MSN. Television adverts, using the 1998 single "Delta Sun Bottleneck Stomp" by Mercury Rev, featured people performing everyday tasks such as bathing whilst on the landfill. Posters featuring the programme's tagline, "Living off the landfill", were displayed across Britain and others appeared on the London Underground. Some bus shelters within London featured posters which were made out of rubbish, and 2 September 2007 edition of The Sunday Times featured a biodegradable bag wrap to promote the programme. Eight members of the London Philharmonic Orchestra performed Land of Hope and Glory on the landfill site that the programme was filmed, using instruments that had been made out of waste.

Viewing figures
Dumped received relatively low viewing figures for a peak time programme on a terrestrial channel. The first episode of the programme received just 2.4 million viewers, 10% of the audience, compared to the television premiere of The Queen on ITV1 which was watched by an average of 7.9 million people and attracted a 36% audience share. Coming Down the Mountain, also airing at the same time on BBC One, was watched by 4.7 million and a 20% share. The second episode was watched by 1.7 million, compared to the 3.6 million that watched the opening episode of the third series of ITV1's Hell's Kitchen. The penultimate episode was viewed by 1.5 million viewers and had a 7% audience share, while Hell's Kitchen received 3.4 million viewers and a 15% audience share. The final episode of the programme attracted 1.9 million viewers and an audience share of 8%, while 4.2 million viewed Hell's Kitchen, a 19% audience share. Both programmes were beaten in their slot by BBC One's Traffic Cops, which attracted 5.5 million and a 25% share of the audience.

Reviews
Dumped was met with a mixed reaction from critics. James Walton, of The Telegraph, was critical of the programme and its purpose; on Darren's departure, he said: "According to the narrator, this proved that Darren “didn’t understand” the experiment. Another interpretation, of course, would be that he did." The Times criticised the programme for setting the programme in an artificial rubbish dump for health and safety reasons, comparing it to various fakery scandals that had taken place in the programme Blue Peter in the past year. However, Nigel Kendall of the same newspaper called the programme "entertaining" and its contestants "likeable", while Paul Hoggart said that it gets its point across. Website TV Scoop said that the programme was "a great experiment", but did not approve of the inclusion of "fame hungry" participants and compared the programme to the most recent series of Big Brother. The website Hecklerspray gave the programme a negative review, calling the participants "absolute fucking morons", and Orange gave the programme 3 out of 5 stars. Channel 4 controller Julian Bellamy commented on the programme's failure during Edinburgh Television Festival 2008, saying that it "didn't have the human narrative you need" and that it was "a little bit too like other reality shows".

Controversy
An argument started in the camp between Jermaine and Selena on Day 15, which resulted in some participants stating that they felt intimidated by his actions. The programme's producers had to enter the dump and discuss, along with the other members of the group, whether Jermaine should remain on the programme. Jermaine himself offered to voluntarily leave the programme, but the producers and the other participants decided to keep him. This was criticised in some reviews; one of which called Jermaine "a loud mouthed moron".

title: Dumped


text:
Bow Valley

Bow Valley is a valley located along the upper Bow River in Alberta, Canada.

The name "Bow" refers to the reeds that grew along its banks and which were used by the local First Nations people to make bows; the Blackfoot language name for the river is Makhabn, meaning "river where bow weeds grow".

Community
There are several communities in the Bow Valley, including Banff, Canmore, Kananaskis, and the hamlets of Dead Man's Flats, Exshaw, Harvie Heights, Lac des Arcs, and Lake Louise. Local residents are culturally diverse, with growing immigration trends since the early 2000s.

Parks
Bow Valley Provincial Park (part of the Kananaskis Country park system) was established east of the Canadian Rockies in the arch of the valley, while the upper course of the Bow River flows through Banff National Park. The Canmore Nordic Centre Provincial Park is located between the Banff National Park and Canmore in the Bow River Valley.

Numerous other recreation areas dot the valley. Provincial Recreation Areas are established at Three Sisters, Gap Lake, Grotto Mountain, Lac des Arcs, Heart Ridge, Heart Mountain, Ghost Reservoir and other locations.

Lakes
Many lakes, glacial and artificial, are found in the Bow Valley:
 * Bow Lake
 * Hector Lake
 * Vermilion Lakes
 * Lake Louise
 * Gap Lake
 * Lac des Arcs
 * Ghost Lake

title: Bow Valley


text: User talk:69.133.67.178

title: User talk:69.133.67.178


text:
Seven Islands Land Company

Seven Islands Land Company is a privately held land and timber management holding company based in Bangor, Maine.

Pingree family
Seven Islands manages approximately 1 million acres (4,000 km2) of forest in the North Maine Woods, in northern and western Maine, for dozens of members of the Pingree family, descendants of wealthy Salem, Massachusetts, shipping magnate David Pingree (nicknamed the "Merchant Prince of Salem"). He began to acquire the Maine lands more than 150 years ago.

In 1997, the family's Seven Islands Land Company is believed to be the fourth largest private landowner in the United States, according to an analysis by Worth magazine. Seven Islands is integrally tied to another family entity, Pingree Associates. As of 2017, the Pingree family is 10th largest private landowner in the United States.

History
The Pingree family holdings date back to 1820, when Maine became a state. In that year, Pingree, correctly believing that his city would cease to be a major port, started purchasing vast tracts of softwoods and hardwoods as an investment hedge.

Over the next 150 years, the Pingree holdings would reach 1 million acres (4,000 km2) and include over 2,000 miles (3200 km) of shore frontage along major rivers and streams, more than 100 lakes, 24,800 acres (100 km2) of deer yards and 72,000 acres (290 km2) of wetland habitat.

Development and conservation
Development on the Pingree's Seven Islands Land Company property, much of which surrounds Baxter State Park and the Allagash River, is heavily restricted.

In 2001, Pingree Associates announced they had negotiated an arrangement with the New England Forestry Foundation to sell undevelopable easements on three-quarters of their nearly 1 million acres (4,000 km2). The remaining 250,000 acres (1,000 km2) were made available for limited development.

The agreement created the largest conservation easement in American history, effectively putting an area larger than the state of Rhode Island off-limits to development.

title: Seven Islands Land Company


text:
Furnace Creek

Furnace Creek may refer to:

Populated places

 * Furnace Creek, California in Inyo County

Streams

 * Furnace Creek, Mono County, California
 * Furnace Creek, Madison County, Georgia
 * Furnace Creek, Walker County, Georgia
 * Furnace Creek, Lemhi County, Idaho
 * Furnace Creek, Jo Daviess County, Illinois
 * Furnace Branch in Frederick County
 * Furnace Creek (or Furnace Branch), meeting Marley Creek to form Curtis Creek, Anne Arundel County and southern Baltimore, Maryland
 * Furnace Creek, Grundy County, Missouri
 * Furnace Creek (Big River tributary), Washington County, Missouri
 * Furnace Creek, Oneida County, New York
 * Furnace Creek, Berks County, Pennsylvania
 * Furnace Creek, York County, Pennsylvania
 * Furnace Creek, Cherokee County, South Carolina
 * Furnace Creek, Dickson County, Tennessee
 * Furnace Creek, Johnson County, Tennessee
 * Furnace Creek, Floyd County, Virginia
 * Furnace Creek, Franklin County, Virginia
 * Furnace Creek, Lafayette County, Wisconsin
 * Furnace Creek, Sauk County, Wisconsin

title: Furnace Creek


text: User talk:81.214.99.179

title: User talk:81.214.99.179


text:
Sikka language

The Sikka language or Sikkanese, also known as Sika, is spoken by around 180,000 people of the Sika ethnic group on Flores island in East Nusa Tenggara province, Indonesia. It is a member of the Central Malayo-Polynesian branch of the Austronesian language family.

Sikka is notable for being one of the few languages which contain a non-allophonic labiodental flap. Like many other languages in eastern Indonesia, it shows evidence of having a Papuan (non-Austronesian) substratum, but in the case of Sika, this includes extreme morphological simplification and about 20% lexical replacement in basic vocabulary. It has been hypothesized that the Austronesian languages in that area could be descendants of a creole language, resulting from the intrusion of Austronesian languages into eastern Indonesia.

Sika has at least three recognized dialects:
 * Sikka Natar, which is generally perceived in the region to be the most refined and most prestigious of the Sika speech varieties.
 * Sara Krowe, spoken in the central hills of Sika-speaking people.
 * Ata Tana 'Ai or Sara Tana 'Ai, used by both outsiders and insiders to refer to the people and language of the region; it is also used as a ritual language.

Consonants
Sika has the following consonant phonemes:

Vowels
Sika has the following vowel phonemes:

title: Sikka language