text:
User talk:SkeezerPumba

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome!
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

Zzyzx11 | Talk 20:49, 20 Apr 2005 (UTC)

Fuzion
Thank you for your added content on Fuzion. I was kind of stumped on how to improve the article, and as well as adding lots of content, you've also given me ideas for how to add yet more. :) Almafeta 23:52, 25 Apr 2005 (UTC)

Images for Black triangles
FYI, User:213.249.232.238 (talk) has been inserting text into Black triangles, because he/she claims that the images were illegally taken from http://www.thewhyfiles.net. Would you mind double cheking to make sure that the images are really fair use? I informed the user about our image copyvio policies, and he/she has stopped editing the article for now, but I would like to make sure that this doesn't happen again. Sincerely, Silas Snider (talk) 19:36, Jun 15, 2005 (UTC)

Thanks for contacting the owner of the site -- you have prevented a potentially messy situation. One minor point -- when leaving a message on a talk page, please leave all previous messages intact -- including your previous messages. Some wikipedians get quite upset about that kind of thing. ;-) Sincerely, Silas Snider (talk) 04:53, Jun 17, 2005 (UTC)

Rfa
I've been nominated to be a Admin. Martial Law 06:34, 10 March 2006 (UTC) :)

UFO
You've indicated that you're interested in UFOs. Ever hear about the Robertson Panel ? If not, this was a program initiated by the CIA to reduce interest in these "forbidden" matters by making any and all who see these things, have a interest in these things look like fools and/or idiots, and since psychiatrists are employed in this, it is to make these people look like they're mentally defective. I've had some experiences with UFOs while I was a kid in Texas, and still have "CE-1s" from time to time. While I was "Out West", travelling as a prospector, people had (polite) told me that IF there is any alien contact, they'll revolt, some for religious reasons, some, out of revenge for being abused, ridiculed as persuant to the Robertson Panel protocol and/or the Brookings Report protocol. I also have some police and military contacts. Some of these contacts have been in the "Alphabet Agencies". I've also snapped a pix of a UFO while I was in Phoenix, Arizona getting a $60,000 RV fixed. I caught the UFO as it was flying over a auto dealership. That is now my terminal's Wall Paper. I've personally seen @ least 30 of these things, incl. two "fleets" flying overhead. One fleet had UFOs so large you could land a B-52 on one easily, and it had at least 10 in it, all identical to one another. The reason the Robertson Panel was initiated was that Washington D.C. was involved in a major UFO incident in 1952. A "Alphabet Agency" is the CIA, NSA,FBI,IRS, the like located in Washington DC,etc. Martial Law 23:08, 10 March 2006 (UTC) :)

Its the Robertson Panel protocol that states that people will be ridiculed. Since shrinks are used (psychiatrists), the ridicule is that they'll be declared mentally unfit, i.e. nuts, insane and the like. Martial Law 21:44, 15 March 2006 (UTC) :)

Pare-listing
Find on my User page a listing of Wikipedians who have had bizarre experiences, interested in these matters. Do want to list your designation there ? Martial Law 20:05, 19 March 2006 (UTC) :)

New Group
Want in ? This is about Wikipedians, such as yourself, who have had paranormal experiences, and/or interested in these matters. Martial Law 20:43, 28 March 2006 (UTC) :)

See my talk page for details. Martial Law 20:44, 28 March 2006 (UTC) :)

Wikiproject Paranormal Collaboration
Hi, I'm leaving you this message because I noticed you are interested in Wikiproject Paranormal. We're currently starting a new project which we need the help of our members in, the WikiProject Paranormal Collaboration of the Month. This is an initiative where we can identify articles that need work (especially high-traffic pages), and get the whole project involved with their improvement. Currently, we are in the process of voting for our first collaboration. We'd appreciate it if you'd stop by, vote, and add any articles you may think may be appropriate for the project. Also, you may wish to add the Collaboration page to your watchlist to observe future collaborations. If you'd like, we've also created a category to collect articles covered by our project as a reference, if it helps. So, thank you for your interest, and happy editing! --InShaneee 16:01, 16 September 2006 (UTC)

Hol (role-playing game)
I have added a "" template to the article Hol (role-playing game), suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but I don't believe it satisfies Wikipedia's criteria for inclusion, and I've explained why in the deletion notice (see also "What Wikipedia is not" and Wikipedia's deletion policy). You may contest the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page. Also, please consider improving the article to address the issues raised. Even though removing the deletion notice will prevent deletion through the proposed deletion process, the article may still be deleted if it matches any of the speedy deletion criteria or it can be sent to Articles for Deletion, where it may be deleted if consensus to delete is reached. --Slowking Man 03:12, 20 March 2007 (UTC)

AfD nomination of International UFO Congress
I have nominated International UFO Congress, an article that you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/International UFO Congress. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time. ScienceApologist (talk) 15:34, 21 January 2009 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:00, 23 November 2015 (UTC)

Nomination of Tri-Stat dX for deletion
A discussion is taking place as to whether the article Tri-Stat dX is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Tri-Stat dX until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. Chetsford (talk) 22:09, 31 January 2020 (UTC)

title: User talk:SkeezerPumba


text:
Zandra Rhodes

Dame Zandra Lindsey Rhodes, (born 19 September 1940), is an English fashion and textile designer. Her early education in fashion set the foundation for a career in the industry creating textile prints. Rhodes has designed garments for Diana, Princess of Wales and numerous celebrities such as rock stars Freddie Mercury and Marc Bolan. She has also designed textiles for interiors, featuring her prints on furniture and homewares. In 2003 Rhodes founded the Fashion and Textile Museum in London.

Over her 50 year career Rhodes has won numerous awards recognising contribution within the fashion industry, including Daytime Emmy Award for Outstanding Individual Achievement in the Performing Arts – Costume Design 1979, Designer of The Year in 1972 and the Walpole British Luxury Legend Award 2019. A Rhodes dress featured on a commemorative UK postage stamp issued by Royal Mail in 2012 celebrating Great British Fashion.

Early life and education
Rhodes was born 19 September 1940, in Chatham, Kent, England. Her mother was a fitter at the House of Worth in Paris and later became a professor at Medway College of Art, now the University for the Creative Arts. Her father was in the air force in Egypt and later became a lorry driver. Three years after Rhodes was born, her mother gave birth to her sister Beverley Rhodes. Rhodes' mother having an occupational background in fashion, the industry was instilled in her as an adolescent; she has described her mother as one of her greatest influences, to whom she owes her career.

Rhodes first studied at Medway College of Art; her major area of study was printed textile design in England. Pop artist Roy Lichtenstein, Andy Warhol, and textile designer Emilio Pucci were a few of Zandra Rhodes' early influences. Textile design instructor Barbara Brown inspired her interest in textile designs during the course of her studies. Rhodes later furthered her education under a scholarship at Royal College of Art. She strayed away from the traditional patterns many designers were producing to create furniture. Rhodes utilised her skill towards designing patterns to create garments. In 1964, Zandra Rhodes graduated with a degree in home furnishing textile design.

Career
Rhodes' early textile fashion designs were considered outrageous by the traditional British manufacturers, which made it hard to find work. In 1968 Rhodes started a business with fashion designer Sylvia Ayton. The two designers opened a boutique called Fulham Road Clothes Shop. The business allowed Rhodes to create her textile designs onto garments designed by Sylvia Ayton. She produced her first collection showing loose, romantic garments.

In 1969, Rhodes and Ayton went their separate ways, with Rhodes establishing her own studio in Paddington in west London. As a freelancer she released her first solo collection. The collection of garments received recognition from both the British and American market. Marit Allen, editor of American Vogue at the time featured pieces of Rhodes’s collection in an issue. Receiving recognition by Marit Allen persuaded high end retailers like Henri Bendel, Fortnum and Mason, Neiman Marcus, and Saks to purchase her collection. Rhodes's own lifestyle proved to be as dramatic, glamorous and extrovert as her designs. With her hair a vivid shade of bright green (later changed to pink, and sometimes red or other colours), her face painted with theatrical makeup and audacious art jewellery swinging from her neck, ears and arms, she stamped her identity on the international world of fashion.

Rhodes was one of the new wave of British designers who put London at the forefront of the international fashion scene in the 1970s. Her designs are considered clear, creative statements; dramatic but graceful; audacious but feminine. Rhodes's inspiration has been from organic material and nature. Her unconventional and colourful prints were often inspired by travel; chevron stripes from Ukraine and the symbols of the North American Indian, Japanese flowers, calligraphy and shells. Her approach to the construction of garments can be seen in her use of reversed exposed seams and in her use of jewelled safety pins and tears during the punk era.

Rhodes created handmade evening wear using her unique feminine textiles. Each garment created incorporates different types of feminine style into place. She made her biggest splash in 1977 with the establishment take on punk, which she called Conceptual Chic. She created dresses with holes and beaded safety pins – 10 years before Versace – to form a sort of embroidery, mixed with loosely drawn figures screen-printed on silk jersey, or on the newly developed Ultra suede fabric. When she creates her garments a lot of thought goes into the construction. Simplistic shapes help mould the foundation of Rhodes's garments. The foundation of the shapes, functions as an enhancer that maximizes the effects of her prints. She achieves this look by using techniques including layering, smocking, and shirring. All of Zandra Rhodes's garments are constructed around the design of her distinct prints, despite being structured around the formation of the dress.

Rhodes designed for Diana, Princess of Wales, and continues to design for royalty and celebrities. She has notably designed costumes for rock musicians, glam rock pioneer Marc Bolan of T. Rex, and Freddie Mercury and Brian May of Queen.

Multidisciplinary design
Rhodes has branched out from fashion, bringing her textiles into other design disciplines. In 1976 Rhodes designed her first interior home décor collection, licensed under Wamsutta. The collection featured household linens, glassware, cushions, throws, and rugs. Zandra Rhodes also used her signature prints to create, ties, lingerie, and a fragrance. In 1995 she established a studio in California to develop an interior design business.

The San Diego Opera commissioned her to design the costumes for their production of Mozart's The Magic Flute in 2001. In 2004 she designed the set and costumes for the San Diego Opera performance of Bizet's Les pêcheurs de perles. She designed for Verdi's Aida at the Houston Grand Opera and English National Opera. In 2002 Rhodes designed a poster for Transport for London showing the River Thames as a woman wearing London landmarks as jewellery.

Rhodes is the founder of the Fashion and Textile Museum in London, which opened in May 2003. The four-million-dollar project took approximately seven years for architect Ricardo Legorreta to build. The museum provides exhibitions and educational programs for fashion students. Contained in the museum is a library and lecture room that will help immerse people into the ways fashion has impacted society throughout the years. In the first exhibit titled "My Favourite Dress" there are dresses from over seventy fashion designers including Oscar de la Renta, Donna Karan, Valentino, and Giorgio Armani. Zandra Rhodes personally asked each designer to choose one of their favourite dresses for the exhibit. It was important for Rhodes to incorporate other designers into the exhibit so the museum provided a nuance of design besides from her own, although the museum withholds a variety of designers' garments. Rhodes included three thousand of her own original garments, and her sketch books and silk screens. The Fashion and Textile Museum produces shows a year, with changing exhibits. On 22 September 2006 she appeared as herself on the long-running BBC Radio 4 soap opera The Archers. Rhodes received an honorary doctorate from Heriot-Watt University in 2007. She appeared, as herself, in an episode of Absolutely Fabulous during the BBC show's second season. Rhodes was a guest judge for the first episode of the third season of Project Catwalk.

In November 2010, Rhodes was appointed chancellor of the University for the Creative Arts, one of the UK's newest universities and only the second to focus specifically on art and design. An official installation ceremony was held in June 2010 in the Banquet House, Whitehall, accompanied by a fashion show.

Marks and Spencers introduced the upmarket Zandra Rhodes collection, modelled and made by Rhodes, into the bigger stores by late 2009. She has her own collection of jewellery. The Zandra Rhodes jewelry includes five separate collections, which are Oriental Whisper collection, Punk Chic collection, Lovely Lilies collection, Signature collection and Manhattan Lady collection.

A more recent jewellery collection created in collaboration with Adele Marie London, called Zandra Rhodes for Adele Marie, launched in August 2011. This collection features iconic pieces of Rhodes's early textiles work remade as jewellery. Rhodes launched a handbag range made under licence by Blueprint in 2010 and has also collaborated to produce a bed linen range and a new improved outdoor clothing range.

On 26 March 2013, Rhodes launched a Digital Study collection of 500 of her iconic garments from her private archive, as well as drawings and behind-the-scenes interviews and tutorials in her studio. The Zandra Rhodes Digital Study collection was developed through a project led by the University for the Creative Arts and funded by Jisc. Making key garments she designed available for student study worldwide.

In September 2021, Rhodes launched a 26-piece homeware collection with Ikea of Sweden, available globally in-stores and online.

Honours and awards

 * Rhodes was appointed Commander of the Order of the British Empire (CBE) in 1997 and Dame Commander of the Order of the British Empire (DBE) in the 2014 Birthday Honours for services to British fashion and textiles, having been invested at Buckingham Palace by Princess Anne.
 * 1972 Designer of the Year, English Trade Fashion, Royal Designer Industry, Royal Society of Arts
 * 1978 Fellow of the Society of Industrial Arts, Moore College of Art Award, Philadelphia
 * 1979 Daytime Emmy Award for Outstanding Individual Achievement in the Performing Arts Costume Design
 * 1983 British Designer, Clothing and Export Council and National Economic Development Committee
 * 1985 Alpha award for Best Show of the Year, Saks Fifth Avenue, New Orleans
 * 1986-Women of Distinction Award, Northwood Institute, Dallas
 * 1990 Number One Textile Designer, Observer Magazine
 * 1995 Hall of Fame Award, British Fashion Council
 * 1997 Golden Hanger award for lifetime achievement, Fashion Careers of California College, San Diego
 * 1998 Leading Woman Entrepreneur of the World by the Star Group U.S.A., Honor award from the National Terrazzo and Mosaic Association Honor for Del Mar Terrace
 * 2006 Montblanc de la Culture Arts Patronage Award
 * 2019 Walpole British Luxury Legend Award

Personal life
Rhodes describes former president of Warner Brothers Salah Hassanein (1921–2019) as having been her long-standing partner, and the greatest love of her life, until his death in 2019.

She was arrested for growing cannabis in 1986.

On 30 June 2009, Rhodes crashed her car into a hardware store in La Jolla, California, injuring a woman.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Zandra Rhodes


text:
Oxford Clay

The Oxford Clay (or Oxford Clay Formation) is a Jurassic marine sedimentary rock formation underlying much of southeast England, from as far west as Dorset and as far north as Yorkshire. The Oxford Clay Formation dates to the Jurassic, specifically, the Callovian and Oxfordian ages, and comprises two main facies. The lower facies comprises the Peterborough Member, a fossiliferous organic-rich mudstone. This facies and its rocks are commonly known as lower Oxford Clay. The upper facies comprises the middle Oxford Clay, the Stewartby Member, and the upper Oxford Clay, the Weymouth Member. The upper facies is a fossil poor assemblage of calcareous mudstones.

Oxford Clay appears at the surface around Oxford, Peterborough and Weymouth and is exposed in many quarries around these areas. The top of the Lower Oxford Clay shows a lithological change, where fissile shale changes to grey mudstone. The Middle and Upper Oxford Clays differ slightly, as they are separated by an argillaceous limestone in the South Midlands.

Palaeontology
The Oxford Clay is well known for its rich fossil record of fish and invertebrates. Many of the fossils are well preserved, occasionally some are found exceptionally well preserved. Animals which lived in the Oxford Clay Sea include plesiosaurs, marine crocodiles, ichthyosaurs, cephalopods (such as belemnites), bivalves (such as Gryphaea), and a variety of gastropods. Dinosaur eggs are stratigraphically present in the Lower Oxford Clay. Geographically, they are located in Cambridgeshire, England.

Ornithischians
Indeterminate euronithopod remains stratigraphically present in the Lower Oxford Clay and geographically located in Cambridgeshire, England.

Economic use
Oxford Clay has a porous consistency and is soft and is often used in the making of roads. It is also the source of the Fletton stock brick of which much of London is built. For brick making, the Oxford Clay has the advantage of containing carbon which provides part of the fuel required in firing it so reducing the requirement for an external fuel source.

title: Oxford Clay


text:
Broadband remote access server

A broadband remote access server (BRAS, B-RAS or BBRAS) routes traffic to and from broadband remote access devices such as digital subscriber line access multiplexers (DSLAM) on an Internet service provider's (ISP) network. BRAS can also be referred to as a broadband network gateway or border network gateway (BNG).

The BRAS sits at the edge of an ISP's core network, and aggregates user sessions from the access network. It is at the BRAS that an ISP can inject policy management and IP quality of service (QoS).

The specific tasks include:

 * Aggregates the circuits from one or more link access devices such as DSLAMs
 * Provides layer 2 connectivity through either transparent bridging or PPP sessions over Ethernet or ATM sessions
 * Enforces QoS policies
 * Provides layer 3 connectivity and routes IP traffic through an Internet service provider’s backbone network to the Internet

A DSLAM collects data traffic from multiple subscribers into a centralized point so that it can be transported to a switch or router over a Frame Relay, ATM, or Ethernet connection.

The router provides the logical network termination. Common link access methods include PPP over Ethernet (PPPoE), PPP over ATM (PPPoA) encapsulated sessions, bridged Ethernet over ATM or Frame Relay (RFC 1483/RFC 1490), or just plain Ethernet. In the case of ATM or Frame Relay based access, individual subscribers are identified by Virtual Circuit IDs. Subscribers connected over Ethernet-based remote access devices are usually identified by VLAN IDs or MPLS tags. By acting as the network termination point, the BRAS is responsible for assigning network parameters such as IP addresses to the clients. The BRAS is also the first IP hop from the client to the Internet.

The BRAS is also the interface to authentication, authorization and accounting systems (see RADIUS).

title: Broadband remote access server


text:
Wikipedia:Featured article candidates/Canadian House of Commons/archive1

Canadian House of Commons
Self-nom. -- Emsworth 20:50, 20 Apr 2005 (UTC)
 * Support, looks good. JYolkowski // talk 23:47, 20 Apr 2005 (UTC)
 * Support. Well the middle of some of those paragraphs could contain secrets from the Kama Sutra, but I was unable to force myself to read all of it to find out. :) What I did read was very good, and I support as much as my limited knowledge of the subject allows. - Taxman 20:36, Apr 21, 2005 (UTC)
 * Support. Nice and smooth as usual, Emsworth. You could add the date you accessed the website in the references section. Phils 05:33, 22 Apr 2005 (UTC)
 * Support, maybe I'm just a biased Canadian but it looks like featured article material. Benw 11:52, 22 Apr 2005 (UTC)
 * Support, that is a good article says I. Rje 01:32, Apr 23, 2005 (UTC)
 * object would it be possible, please, to do the same work here as you did to Westminster palace to make the references easier for us to check. For each part of the text say where it came from (invisible is okay) and for each reference give a brief comment what it's useful for. Not that we don't trust you :-), but verifiability is a great goal. Mozzerati 13:27, 2005 Apr 23 (UTC)
 * Addressed. -- Emsworth 14:39, 23 Apr 2005 (UTC)


text:
Abigail Bakan

Abigail "Abbie" B. Bakan (born 1954) is a Canadian academic.

Academic career
Bakan was chair of the Department of Humanities, Social Sciences and Social Justice Education at the Ontario Institute for Studies in Education of the University of Toronto from 2013 to 2018 and after the end of her term remains a professor in the department. Her research focuses on employment equity, Marxist theory and "anti-oppression politics".

From 1998 to 2013, she was Professor of Political Studies at Queen's University, Kingston, Ontario, Canada after being an associate and then assistant professor at the university from 1985 until 1998. From 2011 to 2013 she served as Head of the Department of Gender Studies at Queen's.

Bakan was educated at York University,

Views on Israel/Palestine
In a protest held in Toronto on July 29, 2006, Bakan criticized the government of Prime Minister Stephen Harper for supporting "Israel's illegal action against the Lebanese and Palestinian people." In a debate held at York University on May 11, 2009, Bakan and Ryerson University professor Alan Sears spoke in support of a boycott of Israeli academic institutions.

Books
Bakan has written and edited several books including:

 * Negotiating Citizenship: Migrant Women in Canada and the Global System, co-authored with Daiva Stasiulis, University of Toronto Press, 2005.
 * Critical Political Studies: Debates and Dialogues from the Left, co-edited with Eleanor MacDonald, McGill-Queen's University Press, 2003, ISBN 0-7735-2252-2
 * Not One of the Family: Foreign Domestic Workers in Canada, co-edited with Daiva Stasiulis, University of Toronto Press, 1997, ISBN 0-8020-7595-9
 * Imperial Power and Regional Trade: The Caribbean Basin Initiative, co-edited with David Cox and Colin Leys, Wilfrid Laurier University Press, 1993, ISBN 0-88920-220-6
 * Ideology and Class Conflict in Jamaica: The Politics of Rebellion, McGill-Queen's University Press, 1990, ISBN 0-7735-0745-0

Family
Bakan is the daughter of psychologist and academic David Bakan and philosopher and academic Mildred Bakan. She is the cousin of law professor Joel Bakan and ethnomusicologist Michael Bakan.

title: Abigail Bakan


text:
Luis Matos (baseball, born 1978)

Luis David Matos (born October 30, 1978) is a Puerto Rican former professional baseball outfielder. He played in Major League Baseball for the Baltimore Orioles between 2000 and 2006 and briefly for the Washington Nationals in late 2006. He most recently played for the Piratas de Campeche in the Mexican League. He bats and throws right-handed.

Career as a player
Matos was considered to be injury prone, as he has had only 3 seasons with over 300 at bats and one with 400 or more. Some in the Orioles organization felt he never reached his potential except for 2003 when he had 13 home runs, 15 stolen bases and had a batting average of .303. Matos is considered to be a good center fielder, but has an average arm. After losing his position as starting center fielder with the Orioles to Corey Patterson, Matos was designated for assignment on July 6, 2006. He signed with the Nationals as a free agent on July 14, 2006. On August 11, 2006, he was unconditionally released by the Nationals. On January 23, 2007, he signed with the Pittsburgh Pirates, but was released on March 30, 2007. Matos then signed a minor league contract with the New York Mets on August 20, 2007. In 14 games with the Mets Triple-A affiliate, the New Orleans Zephyrs, he batted .204 with 1 home run and 4 RBI.

In 2008, Matos played in the Mexican League for the Leones de Yucatán. In 88 games, he hit .289 with 6 home runs, 44 RBI, and 22 stolen bases. In December 2008, he signed a minor league contract with the Minnesota Twins, but returned to Yucatán without playing for them. He joined Campeche for the 2011 season.

Career as a manager
In 2015, he was hired as an assistant coach for the Great Lakes Loons of the Midwest League but was promoted to manager when the original manager left to fill a vacancy with the Dodgers California League team. The following season, he became a coach for the AAA Oklahoma City Dodgers of the Pacific Coast League.

In 2016, he debuted as manager in the Liga de Béisbol Profesional Roberto Clemente, the main professional baseball league in Puerto Rico, with the Criollos de Caguas. In January 2017, he won the league championship with the Criollos by defeating the Cangrejeros de Santurce. In February 2017, he managed the Criollos to a championship in the Caribbean Series when they defeated Mexico 1–0 in 10 innings. It was the first Caribbean Series title for Puerto Rico since 2000. By winning his second consecutive Caribbean Series in as many tries in 2018, Matos tied the record of consecutive titles held solely by Nap Reyes of Tigres de Marianao for six decades.

In July 2021, Matos was appointed manager of the Mexican League team Leones de Yucatán. He led the team to LMB Championship Series, where they fell to the Toros de Tijuana in 7 games. Matos returned for the beginning of the 2022 season, but was later dismissed following a 14–19 start.

title: Luis Matos (baseball, born 1978)


text:
Jonathan Silverman

Jonathan Elihu Silverman (born August 5, 1966) is an American actor. He is known for his roles in the comedy films Brighton Beach Memoirs, Weekend at Bernie's, and its sequel Weekend at Bernie's II.

Early life and education
Silverman was born in Los Angeles, California, to a Jewish family. He is the son of Hillel Emanuel Silverman, a rabbi and Devora (née Halaban) Silverman. He is the grandson of famous Conservative Rabbi Morris Silverman. His mother is from Jerusalem, where her family has lived since the establishment of Israel. He graduated Beverly Hills High School in 1984 and is friends with David Schwimmer, who was a classmate.

Career
Silverman is known for his roles the films Girls Just Want to Have Fun (1985), Brighton Beach Memoirs (1986) (a film version of the first play of Neil Simon's Eugene Trilogy), Caddyshack II (1988), Weekend at Bernie's (1989), Little Sister (1992), and Little Big League (1994), He played the role of Eddie in Beethoven's Big Break, as well as starred in the film Jam (2006).

Silverman began his career on television, with a recurring role on the sitcom Gimme A Break! from 1984 to 1986. From 1995 to 1997, Silverman played the title role in the television NBC sitcom The Single Guy. In the 2000s. Silverman was a main cast member on the sitcoms In Case of Emergency. and Significant Mother. He has also made guest appearances on Friends (in the episode "The One with the Birth"), CSI: Miami, Psych, Hot in Cleveland, and White Collar. In 2014, he guest starred on Law & Order: Special Victims Unit as a controversial standup comedian.

Personal life
Silverman has been married to actress Jennifer Finnigan since 2007; the two met at a barbecue in 2004. They have a daughter.

Philanthropy
In 2004, Silverman was a participant in the first-ever US television advertising campaign supporting donations to Jewish federations. The program featured "film and television personalities celebrating their Jewish heritage and promoting charitable giving to the Jewish community" and included Greg Grunberg, Marlee Matlin, Joshua Malina, and Kevin Weisman.

title: Jonathan Silverman


text:
User talk:Reverend Distopia

A former KDVS 90.3 FM DJ, this insane cleric is currently presumed to reside somewhere in central California. Don't believe anything he says. Never meddle in his affairs for he is subtle and quick to anger.

Please don't add silly articles to Wikipedia.

If you want to make sensible contrbutions please see Welcome, newcomers. You can ask questions at Help desk. If you want to practice editing use Sandbox. DJ Clayworth 21:21, 20 Apr 2005 (UTC)

I'll apologize should anyone read this. I wanted to see how fast my fake page would be erased. It happened almost immediately. Great job folks!--Reverend Distopia 22:35, 20 Apr 2005 (UTC)

Discordians should be silly but constructive. Destructive silliness is greyfacian. Alex Law 02:50, 17 August 2005 (UTC)

Is it destructive when the doctor hits your knee with a hammer to test your reflexes? --Reverend Distopia 19:32, 15 December 2005 (UTC)

Sloppy Seconds
This band's article, which you contributed to, is up for deletion. PT ( s-s-s-s ) 03:25, 30 August 2006 (UTC)

title: User talk:Reverend Distopia


text:
Ḫepat

Ḫepat (, ; also romanized as Ḫebat; Ugaritic 𐎃𐎁𐎚, ḫbt) was a goddess associated with Aleppo, originally worshiped in the north of modern Syria in the third millennium BCE. Her name is often presumed to be either a feminine nisba referring to her connection to this city, or alternatively a derivative of the root ḫbb, "to love". Her best attested role is that of the spouse of various weather gods. She was already associated with Adad in Ebla and Aleppo in the third millennium BCE, and in later times they are attested as a couple in cities such as Alalakh and Emar. In Hurrian religion she instead came to be linked with Teshub, which in the first millennium BCE led to the development of a tradition in which she was the spouse of his Luwian counterpart Tarḫunz. Associations between her and numerous other deities are described in Hurrian ritual texts, where she heads her own kaluti, a type of offering lists dedicated to the circle of a specific deity. She commonly appears in them alongside her children, Šarruma, Allanzu and Kunzišalli. Her divine attendant was the goddess Takitu. In Hittite sources, she could sometimes be recognized as the counterpart of the Sun goddess of Arinna, though their respective roles were distinct and most likely this theological conception only had limited recognition. In Ugarit the local goddess Pidray could be considered analogous to her instead.

The oldest evidence for the worship of Ḫepat comes from texts from Ebla, though she was not a major goddess in Eblaite religion. In later times she was worshiped in the kingdom of Yamhad, as well as in Emar. She was also incorporated into Hurrian religion, though most of the related evidence comes exclusively from western Hurrian polities such as Kizzuwatna, where her cult center was Kummanni. In Ugarit, as well as among the eastern Hurrian communities, her importance was comparably smaller. She was also incorporated into Hittite and Luwian religion through Hurrian mediation, and as a result continued to be worshiped in the first millennium BCE in states such as Tabal and Samʾal. The goddess Hipta, known from Lydia and from later orphic sources, is sometimes presumed to be a late form of her. A less direct connection between her and another figure known from classical sources, Ma, has also been proposed.

Name and character
The theonym Ḫepat was written in cuneiform as or, while in the Ugaritic alphabetic script as ḫbt. Romanizations with the middle consonant rendered as both p and b can both be found in modern literature, with the former being an attempt at representing unvoiced consonants present in the Hurrian language. The breve under the first consonant is sometimes omitted. A variant of the name without t is attested in primary sources. It occurs particularly commonly in theophoric names. Examples include the names of Mittani princesses Kelu-Ḫepa and Tadu-Ḫepa, Hittite queen Puduḫepa and Abdi-Heba ("servant of Ḫepat"), a ruler of Jerusalem known from the Amarna correspondence. In Egyptian texts, it could be rendered as ḫipa. In older publications this variant is sometimes romanized as Khipa.

According to Alfonso Archi, the theonym dḫa-a-ba-du (/ḫalabāytu/) known from Eblaite texts can be considered an early form of Ḫepat's name and indicates it should be interpreted as a nisba, "she of Ḫalab (Aleppo)". He romanizes the Eblaite theonym as Ḫalabatu. He concludes that the later form of the name developed through the process of velarization, with the loss of the l resulting in a change from a to e, similarly to cases of loss of ḥ, ʿ or ġ well documented in various Akkadian words. An alternate proposal is to interpret it as Ḫibbat, "the beloved", from the root ḫbb, "to love". Lluís Feliu notes it is not impossible both options are correct, which would reflect a case of polysemy. Doubts about the validity of both etymological proposals have been expressed by Daniel Schwemer, though he also supports interpreting the Eblaite goddess as an early form of Ḫepat. The assumption that both names refer to the same goddess is also supported by other researchers, for example Gary Beckman and Piotr Taracha.

In early scholarship attempts have been made to show a linguistic connection between the theonym Ḫepat and the biblical given name Ḥawwat (Eve), but as stressed by Daniel E. Fleming they are phonologically dissimilar.

Various epithets could be employed to designate Ḫepat as a deity who held a high position in the pantheon, for example "queen", "lady of heaven" and "queen of heaven". The last of them occurs in Hittite treaties. She could also be linked to the institution of kingship. A Hurrian ceremony dedicated to her was concerned with the concept of allašši, "ladyship", in analogy to Teshub's ceremony of šarrašši, "kingship". Ḫepat also had maternal characteristics, and could be invoked in rituals connected with midwifery. While this aspect of her character is only directly documented in texts from Hattusa, Thomas Richter argues that it might have already been known in Syria in the Old Babylonian period, as she was invoked particularly commonly in Hurrian theophoric names attributing the birth of a child to the help of a specific deity, one example being Uru-Ḫepa, "Ḫepat let the girl exist".

Ḫepat and weather gods
Ḫepat's best attested characteristic was her status as the spouse of various weather gods, especially those associated with Aleppo. It is possible that this connection went as far back as the twenty seventh century BCE. It is assumed that she and Hadda (Adad) of Aleppo were already viewed as a couple in the Eblaite texts. Outside of this area, this tradition was also followed in Alalakh. Evidence is also available from Emar, where she occurs alongside the local weather god in a festival focused on the NIN.DINGIR priestess. Daniel E. Fleming argues that he was also linked with Ashtart in local tradition, rather than exclusively with Ḫepat, though he accepts that the ritual texts only acknowledge the latter pair. Daniel Schwemer suggests that two pairings, one belonging to the tradition of Aleppo and the other reflecting coastal beliefs, coexisted in Emar. Further east in Mesopotamia the spouse of the weather god was usually Shala instead. Additionally, in Upper Mesopotamia in the Old Babylonian period local goddesses might have been recognized as his partners, for example Bēlet-Apim or Bēlet-Qaṭṭarā. Schwemer suggests that Ḫepat might have nonetheless been recognized as his spouse in the Mesopotamian kingdom of Mari, though he admits there is no evidence that she was worshiped in the local temple dedicated to him. Shala is attested in theophoric names from this city, though all of them are Akkadian and belonged to people hailing from neighboring Babylonia.

In Hurrian tradition Ḫepat's spouse was Teshub. The earliest evidence for this pairing has been identified in Old Babylonian sources from Mari. However, according to Lluís Feliu it is not impossible that among eastern Hurrian communities Shala was regarded as Teshub's wife instead, which might explain her appearance among Hurrian deities in the treaty between Šuppiluliuma I and Šattiwaza. In Ugarit, Ḫepat was recognized only as the spouse of Teshub, venerated there as the god of Aleppo, while the local weather god, Baal, was most likely considered to be unmarried.

In Tabal in the eighth century BCE Ḫepat was paired with the Luwian weather god Tarḫunz, which reflected the development of a new tradition presumably dependent on considering him analogous to Teshub. She also retained her role as the spouse of the weather god in Carchemish in the first millennium BCE, and in inscriptions from this city Tarḫunz appears alongside "Ḫipatu".

of Ḫepat
In Hurrian sources various deities were included in the, or offering lists, dedicated to Ḫepat, and as such formed a part of her circle: her son Šarruma, her two daughters Allanzu and Kunzišalli, Takitu, Hutena and Hutellura, Allani, Ishara, Shalash, Damkina, (Umbu-)Nikkal, Ayu-Ikalti, Šauška (alongside her servants Ninatta and Kulitta), Nabarbi, Shuwala, Adamma, Kubaba, Hašuntarḫi, Uršui-Iškalli, Tiyabenti, as well as "ancestors of Ḫepat" and various cultic paraphernalia connected with her. A similar group of deities follows Ḫepat and her family on the reliefs from the Yazılıkaya sanctuary: Takitu, Hutena and Hutellura, Allani, Ishara, Nabarbi, Shalash, Damkina, Nikkal, Aya, Šauška and Shuwala are identified by name in accompanying inscriptions, while six other goddesses are left unnamed.

Ḫepat could also form a dyad alongside one of her children, usually Šarruma, though attestations of Allanzu and Kunzišalli in this context are known too. Another deity who in ritual texts could form a dyad with her was Mušuni, "she of justice." Piotr Tarcha assumes that she can be considered a personified attribute or epithet of Ḫepat. However, it has been proposed that she was a separate goddess associated with the underworld, and in one case she appears in a ritual alongside Allani and Ishara. Another dyad consisted of Ḫepat and the otherwise unknown deity Ḫašulatḫi.

Two deities are attested in the role of Ḫepat's sukkal (divine attendant), Takitu and Tiyabenti. While only Takitu appears in myths, she and Tiyabenti coexist in ritual texts, where both can accompany their mistress, which according to Marie-Claude Trémouille indicates that the view that one of them was merely an epithet of the other is unsubstantiated.

Sun goddess of Arinna and Ḫepat
In an effort to harmonize the dynastic pantheon of the Hittite kings, which was influenced by Hurrian religion, with the state pantheon consisting of Hattic and Hittite deities, attempts were made to syncretise Ḫepat and the Sun goddess of Arinna. The best known source attesting it is a prayer of queen Puduḫepa, the wife of Ḫattušili III:

""

However, Piotr Taracha considers it impossible that this idea was adopted into everyday religious practices of the general Hittite population. Gary Beckman refers to it as a "rare and exceptional" example. Daniel Schwemer notes that the character of the goddess of Arinna was dissimilar to that of Ḫepat, and that unlike the latter she had a well established individual role in the pantheon. Furthermore, Ḫepat never replaced her in her traditional position in treaties and similar documents.

Other associations
In Aleppo during the existence of the kingdom of Yamhad Ḫepat seemingly belonged to the circle of deities associated with Dagan, presumably due to her connection to his son, Adad. Lluís Feliu suggests that she might have been viewed as the daughter of the former and his wife Shalash.

A list of deities from Ugarit identifies Pidray as the local counterpart of Ḫepat. Wilfred H. van Soldt suggested that in theophoric names from this city the theonym Ḫepat might have been used as a stand-in for Pidray. According to Daniel Schwemer, it is unlikely that this equation reflected a tradition in which Pidray was the wife of the local weather god, Baal.

Ebla and nearby areas
The worship of Ḫepat had its roots in the north of modern Syria. Eblaite texts indicate that under the early form of her name, Ḫalabāytu, she was worshiped in Ebla and in Aleppo in the third millennium BCE. She is first attested during the reigns of Eblaite kings Irkab-Damu and Išar-Damu and their viziers Ibrium and Ibbi-Zikir. However, she was not a goddess of major importance in Eblaite religion. She always appears in association with Aleppo in Eblaite sources, though she is very sparsely attested in this text corpus. She received offerings of various golden and silver objects, as well as cattle. In the offering list TM.76.G.22 she is the seventh deity mentioned, after Adad, Adad of Aleppo, Dagan of Tuttul, Hadabal of Arugadu, the Eblaite sun deity, Resheph of Aidu (a sparsely attested minor settlement) and Ishtar of Šetil (another small, poorly known settlement). Another text, written during the sixth year of Ibbi-Zikir and focused on offerings to the weather god of Aleppo, mentions that the king of Ebla offered a buckle to her.

A single theophoric name invoking Ḫepat is known from Ebla from the second millennium BCE. A local ruler, one of the possible members of a dynasty which ruled in the city in the twentieth century BCE, was named Igriš-Ḫeba (ig-ri-iš-ḪI-IB, with the last two signs read as ḫe-ebax). She is also depicted on a seal which might have belonged to a son of another local ruler, Indi-Limma.

Yamhad and Mari
It is presumed that Ḫepat continued to be worshiped in Aleppo through the Old Babylonian period. In one of the texts from Mari from the same period, a letter to Zimri-Lim, she is mentioned alongside Dagan and Shalash in an account of the pagrā’um, a mourning ceremony combined with the offering of sacrificial animals to deities, which in this case was held in honor of king Sumu-Epuh of Yamhad by his successor Hammurapi in the royal palace in Aleppo. In another letter an anonymous woman mentions she will pray for Zimri-Lim to her and a weather god (dIŠKUR), possibly Teshub. No theophoric names invoking Ḫepat occur in sources from Mari, with examples cited in older literature being now considered misreadings or otherwise dubious. Five examples are however attested in texts from Alalakh documenting the period when the city was under the control of the kingdom of Yamhad: Ḫebat-allani, Ḫebat-DINGIR (reading of the second element is uncertain), Ḫebat-muhirni, Ḫebat-ubarra and Ummu-Ḫebat. She is also one of the three deities, the other two being Adad and the city goddess of Alalakh, here designated by the logogram dIŠTAR (in the past erroneously interpreted as an epithet of Ḫepat), who are invoked in the curse formula in a text detailing how Abba-El I's brother Yarim-Lim became the ruler of this city after the destruction of Irride.

Emar
The worship of Ḫepat is also documented in texts from Emar. Herbert Niehr suggests that the double temple discovered during excavations was dedicated jointly to her and the local weather god. However, as stressed by Daniel E. Fleming in textual sources she occurs in "a fairly narrow setting" compared to deities such as dNIN.KUR. She was commonly associated with sikkānu stones, often interpreted by researchers as aniconic representations of deities, though this view is not universally accepted. The use of such objects is documented in texts from Ugarit, Mari and Ebla as well, and it is presumed it was a distinct feature of religious practice in ancient Syria from the third millennium BCE to the end of the Bronze Age. The anointing of a sikkānu dedicated to her is mentioned in instruction for the initiation of a NIN.DINGIR priestess of the local weather god, and offerings to it were made during the zukru festival. It was apparently located inside the city. Furthermore, an inventory of metal objects belonging to Ḫepat has been identified among texts discovered in Emar. Theophoric names invoking her are attested in sources from this city too. Examples include Asmu-Ḫebat and Ḫebat-ilī.

Western Hurrian sources
As argued by Daniel E. Fleming, Ḫepat's role in Hurrian religion is best known today. According to Alfonso Archi, after the fall of Ebla she and a number of other deities belonging to the pantheon of the city, such as Adamma, Ammarik, Aštabi and Šanugaru, did not retain their former position in the religion of the Amorites, who became the dominant culture in Syria, and as a result were reduced to figures of at best local significance, eventually incorporated into the religion of the Hurrians when they arrived in the same area a few centuries later. She is particularly well attested in sources originating in western Hurrian communities. She was the highest ranked Hurrian goddess in the traditions of Aleppo and the kingdom of Kizzuwatna, where she was worshiped in Kummanni and Lawazantiya. However, she only acquired this position by displacing Šauška from her position attested in sources from most Hurrian centers in the east, such as Nuzi. In addition to Ḫepat herself, her various cultic paraphernalia could be venerated too, for example her throne.

Ugaritic sources
Ḫepat was among the Hurrian deities worshiped in Ugarit. She appears exclusively in texts belonging to the Hurrian milieu in this city. However, her position in the local variant of the Hurrian pantheon was relatively low, and it is presumed that Šauška retained the role of the foremost goddess.

In the text RS 24.261, a ritual combining Hurrian and Ugaritic elements and focused on the local goddess Ashtart and her Hurrian counterpart Šauška, Ḫepat is listed between Pišaišapḫi and Daqitu in a sequence of deities who were recipients of offerings during it. RS 24.291, a bilingual text dealing with another ritual, which was focused on the bed of Pidray, prescribes offering a single ram to Ḫepat during the first day of the celebrations, and two of the same animal and then separately a cow on the second.

Fifteen theophoric names invoking Ḫepat have been identified in the corpus of Ugaritic texts, though one of them belonged to a person from outside the city. A letter sent by king Šauška-muwa of Amurru indicates that a temple of Ḫepat existed in the proximity of Ugarit in the settlement ‘Ari.

Eastern Hurrian sources
While Ḫepat was not regarded as one of the major deities in the eastern Hurrian polities, she was not entirely unknown there. It has been proposed that she was perceived as a deity of high status by the royal family of the Mitanni Empire, where she is attested in theophoric names of princesses. The attested examples are Kelu-Ḫepa and Tatu-Ḫepa, both from the fourteenth century BCE. In Nuzi names invoking her are uncommon. Two examples are known, Šuwar-Ḫepa and Šatu-Ḫepa; both of these individuals were relatives of a local prince.

While western Hurrian literary texts describe Ḫepat as a deity worshiped in Kumme, likely located east of the Khabur, it is not certain if she was venerated in this location.

Hittite reception
Ḫepat also came to be incorporated into Hittite religion. She is mentioned for the first time in Hittite sources in an account of Ḫattušili I's expedition against Ḫaššum, during which he seized the statues of deities worshiped in this Hurrian polity, among them this goddess, as well as Lelluri, Allatum, Adalur and the god of Aleppo. The statue was then deposited in a temple of Mezulla. In later times she and Teshub were the two main deities in the dynastic pantheon which according to Piotr Taracha first developed when a new dynasty originating in Kizzuwatna came to reign over the Hittite Empire. In the Šunaššura treaty, Ḫepat and Teshub, described as the deities of Aleppo, appear directly after the three main deities of the Hittite state pantheon, the weather god (Tarḫunna), the sun goddess of Arinna, and a "tutelary deity of Hatti" (designated by the sumerogram dLAMMA, to be read as Inara or Inar). However, this placement of the pair is unique. Typically Ḫepat was not listed among the most major deities in treaties. She is also attested in the Egyptian version of the treaty between the Hittite Empire and Egypt, presumably originally compiled when peace was established in 1259 BCE (twenty first year of Ramesses II's reign), following earlier hostilities which led to the battle of Kadesh. However, the Egyptian scribe apparently misunderstood Ḫepat as the name of a male deity, treating the determinative DINGIR as analogous to masculine Egyptian pꜢ-nṯr, even though she is designated in this text by the feminine title "queen of heaven" (tꜢ-ḥmt-nswt n tꜢ-pt; translation of cuneiform SAL.LUGAL.AN).

In the Hittite Empire Ḫepat was worshiped in Hattusa. She is depicted standing on the back of a leopard and accompanied by her children (Šarruma, Allanzu and Kunzišalli) on the central relief of the nearby Yazılıkaya sanctuary, which was dedicated to the worship of deities of Hurrian origin. The procession of goddesses who follow them reflects the order of the (offering lists). Alongside Teshub Ḫepat formed the main pair in the local pantheon of Šapinuwa, where Hurrian deities were introduced in the beginning of the reign of Tudhaliya III, when the king temporarily resided there during a period of political turmoil. During the reign of Muwatalli II she was venerated in Šamuḫa, though it is possible she, Teshub and Šauška were already introduced to the local pantheon during the reign of Tudhaliya III, when he had to relocate the capital to this city after the Kaška burned down Hattusa. Muršili II introduced the worship of Ḫepat to Katapa, where he resided near the end of his reign. During the reign of Tudḫaliya IV, she was worshiped alongside other deities associated with Teshub during a section of the AN.TAḪ.ŠUM taking place in the local temple of Kataḫḫa. There is also some evidence that the worship of Ḫepat spread to cities located in the north of the Hittite sphere of influence, including Ḫurma and Uda.

Luwian reception
Ḫepat was also worshiped by the Luwians, initially as a result of Teshub displacing the native storm god Tarḫunz in the pantheons of their easternmost communities. She appears in Luwian ritual texts originating in Kizzuwatna, where Hurrian and Luwian traditions coexisted. However, as noted by Manfred Hutter, she did not yet belong to the core Luwian pantheon and only in the first millennium BCE she became a "Luwianized" deity. She was worshiped alongside Tarḫunz in the Neo-Hittite kingdom of Tabal, which reflected the development of a new partially Hurrianized Luwian local pantheon. She might also be depicted on an orthostat from Sam’al. Herbert Niehr argues that her presence in this kingdom might indicate that despite lack of attestations she was still worshiped in Aleppo in the first millennium BCE.

Hipta and Mystis
It is possible that Hipta (Ἵπτα), a goddess regarded as the consort of Sabazios and attested in four Greek inscriptions from Katakaumene, a region located in historical Lydia, was a late form of Ḫepat. Later on Hipta was incorporated into orphic tradition. Proclus maintained that one of Orpheus' works was focused on her. He describes her as responsible for receiving the newborn Dionysus, and states that she carried a ritual winnowing basket (liknon) and a snake. Her actions and the aforementioned god's birth from the thigh of Zeus are reinterpreted by this author as "the reception of the intelligible forms by the world soul, participating in the 'mundane intellect' of the world, that is to say Dionysus". Orphic hymn number 49, possibly composed between the second and third centuries CE, is dedicated to Hipta and similarly describes her as the nurse of Dionysus:

"I call upon Hipta, nurse of Bacchos, maiden possessed, in mystic rites she takes part, she exults in the worship of pure Sabos, and in the night dances of roaring Iacchos. O queen and chthonic mother, hear my prayer (...)."

Rosa García-Gasco additionally argues that Mystis from Nonnus' Dionysiaca can be considered analogous to Hipta, and that while he did not invent this name, he was the first to apply it to a preexisting orphic figure. She suggests that the change was meant to further highlight her allegorical status and to facilitate word play. Laura Miguélez instead concludes Mystis was based on artistic portrayals of Dionysus in the company of nurses, and on vague knowledge that women fulfilling such roles played a role in some of the cults dedicated to this god.

Other proposed examples
René Lebrun has proposed that an indirect connection might have existed between Ḫepat and Ma, a deity worshiped in classical Comana, commonly assumed to correspond to Bronze Age Kummanni. He argues that possibly the site was initially associated with Hittite Mamma (Ammamma), who later came to be conflated by Ḫepat, acquiring an indirect connection with the Sun goddess of Arinna by extension, which in turn after Hurrian theonyms ceased to be used in the region might have led to the emergence of Ma, whose name might be a haplologic variant of Mamma and who as sometimes argued might have had solar traits. However, he ultimately considers Ḫepat and the possible forerunner of Ma to be two originally separate figures.

The proposal that the Lycian deity pddẽxba was a local form of Ḫepat is implausible according to Rostislav Oreshko, as most of the attested Lycian deities find no direct correspondence with other figures worshiped in ancient Anatolia, and the second element of the name is more likely to be related to the word -xba-, "river", instead.

Mythology
In Hurrian myths belonging to the so-called Kumarbi Cycle, which deal with the struggle over kingship among the gods between the eponymous figure and his son Teshub, Ḫepat appears as one of the allies of the latter. She is mentioned in passing in the Song of Ḫedammu when Ea warns Teshub that if the conflict between him and Kumarbi continues, the gods' human followers might be harmed, which would lead to him, Ḫepat and Šauška having to work to provide themselves with food. She also appears in the Song of Ullikummi, in which the eponymous monster blocks the entrance of her temple, making her unable to communicate with other gods, which prompts her to task her servant Takitu with finding out the fate of her husband Teshub after his initial confrontation with Ullikummi. The fragment describing her journey and return are poorly preserved. Later Teshub's brother Tašmišu manages to bring a message from him to Ḫepat, which almost makes her fall from the roof of her temple, though her servants manage to stop her. Her isolation is also mentioned by Ea when he asks the giant Upelluri if he is aware of the impact of Ullikummi on the world.

In the myth CTH 346.12 Ḫepat instructs Takitu to travel through the lands of Mitanni to Šimurrum on her behalf.

title: Ḫepat


text:
Template talk:British Rail DMU

This template describes articles about British Rail diesel multiple units. Therefore it should categorise articles under Category:British Rail diesel multiple units, as it is a distinct sub-category of Category:Multiple units. (Our Phellap)

TFD
This template was nominated for deletion, but did not have consensus to delete. Thus it is kept. See Templates for deletion/Log/Not deleted/June 2005. However, given its sheer size it may be worth considering to split it or convert it to a list. Radiant_* 09:55, Jun 6, 2005 (UTC)

Redesign proposal
I have created a new design for the template. It can be found below. The benifits of it over the current design are that it is collapsible, it has the v-d-e function, the layout is clearer and the template takes up less space on the page.

I would like to hear the thoughts of other people first, and have a consensus reached on whether it should be implemented. If you wish to make any changes to the design, then please make a copy of the template below, then modify it. This means the templates can be compared against each other.

I have also made similar proposals on the related templates here and here.

--Jorvik 20:27, 27 July 2007 (UTC)

 * Much cleaner and less "tall" than the original. I had been thinking about proposing a change myself and this is exactly the kind of thing I had in mind. The same goes for the proposals at Template talk:British Rail Locomotives and Template talk:British Rail EMU, although I would suggest different colours for each template (not sure which ones though). -=# Amos E Wolfe talk #=- 20:57, 27 July 2007 (UTC)

 * I have implemented the redesign following no objections. I have kept the colours on all the templates the same based on comments on the Locomotives template talk page, and the need for consistency. --Jorvik 09:40, 31 July 2007 (UTC)

Second section: the first gens (original TOPS)
Do we really need to keep the second section (in this grab)? The information about the original TOPS numbers are already in the articles themselves,

and it would require extra work to do what I was considering doing before I came across this section: marking withdrawn classes in italics. Anywho: thoughts anyone? Kevin Steinhardt (talk) 19:20, 6 June 2009 (UTC)

140 & 104
I've just come across this template by accident with no real train knowledge, so I don't understand why the link for 140 in First Generation Original TOPS takes you to the British Rail Class 104 page. There's nothing to enlighten the uninformed visitor as to whether this "140" redirect is correct or simply an oversight. It would be nice if someone could elaborate. Mighty Antar (talk) 19:04, 22 March 2010 (UTC)

Split up BR and post-privatisation?
I was just wondering if there would be any merit in splitting a "post-privatisation" section from the 2nd generation section (and similar on the other templates). Post-privatisation stock really is quite different in many respects, and I think such a split would be useful. Does anyone agree? --Muzer (talk) 11:24, 30 July 2013 (UTC)

title: Template talk:British Rail DMU


text:
User talk:Limeyuk

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome!
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

Zzyzx11 | Talk 20:54, 20 Apr 2005 (UTC)

title: User talk:Limeyuk


text:
Reach Out and Touch (Somebody's Hand)

"Reach Out and Touch (Somebody's Hand)" is the debut solo single of singer Diana Ross, released in April 1970 as the first single from her solo self-titled debut 1970 album by Motown Records.

Background
Diana Ross, having just left The Supremes after a decade of serving as that group's lead singer, went through a difficult situation trying to piece a solo album together. With Nickolas Ashford and Valerie Simpson writing and producing for her, and Paul Riser arranging, Ross recorded "Reach Out and Touch", which carried a heavy gospel influence, and was one of the few songs the singer recorded to express her social conscience, previously experimented with Supremes singles such as "Love Child" and "I'm Livin' in Shame". While the song's initial success fell short of expectations, "Reach Out and Touch" became one of Ross' most popular and notable songs. During her concert performances of the song, Ross often had the whole crowd turn to their neighbors, and "reach out and touch" their hands. Ross also performed this song as the finale for the Nobel Peace Prize Concert held in Oslo, Norway, in 2008.

Reception
Cash Box said that "Diana Ross takes hold of a slow blues-waltz message ballad and turns it into something all her own," and praised the vocal performance and the production. Record World reviewed the single, saying that "Diana Ross is great on her own."

Personnel

 * Lead vocals by Diana Ross.
 * Background vocals by Ashford & Simpson.
 * Instrumentation by the Funk Brothers.
 * Written and produced by Ashford & Simpson.

Chart history
"Reach Out and Touch" peaked at number 20 on the Billboard Hot 100, number 10 on the Cash Box Top 100, and number 7 on the R&B charts with 500,000 copies sold. It was also a hit in the United Kingdom, making number 33 on the UK Singles Chart in August 1970.

The Supremes & The Four Tops version
In 1970, the same year that Ross released "Reach Out and Touch" as her first solo single, the song was also covered by the group that she had just left at the start of that year, The Supremes (now fronted by Jean Terrell, along with other members Mary Wilson and Cindy Birdsong). The Supremes' version was a duet with fellow Motown Records artists The Four Tops on the two group's joint album The Magnificent Seven released by Motown toward the end of 1970. In one of her autobiographies, Mary Wilson mentioned that some fans at the post-Ross Supremes concerts used to call out requesting that The Supremes would sing this record live, as some fans erroneously recalled that it had been The Supremes' version, and not Ross's, that had charted as a hit Billboard single in early 1970.

In popular culture

 * On Saturday, July 28, 1984, Vicki McClure sang "Reach Out and Touch" before an estimated TV audience of 2.5 billion people during the Opening Ceremonies of the 1984 Summer Olympic Games held in Los Angeles, CA.
 * Ashford & Simpson performed the song with Teddy Pendergrass in the Philadelphia portion of Live Aid in 1985. In 2005, Ross performed the song in the closing of Tsunami Aid: A Concert of Hope.
 * Gospel artist CeCe Winans sang "Reach Out and Touch" on Memorial Day in Washington, DC in 2007.
 * This song is one of the six most common used in the grand finale medley of the Woolworths Carols in the Domain concerts in Australia since 1982/83.

title: Reach Out and Touch (Somebody's Hand)


text:
Yamaha Phazer

Phazer is the name of a model of snowmobile produced by the Yamaha Motor Company. Introduced in 1984, it became a popular model for Yamaha and spawned several follow-up models (such as the Phazer II, Phazer Deluxe, Phazer Mountain Lite, Phazer FX, and Phazer GT); its design features were also incorporated into other models (such as later-model Exciters as well as the Venture Lite).

Of particular note on the Phazer is way in which the headlight is directly connected to the handlebars so that the headlight follows the direction of a turn. This feature was certainly new among Yamaha models when it was introduced in 1984, and Yamaha claims that it and other features 'began a new era in snowmobiling'. The Phazer was always known for its sharp handling, free-revving 485cc fan-cooled engine, solid reliability (most notably on Phazer II), light weight, and most importantly, value. Ride quality akin to most of the snowmobiles of that era.

Snowmobiles under the original Phazer name appeared until 1989; new models such as the Phazer II, Phazer Deluxe, Phazer SS etc., were sold until 1998, when it was revamped to the more traditional looking snowmobile and was known as the Phazer 500 (1999-2001). For the 2002 model year the Phazer nameplate was axed, where it would take a five-year absence.

Yamaha released a bold new snowmobile under the Phazer name-plate for the 2007 model year. The snowmobile featured a radical new design which is inspired from the YZ250F motocross bike. The new Phazer is powered by a new 80 hp 499cc fuel-injected liquid-cooled four-stroke twin which makes its peak power at 11,000RPM. The engine is based on Yamaha's highly successful and dependable YZ250F dirt bike engine. With a 487-pound estimated dry weight, it is one of the lightest production four-strokes.

The 2007-era Yamaha Phazer was discontinued at the end of the 2018 model year amidst Yamaha's restructuring of their model lineups for 2019.

title: Yamaha Phazer


text:
Weald Clay

Weald Clay or the Weald Clay Formation is a Lower Cretaceous sedimentary rock unit underlying areas of South East England, between the North and South Downs, in an area called the Weald Basin. It is the uppermost unit of the Wealden Group of rocks within the Weald Basin, and the upper portion of the unit is equivalent in age to the exposed portion of the Wessex Formation on the Isle of Wight. It predominantly consists of thinly bedded mudstone. The un-weathered form is blue/grey, and the yellow/orange is the weathered form, it is used in brickmaking.

The formation was deposited in lagoonal, lacustrine and alluvial conditions that varied from freshwater to brackish. The clay alternates with other subordinate lithologies, notably hard red-weathering beds of ironstone, limestone (Sussex Marble) and sandstones, notably including the calcareous sandstone unit referred to as the Horsham Stone. It has a gradual, conformable contact with the underlying Tunbridge Wells Sand Formation, and has a sharp, unconformable contact with the overlying Atherfield Clay Formation, a shallow marine unit deposited after marine transgression during the Aptian.

Physical properties
The weathered and unweathered forms of the Weald Clay have different physical properties. Blue looks superficially like a soft slate, is quite dry and hard and will support the weight of buildings quite easily. Because it is quite impermeable, and so dry, it does not get broken by tree roots. It is typically found at 750mm down below a layer of yellow clay. Yellow, found on the surface, absorbs water quite readily so becomes very soft in the winter. The two different types make quite different bricks.

Invertebrates
Numerous insect species are known from several localities in the Weald Clay, including Rudgwick Brickworks, Auclaye Brickworks, Smokejacks and Clockhouse Brickworks

title: Weald Clay


text:
International Federation of Intellectual Property Attorneys

The International Federation of Intellectual Property Attorneys (Fédération Internationale des Conseils en Propriété Intellectuelle, FICPI; formerly known as the International Federation of Industrial Property Attorneys ), is a non-political, international, professional body of intellectual property professionals, i.e., patent attorneys and trademark attorneys, in private practice (as opposed to intellectual property professionals working in the industry). FICPI was established on September 1, 1906, and is based in Basel, Switzerland.

As of 2023, Roberto Pistolesi, a patent attorney, is the president of FICPI.

The World Intellectual Property Organization (WIPO) and the FICPI propose since 2022 a Patent Drafting Training Program to enhance the knowledge and skills of professionals, such as patent agents, who wish to strengthen their patent drafting skills.


text:
Open secret

The phrase open secret refers to information that was originally intended to be confidential but has at some point been disclosed and is known to many people. Open secrets are secrets in the sense that they are excluded from formal or official discourse, but they are open in the sense that they are familiar and referred to in idioms and language games, though these often require explanation for outsiders.

Area 51
One famous open secret is that of Area 51, a United States military base containing an aircraft testing facility. The U.S. government did not explicitly affirm the existence of any military facility near Groom Lake, Lincoln County, Nevada, until 2013, when the CIA released documents revealing that the site was established to test spy planes. While the general location of the base is now officially acknowledged, the base does not appear on government maps or in declassified satellite photography. Yet despite this, the base was demonstrably and widely acknowledged to exist for many years before the CIA officially confirmed its existence. The immense secrecy has made it the frequent subject of conspiracy theories and a central component to UFO folklore.

NSA
The National Security Agency was formally established by President Truman in a memorandum of 24 October 1952, that revised National Security Council Intelligence Directive (NSCID) 9. Since President Truman's memo was a classified document, the existence of the NSA was not known to the public at that time. Due to its ultra-secrecy, the U.S. intelligence community referred to the NSA as "No Such Agency".

MI6
The existence of the British Secret Intelligence Service (MI6) was widely known for several decades before the government's official acknowledgement of the organisation in 1994.

Post Office Tower
Post Office Tower was completed in 1964 and information about it was designated an official secret, due to its importance to the national communications network. In 1978, the journalist Duncan Campbell was tried for collecting information about secret locations, and during the trial the judge ordered that the sites could not be identified by name; the Post Office Tower could only be referred to as 'Location 23'. It was officially revealed by Kate Hoey under parliamentary privilege in 1993.

It is often said that the tower did not appear on Ordnance Survey maps, despite being a 177 m tall structure in the middle of central London that was open to the public for about 15 years. However, this is incorrect; the 1:25,000 (published 1971) and 1:10,000 (published 1981) Ordnance Survey maps show the tower. It is also shown in the London A–Z street atlas from 1984.

Israel nuclear weapons
Israel is widely acknowledged to possess nuclear weapons. This can be considered an open secret, because the Israeli government has never explicitly stated whether or not it possesses a nuclear stockpile, officially maintaining a policy of deliberate ambiguity.

Camp Mirage
Camp Mirage is the codename for a former Canadian Forces forward logistics facility located in Dubai, United Arab Emirates. The facility was established in late December 2001 and, though not officially acknowledged by the Canadian Forces, was considered an open secret.

Kayfabe
Kayfabe, or the presentation of professional wrestling as "real" or unscripted, is an open secret, kept displayed as legitimate within the confines of wrestling programs but openly acknowledged as predetermined by wrestlers and promoters in the context of interviews for decades.

The Stig's identity
In television, the primary real-world identity of The Stig, a costumed and masked television test-driver used by BBC Television for Top Gear, was an open secret until the unofficial embargo was broken by a newspaper in 2009.

title: Open secret