text:
Norman Lindsay Gallery and Museum

The Norman Lindsay Gallery and Museum is the former residence and farmlet of Australian artist Norman Lindsay. Now an art gallery, tourist attraction and museum located at 14–20 Norman Lindsay Crescent in the Blue Mountains town of Faulconbridge in the City of Blue Mountains local government area of New South Wales, Australia, it was built from 1898 to 1913 by Francis Foy, Patrick Ryan, Lindsay, and the artist's wife, Rose Lindsay (nee Soady). The property, owned by the National Trust of Australia (NSW) (Community Group), is also known as Maryville and Springwood.

The site includes a stone cottage home on a 17 ha and several smaller buildings, including two used by Lindsay as an oil painting studio and an etching studio. It was added to the New South Wales State Heritage Register on 1 March 2002.

The 1994 film Sirens, based on Lindsay's work and life, was filmed at the home and studio.

History
The 42 acre property was originally owned by Patrick Ryan, a local stonemason. In 1898 he sold the land, then called "Erin-go-Braugh" to Francis Foy, brother of Mark Foy, a Sydney entrepreneur. Soon after Foy commissioned Ryan to build a sandstone cottage, which his family used as a halfway house between Sydney and Medlow Bath, where Mark Foy owned the holiday retreat, The Hydro Majestic.

The house, renamed Maryville, was a small four bedroom construction with a roof covering of French tiles and a corrugated galvanised iron bullnosed verandah painted with red and white stripes, wooden support posts and iron lace brackets. There was a bow window on the left of the front door and a double hung sash window on the other side of the door. Because of the potential fire risk, the kitchen was a separate building. The kitchen was constructed from a different stone to that of the main building and was located on the highest point of the property. This siting suggests that perhaps the kitchen was the first building constructed, even when Ryan owed the property.

The front of the verandah was enclosed by a dry stone wall, which was later added to, as illustrated by the differing construction techniques. On the inside of the wall, in between the front gate and the driveway entrance, was a semi circular concrete bench under a gum tree. On one end was an iron urn and at the other was a circular stone with a hole in the middle. As it was not a very sound structure, it had been demolished by the 1930s. During this time the Foys owned the property, a number of outbuildings were constructed. A two bedroom cottage with a bathroom, verandah, and an open fireplace, known during the Lindsay era as "The Camp" was built as servants quarters. There was also a weatherboard structure to the west of "The Camp". although it is unclear whether this was built by the Foys or in the very early Lindsay years. This shed structure consisted of a stable, feed room, buggy shed, tool shed, milking bails and yards.

Purchase by the Lindsay family
The property was discovered by Norman Lindsay and Rose Soady in a dilapidated and overgrown state in 1912, and was subsequently purchased by Rose at the end of that year. Throughout 1913, many renovations were made to the building. Initially, new floorboards were laid to replace old ones, which had been eaten by termites. Then major constructions began, with the help of numerous locals including the Stattons. The bullnosed verandah and wooden posts were removed and replaced with an extended verandah covered with tiles imported from France to match those on the main roof. At the north eastern side, a two-foot wall was constructed on the outside edge of the verandah, approximately halfway along that side and green wooden venetian blinds were added to the front and side to make a sleep-out. Norman's design meant that the pitch of the roof was carried through to the verandah, and in conjunction with his interest in the classics, he cast many Grecian Ionic columns for supports.

It was also at this time that the wall between the two southwestern rooms was removed, thus creating the drawing room. The original bow window was also replaced with a pair of lead light French doors. Recesses were also made within the walls to accommodate Normans art works.

At the same time temporary wooden studio was built under a Moreton Bay Fig, where the courtyard is today. Whilst Lindsay used this studio, the construction of a more permanent sandstone studio was under way to the west of the main building, and further down the hill. This studio was a one-room construction with a closed verandah. This first studio was to later become the Etching Studio. Further down the hill were steps leading to a rectangular Roman style bath, apparently a pre-Lindsay installation on the location of a natural spring. It is possible that the bath was a Foy installation and a result of the family's interest in hydrotherapy.

It was not until 1915 that it was realised that the land on which the etching studio was constructed was not part of their property, so in 1916 the Lindsays rushed to Sydney to purchase the seven acres adjoining block, before the "actual" owners realised that there was a building on their property.

This period also saw the beginning of Norman Lindsay's project of populating the bush landscape of Springwood with nude statues. The first statue, of a female nude standing upright in an urn, was constructed and installed before the major works on the verandah began. Soon after the completion of the verandah and the front steps, Norman constructed two standing female nudes, which were placed on either side of the steps.

Between 1914 and 1916 construction of the swimming pool and the landscaping of the surrounding bush was in progress. The back wall of the pool was laid on bedrock, under which water seeped. There were also two cracks due to the formwork being taken away too soon. The filtration system consisted of fine wire netting through which the water flowed. The water was run off the property. There were also numerous terraces placed within the surrounding hillside, perhaps reflecting the influence that the English Romantic movement and notions of Arcadia had on Norman Lindsay's planning endeavors.

Soon after the completion of the swimming pool in 1916, the statue of seated women was installed at its edge. At the same time the statue of the "Satyr Pursuing the Nymph" was constructed and positioned in its current location. The statue of the nude with her hands behind her head as also of this era, though it was perhaps originally placed in another location and moved in the late 1930s.

In 1918, the present painting studio was built by Norman Lindsay and Percy Louden, a local man who worked on the property. In its original state, the studio was a one-room building, assembled from concrete and coke breeze bricks made by Lindsay. There was also a first level deck on the northeastern side, to which access was gained by a ladder through a trapdoor in the ceiling of the building still remaining. The deck had rigging of screens and an umbrella, but it was abandoned due to the lack of protection from the elements. It was at this time also that previous studio was dedicated solely to the production of etchings, reflecting the changing direction in Norman's art.

A statue installation of this time was that of the woman bending to dry her hair which was originally positioned directly in front of the new studio. It would have been soon after this that a bust was added to a head that was given to Norman by Francis Crossle, and which was subsequently installed to the left of NTA No 673. Later another bust was produced to match this one and was placed on the right hand side of NTA No 637, in front of the opening in the trellis which ran behind this statue group and in front of the studio. This trellis also hid the outhouse.

1920 brought the marriage of Norman and Rose and within two weeks the birth of their first child, Jane. This led to major changes to the house and grounds, and is perhaps this year that was one of the most important in terms the site's development.

The principal change was the addition of the four rooms at the rear of the main building. The four rooms consisted of a nursery on the northeast end. In keeping with Norman's original design, the roof and four rooms maintained the slope of the main buildings roof leading to the problem of very low perimeter ceilings in these rooms. At this time the bathroom was also built next to the kitchen, and the sleepout was glazed. The laundry was also in existence, which remains now in the form of the men's toilets. The Studio also underwent changes with the addition of a small fibro-asbestos storeroom at the back. Within this storeroom was a darkroom, with red and green windowpanes which could be dropped into places as required during film processing. Two years later a small bedroom was added, extending towards the northwest with a shed behind it, thus replacing the first floor deck.

In 1924 also bought major changes to the building. Initially a kitchen and the bathroom were renovated and tiled in a style designed by Rose. The original hexagonal pattern now remains only within the pantry adjacent the kitchen currently used as a storeroom. At this time Rose also tiled all the doorsteps, the fireplace, front steps and outside toilet. Contemporaneously with these renovations a temporary corrugated galvanised iron structure was erected west of original kitchen to house the old small fuel stove.

The most important development of this period was the construction of the courtyard behind the spare room and sewing room, and west of the kitchen. A high wall was constructed on the southwest end, which was blind except for small square windows on either side of the storeroom. The building of this storeroom which still serves its original function was undertaken during a period which was one of the most productive times for Norman and his art. Verandahs were constructed on the opposing northwest and southeast facing walls. The verandah supports are wooden posts with concrete bases, and when the courtyard was completed, awnings were added to the northwest facing verandah roof. It was at this time that a skylight was added to the sewing room due to the lack of light resulting from the courtyard construction.

Soon after, the Balinese dancer statue was installed as a centrepiece to the open grass area in the courtyard space, which was used from this time as the main entertaining area. Around this time in 1924, the statue of the women holding her breasts was constructed, and placed on a bench, which had first been constructed in the 1910s. The passageway from the dining room to the kitchen was also built at this time, with a gauze doorway giving access to both the courtyard and the Isabella grapevine pergola on the other side. This pergola extended across from the edge of the kitchen roof to the edge of the nursery roof, and must have been installed and planted soon after the construction of a garage next to the existing shed.

1928 had under taken numerous other developments. Perhaps the most important was the installation of the main colonnade pergola running south-east/north-west along the northeastern wall of the main building. The ionic columns making up the walkway were made by Norman in the tradition of his earlier renovations, and wisteria plants were added soon after. Using the same moulds, Norman also built the tank stand on the northwestern side of the studio.

A second bedroom and bathroom was added to the studio, which housed Jane in 1940s and the domestic staff at various other times, and a small square window was knocked out of the front wall to compensate for the limited light provided by the skylight. The shed was also extended to allow for Rose's second car.

Numerous changes to the garden had also eventuated by 1928. The two figures flanking the sides of the front steps were removed by Rose, as she believed them to be disproportionate to the rest of the facade. These were salvaged from the rubbish tip years later by the Lindayana collector Keith Wingrove, who repaired them and later donated them to the National Trust (NSW) when the bequest eventuated. The statues were replaced with two urns, which Rose purchased. The winged siren statue and the bench were installed in 1928 on the site of the roundhouse. It is not known when this building was constructed, though it was probably in the middle to late 1910s. The only remaining fabric is the concrete slab, upon which the bench and statue were placed.

Just before Norman and Rose left for the United States of America and England in 1930, one last addition was completed. The passageway between the ding room and the bathroom was constructed, resulting in the dismantling of the grape vine pergola, though remnants of the plants did remain. During this time there was also a bush pole and chicken wire screen planted with banana passionfruit, which ran from the corner of the laundry to the tank stand next to the studio.

After Norman and Rose left, "The Camp" was abandoned as the servants quarters when the Gassons, the staff of that time, moved into the house to take care of Jane and Honey Lindsay. Soon after, the building became infested with termites, until it was finally demolished around 1933. This period also spelt the end of the children's playhouse under the remaining Moreton Bay Fig. The playhouse had been built in the mid-1920s.

Upon Norman's and Rose's return from overseas and Norman's departure to 12 Bridge Street Sydney in 1934, a number of alterations came about, primarily instigated by Rose. With the intention of converting the studio to a gallery, she made some changes, starting with the bricking up of the small square window in the front, and having all of the exterior walls stuccoed. The original door was replaced with a reused historic cedar door, and the interior walls were lined with Hussein painted a bronze colour. A porch and picture rails were added, and the basin was removed to the back storeroom. This gallery idea never came to fruition, and the studio reverted to its former use upon Norman's and Janis return in 1940.

Following Norman's and Jane's return from Sydney in 1940 and following Rose's return from the United States of America in 1942, there was a further period of change for the property. In 1941, the statue of the woman bending to dry her hair was moved from its position at the front of the studio to its current location at the top of the stairs leading to the swimming pool, on the understanding that the move would be temporary until Norman could find another base. This rearrangement was to make way for Norman's latest creation, the three-figure statue of a female nude and two satyrs. It was around 1943 that the two statues of the satyr and the sphinx were constructed and installed in their positions marking the path to the bottom of the garden and the swimming pool.

In 1946 the property was connected to the town water supply, leading to the construction of Norman's first fountain, the seahorse. This fountain had running water before the house was connected. In that same year the wall between the dining room and the nursery was removed and the ceiling was renovated, creating the dining room as it is now. It was in this year also that drawing room was redecorated, with the painting recesses and gold wallpaper being removed, and the lounge suites recovered.

By 1949, the etching studio was no longer in use, due to the change in direction Norman had taken with his art, and so the seven-acre block and the studio were transferred to Jane's name. She consequently designed extensions to the studio for a house and commissioned Clarrie and Mick Stratton to build it. The cottage was constructed from locally quarried sandstone, and it was completed in 1950, as well as flagged paths and terraces. Jane Lindsay lived there, on and off until about 1956 when she and her husband Bruce moved to Hunters Hill.

At this time a septic system was installed at Jane's new house, and later at the main house. By this time the washing machine at the main house was located in the bathroom, indicating that the laundry was no longer in use.

In 1956 Rose moved to Hunters Hill with Jane and did not live at Springwood again. Late in the 1950s, when Norman was living alone; a bushfire came through and destroyed the shed complex. Soon after this, the painting studio began to leak so Norman moved into the house. From the late 1950s onwards he used the house as a virtual studio: keeping the model boats in the bedroom, using the courtyard for carpentry, cutting mounts in the sleepout and using the dining room for painting, writing and living. The spare bedroom he used for sleeping.

In 1968 Norman installed his final statue, a fountain with the figure of a reclining woman. This statue was constructed in the courtyard and lifted by a crane to its current position. By this time, Norman had decided that he wished to bequest the property to the National Trust of Australia, and consequently began making changes to the building, which continued, into 1969. These changes were the initial stages of the property's conversion to a gallery and museum. With the help of Harry McPhee, the "Sleep-out" was extended to the front wall and totally enclosed, with the addition of a counter for the use of a shop. The drawing room underwent major changes with the installation of Fluorescent lights and the blocking off of the windows and the French doors. Lindsay remained living on the property until his death in 1969, aged 91. The oil painting studio has been preserved as it was at the time of his death with unfinished oils and materials.

Acquisition by the National Trust of Australia
The property was purchased by the National Trust in December 1970 for A$50,000. In 1994 the property was used to film the movie Sirens.

During their period of residence at Springwood, the Lindsays created a body of work of national importance. Norman Lindsay was the artist and creator: Rose was the etching technician, nurturer and wellspring of Norman's artistic drive. Much of Norman's art was inspired by the physical form of their Springwood property; and his imagination peopled its landscape and provided a background for his art. The Lindsay's garden at Springwood, and their artwork, are the product of the same creative mind. The garden can be seen as a three-dimensional idealisation of the Lindsay's two-dimensional artwork. The conjunction of the artist's immediate environment and his artwork has a great deal to say about Lindsay's subject matter as well as his creative process. In a way, his pictures grew out of his imagination, but also required an element of the tangible; hence the use of models photographs and research files of magazine clippings in developing a work. In a similar way, Norman Lindsay's determined manipulation of the Springwood buildings, gardens and landscape consciously provided tangible forms, which informed his artwork, and provided imagery for them. Thus the house and garden have the rare ability to illustrate Norman Lindsay's creative process.

The Lindsay's Springwood property is, and was unique in Australia. The artist lived and worked there for most of his life. There are several other properties in Australia, which have connections with artists. At Hahndorf, in South Australia the house and studio of Hans Heyson has been maintained, but it has much more of a domestic sense than the Springwood property. The Arthur Boyd property at Bundanoon is now operated to include working artists. In Melbourne the home of the Reeds, at Heide near Heidelberg, includes a gallery for exhibitions and has a full-time curator. Daryl Lindsay's house at Mulberry Hill in Victoria is a National Trust property open for public visitation.

Norman Lindsay is widely recognised within Australia and overseas, and most visitors to Springwood are familiar with his name, if not with everything he did. Perhaps the best comparison for an artist's house museum could be made with the Rodin house and museum in Paris.

In 2015 the National Trust completed a new state-of-the-art air-conditioning system in the gallery that will ensure the nationally significant artworks are displayed in museum-standard climate-controlled conditions, reduce energy consumption and operational costs. The gallery, along with Everglades and Woodford Academy were all represented in the Blue Mountains Winter Magic street festival which attracted over 30,000 people. Currently, Norman Lindsay's house and property is a popular tourist attraction in the Blue Mountains, not only for the art work on display but also for the beautiful gardens and bushwalk. Also on the property is Lindsay's Cafe, attached to Norman Lindsay's old etching studio.

Description
The Norman Lindsay Gallery is a sandstone building with terra cotta tile roof and a verandah on three sides. A colonnaded pergola is located on the north eastern elevation. An enclosed courtyard on the western elevation is adjacent to a kitchen and former bathroom which are separately connected to the house by enclosed breezeways.

The grounds are an eclectic mix of Blue Mountasins hill station gardenesque and interwar domestic styles with idiosyncratic overlay of the work of the artist Norman Lindsay and members of his family in a park like setting surrounded by remnant native bushland. The garden is adorned with sculptures of nymphs, satyrs, sphinxes and female forms, fountains and urns. Formal hedges lead to particular statues and the extensive lawns are dotted with exotic specimen trees, mainly conifers and coral trees.

Condition
As at 30 June 2000, Physical condition is good. The site is largely intact.

Modifications and dates

 * 2008: documentation and re-storage of NL ephemera collection completed. Federal funding secured to allow installation of water tank.
 * November 2008-January 2009 National Trust Magazine (NSW): Funding was successfully sought from the commonwealth government, and from donors, to allow for the installation of a water tank, with work to be completed in the 2008-2009 year.
 * November 2008-January 2009 National Trust Magazine (NSW): A significant project completed during the year was the documentation and re-storage of the Norman Lindsay ephemera collection.

Heritage listing
As at 12 October 2000, The house, studios, grounds and bush walk which comprise what we know as the Norman Lindsay Gallery Museum, etching studio and grounds, are intrinsically connected to Norman and Rose Lindsay, the Lindsay family generally, and the society of visitors and artists which the place attracted. The Norman Lindsay house and grounds occupied an important place in the artistic, literary and moral history of early to mid-20th century Australia: and as such the place is significant within a national context. The place provides potential to reveal the creative achievement of Norman and Rose Lindsay, and their family in integrating building, landscape and artwork. The landscaping of the grounds with fifteen fountains and statues, and the artworks and other contents of the house demonstrates the family artistic excellence.

Norman Lindsay Gallery was listed on the New South Wales State Heritage Register on 1 March 2002 having satisfied the following criteria.

The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales.

The house, studios, grounds and bush walk which comprise what we know as the Norman Lindsay Gallery Museum, etching studio and grounds, are intrinsically connected to Norman and Rose Lindsay, the Lindsay family generally, and the society of visitors and artists which the place attracted. The Norman Lindsay Gallery Museum and grounds are historically significant because of the influence and activities of the National Trust of Australia (NSW), who have owned and managed the property since 1969–1970. The trust's custodianship and management of the Springwood property over the last thirty years has been informed by an evolving understanding of the property: and of the most appropriate interpretation of the place for the visiting public.

The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.

The landscape and statues of the Norman Lindsay property is highly significant because it represents an eclectic mix of Blue Mountains hill station gardenesque and interwar domestic styles with idiosyncratic overlays of the work of the artist Norman Lindsay and members of his family in a park-like setting surrounded by remnant native Bushland. The garden is adorned with sculptures of nymphs, satyrs, sphinxes and female forms, fountains and urns. Formal hedges lead to particular statues and the extensive lawns are dotted with exotic specimen trees, mainly conifers and coral trees.

The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.

The Norman Lindsay house and grounds occupied an important place in the artistic, literary and moral history of early to mid-20th century Australia: and as such the place is significant within a national context. This significance is exemplified by the continuing visitation by the public to this place.

The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales.

The place provides potential to reveal the creative achievement of Norman and Rose Lindsay, and their family in integrating building, landscape and artwork. The landscaping of the grounds with fifteen fountains and statues, and the artworks and other contents of the house demonstrates the family artistic excellence.

The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.

The property is rare in that it provides evidence of a former cultural phenomenon: and provides evidence of Norman and Rose Lindsay's artistic and social skills.

title: Norman Lindsay Gallery and Museum


text:
Minnedosa (electoral district)

Minnedosa was a provincial electoral division in the Canadian province of Manitoba from 1881 to 2011. It was created in 1881 with the expansion of the province's western boundary. From 1886 to 1888, it was divided into two ridings, Minnedosa East and Minnedosa West.

Minnedosa was located in the southwestern region of Manitoba. It was bordered by Russell to the north, Ste. Rose to the east, Turtle Mountain to the east and south, and Arthur-Virden to the south and west. The constituency also surrounded the City of Brandon, which is divided into the ridings of Brandon East and Brandon West.

Minnedosa itself was the largest community in the constituency. Other communities in riding the included Souris, Rivers, Rapid City, Shilo, Basswood, Wawanesa, and Erickson.

Minnedosa's population in 1996 was 18,694. In 1999, the average family income was $46,627, and the unemployment rate was 3.50%. Agriculture accounted for 22% of the riding's industry, followed by government services at 12% and health and social services at 12%. Six per cent of the population was of German background, and 15% were over 65 years of age.

Minnedosa was held by the Progressive Conservative Party for several decades, but the New Democratic Party made efforts to win the seat in the riding's last years. In the provincial election of 2003, the Conservative Party retained the seat by only 12 votes, but in the 2007 Election the Progressive Conservative incumbent Leanne Rowat won with 52.83% and the NDP candidate won 38.53% of the vote.

As a result of the 2008 Electoral Redistibution, for the 2011 Election, the constituency was dissolved. Most of the riding, including the city of Minnedosa, became part of the new riding of Riding Mountain. Smaller portions were transferred to the new ridings of Spruce Woods and Arthur-Virden.

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

title: Minnedosa (electoral district)


text:
File:Bob Seger - Back in '72.jpg

Summary
Cover for album Back in '72 by Bob Seger.

Fair use rationale for Back in '72
 * It is believed that the use of this image on the English-language Wikipedia to illustrate an article on the audio recording in question falls under the "Non-profit educational" clause of the Fair Use doctrine currently upheld by United States law. (17 U.S.C. § 107)
 * The image is irreplaceable; a free analogue is impossible to produce as the original will be covered by copyright for the foreseeable future
 * Owing to the limited web-resolution of the image, only a small portion of a copyrighted work is used
 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright

title: File:Bob Seger - Back in '72.jpg


text:
Ich will

"Ich will" (German for "I Want") is a song by German Neue Deutsche Härte band Rammstein from their third studio album Mutter. It was originally released in Germany in 2001. The German single contains a live cover of the Ramones song "Pet Sematary" sung by Rammstein keyboardist Christian "Flake" Lorenz.

Music video
The music video of "Ich will" features the band members staging a bank robbery, making it seem as realistic as possible. The video shows both the robbery and its aftermath, and moves between these two scenes.

During the robbery scenes, the band is shown entering a bank wearing stockings over their heads, except for Flake, who has a very large and elaborate bomb strapped to his chest. They quickly remove their masks and head for the front desk. A bank employee reaches for the panic button, but she is seen by Richard, who presses her hand against the button, intentionally triggering the alarm.

The woman faints, and Richard dances with her unconscious body until Ollie confirms that the police and media have arrived. The group continues to terrorize the hostages and vandalize the bank, while also fantasizing about the media storm when they exit. In another room, Till is giving a live interview to the press, who appear to be slain in the next scene, though the broadcast continues.

As the band, excluding Flake, exit the bank unarmed, they are swarmed by members of the Spezialeinsatzkommando instead of the media as anticipated. Despite this, the band seems to revel in the attention they are getting, and shortly after the timer on Flake's bomb reaches zero. The video quickly flicks through a series of short clips from some of Rammstein's other music videos, then comes to an end.

During the aftermath scenes, the band, Flake excluded, emerges from a police bus wearing shackles and prison attire. They are escorted by guards down a red carpet surrounded by a large cheering crowd and many cameras, toward a podium where they receive a Goldene Kamera (Golden Camera) award, a German version of the Emmy award. Behind the podium is the main entrance of the bank they destroyed earlier, with a large sepia picture of Flake over the door. Most of the "aftermath" is shown at the beginning of the clip, although it is revisited later.

In an interview, Rammstein described the music video of "Ich will" as being a demonstration of the media's obsession with a good story, as well as an illustration of the immortality that can be achieved by those who commit wrongs. The video was filmed in Berlin in the former State Council of the German Democratic Republic building (Staatsratsgebäude) which now houses the European School of Management and Technology.

Live story
Along with "Nebel", "Ich will" was the only song from Mutter that was not played live in its demo form in the concert for members of the Fan Area in April 2000. Instead, it debuted on 1 May 2001, in another concert for members of the Fan Area. When played live, explosions are part of the performance, and it usually closes the show during festivals. It has been played paired with "Sonne" during the encores in every Rammstein concert up until Made in Germany 1995–2011 (tour), where "Sonne" opened the show while "Ich will" maintained its position in the encore.

Track listing
Maxi-single
 * 1) Ich will (Album Version) – 3:37
 * 2) Ich will (Live Preussag Arena, Hannover, Germany on 1 June 2001) – 4:17
 * 3) Ich will (Westbam Mix) – 6:19
 * 4) Ich will (Paul van Dyk Mix) – 6:13
 * 5) Pet Sematary (Performed live with Clawfinger) – 6:31
 * 6) Ich will (Live CD-R Track) – 4:05
 * Comes as a 2-track CD with Ich will (Album Version) and Ich will (Live).

UK CD Part 1 (Red Cover)
 * 1) Ich will (Radio Edit)
 * 2) Links 2 3 4 (Clawfinger Geradeaus Remix) – 4:28
 * 3) Du hast (Remix By Jacob Hellner) – 6:44
 * 4) Ich will (Video) – 4:05

UK CD Part 2 (Green Cover)
 * 1) Ich will (Radio Edit)
 * 2) Halleluja – 3:45
 * 3) Stripped (Heavy Mental Mix By Charlie Clouser) – 5:18

UK DVD Part 3 (Orange Cover)
 * Ich will (Live Video Version)
 * 4 x 30 Seconds Video Clips
 * Bück dich
 * Rammstein
 * Wollt ihr das Bett in Flammen sehen?
 * Asche zu Asche
 * Photo Gallery (10 Shots)
 * 2 x Audio Tracks
 * Feuerräder (Live Demo Version 1994)
 * Rammstein (Live)

title: Ich will


text:
Talk:Westview High School

Untitled
Is everyone happy? Can we fighting over the page now?

If you know the others - please add.

title: Talk:Westview High School


text:
Tommie Harris

Tommie Harris, Jr. (born April 29, 1983) is an American former professional football player who was a defensive tackle for eight seasons in the National Football League (NFL). He played college football for the University of Oklahoma, and was recognized as a consensus All-American twice. The Chicago Bears chose him in the first round of the 2004 NFL draft, and he also played a season for the San Diego Chargers. He was a three-time Pro Bowl selection.

Early life
Harris was born in Germany and raised in Killeen, Texas. He attended Ellison High School in Killeen. As a member of the Ellison Eagles, Harris became one of the nation's top defensive high school prospects, including being ranked as the No. 35 high school prospect in the nation by recruiting analyst Tom Lemming. During the 1998 football season, he was a back-up defensive tackle in his sophomore year for the Eagles who were ranked No. 1 in the state of Texas and No. 13 in the nation. He was also a member of Ellison's track and field team, where he participated in the shot put.

College career
While attending the University of Oklahoma, Harris played for coach Bob Stoops's Oklahoma Sooners football team from 2001 to 2003. He is one of the very few players in OU history to start every game of his true freshman season. He was a two-time All-Big 12 selection, and was recognized as a consensus first-team All-American in 2002 and a unanimous first-team All-American in 2003. In his junior and final season as a Sooner, Harris won the Lombardi Award as the nation's best lineman in 2003. He was named to the Sports Illustrated All-Decade Team in 2009.

Chicago Bears
The Chicago Bears selected Harris in the first round (14th overall pick) of the 2004 NFL draft, and he played for the Bears from 2004 to 2010. In 2004, he finished second in balloting for the Defensive Rookie of the Year award. In only his second NFL season, Harris was selected for the 2006 Pro Bowl for the first time. Harris was well suited for coach Lovie Smith's version of the Tampa 2 defense, which relies on quick, mobile linemen to get pressure on the quarterback.

Harris enjoyed an excellent start to the 2006 season, leading the league with five sacks after four games. He was instrumental in a Week 3 victory over the Vikings, disrupting a handoff in the Vikings backfield and forcing a fumble, which allowed the Bears to score the game-winning touchdown. Furthermore, Harris was awarded the NFC's "Player of the Week" award twice in three weeks. However, in the following weeks, Harris' productivity declined. Additionally, Harris was forced to leave the Bears' Week 13 match-up against the Vikings after sustaining a knee injury. Further medical review determined that Harris had severely injured his hamstring, and he missed the remainder of the 2006 season.

Despite the injury, Harris was selected to play in the 2007 Pro Bowl, and appeared on the cover of the February issue of Sports Illustrated for Kids. Without Harris, the Bears noticed a significant decline in their pass rush and run defense. Though the Bears beat the New Orleans Saints to win the NFC Championship, the Indianapolis Colts beat the Bears in Super Bowl XLI.

Harris saw limited action throughout the subsequent preseason, and only made a brief return during the final game of the preseason against the Cleveland Browns. He played in the Bears' season opener against the San Diego Chargers and forced a fumble. He finished 2007 with eight sacks and two forced fumbles.

On June 19, 2008, Harris signed a contract extension with the Chicago Bears for $40 million over four years. It also included a $8.5 million Pro Bowl bonus, which he would receive if he made it to the Pro Bowl in 2008, 2009, and 2010. He could've made an additional $2 million based on performance. It also included $17 million in guarantees and made Harris the highest paid defensive tackle in the NFL. That salary has since been surpassed many times.

Harris' role with the Bears decreased since he injured his knee during a Week 3 game of the 2007 season. The injury hampered his performance throughout portions of the 2008 season, and into the 2010 season. Nevertheless, Harris recorded eight sacks in 2007 despite starting in 13 games that season. On November 8, 2009, Harris was ejected just 65 seconds into the first quarter in a game against the Arizona Cardinals for punching guard Deuce Lutui in the face. He later apologized for the incident.

In 2010, Harris was benched after the second week of the season. Head coach Lovie Smith stated, "We have 45 guys that you can go with; we have everybody healthy right now. Just felt like we wanted to get a look at Marcus Harrison, him and Henry Melton inside, a little bit. Just performance based. Tommie's been doing everything we've asked him to do. " The same week, former defensive tackle Warren Sapp criticized Harris, comparing him to "blind dog in a meat house. " Harris returned to the Bears the next week, but lost his starting position. He recorded his only sack of the season in week 17 against the Green Bay Packers.

On February 28, 2011, Harris, along with linebacker Hunter Hillenmeyer and offensive tackle Kevin Shaffer, was released by the Bears. During his seven seasons with the Bears, Harris played in 104 games, recording 213 tackles and 28.5 sacks.

Indianapolis Colts
On August 2, 2011, Harris signed a one-year contract with the Indianapolis Colts, but was released on September 3.

San Diego Chargers
Harris signed with the San Diego Chargers on September 28, 2011. That was his final season in the NFL.

Retirement
Harris decided to retire after his wife died in 2012.

Post-retirement
Harris was the co-owner of the Texas Outlaws of the Fall Experimental Football League along with fellow NFL alum Eric Bassey. Harris also has a fitness center named in his honor, in Killeen, Texas.

Personal
In 2012, Harris' wife Ashley died of a brain aneurysm after 41 days of marriage.

title: Tommie Harris


text:
Back in '72

Back in '72 is the sixth studio album by American rock singer-songwriter Bob Seger, released in 1973. It was the first new album on Seger's manager Punch Andrews' label, Palladium Records, to be released under their distribution deal with the Reprise division of Warner Bros. Records and one of three early Seger albums that has never been reissued on CD.

Recording
The album was recorded partly with the Muscle Shoals Rhythm Section, a renowned group of session musicians. According to Seger, there was a financial misunderstanding with the musicians: they offered to record him "for $1500 a side", which he took to mean $1500 per album side. When he found out that they meant $1500 per song, he left after recording three songs but resolved to work with them in the future.

The album contains the original studio version of "Turn the Page", a live recording of which would be released on Live Bullet in 1976 and would become a staple of classic rock radio. It's believed that much of the influence of this album is a result of his brief experience as a member of the Theta Delta Chi fraternity at Michigan State University.

The song "Rosalie" was written in tribute to Rosalie Trombley, the music director of CKLW-AM in Windsor, Ontario, which was an important Top 40 radio station in the 1960s and 1970s. The song was made more famous by the Irish rock band Thin Lizzy, who originally recorded it for their 1975 album Fighting; another recording, included on their live album Live and Dangerous in 1978, became a hit single in the UK in the same year.

Reception and legacy
Back in '72 reached only 188 on the US charts and has since faded into obscurity. Even so, the album and its supporting tour mark the beginnings of Seger's long-time relationships with future Silver Bullet Band saxophonist Alto Reed, powerhouse female vocalist Shaun Murphy, and the Muscle Shoals Rhythm Section.

Stephen Thomas Erlewine of Allmusic retrospectively gave the album 4.5/5 stars, calling it "not only the finest of [Seger's] early-'70s albums but one of the great lost hard rock albums of its era," and "a testament to great rock & roll, thanks to Seger's phenomenal songwriting and impassioned playing."

Record World called the single "Rosalie" a "thumper that should make Top 40 and progressive ears ring with delight."

Despite being a fan favorite by many die-hard Seger fans, and including classic live staples and radio hits such as "Neon Sky", "I've Been Working" and the original studio version of the epic live ballad "Turn the Page", this album has never been reissued and is extremely rare to find on any format, even as a bootleg. However, the Allman Brothers cover "Midnight Rider" which appears on the album was later released on Seger's compilation record Early Seger Vol. 1 in 2009. The song was remixed and remastered from the original vinyl LP version, and it was shortened by fading out at the end. The original version did not fade out but instead broke down to where Seger "scat sang" before the final beat.

In 2005, shortly after the reissue of Smokin O.P.'s, there were rumors of the album to be reissued onto a CD. Seger denied these rumors saying that he did not like the vocals on the album and probably will not release it for quite some time. This marks the album as an extremely rare and unheard of Seger gem much like 1969's Noah and 1971's acoustic solo album Brand New Morning which Seger has also often stated that he may never reissue.

This album has turned out to have inspired several bands: Steve Miller Band's "Rock'n Me" has a similar melody as "Rosalie", Crowded House's version of "Silent House" is similar to "So I Wrote You A Song", and "I've Got Time" led to "More Than A Feeling" by Boston.

Track listing
Back in '72 has never been rereleased on vinyl or CD.

Personnel

 * Bob Seger – guitar, vocals
 * Jack Ashford – maracas, marimba, tambourine
 * Barry Beckett – organ, piano, electric piano, RMI electronic piano
 * Philip Bliss – steel guitar (A2)
 * Eddie "Bongo" Brown – conga
 * J. J. Cale – lead guitar (A1)
 * Pete Carr – guitar
 * Tom Cartmell – flute, saxophone
 * Roger Hawkins – drums
 * David Hood – bass guitar
 * Jimmy Johnson – guitar
 * Marcy Levy – background vocals (A2)
 * Bill Mueller – guitar (A4)
 * Jamie Oldaker – drums (A2, A4, B1)
 * Sergio Pastora – conga, tambourine, timbales
 * Scherrie Brown – background vocals (A2)
 * Dick Sims – organ, piano, clavinet, pedal bass (A2, A4, B1)
 * Luke Smith – background vocals (A1)

Production

 * Engineers: Jim Bruzzese, John LeMay, Jerry Masters, Greg Miller
 * Mixing: Punch Andrews, Jim Bruzzese, Bob Seger
 * Design: Bob Seger, Thomas Weschler, Christopher Wharf
 * Photography: Thomas Weschler

Charts
Album – Billboard (United States)

title: Back in '72


text: Talk:Back in '72

title: Talk:Back in '72


text:
User:Acaides

  Acaides

Welcome to Acaides' user page. I became a Wikipedian on 19 November, 2004. I graduated from Purdue University in May 2007 with a degree in Computer Engineering.

Please leave any comments on my talk page. Any posts made to this user page will be reverted and a copy placed on my talk page. If necessary, I will respond to your comment(s) on your talk page.

The best, and definitely fastest, way to contact me is on AOL Instant Messenger. My username there is also Acaides. I am usually logged on 24/7. If I'm not available, I will usually have an informative away message.

Major project
I was involved in developing articles about and related to Colleges and Universities as a part of WikiProject Universities. I was particularly active in the development of the Purdue University article.

The project, started on 10 August, 2003, the project is attempting to formulate a standard template for College and University articles on Wikipedia. The ultimate goal is to bring all articles on the subject into compliance with a single standard in order to give Wikipedia a more professional look, make cross-referencing easier, expand content of edu-stub articles, and ultimately make Wikipedia a more useful and powerful resource.

Interests
Hmm. I thought I would include a list of my interests, as it seems to be the thing to do, so here goes:

 * electronics, computers, etc.
 * open source software / free software, and the free software movement in general.
 * the Apple Macintosh platform and associated craziness.
 * Star Trek
 * Philosophy
 * Politics
 * Music. Specifically Bluegrass music, Symphony, and Ben Folds

Articles Originated
These are the articles on Wikipedia that I have started. I monitor all of these pages in my watch list, and update or expand them as necessary.

 * Zero crossing threshold detector (19 November, 2004)
 * Threshold detector with hysteresis (20 November, 2004)
 * Martin C. Jischke (21 December, 2004)

Future Projects
There are some articles that I'd like to work on in the future if I get a chance. They are, in no particular order:

 * Amelia Earhart
 * Herbert C. Brown
 * Neil Armstrong
 * Bart Peterson
 * Orville Redenbacher

title: User:Acaides


text:
Minnedosa

Minnedosa may refer to:

 * Minnedosa, Manitoba, a community in Manitoba, Canada
 * Minnedosa (electoral district), a political riding in the same area
 * Minnedosa (schooner barge), a Great Lakes grain barge that sank in 1905
 * SS Minnedosa, 1918 passenger ship for Canadian Pacific Railways

title: Minnedosa


text:
Lambton Quay

Lambton Quay (once known as The Beach) is the heart of the central business district of Wellington, the capital city of New Zealand.

Originally, as the name implies, it was the high-water line of the foreshore, and sometimes the sea would roll across the road and enter the shops on the opposite side. It was the site of the original European settlement in 1840 (following initial settlement on flood-prone land at Petone), which grew into Wellington. In the 19th century Pipitea Pa was situated at the extreme northern end of Lambton Quay – the section of road in this area is now known as Thorndon Quay. Land uplift caused by the 1855 Wairarapa earthquake and further reclamation have left Lambton Quay some 250 metres from the current shoreline. Kumototo Stream used to flow from the Terrace, down what is now Woodward Street and across Lambton Quay to the waterfront. This stream was culverted in the late 19th century.

Lambton Quay is named after John Lambton, 1st Earl of Durham, the first chairman of directors of the New Zealand Company.

Lambton Quay, Willis Street, Manners Street and Courtenay Place form what is known locally as the Golden Mile. The city's retail trade has spread further south to also include Cuba Street, but Lambton Quay remains a major commercial thoroughfare. In 2020 it was estimated that about 70,000 people travel on Lambton Quay and Willis Street each day, mostly on foot or by bus. It is also of administrative significance, with the New Zealand Parliament Buildings towards the northern end. The Wellington Cenotaph is also located at this end, next to Parliament.

The Wellington Cable Car runs from Lambton Quay to the top of the Botanic Garden. James Henry Marriott, who arrived from London in 1843, had a bookshop here.

The length of Lambton Quay is punctuated by several notable sculptures.

History
Dense bush, down to the harbour's edge, covered much of the area until 1840 and, at the site of the Old Bank Arcade, it could be hard to get round the rocks at high tide at what was then Windy Point, or Clay Point. The Point was dug away between 1857 and 1863 to reclaim 7 acres 3 roods 34 perches (almost 8 acre).

The name Lambton Quay was in use by the end of 1840. On 22 October 1840 Barrett's Hotel, a 2-storey pub, opened at the north end of the Quay. The Wellington Hotel opened by 1843. Its owner, Baron Alzdorf, was the only Wellington person killed in the 1855 earthquake, when a chimney of the hotel fell on him, after which it became the Criterion Hotel, a name it kept until at least 1887. By 1900 buildings on the Quay included the Royal Hotel, government printer, Old Government Buildings, Central Police Station, Club Hotel, Occidental Hotel, Commercial Union and New Zealand Insurance companies, Trust & Loan Co, Star Hotel, Baker Bros, Union Bank of Australia, Bank of New South Wales, South British Insurance, Colonial Bank, Exchange Building, Barrett's Hotel and Equitable Building Investment Co.

title: Lambton Quay


text:
Actual sin

According to Western Christianity, actual sin, as distinguished from original sin, is an act contrary to the will and law of God whether by doing evil (sin of commission) or refraining from doing good (sin of omission). It can be either "mortal" or "venial".

Mortal sin
In Roman Catholic moral theology, a sin, considered to be more severe or mortal sin is distinct from a venial sin (somewhat similar to the secular common law distinction of classifying the severity of a crime as either a felony or a misdemeanor) and must meet all of the following conditions: Its subject must be a grave (or serious) matter. It must be committed with full knowledge, both of the sin and of the gravity of the offense (Article 1860 of The Catechism Of The Catholic Church specifies;) "Unintentional ignorance can diminish or even remove the imputability of a grave offense. But no one is deemed to be ignorant of the principles of the moral law, which are written in the conscience of every man. the promptings of feelings and passions can also diminish the voluntary and free character of the offense, as can external pressures or pathological disorders (mental illness). Sin committed through malice, by deliberate choice of evil, is the gravest." It must be committed with deliberate and complete consent, enough for it to have been a personal decision to commit the sin. (Article 1859 of The Catechism Of The Catholic Church specifies;) "Mortal sin requires full knowledge and complete consent. It presupposes knowledge of the sinful character of the act, of its opposition to God's law. It also implies a consent sufficiently deliberate to be a personal choice. Feigned ignorance and hardness of heart do not diminish, but rather increase, the voluntary character of a sin."

Venial sin
In Roman Catholic theology, venial sin will not cause loss of heaven in itself, but can eventually lead to the death of the soul by making the doer weaker to resisting mortal sin. Sin is made venial in two ways: A venial sin weakens our power to resist mortal sin, and a venial sin makes us deserving of God’s punishments in this life or in purgatory.
 * The sin is not seriously wrong.
 * The sin is seriously wrong, but the sinner honestly believes that it is only slightly wrong, or does not give full consent.

Capital vices or the seven deadly sins
In Roman Catholic theology, the "Capital vices" or sins, also known as the "seven deadly sins", are the main roots of sin. They are called capital sins not because they are the greatest sins or necessarily mortal sins, but because all sins are in some way related to at least one of them. These sins are:
 * 1) Lust
 * 2) Gluttony
 * 3) Greed
 * 4) Sloth
 * 5) Wrath
 * 6) Envy
 * 7) Pride

Methodism
A prominent Methodist catechism, "A Catechism on the Christian Religion: The Doctrines of Christianity with Special Emphasis on Wesleyan Concepts" contrasts original sin and actual sin:

title: Actual sin


text:
User:Fandy~enwiki

Fandy: The biggest member of the highlands, with the ability to eat anything and not catch any illness, including chronic AJ brain defectiveness and breasts the size of ripe water melons filled with 10 gallons of water.

Also the ability to beat anyone at PES4 by getting all men sent off simply by the opposition looking in their direction, inturn creating a vortex that pulls the referee's arm up straight away either giving a penalty or a red card for the opposition player.

Fuelled mostly by anything he can find thats edible and large quantities of Bru, he has ammassed a small fortune in food in one of his many stomachs.

Family guy is probably the only program he can watch on Television because of this chronic eating disorder, he idolizes Peter, also of large proportions in the belly and breasts area.

The nickname came about simply by being a more then average "Andy" to spell something more suitable for a person of such holding in the highlands and so was born "Fandy".

title: User:Fandy~enwiki


text:
Sam Bowie

Samuel Paul Bowie (born March 17, 1961) is an American former professional basketball player. A national sensation in high school and outstanding collegian and Olympic team member, Bowie's professional promise was undermined by repeated injuries to his legs and feet. In spite of the setbacks, the 7ft 1in and 235 lb center played ten seasons in the National Basketball Association (NBA).

Projected as a solid first-rounder in the 1984 NBA draft, Bowie was chosen by the Portland Trail Blazers as the second selection, ahead of Michael Jordan.

Early life
Bowie was born on March 17, 1961, as the son of Ben Bowie and Cathy "Sammy" Bowie. His father was 6ft 10in and had played basketball for the Harlem Magicians for six seasons. Bowie's parents divorced when he was 12. After the divorce, Bowie lived with both of his parents in Lebanon, Pennsylvania. Concerned about not showing favoritism toward either parent, he then lived with his maternal grandmother until going to college.

Bowie was a sophomore in college when his father died suddenly, aged 45, when a cyst on his lung burst. Of his father Ben, after he died, Bowie said, "We loved each other more than two individuals could. But we never could say, 'I love you.' Neither of us was that kind of person. That's the thing I'm most sorry about, that I didn't get to tell him I loved him before he was gone."

High school career
Bowie attended Lebanon High School in Lebanon, Pennsylvania. He played on its basketball team under Coach Chick Hess. Bowie, as Hess described, "He's a father. He's responsible. He's got a head on his shoulder. He just doesn't have two legs that are serving him well. He adjusted to the big-time world. He grew up with blue-collar people who knew what it was like to work for a living. We're all proud of him. He got what he could out of playing pro sports."

A star player, Bowie was heavily recruited. He averaged over 28 points and 18 rebounds per game, and was a McDonald's and Parade All-American. As a junior, he led the Cedars to the state finals, where they lost by a point to Schenley High School of Pittsburgh. "When I say this, I mean it with all my heart, from the Kentucky experience to all of my years in pro ball, when I reminisce I go back to my Lebanon Cedar days," said Bowie in 2018. "I just wish we could've won that state championship game. Fifty-one to fifty, we were so close."

Bowie was named national player of the year in 1979. He received the honor over Harrisonburg, Virginia's Ralph Sampson, another highly recruited center. Sampson and Bowie played in the annual Capital Classic all-star game, which was dubbed the "Battle of the Giants" Played at the Capital Centre, the game featured the best players in the Washington, D.C. area playing against an all-star squad composed of players from across the United States.

In February, 1979 a Sports Illustrated magazine article feature focused on Bowie, Sampson and Steve Stipanovich as the best high school centers.

Bowie played in the 1979 McDonald's All-American Game. The memorable rosters included: Antoine Carr, Quintin Dailey, Sidney Green, Clark Kellogg, Greg Kite, Sidney Lowe, John Paxson, Ralph Sampson, Byron Scott, Steve Stipanovich, Isiah Thomas, Dereck Whittenburg, Dominique Wilkins and James Worthy.

College career (1979–1984)

Bowie signed to play for the University of Kentucky, under Coach Joe B. Hall, in 1979.

Freshman season (1979–1980)
As a freshman during the 1979–80 season at Kentucky, Bowie averaged 6.9 points, 9.6  rebounds and 2.1 blocks per game. Kentucky finished 29–6 and advanced to the 1980 NCAA tournament. Bowie had 13 points, 11 rebounds and 3 blocks in Kentucky's 97–78 victory over Florida State. He played nine minutes, fouling out with 2 points and 3 rebounds in a 55–54 loss to Duke.

Sophomore season (1980–1981)
Bowie's sophomore season saw him average 17.5 points, 9.1 rebounds, and 2.9 blocks per game. He was named a third-team NCAA Basketball All-American by the Associated Press. In 1981, he set, and now shares, the Kentucky record for most blocked shots in a game, with nine against St. John's.

However, Bowie began sustaining injuries that would plague the remainder of his basketball career. In the third-to-last game of his sophomore season against Vanderbilt, Bowie went up for a dunk but came down off balance. He landed with most of his weight on his left leg, saying that he felt pain but initially tried to play through it. Kentucky qualified for the 48-team 1981 NCAA tournament as the #2 seed in the Mideast Region, with a first-round bye. In the Wildcats' first game of the tournament, against #7 seed Alabama-Birmingham, Bowie fouled out, playing 21 minutes, as Kentucky was eliminated by UAB 69–62.

Injuries (1981–1983)
After the 1980–1981 season, a stress fracture in his left tibia was discovered, the injury caused Bowie to miss the entire 1981–82 season. The stress fracture did not heal completely and Bowie sat out the entire 1982–83 season as well. Doctors at first thought the pain in the left leg was due to shin splints, but just before the season in 1981, new X-rays revealed Bowie had a stress fracture he had been playing on. He was in a cast for 44 weeks. But, after removing the cast, the injury did not heal properly. Bowie had to have it surgically repaired, with a bone graft. As his class had graduated, Bowie applied for and was granted an NCAA medical redshirt to allow him another year of college eligibility.

Senior season (1983–1984)
Bowie returned for the 1983–84 season. Having not played in two years, he played in all 34 Kentucky games and averaged 10.5 points, 9.2 rebounds, and 1.9 blocks. He was named to the Associated Press second-team All-American team. During his senior season, his heroics in a game against rival Louisville earned him a spot on the cover of Sports Illustrated. Bowie, along with fellow "Twin Tower" Melvin Turpin (as the Kentucky frontcourt duo was called), and Kenny Walker led Kentucky to the SEC championship, the SEC Tournament Championship, a top-three national ranking, and a 26–4 season record.

In the 1984 NCAA tournament, the Wildcats defeated Brigham Young 93–68, in-state rival Louisville 72–67 and Illinois 54–51 to advance to the Final Four in Seattle. Bowie had 16 points and 6 rebounds against BYU, 8 points, 12 rebounds and 3 blocks against Louisville and 11 points and 14 rebounds against Illinois.

In the Final Four, Kentucky met eventual NCAA Champion Georgetown, with Patrick Ewing in the semi-finals. Kentucky led at the half, but Georgetown defeated the Wildcats 53–40, ending Bowie's college career. Bowie had 10 points, 11 rebounds and two blocks in the loss. Ewing had 8 points and 9 rebounds with 0 blocks.

In 96 career games at Kentucky, Bowie averaged 13.4 points, 8.8 rebounds, 2.3 blocks and 1.4 assists on 69.9% shooting. Bowie played 3 seasons in five years.

1980 Olympic team
In the summer of 1980, Bowie was selected for the United States Olympic men's basketball team. The 1980 United States Olympic team was coached by Dave Gavitt and assisted by Larry Brown. The 1980 US team was the youngest American national team ever assembled. Alongside Bowie were team members Mark Aguirre, Rolando Blackman, Michael Brooks, Bill Hanzlik, Alton Lister, Rodney McCray, Isiah Thomas, Darnell Valentine, Danny Vranes, Buck Williams and Al Wood.

The Soviet invasion of Afghanistan caused the United States and 66 other countries to boycott the 1980 Summer Olympics in Moscow. Unable to compete in the Olympics due to the boycott, Team USA played a series of games against NBA all-star teams in various US cities, ending with a 5–1 record. The games were labeled the "Gold Medal Series". In the six games against NBA All-Stars, Bowie was Team USA's second-leading scorer and leading rebounder and shot-blocker, averaging 11.6 points, 6.9 rebounds, and 2.3 blocks. Bowie was 19 years old while playing on Team USA.

Many years later, he received one of 461 Congressional Gold Medals created especially for the 1980 athletes.

1984 NBA draft
Entering the 1984 NBA draft, although the Houston Rockets had tied with the Indiana Pacers for the NBA's worst record, the Pacers had traded the top pick to the Portland Trail Blazers in 1981 for center Tom Owens. In 1984, having beat the Blazers in a coin toss for first pick, the Rockets chose Houston center Hakeem Olajuwon. Unable to choose him, yet still seeking a center, the Blazers chose Bowie. Choosing third, the Chicago Bulls then drafted North Carolina shooting guard Michael Jordan.

At the time, picking Bowie made sense from the Blazers' perspective. The team had not had a solid big man since Bill Walton, one of its first major stars, left in 1979. Soon before the draft, the NBA fined the Blazers $250,000 (equivalent of $,000 in ) for improper contact with Olajuwon and center Patrick Ewing. A year earlier, Portland had drafted a shooting guard, Olajuwon's college teammate Clyde Drexler. Having both Drexler and Jim Paxson, the Blazers had little need on paper for another shooting guard. Still, in 2005, highlighting Bowie's injury-laden college career, ESPN named the Blazers' choice the worst draft pick in the history of North American professional sports. Also that year, arguing that teams should draft for talent and not need, Sports Illustrated named Bowie the biggest draft bust in NBA history.

Portland Trail Blazers (1984–1989)
During his rookie season, Bowie played in 76 games and averaged 10 points and 8.6 rebounds, earning a spot on the NBA All-Rookie Team. However, in his second season, Bowie's leg injuries recurred. During a game against the Milwaukee Bucks at The MECCA, Bowie and teammate Jerome Kersey became entangled going for a rebound, and as they landed, Bowie's left tibia broke. He was carried off the floor on a stretcher.

"I firmly believe I can be one of the top centers in the league if I'm healthy," said Bowie. "One year, things are going to fall into place, and I'm going to show people how good I can be."

The next season, Bowie returned. In the season's fifth game against the Dallas Mavericks, Bowie went up for a jump hook shot. As he went up, his legs buckled underneath him and Bowie fell to the floor. He suffered a season-ending fracture of his right tibia. Bowie compared the feeling having his leg chopped by an ax. "It was not a pretty sight," Portland teammate Clyde Drexler recalled. "He went to make a move, fell, and threw the ball down hard off the court. I remember seeing part of the bone sticking out of his leg and how he was beating the floor over and over with his fist."

Bowie's subsequent surgery utilized three screws being placed in the bone to keep it together. However, two screws did not hold, so another operation was needed to put in three new screws.

Once again, Bowie came back to play. On October 17, 1987, during pregame warmups for a preseason game with the Cleveland Cavaliers, Bowie began feeling intense pain in his right leg just walking. Not wanting a stretcher, Bowie was carried off the court by his teammates and was diagnosed with a hairline fracture of his right tibia. On March 29, 1988, Bowie had surgery where he received a graft from his hip bone and had a metal plate with 10 screws permanently attached to his right shin. The injury effectively sidelined him for the next two seasons; he missed all of the 1987–88 season, as well as the first 62 games of the 1988–89 season. All told, Bowie played 63 games out of a possible 328 during his last four seasons in Portland.

"I have one huge regret," said Bowie. "I wish I would've been more patient and didn't come back as quickly as I did the second year I fractured my leg. You feel like you disappointed Portland. You're getting paid a lot of money and you can't play. I don't know if it's guilt or regret. But I've never been one to say, 'Why me?'. I feel I should have an MD behind my name from all the education I've received from my own cases."

New Jersey Nets (1989–1993)
On June 24, 1989, Bowie, who had averaged 10.5 points per game with the Trail Blazers, was traded, along with a draft pick, to the New Jersey Nets in exchange for Buck Williams.

Bowie's four seasons in New Jersey were his most productive, as he had no major injuries. Bowie averaged 12.8 points and 8.2 rebounds per game and never missed more than 20 games in a season. His best season was his first with the Nets where he averaged a double-double with 14.7 points and 10.1 rebounds per game. Bowie also hit a career-high in points per game in 1991–92 with 15.0 and played a career-high 79 games in 1992–93 averaging 9.1 points per game and seven rebounds.

"My main objective is to play the game for the fun of it and the love of it," said Bowie, "Every time I go off the court, I'm thankful I didn't get hurt again. I think too many people take their health for granted.

A 2013 Bleacher Report article listed Bowie as the 17th greatest Nets player up till that point.

Los Angeles Lakers (1993–1995)
After the 1992–93 season, Bowie was traded for Benoit Benjamin, being sent from New Jersey to the Los Angeles Lakers. However, Bowie's leg injury problems recurred. Bowie played in 92 games in the two seasons combined, starting in 17 of them. Although Jerry West, the team's general manager, wanted Bowie to continue to play for the Lakers, Bowie decided to retire from professional basketball after the 1994–95 season. He desired to follow his passion and become involved in harness racing.

Career overview
Bowie, Bill Walton, and Greg Oden are frequently cited together. All three were centers, drafted high by Portland, who failed to achieve their potential due to career-altering injuries.

"You know, I go speak and visit at hospitals a lot—and not to sound mushy—but I've seen 7-, 8-, 9-year-old kids who have had their legs amputated because of bone cancer or a car accident," Bowie said. "That's when it puts things into perspective. There's a kid who wishes he had a leg to break. That's when I realize how lucky I am. I can't complain about the hand I've been dealt. Sure, I've had my share of surgery and broken bones, but these things were meant to be. I'm a Christian and I've always felt that tomorrow is predetermined and that you will never be put through more than you can handle."

Over his NBA career, Bowie averaged 10.9 points, 7.5 rebounds and 1.78 blocks per game. He hit 45.2% of his attempted field goals (2,127 made of 4,702 attempted), and 30.2% of his three-point shots (32 made of 106 attempted).

Post-basketball endeavors
For a time, Bowie performed color commentary for University of Kentucky Basketball.

After he retired from basketball, Bowie returned to Lexington, Kentucky. Bowie is involved in harness racing, both owning and training horses that run at The Red Mile in Lexington.

Personal life
Bowie has been married twice. He has three now-grown children. "I was blessed in the sense that I was able to be a full-time father." Bowie said.

Bowie married Stephanie Bowie in April 2018 in La Fortuna, Costa Rica.

In 2012, Bowie was featured in an ESPN SEC Storied documentary, Going Big. In it, he admitted hiding the extent of his leg troubles from the Blazers. For instance, he said that when a doctor tapped his left tibia with a mallet, he claimed not to feel anything when he was actually in noticeable pain. He developed leg trouble as early as high school; film from the late 1970s shows him struggling to avoid undue strain on his legs and feet.

Honors

 * Bowie was inducted into the University of Kentucky Athletics Hall of Fame in 2005.
 * Bowie's number 31 was retired by Kentucky Basketball in 2002.

title: Sam Bowie


text:
User:Generic shell

hi?

Hi ^_^

title: User:Generic shell


text:
Jill Esmond

Jill Esmond Moore (26 January 1908 – 28 July 1990) was an English stage and screen actress.

Early life
Esmond was born in London, the daughter of stage actors Henry V. Esmond and Eva Moore. Dramatist W.S. Gilbert and actress Maxine Elliott were her godparents. One of her maternal aunts was Decima Moore.

She had a brother Jack (an actor) and a sister, Lynette, who did not survive infancy.

While her parents toured with theatre companies, Esmond spent her childhood in boarding schools until she decided at the age of 14 to become an actress. She made her stage debut playing Wendy to Gladys Cooper's Peter Pan, but her success was short-lived. When her father died suddenly in 1922, in Paris, due to pneumonia, Esmond returned to school and at the time considered abandoning her ambition to act.

After reassessing her future and coming to terms with her father's death, she studied with the Royal Academy of Dramatic Art in London, and returned to the West End stage in 1924. In 1925, she starred with her mother in a play Mary, Mary Quite Contrary, and after a few more successful roles, won critical praise for her part as a young suicide in Outward Bound.

Marriage and career
In 1928, Esmond (billed as Jill Esmond Moore) appeared in the production of Bird in the Hand, where she met fellow cast member Laurence Olivier for the first time. Three weeks later, he proposed to her. In his autobiography Olivier later wrote that he was smitten with Esmond, and that her cool indifference to him did nothing but further his ardour. When Bird in the Hand was being staged on Broadway, Esmond was chosen to join the American production – but Olivier was not.

Determined to be near Esmond, Olivier travelled to New York City where he found work as an actor. Esmond won rave reviews for her performance. Olivier continued to follow Esmond, and after proposing to her several times, she agreed and the couple were married on 25 July 1930 at All Saints', Margaret Street, London. Within weeks, the couple regretted their marriage. They had one son, Tarquin Olivier.

Returning to the United Kingdom, Esmond made her film debut with a starring role in an early Alfred Hitchcock film The Skin Game (1931), and over the next few years appeared in several British and (pre-Code) Hollywood films, including Thirteen Women (1932). She also appeared in two Broadway productions with Olivier, Private Lives in 1931 with Noël Coward and Gertrude Lawrence and The Green Bay Tree in 1933.

Esmond's career continued to ascend while Olivier's own career languished, but after a couple of years, when his career began to show promise, she began to refuse roles. Esmond had been promised a role by David O. Selznick in A Bill of Divorcement (1932) but at only half-salary. Olivier had discovered that Katharine Hepburn had been offered a much greater salary, and persuaded Esmond to turn down the role.

Esmond and Olivier starred together in one film, No Funny Business (1933), a British comedy film directed by Victor Hanbury.

In 1937, Esmond and Olivier appeared together in Shakespeare's "Twelfth Night" at London's Old Vic theatre. During this period, their marriage was disintegrating, as Olivier had started a relationship with Vivien Leigh.

Later years
Esmond starred in the Broadway production of Emlyn Williams' play The Morning Star in 1942, a production which featured the acting debut of Gregory Peck. Her acting appearances grew more sporadic with the passage of time, and she made her final film appearance in 1955, around the time she made her two appearances as Eleanor of Aquitaine in the TV series The Adventures of Robin Hood.

Personal life
Esmond was married to Olivier between 1930 and 1940; they had one son, Tarquin Olivier (born 21 August 1936). During their marriage, Olivier had affairs with Ann Todd and Vivien Leigh, the latter to whom he was married from 1940 to 1960. Olivier later said that "I couldn't help myself with Vivien. No man could. I hated myself for cheating on Jill, but then I had cheated before, but this was something different. This wasn't just out of lust. This was love that I really didn't ask for but was drawn into."

Esmond withstood the publicity of Olivier's affair with Vivien Leigh and did not seek a divorce. Pressed by Olivier, who was anxious to marry Leigh, she eventually agreed and they were divorced on 29 January 1940. Among the films she appeared in are Journey for Margaret, The Pied Piper and Random Harvest, all in 1942, My Pal Wolf (1944), The White Cliffs of Dover (1944) and The Bandit of Sherwood Forest (1946). In 1946, she returned to the UK where she resumed her acting; her last stage appearance was in 1950, and her last film in 1955.

To the end of his life, Olivier continued alimony payments to Esmond. Esmond kept in touch with Olivier, and in a letter to their son Tarquin, said "It's funny after all that time how I can still love him so much." Frail and in a wheelchair, she attended Olivier's memorial service in October 1989 at Westminster Abbey.

Death
Esmond was 82 years old when she died on 28 July 1990 in Wandsworth, London.

Complete filmography

 * The Chinese Bungalow (1930) - Jean
 * The Skin Game (1931) - Jill Hillcrist
 * The Eternal Feminine (1931) - Claire Lee
 * Once a Lady (1931) - Faith Penwick the Girl
 * Ladies of the Jury (1932) - Mrs. Yvette Gordon
 * State's Attorney (1932) - Lillian Ulrich
 * Is My Face Red? (1932) - Mildred Huntington
 * Thirteen Women (1932) - Jo Turner
 * F.P.1 Doesn't Answer (1933) - Claire Lennartz
 * No Funny Business (1933) - Anne
 * On the Spot (1938, version of the 1938 TV movie) - Minn Lee
 * Prison Without Bars (1939, TV Movie) - Carol Linden, Superintendent
 * On the Sunny Side (1942) - Mrs. Aylesworth
 * This Above All (1942) - Nurse Emily Harvey
 * Eagle Squadron (1942) - Phyllis
 * The Pied Piper (1942) - Mrs. Cavanaugh
 * Journey for Margaret (1942) - Susan Fleming
 * Random Harvest (1942) - Lydia
 * The White Cliffs of Dover (1944) - Rosamund
 * Casanova Brown (1944) - Dr. Zernerke
 * My Pal Wolf (1944) - Miss Elizabeth Munn
 * The Bandit of Sherwood Forest (1946) - The Queen Mother
 * Bedelia (1946) - Nurse Harris
 * Escape (1948) - Grace Winton
 * Private Information (1952) - Charlotte
 * Night People (1954) - Frau Schindler
 * A Man Called Peter (1955) - Mrs. Findlay

Selected stage appearances

 * Gertie Maude by John Van Druten (1937)
 * Party Manners by Val Gielgud (1950)

title: Jill Esmond


text:
Talk:Tax deduction

Definition
This article fails to actually define what a "Tax Deduction" is. It begins "Income tax systems generally allow a tax deduction for various items, especially expenses incurred to produce income." This sentence does not explain what a tax deduction is. What is a tax deduction? — Preceding unsigned comment added by 71.192.26.201 (talk) 14:20, 16 September 2011 (UTC)
 * Good comment. I added a short phrase explaining. Sometimes we fail to state the obvious. :) Oldtaxguy (talk) 22:44, 16 September 2011 (UTC)

"We are in the age of free passage between the air ports (with Visas & endorsements). I strongly think that THE DEMOCRATS "have to change" the logo from "a donkey to a horse or a ship or even an eagle...donkey is unacceptable by any standards...". I wish Dems think like an EAGLE as well....". And, I agree that the Donkey carries a ton of weight without complaining !....Thank you. — Preceding unsigned comment added by 2001:569:7C46:200:401B:CFA8:D7D9:896F (talk) 02:43, 24 August 2020 (UTC)

Primary residence
What does it take to have a home be a primary residence

 * In the US, you have to own and use the house, living there a majority of the time. If there is doubt, the IRS apparently has some rules; if you get your mail there, have your car registered there, vote there, and you bank there and hang out there, then it's your primary residence.  An article at  talks about a couple who were ruled to have no primary residence at all, in the IRS's opinion. —Preceding unsigned comment added by Tempshill (talk • contribs) on 19 February 2005.

Depletion allowance
The red link for "oil depletion allowance" should probably be changed since royalties also are subject to depletion allowances; hence we can knockout two birds with one stone by starting the articcle to cover both. Depletion allowance is already listed as a missing article. On royalty depletions, see http://www.irs.gov/publications/p535/ch10.html    Have Gun, Will Travel 20:38, 7 February 2007 (UTC)

 * Dear Have Gun, Will Travel: Yes, at least in the United States the term "depletion allowance" refers to a deduction allowable against certain kinds of royalty income or income from the production of natural resources, especially oil and gas royalties (also other stuff like uranium, sulphur, etc.). At least with respect to the term "depletion allowance" as used in U.S. Federal income tax law, if you decide to begin an article on the subject you may want to distinguish the two kinds: cost depletion and percentage depletion. The basic statutes are (covering basic provisions);  (cost depletion);  (percentage depletion); and  (percentage depletion on oil & gas production, etc.), all the way through to about.

 * Depletion allowance deductions on individual income tax returns are perhaps relatively more common where you have independent production of oil and gas, as in Oklahoma, Louisiana and Texas (where I am), than in places where no mining of natural resources takes place. Yours, Famspear 20:56, 7 February 2007 (UTC)
 * Thanks. The starting point is probably Royalties to make a clear distinction between copyright, patent, and resource royalties.  May need help with that.  Have Gun, Will Travel 22:57, 7 February 2007 (UTC)
 * Found it. Tax depletion.   Have Gun, Will Travel 03:35, 8 February 2007 (UTC)

Needs work
I've made a few changes regarding U.S. Federal income taxation. I've realized that I have never really read this article carefully all the way through. Some of the statements were incorrect, and others somewhat misleading.

The subject of tax deductions for U.S. Federal income taxation purposes is highly complex. Blanket statements tend to be problematic. Famspear 22:11, 9 September 2007 (UTC)

 * This article is little more than a stub with a non-comprehensive list that may be interpreted as comprehensive. It needs a lot of work.Oldtaxguy (talk) 20:35, 17 March 2010 (UTC)

Example question
Quick question... I'm a little confused on this example, which contradicts the first example. I'm not sure if it is the difference with U.S. law or if it is just incorrect. Here is the example given:

Taking the first part of this example, it is applying the 25% rate to the post-tax donation of $1,000 for a return of $250. However, $1,330 was earned to make a $1000 donation ($1000 being a 25% rate applied to $1,330). So should the return actually be $330 and not $250? Is it the income required to make a $1000 donation (pre-tax) or post-tax deduction from income? In the first example using a flat rate of 33%, $600 was equal to an untaxed $900 (a 33% rate applied to $900), and not equal to $798 (a 33% rate applied to $600 post-tax). Morphh  (talk) 14:28, 29 October 2007 (UTC)

 * I think the $1,000 is the pre-tax donation. The donor gets the tax benefit so the net amount he spends on the gift is $750.--Patrick 15:23, 29 October 2007 (UTC)

Invalid USC reference
The reference for the third bullet point under Tax deduction:

Qualified mortgage insurance premiums that are treated as qualified residence interest expense, for certain home loans, for mortgage insurance contracts issued on or after January 1, 2007

References doesn't exist. Cburnett (talk) 04:07, 15 February 2008 (UTC)

 * Dear editor Cburnett: Well, section 163(h)(3)(E)(i) does exist - it's just that the Cornell Law School website version of the US code has not yet been updated to reflect the latest changes in section 163. Here is the exact text, from title 26, USC section 163, subsection (h), paragraph (3), subparagraph (E) (reproduced here only in part):

 * (E) MORTGAGE INSURANCE PREMIUMS TREATED AS INTEREST. --

 * (i) IN GENERAL. --Premiums paid or accrued for qualified mortgage insurance by a taxpayer during the taxable year in connection with acquisition indebtedness with respect to a qualified residence of the taxpayer shall be treated for purposes of this section as interest which is qualified residence interest.

 * The above is from the online CCH Internet Tax Research website. Unfortunately, to get the very latest version of a statute like this online without going to a law library, you may have to have an expensive subscription to an online service like CCH, Lexis, Westlaw, or RIA Thomson. The Cornell web site is good if you don't need the very latest version, or you don't need to see all the earlier versions. For example, CCH online shows essentially every change in every section of the Internal Revenue Code since August of 1954 -- a massive amount of verbiage.

 * What I have been doing when I run across this problem in tax-related Wikipedia articles is to add a notation to the effect that the Cornell web site has not yet been updated for this particular provision. I'll add a notation in the article. Yours, Famspear (talk) 15:16, 15 February 2008 (UTC)

 * OK, I have added the explanation to the footnote. The other option is simply to remove the link, wait for Cornell to update its web site, then re-add the link. I'm not sure which option is better. Famspear (talk) 15:20, 15 February 2008 (UTC)

Canada
Tax deductions are listed for US, UK and Australia, I was wondering if anyone familiar with Canadian tax laws and appropriate conditions might detail its distinct features and differences from the others for those who are interested. Tyciol (talk) 07:50, 2 March 2008 (UTC)

 * You may want to post this request to the Taxation in Canada talk as well. It is more likely editors that are familiar with those tax laws would be watching that particular article.  Morphh   (talk) 13:15, 02 March 2008 (UTC)

Deduction of In-Kind contributions
Should there be inclusion of Deduction of In-Kind contributions in US section? Of course the IRS would rather taxpayers didn't
 * know about this, and
 * bother with trying to get deductions.
 * wcf Facts are stubborn. Comments? 21:01, 11 January 2009 (UTC)

Proposal for expansion/globalization
I have drafted a significant expansion of this article, with a view toward globalizing and generalizing it quite a bit. The draft is and will be posted for 2+ weeks on my talk page (link below) prior to posting the update, to give folks a bit of time to comment. Following is a proposed outline (slightly revised from last post:

 * Intro
 * Business expenses
 * Cost of goods sold
 * Trading or Ordinary and necessary expenses
 * Accounting methods
 * Limits on deductions (e.g., T&E, autos)
 * Capitalized items & depreciation
 * Nonbusiness expenses
 * Income producing expenses (where different from business expenses)
 * Losses
 * Itemized deductions and personal reliefs, including personal exemptions
 * Group relief
 * references, further reading, etc

Please feel free to edit the talk page as a way of commenting on the draft. Help on this is much appreciated, particularly with respect to non-U.S. discussions.Oldtaxguy (talk) 22:11, 5 April 2010 (UTC)

Greatly expanded article
Dear colleagues, I will post the greatly expanded article over the weekend of 24 April 2010 unless someone objects. The draft is on my talk page. Known issues:
 * Add short paragraph on offsetting deductions against other types of income, including ref. to US passive activity rules
 * More globalization needed. I will retain the globalize flag.
 * A few references (mostly non-US) are incomplete. HELP!!

The new article is about 18k plus links (2.8k words), up from 8k total.

Comments appreciated.Oldtaxguy (talk) 22:31, 22 April 2010 (UTC)

"Tautological" tax deduction?
A new editor inserted the word "tautological" before the words "tax deduction" in the first sentence. I reverted. I don't think the word "tautological" belongs in the first sentence of this article, as in "tautological tax deduction." There is no such thing as a "tautological tax deduction."

A tautology is a "needless repetition of an idea in a different word, phrase, or sentence...." Webster's New World Dictionary of the American Language, p. 1458, World Publishing Company (2nd Coll. Ed. 1978). Virtually all Wikipedia articles follow some variation of this format, which involves "repeating" the title of the article in the first sentence of the article -- in bold letters. Yes, this is a "repetition," but it is not considered a "needless" repetition; it's simply Wikipedia format. Famspear (talk) 18:26, 31 August 2010 (UTC)

 * block man's I see four ring and see water fall. Massi and blood in the water fall and see left boy reduce sperms and right lit was boss Black and White that I see iwas standing right to them. And tree was got two apples   now happen the things was happening  July  last year. The boy he was see idont want him.his devil  gangs telling him  everything to fraud me. They using permit so if ii loose everything idont have nothing even bank   my family huose fraud everything they want me to bouw to man's all the time  they  don't want my family and my cooper bahlangene ngami abedilida  tin my local.they insult we guide you. So must follow man's because they fake guide  me my lumps going.  And my uncestours going with man's.   Iknow starring of life boy and boss and the group of them. Everyone make me fool.as.   I can't see anything. Aboutsns gangs is serial.killer with boss  abd boy   all they lesson poeples not me as my power man's 41.116.87.128 (talk) 08:31, 4 September 2023 (UTC)

hi Justice iwas see vision boy stealing my Provided fund for me and share with public isee vision ubizo gone with man's abs public I see boy. Reduce sperms and boss reduce sperms and see the  water falling snake. Preelling   skin not proeesid. Boy and boss fraud me with afairs and share with their poeples so idont have nothing my money pension iswith boy. Is mater offraudhisusing my name he walking with all my business. Isee my gift gone all cause of boy abd boss they using poeples to fraud me and boy using my local.to fraud me and damage lumps at the sametime my pension is drawing boy and gangs to get share with boss and boy and using my daughter Nicole boss and boy using my son that was born like me and married certificate the permit know idont have nothing is with poeples and gangs with boss abd poeples with boy so my capital.id for poeples private my lovmcaland boss local. Iamgoung to dead Cause of boy abd boss abd looting all boss and boy. 41.116.87.128 (talk) 08:23, 4 September 2023 (UTC)

 * So man's please iknow Poeples gossip about me to make following man's they. Demand me to follow them.abd dead. Badla ngamadoda permit bafuna ubizo lwami ngenkani   basaphotha my local.abd ntuzuma local. gangs local boss  so block man's is single. And. Dead slowly forans  they using all of us demand to follow man's the poeples and block network to spying them
 * Black.abd white together to share with two that is buying permit ￼ 41.116.87.128 (talk) 08:36, 4 September 2023 (UTC)

title: Talk:Tax deduction


text:
File:Bob Seger - Seven.jpg

Cover for album Seven by Bob Seger.

Fair use rationale for

 * It is believed that the use of this image on the English-language Wikipedia to illustrate an article on the audio recording in question falls under the "Non-profit educational" clause of the Fair Use doctrine currently upheld by United States law. (17 U.S.C. § 107)
 * The image is irreplaceable; a free analogue is impossible to produce as the original will be covered by copyright for the foreseeable future
 * Owing to the limited web-resolution of the image, only a small portion of a copyrighted work is used
 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright

title: File:Bob Seger - Seven.jpg


text: User talk:68.160.124.116

title: User talk:68.160.124.116


text:
School district drug policies

School district drug policies are measures that administrators of a school district put into place to discourage drug use by students.

Background
Over the decades of the War on Drugs in the United States, primary and secondary school drug and alcohol policies have become increasingly strict, in punishment and in the kinds of behavior regulated. Some school districts include off-campus and out-of-school behavior in their policy's jurisdiction. These policies are frequently part of comprehensive "Drug and alcohol" policies, and are particularly common in urban school districts.

Aspects of the policies may include random drug testing, searches of lockers and personal effects, anti-drug education (e.g., "Just Say No" curricula), and punitive measures including expulsion and suspension.

Advocates of random drug testing argue that it is not just a punitive measure, but may deter drug use. Opponents, however, have argued that drugs commonly used by students, such as alcohol, MDMA, and prescription drugs are either not detected by the tests or are metabolized within a short period of time.

There are about 600 school districts in about 15,000 nationwide that use drug tests, according to officials from the White House Office of National Drug Control Policy. White House officials liken drug testing to programs that screen for tuberculosis or other diseases, and said students who test positive don't face criminal charges.

Legal challenges
Civil libertarians have raised concerns with these policies, citing student civil rights and student privacy as principle objections. These cases have resulted in a number of legal challenges in the United States, as well as in related case law (e.g., Morse v. Frederick, the so-called "Bong Hits 4 Jesus" case").

In a 1995 case, Vernonia School District 47J v. Acton, the Supreme Court upheld the legality of random drug tests of student athletes who were not suspected of drug use. The Court reasoned that because school athletes routinely face mandatory physicals and other similar invasions of privacy, they have lower expectations of privacy than the average student. The Court specified that its decision should not be seen as a justification for further expansion of drug testing programs.

In the 2002 case Board of Education v. Earls the Supreme Court extended the holding in Vernonia, holding that all students who participate in voluntary activities, like cheerleading, band, or debate, could be subjected to random tests as part of a comprehensive program. The Court, in an opinion by Justice Thomas, stated that the diminished expectations of privacy of athletes was less important to their decision in Vernonia than a school's innate custodial responsibility and authority over its students.

In December 2009, a challenge was made to the Haddonfield, New Jersey, Board of Education's 24/7 policy regulating drug and alcohol use of students outside of school property and off school time. The lawsuit contends that the Board of Education does not have the authority to discipline students unless the conduct in question has some connection to school safety and discipline. A federal judge denied a request to stop the policy because the student who filed the lawsuit had already graduated. In 2012, the plaintiff's lawyer convinced a different judge to find that the school's 24/7 policy was illegal and the judge found that Haddonfield’s policy fails to differentiate between off-campus offenses that simply break the law and those that affect the school district’s ability to provide a safe environment. The NJ Commissioner of Education then reviewed the policy. In 2013, after the Commissioner of Education ruled against the Haddonfield School Board, the Board voted to scrap the policy for good.

Case study
In late 2001, in Ashland, Oregon, the Ashland School Board enacted a Drug and Alcohol Policy for students in leadership positions, igniting a local controversy. The policy extended to off-campus and after-school conduct, but the controversy reached the general efficacy and constitutionality of drug testing policies. Ashland Oregon case study:
 * Daily Tidings (February 2002 Coverage)
 * Daily Tidings (January 2002 Coverage)
 * Daily Tidings (January 2002 Coverage)
 * Daily Tidings (January 2002 Coverage)
 * Daily Tidings (January 2002 Coverage)
 * Mail Tribune (January 2002 Coverage)
 * Mail Tribune (October 2001 Coverage) Article 1
 * Mail Tribune (October 2001 Coverage) Article 2
 * Daily Tidings (September 2001 Coverage)
 * Mail Tribune (September 2001 Coverage)
 * Mail Tribune (July 2001 Coverage) Article 1
 * Mail Tribune (July 2001 Coverage) Article 2

Opposing the policy were local student groups and the local Oregon American Civil Liberties Union, which had advocated on behalf of various students expelled by the Ashland School District for drug use in May 2001 at a national forensics tournament. Students at Ashland High School argued that their off campus behavior after school hours should have no effect on their academic standing.

To resolve the dispute, a community committee was formed, meeting for five months. The committee's recommendations led to a rewriting of the Code of Conduct and a re-evaluation of the School District's entire Drug and Alcohol Policy.

title: School district drug policies


text:
User talk:Smokeala

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

[[User:Meelar|Meelar (talk)]] 03:17, Dec 18, 2004 (UTC)

title: User talk:Smokeala


text:
Brandon East

Brandon East (Brandon-Est) is a provincial electoral division in the province of Manitoba, Canada. It encompasses the southeastern part of the City of Brandon.

Historical riding
The original riding of Brandon East existed from 1886 to 1888, when the City and riding of Brandon was divided into two electoral districts for the first time. The city was re-established as a single riding in 1888.

Current riding
The modern riding of Brandon East was created in 1968, when the City of Brandon was again divided into two separate ridings. It has formally existed since the provincial election of 1969.

The riding borders on Brandon West to the west, and by Spruce Woods in all other directions. Brandon itself is the second-largest city in Manitoba (after Winnipeg), and is in the southwestern region of the province.

Brandon East's population in 1996 was 19,850. In 1999, the average family income was $40,233, and the unemployment rate was 8.60%. The service sector accounts for 19% of the riding's industry, followed by retail trade at 15% and health and social services at 14%. Eleven per cent of the riding's residents are aboriginal.

Brandon East had been a safe seat for the New Democratic Party since its re-creation. This changed at the 2016 election, in which Progressive Conservative candidate Len Isleifson defeated the NDP incumbent Drew Caldwell.

At the 2015 Canadian federal election, according to data from Elections Canada, Brandon East voted heavily Liberal. A provincial riding opinion poll in December 2015 showed Brandon East to be a marginal seat between the Conservative and Liberal parties, with the NDP trailing a poor third.

In the 2018 redistribution, the part of the riding north of the Assiniboine River was moved to Spruce Woods.

title: Brandon East