text:
Talk:Tubular Bells

Excorcist
>>> The article states "The opening theme, which was eventually chosen for the 1973 film The Exorcist, gained the record considerable publicity and is how many people have probably first heard the work." Does 99.99999999999% constitute "many"? —Preceding unsigned comment added by 208.67.104.4 (talk) 16:52, 16 March 2010 (UTC)
 * 99.99% does constitute many but in contrast to this figure, many is not simply invented out of thin air. Maybe most in 1973 first heard it in the film, but since the day the record has long overshadowed the film. Str1977 (talk) 15:36, 21 June 2010 (UTC)

"Plus Tubular Bells" lyric dispute
''That's not "Plus tubular bells" (classic cut-n-pasted miscreant misquote), that's not "Glass tubular bells" (though sounding close), please listen to the actual track at 22:50-55 before changing this: brass... tubular... bells!''

Well, I've listened to the actual track, and the 2003 version with John Cleese as MC and it seems to me that it's "Plus... tubular bells". Furthermore, in the discography by Richard Carter hosted at mikeoldfield.org it says "Plus", and it seems a quite reliable source. Whadayathink? :)

I agree with the above. I've listened to it and I can't hear it being anything else than "Plus". Also, due to the evidence of the 2003 version as well as that website which is, to my knowledge, one of the best sources of accurate information on Mike Oldfield, that the main article should be edited to show this. Bennity 02:43, 26 July 2005 (UTC)

Of course it's "plus"!NH78.147.153.185 (talk) 17:38, 18 September 2008 (UTC)

According to my knowledge, Mike Oldfield tried to sell the first version of Tubular Bells to different music labels, but all refused to release it. When he met Richard Branson, Branson decided, together with Nik Powell that they will take the chance to publish the record, because they were convinced, that this could be sold successfully. This record was the economical basis for Virgin Records and Bransons further business success story. Could anyone confirm or correct this or it this just a myth? Floridaadler 09:21, 21 Febuary 2006 (UTC)

The timeline is somewhat different. The album was recorded in Richard Branson's Studio, The Manor. Mike Oldfield took up residence there and recorded as and when there was available down time in the sudio. This allowed him to record it without any backer to pay for the costs. When the Album failed to attract interest from established record labels, Branson decided to release it as the first Virgin Records Album. But Branson essentially mentored Mike Oldfield and provided the support for him to create, reherse and record in the studio. — Preceding unsigned comment added by 109.155.245.106 (talk) 23:41, 20 January 2018 (UTC)

Floridaadler, you´re right in that this recording became the basis of the virgin empire, at least in the beginning. But they weren´t too convinced that it would be succesful, and after they recorded it they tried to sell it to a music label at the MIDEM in Cannes, being only Mercury Records (the one mike is with now) interested on it, but requiring mike to add vocals on it.

They didn´t like it, so Branson thought that, as he already had considered to launch virgin music stores' own label, that could be its first album. But without too much hope on it...

Geltrú.

I didn't think it was called virgin music stores until after Virgin Records became successful - the name Virgin records comes from it being a label for "virgin" artists - i.e. artists that haven't had record deals before. They didn't stick to this, but AFAIK, that was the origin of the name, and it just stuck. The significance of this album for the Virgin empire is significant enough that the airline has named an aircraft after it [Tubular Belle].

Also, shouldn't "Tublar Bells (edit)" be mentioned, which was released as a single.

Rjmunro 14:50, 14 September 2006 (UTC)

 * Actually, the first Virgin record store (under the Virgin name) opened at least two (possibly three) years before Virgin Records and Tubular Bells were launched. According to the London Evening Standard, the name "Virgin" comes from the (alleged) "fact" that Branson is sex-obsessed, although since the Standard is a tabloid this claim should be taken with a pinch of salt pending further research. -- 217.171.129.69 (talk) 05:36, 24 March 2008 (UTC)

 * If anyone wants a quote (from page 116 of Richard Branson's autobiography "Losing My Virginity", Revised Edition, ISBN 1740511832) "Although Simon [Draper] and I [Richard Branson] loved Mike's music, we never thought that we'd make any money from it". Yay unto the Chicken 02:23, 12 July 2006 (UTC)

 * Heh. When I read that an airplane was named after this album, I immediately thought of the iconic knotted airplane of the film Airplane!. --205.201.141.146 22:06, 7 February 2007 (UTC)

Title
It has been mentioned in many bios', and by Oldfield himself, that the original title of the piece was "Opus 1" and in fact in his original home recording there were no tubular bells. Shouldn't this be noted in the article? —Preceding unsigned comment added by 209.255.249.210 (talk) 10:44, 3 March 2010 (UTC)

 * It is already mentioned, if you read the recording sessions section. TubularWorld (talk) 16:43, 4 March 2010 (UTC)

 * Whatever the state of the article was in 2010, it no longer defines what Opus 1 is. The article mention it six times but nowhere defines if it's a section of TB, and which one, or the whole thing. A clear and unambiguous definition of Opus 1 needs to be added.ToaneeM (talk) 09:32, 3 January 2020 (UTC)

 * It's stated in the background that Oldfield had recorded several demos including a longer piece he had provisionally titled "Opus One", and that Richard Branson encouraged him to record it professionally at The Manor. What emerged from that session would be a developed version of the 'Opus 1' demo. You probably couldn't point at any part of TB and say "that's Opus 1", but I would guess that Part 1 is mostly Opus 1, and Part 2 was written during the recording sessions. Halmyre (talk) 15:46, 3 January 2020 (UTC)

 * I did read through it carefully before pointing out that Opus 1 isn't defined. Article readers don't know what's going on. The article should define or explain Opus 1, that's its responsibility if it's going to later refer to it six times. The article needs to be fixed. But by someone who knows: adding guesswork text makes it worse.ToaneeM (talk) 13:56, 4 January 2020 (UTC)

 * I'm sorry you seem to have some difficulty with the article as it is currently written, ToaneeM. I jest went back and re-read all the places where "Opus One" is mentioned. It all looks perfectly clear to me, as is the reason the title was changed to "Tubular Bells". Not sure what to suggest. Martinevans123 (talk) 14:30, 4 January 2020 (UTC)
 * Glad you took a look and found it, @MartinEvans123. Please can you quote the article text that told you specifically what 'Opus 1' is. Does that text tell you if it's a section of TB and, if so, which one? Or does it say all of TB evolved from it? I couldn't find it in our encyclopedia, so I think others can't. That seems just as clear to me but I've laboured my point enough. Don't you get me wrong - I only wanna know. Thanks and please do paste the text. ToaneeM (talk) 21:12, 4 January 2020 (UTC)
 * There is not just one piece of text. It starts with "The demos comprised three shorter melodies ... and a longer piece he had provisionally titled "Opus One." but there is then a narrative that provides the explanation. There is no explanation of "which part of TB" Opus One became but, as Halmyre suggest above, it may be hard to determine this, but it's probably most of Part 1. No more to offer here, sorry. Martinevans123 (talk) 22:33, 4 January 2020 (UTC)
 * Sure @Martinevans123 and hence my original point stands. Many other WP articles explain similar evolution of early pieces to final releases but more clearly. Here, "Opus 1" is referred to in six places but not defined or even introduced, so the article has a clear deficiency. None of us know the answer, so we'd make it worse adding guess-text. Someone who does know will eventually come along and correct it. Meanwhile, I'll sign off here, thanks for talking :-) ToaneeM (talk) 22:52, 4 January 2020 (UTC)

Klingon Lyrics
One piece has a series of lyrics that sounds like they're sung in Klingon. I would certainly welcome a discussion on this matter; the current article fails to mention it entirely.

--Pjf 04:58, 21 October 2006 (UTC)

The vocal passage that you are referring to in Part Two is indeed discussed here. These vocals by Mike are credited as "Piltdown Man".

EPC

This is what sounds like "shuggah wah nath dog wah now!" This is clearly a part of the influence of the music being included in the soundtrack of the Exorcist, IMHO. The book calls for the girl to scream blasphemies, which could not be played and accepted by very many listeners. The fact that it says "dog" is clear evidence that it is backward-masked English for God. I have Adobe Audition, which allows reverse playing; I have heard the "Hidden Message" in Pink Floyd's "Empty Spaces". I will have to load in Tubular Bells, reverse it, and see if I can give a transcription here. Nirigihimu 18:18, 1 March 2007 (UTC)
 * I don't think that you are right there. Tubular Bells wasn't written for the Exorcist and I believe that Mike wasn't even told about its inclusion until the film came out. --80.229.152.246 16:07, 17 May 2007 (UTC)
 * Mike would have had to have been told because to do otherwise would have been copyright violation. I'm in the entertainment bizness; tis Simply Not Done. The current "Sopranos" commercial using the song "Don't Stop" is costing A&E big freaking money baby.... Here is the best transscription I've been able to get, keeping in mind the cd is relatively new issue and could have been edited:

"I wanna fuck (hush!?)" repeated about 4x; the hush also sounds as if it could be "wash", "Elvis", and "boys", or all four, in that order. "Hush, hush, hush" or whatever about 3 times, howls and screams, "I wanna fuck, I wanna fuck!" more howls and screams "Hush, hush, hush!" howls and screams. I did not find any mention of the name of Jesus, which is the in the book by Wm. Peter Blatty. Have a nice day! Nirigihimu 19:47, 10 July 2007 (UTC)

 * Mike did not have to asked (theoretically), as he is not the copyright holder, Virgin-Emi is! TubularWorld 20:16, 10 July 2007 (UTC)

 * I'm reasonably sure it's a Klingon love song --Huffers (talk) 23:35, 16 February 2008 (UTC)

 * There's one major flaw with this argument; Klingon, in the form which we are discussing, was not used in the Star Trek universe until the first motion picture in 1979. Of course Tubular Bells precedes this incarnation of Klingon by 6/7 years. SkeletorUK (talk) 23:40, 16 February 2008 (UTC)

 * Re. Nirigihimu's first comment, does this mean that every reference to dogs (in whatever context) is a disguised religious/blasphemous reference? I don't think so.  (And to my mind "blasphemy" is more or less a null concept anyway, as most so-called "blasphemers" aren't taking the name of their God in vain.) -- 217.171.129.69 (talk) 05:24, 24 March 2008 (UTC)

 * Some more info that may be helpful: Piltdown Man is the skull of a prehistoric caveman found in England, which turned out to be a hoax. Click the link for info.  I've always thought of Mike's vocals as caveman talk inspired by Scottish and Welsh languages.  As to whether he's actually saying anything, the only thing I can hear is "shove it!" near the end, but given the other things you people are hearing, your guesses are as good as mine.  In the 1960s, Mike and his brother Terry were in a short-lived rock band called Barefeet (or Barefoot; I've seen both names in "official" biographies) and did a song called "Growling Song" which contained incomprehensible vocals, and is supposedly the inspiration for the Piltdown Man section; however there are no recordings (as far as we know) of this or any other Barefeet songs, so it's not known if it's really the same song.  Back to Tubular Bells, nobody ever seems to point out the backing vocals, which are clearing chanting "boot leg" (and later, "leg boot").  Back when Virgin Records was a record importing and mail order distribution company, Richard Branson got arrested for selling bootleg records, so this is Mike's dig at his new boss.  Also note that the dog on the Hergest Ridge album cover is credited as "Bootleg, the Irish Wolfhound from the Manor".  Obviously, Branson's employees were allowed to joke about the situation.  —Preceding unsigned comment added by A Knight Who Says Ni (talk • contribs) 01:13, 30 March 2008 (UTC)

I can't believe none of you have tried listening to that section backwards. Piltdown Man is almost perfectly intelligible if you play it in reverse. —Preceding unsigned comment added by 75.92.57.196 (talk) 11:39, 20 March 2010 (UTC)

Bracketed note on alleged drunkenness
This needs to be handled better somehow:
 * [* - Note this is baseless rumour and has since passed into urban folklore]

Can someone please a) find a reference, and b) improve how this info is incorporated in the article? As it stands it's bad form. 18.173.1.42 15:37, 23 February 2007 (UTC)

Tubular Bells and the Mail on Sunday
In the UK, a copy of the original studio recording of this album was given away with the Mail on Sunday on 22 April 2007. 217.43.197.166 12:17, 23 April 2007 (UTC)

 * I'm not sure weather to include info on the mail on sunday givaway - the only reason to, would be the fact that mike wasnt asked about it before hand. Mankind 2k 16:30, 25 May 2007 (UTC)

Meter
Actually, the first part is not entirely in 7/8. Let's say every note played is 1/16th, then it is 7/16 - 7/16 - 7/16 - 9/16. Listen closely, after 3 repeats of the 7/16 riff, it is repeated with two additional notes, making it 30/16 altogether. Of course, if every played note counts as 1/32nd then we would have 30/32 altogether, which reads better. I will correct this soon. Regards, 84.56.125.45 08:29, 24 April 2007 (UTC) MikeB

I agree with this reading - (3 x 7) + (1 x 9) - it all adds up to 30 which gives 15/8, but 7 + 8 is not the 'feel' that I hear, rather, 3 'shorts' + 1 long...i.e. (4 + 3) + (4 + 3) + (4 + 3) + (4 + 2 + 3)...comments please?

The first bar is actually in 7/8 then a bar of 8/8. Which overall is 15/8. Mike explains this on page 111 of his Autobiography, Changeling. Mankind 2k 16:33, 25 May 2007 (UTC) la-mi-si-mi-sol-la-mi do-mi-re-mi-si-do-mi (7/8) + si-mi-la-mi-si-mi-sol-la   mi-do-mi-re-mi-si-do-mi (4/4)  Horacio Aguilar 23:42, 27 May 2007 (UTC)

MikeB has it correct. Find the sheet music and the guitar tabs and you'll see. Though I've seen it quoted as 7/8 7/8 7/8 9/8. The fact that it adds up to "30" as someone says above, makes sense I guess for the "15/8" argument, but yeah if you listen to all four bars, the last one certainly has an extra beat in there so I'd argue for the 9/8 change. The leading note will fool you, so don't forget to put the leading note in the previous measure when you are counting :). User:feelie75 5:53am, 16 Sep 2006 (UTC)

 * (one leading 16th:)...  + | A+B+GA+ | C+D+BC+ | A+B+GA+ | C+D+BC+B+ | If you read note names and + (as E or "and"), and add them up, it's 7/16 - 7/16 - 7/16 - 9/16. (or eights, if the smallest division is 1/8) The bar division is |2+3+2|2+3+2|2+3+2|2+3+4| I've only seen it that way in transcriptions.  (Horacio's version has one eight too many in the third bar and misses one eight in the fourth bar btw.) In the Autobiography version, the stress wold be on the melody notes for the first riff, then on the e's for the next, then on the melody notes, then again on the e's, which doesn't make sense at all. Mathematically it's the same (7/16 + 7/16 = 7/8 and 7/16 + 9/16 = 8/8), but musically it's a totally different rhythm.  -- megA (talk) 17:04, 4 May 2008 (UTC)

 * Indeed. I cannot hear the opening riff as anything other than 7+7+7+9.  Well, actually, I've always "felt" the opening 7 as a kind of "pickup", so that the melody feels like 7+7+9+7, but that's clearly my own problem, and not what Oldfield intended.  Which makes me wonder whether I could hear it as a slower 7+8, and that I might be just "stuck" on the 7779 reading.  Anyway, this can't go into the article, because it's original research.  I'm very surprised that Oldfield explicitly plumps for 7+8 in the autobiography, but if that's what he says, that's what we have to go with. ACW (talk) 23:32, 18 March 2010 (UTC)

 * This is genuinely fascinating, because I can't hear it as anything other than 7,8,7,8.... So interesting how the same piece comes across so many different ways to different listeners.... PurpleChez (talk) 17:03, 23 October 2018 (UTC)

Castle in the Pyrenees
Was Trevor Key really inspired by Magritte's "Castle in the Pyrenees" or is it just very similar? They are almost identical, but i have found no real references for it. Anyone know for sure? Mankind 2k 16:28, 25 May 2007 (UTC)

Bad wikipedia
Wow, lets fuck up wikipedia with lame dhtml - why the hell is there suddenly a "contents" field floating over the text (bad design that is why) hopefully this will go away and a return to proper normal html will be seen.

Controversy Section
Magma drummer/leader Christian Vander claims that Oldfield had listened to Magma record before he wrote the album, and that Oldfield stole some of Magma's music in Tubular Bells. He has stated so in several interviews, such as I have reproduced below: "A man called Mike Oldfield did steal my music - to be more precise, extracts from "Mekanik" and "La Dawotsin". When we recorded "Mekanik Kommandoh" in 1972, Oldfield was waiting for recording "Tubular bells", which is in fact an extract from my music. I played this music for him, without guessing that h would steal it for him." Source:http://members.aol.com/sleeplessz/batmag.htm

Perhaps this could be incorporated into a Controversy section. —Preceding unsigned comment added by 67.84.181.248 (talk) 08:46, August 28, 2007 (UTC)

 * What section of Tubular Bells to be exact? As there is recorded demo evidence that Oldfield recorded some sections in 1971, a year before this supposed ripping off... These 1971 demos are available on the DVD-A of TB2003. TubularWorld 15:50, 28 August 2007 (UTC)

 * P.S. Wikipedia is also not meant to have any Polemical statements, as it is an encyclopedia. Tbh if this Vander fellow was actually serious about Oldfield stealing his work, there would have been a law suit, and as there hasn't been, all of this is just hear-say really... TubularWorld 16:38, 28 August 2007 (UTC)

Bad intro section
I feel that this article's intro section should be entirely rewritten to more generalize the content of the article. It should say at least SOMEthing about the influence this album has had on the music industry. Tubularbells1993 (talk) 19:22, 4 February 2009 (UTC)

 * I'll make a new draft intro in the next few days, and see how it looks. --TubularWorld (talk) 21:04, 4 February 2009 (UTC)

 * This subject may be more appropriate in the "significance" section. TB1993, what do you recommend the changes say?  I'm not really sure if it had a great influence worldwide, unless you are thinking of it being a contributing factor to the development of world music as a popular genre, which seems to have happened a decade later.  TB certainly had a major influence on how the Virgin label developed, but did it really influence the industry as a whole, and did it have much of an impact in the USA?  I always thought of TB as an album that should have had more influence than it did, as it seemed to point to a new dirction progressive rock could take, but prog rock was on the decline by 1973, and its styles firmly established, so I don't think other classic bands were too influenced by it. --A Knight Who Says Ni (talk) 17:57, 5 February 2009 (UTC)

 * What I meant was, per WP:LEAD, it doesn't adequately summarize the article. I'm not saying its impact was too drastic, but it still deserves a mention there. Instead of mentioning the album's success in brief, it jumps straight into Vivian Stanshall and his work. It should hook the reader rather than going off into something best mentioned elsewhere in the article. Just generally, it needs a rewrite. I am not entirely sure what it would look like but it might say something like, "The work has been sampled continuously many times by many artists," and goes off to name a few (particularly the biggest ones) rather than having an unnecessary trivia section that takes up a large amount of the article (and a bigger danger being most of it is not sourced). Tubularbells1993 (talk) 04:29, 7 February 2009 (UTC)

 * I presumed you meant influence regarding style, and how it affected subsequent music by others. I'm not sure sampling is notable demonstration of influence, and I think I might prefer examples to be mentioned in a cover versions section, perhaps titled "covers and sampling".  Regarding the problem of sourcing info about cover versions, I usually look to see if I can find it referenced at the artist or album page at WP (which should be wikilinked, and I add the link if it's missing), and if I can't find it, I remove it.  If someone really wants to have it added to the article, they should repond by finding a source.  If we're going to mention sampling, we should mention that Amarok contains a strange sample in which Mike took the entire 50 minutes of TB and compressed it into something like 1 second (or maybe it's a little longer?) and used it as an instrument sound.  (Read it in a fanzine interview with Mike, should be possible to source; I'll do a search of the dusty archives if necessary.) --A Knight Who Says Ni (talk) 11:48, 7 February 2009 (UTC)

bumting maytee ;)

Esso Commercial
The opening part was also used, I believe, in a commercial for Esso in the mid-70's. It featured a tiger romping through deep snow in slow motion. Probably a lot of people in England heard the piece via this commercial before The Exorcist ever came out... —Preceding unsigned comment added by 67.193.128.193 (talk) 08:03, 22 August 2010 (UTC)

Single version
The current text reads, in part:

I purchased the single in Canada when it was first released, and it was identical to the U.S. version. The above text should perhaps be altered to read "only released in the US and Canada." Comments welcome. The News Hound 12:47, 9 November 2011 (UTC)

 * I'm not seeing the actual name of the US single anywhere here. Was it just called "Tubular Bells"?  — Preceding unsigned comment added by 108.202.33.17 (talk) 05:59, 17 October 2021 (UTC)
 * Yes - https://www.discogs.com/master/558502-Mike-Oldfield-Tubular-Bells. Richard3120 (talk) 09:52, 17 October 2021 (UTC)

Bad Essay
Most of this article now reads like a bad essay for music theory class or something! The is wikipedia! No original research please!67.190.86.13 (talk) 19:37, 7 April 2012 (UTC)

Piano Solo on Side 2
The first version of Tubular Bells that I ever heard was on vinyl with the length of each side printed on the record. This was a used copy that I heard in 1979 or 1980. It contained a piano solo before the Sailor's Hornpipe section. The piano solo disappeared from later editions (which also removed the times for each side). However, the piano solo later re-appeared elsewhere as "The Theme from Cosmos" credited to Vangelis. Does anyone know the story behind the disappearing piano solo? It would be great if an explanation could be added to the Wikipedia entry.Kmarkus (talk) 18:51, 20 April 2012 (UTC)

Tubular Bells/L's theme
For those of you who don't know, Death Note is a very famous anime about a man who despises evil and founds a notebook who can kill persons if the name is written upon it. This series makes theme songs for almost every main character. One of the characters (called "L") has his own theme song which is strikingly similar to Tubular Bells. Should we put that on the article? Because is an incredible resemblance. I'll leave you a link to discuss: http://www.youtube.com/watch?v=gYqBjBNcvqs — Preceding unsigned comment added by 201.204.39.210 (talk) 15:08, 21 April 2012 (UTC)

 * No. It's listkruft and WP:OR. TJRC (talk) 18:00, 23 April 2012 (UTC)

Another Happy Hardcore song that uses the intro
Could 'You and Me' by SHM be included in the cover versions list? It is another happy hardcore song involving the original song's opening melody - http://www.youtube.com/watch?v=yeL6Y7Dwad4#t=50 --Arpaleggia (talk) 15:48, 15 August 2012 (UTC)

Piltdown Man?
In the list of instruments that MO played, it lists "Piltdown Man", but it links to the article about the fossil. Is this correct?194.28.125.14 (talk) 04:13, 26 September 2012 (UTC)

A NEW YORK CITY Moment for Tubular Bells
In NYC during the late 1980's and early 1990's there was a mime who performed every Sunday (perhaps other days as well but unbeknownst to us) in front of The Metropolitan Museum of Art on Fifth Avenue, (80th to 84th Street), using Tubular Bells as his musical theme. It was about a 15 minute performance that he would repeat over the course of the day. He was quite good - very dramatic and mysterious - dressed head-to-toe in white, as I recall - with that eerie ethereal TB music piping forth from his portable CD player. My young son and I made that visit practically every Sunday and we were transfixed by that performance. I would love to get a message to him - wherever he is now - that he is fondly and pleasantly remembered. Hperess (talk) 05:33, 13 February 2013 (UTC)

Robert Christgau review
I don't feel that this review is worthy of a link, as it is obvious to me that Christgau didn't listen to more than 5 minutes of TB before writing the review. Of course, I suppose it does balance the list of reviews somewhat. I'm just bothered by the obvious lack of effort on the reviewer's part. -- |  Uncle Milty  |  talk  |  12:34, 4 June 2013 (UTC)

Number what?
From the article: The newly founded Virgin Records released Oldfield's debut album Tubular Bells as its first album; hence the catalogue number V2001.

Um... why "2001"? If it was their first album, why not V1 or V0001 or something similar? The album was released nearly three decades before the year 2001, so that's not an explanation. But if this number is of some significance, then this statement does require some further explanation. — Preceding unsigned comment added by 67.206.185.142 (talk) 05:20, 6 August 2014 (UTC)
 * Probably 'V2001' just because they could. 'V1xx1' for some releases (are there any?) and 'V2xx1' for LPs. AMCKen (talk) 07:57, 16 January 2015 (UTC)
 * I'm guessing '2001' as a reference to the film? After Tubular Bells the sequence continued upwards from V2001 (V2002 was Gong's 'Flying Teapot') with the odd variation. AFAIK, there were never any V1xxx albums. Singles were VS-1xx. Halmyre (talk) 17:10, 30 August 2015 (UTC)

Charting
Hit #1 in Canada before any other country? AMCKen (talk) 07:57, 16 January 2015 (UTC)

There are at least 6 versions of Tubular Bells on vinyl. This one is missing in the article: http://www.quadraphonicquad.com/QQ-bells.htm

 * No, it'll just be a regional variation of the standard quad mix, or a variation thereof. It's not going to be a different version Halmyre (talk) 20:52, 15 November 2015 (UTC)

There is also mix with the additional aircraft noise at the end of the album released on the picture disc, I have it. — Preceding unsigned comment added by Eder~plwiki (talk • contribs) 16:14, 17 October 2016 (UTC)

Possible GA
I don't know if anybody apart from is really looking at this article on a regular basis, but looking ahead I think this ought to be a good candidate for GA. There's a lot of good information here already – it's the presentation and order of it that needs work, to my mind... just looking at the contents list makes my head hurt. I won't be able to get there for some months (maybe not for a year), but I have access to the British Library so I could probably get hold of old copies of NME, Melody Maker, etc. from 1973 and find if they have any original reviews of the album – a critical reception section seems to be the major thing that's missing. Any thoughts or suggestions? Richard3120 (talk) 01:47, 3 August 2016 (UTC)

 * I haven't listened to the album in ages until just now, so I thought I'd take a look at the article. I've trimmed down a lot of repetition and started to reorganise it; most of the "Recording" section is basically covered by the liner notes to the 1998 reissue, and presumably the others after that. I don't know where my copy of that CD has gone, so I've only got the original vinyl at the moment (so I can cite the "old tin boxes" but not much else). Anyway, huge amount of work required to get close to GA, but worth doing as the article in its current shape isn't very good. I think will probably be interested in lending a hand. Ritchie333 (talk)  (cont)  17:41, 12 December 2016 (UTC)

 * He'll probably just breeze in at the last minute when all the hard work has been done. Martinevans123 (talk) 17:48, 12 December 2016 (UTC)
 * Guys, I'm very sorry... as you can see from my edit history, I've been away from Wikipedia for the last eight months (various reasons) and only just seen these posts. Before my sabbatical I had started rewriting and reorganising the article here in my sandbox, but as Martin says, you have probably done the hard work by now. I don't know if either of you have any comments on what I have written (whether any of it can still be used). I should be back in the UK in September and I'm planning to go to the British Library and dig out some more reviews of the album, both from 1973/74 and from the subsequent reissues. And I promise not to leave it another eight months to reply to your comments... apologies again. Richard3120 (talk) 21:18, 5 July 2017 (UTC)
 * Actually, no. I was being typically sarcastic. I meant me. Martinevans123 (talk) 21:21, 5 July 2017 (UTC) :)
 * I know you were Martin, I've been here long enough to recognise your sense of humour. ;-) But it's still true, you've both been working on the article in my absence and I'm not sure what I've done is of any use now – any comments greatly appreciated. Richard3120 (talk) 21:41, 5 July 2017 (UTC)

I can't remember why I was talking about this with somebody the other day (probably something to do with "guitars sounding like bagpipes"), but I've done a bit more work on the article. I still think it needs a bit of a trim in places, and we need more sources, but it's finally coming together for a GA. One sticking point, the BBC4 documentary is probably one of the best sources we can get, but unless it's been released commercially or is available for anyone to watch at any point, I have a nagging doubt it falls foul of our verifiability policies. I just tried to access it on the BBC website, but it's not available. You can get, er, "other" versions on YouTube but that's also problematic. I can't remember the specifics. Ritchie333 (talk) (cont)  00:14, 17 April 2018 (UTC)
 * completely agree with you, it is a problem. These programmes are often repeated on TV (the Oldfield documentary has certainly been repeated on BBC Four at least once since its original 2013 broadcast), and sometimes made available again for a limited period to watch via the BBC website, so it might pass verifiability on account of occasionally being available to watch officially. The BBC does the same with its "Classic Albums" radio series from the 1980s onwards, which were originally broadcast on BBC Radio 1 and now get regular airings on BBC 6 Music and occasionally streamed for limited periods on the BBC website.
 * The article itself it could do with a thorough revision and copyediting – the sections that are still problematic, to my mind, are the various releases on vinyl, SACD, HDCD, etc. (quite audiophile nerdy, and not well sourced), the "other works by Mike Oldfield" (again unsourced, and some questionable statements... the Piltdown Man is Oldfield's "trademark instrument" – really, even more than his guitar?) and the "cover versions" section, almost all of which is poorly sourced and could probably go – most are just interpolations by various artists of the famous opening bars of the introduction, which is hardly a "cover version" of the 49-minute album... at best the only notable versions are the 'Tubular Bells for Two' and the version for four pianos, and even then it would depend on finding credible sources for them. Richard3120 (talk) 00:38, 17 April 2018 (UTC)

"Live Performance" section
Reference to "Jeff Leig (flute)".... this should be 'Geoff Leigh" surely? Of Henry Cow fame - the flautist/sax player who joined the rest of H Cow to back Oldfield on early performances - inc the 1973 BBC broadcast. — Preceding unsigned comment added by 109.147.59.129 (talk) 18:48, 27 November 2016 (UTC)
 * It is indeed Geoff Leigh, but his name was misspelled on the original programme for the performance. I will add a note about this when the article is updated. Richard3120 (talk) 01:48, 6 July 2017 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 07:52, 7 September 2020 (UTC)
 * Tubular Bells Album Cover 1973.jpg

"use in The Exorcist" section
I've been binge-watching The Exorcist recently. It had been a while since I'd seen it, and the first few times through I was really surprised by how Tubular Bells is NOT a major presence in the film. In my memory, it was playing as Father Merrin arrives at the MacNeil home, bathed in that shaft of light. But in reality it plays for a few moments as Ellen Burstyn walks through a sunny Georgetown afternoon, and in the background on two or three other very brief instances. Anyhow... after thinking of it as "the Exorcist theme" since I was a teenager I'm now curious as to how what is - at most - a few moments of incidental music became one of the most iconic musical themes in movie history. PurpleChez (talk) 03:30, 22 April 2021 (UTC)
 * You are right – as it states in the text, it is only played twice in the whole film, and both times it's for only a few seconds. But such is its association with the film now, and as a recognisable motif for "scary moment coming up" in so many TV shows and films since, it's worth mentioning. Richard3120 (talk) 13:44, 22 April 2021 (UTC)

Purely from memory, I read a long time ago that director William Friedkin, was having trouble getting suitable music from the composer, Lalo Schifrin, and Friedkin went and got a copy of Tubular Bells and played the intro to Schifrin, saying that he wanted "something like this". Whether Schifrin retorted "Well why don't you just use that?" I really can't remember but the important thing is that TB had already been released and Friedkin heard a copy. This is backed up by this quote from Friedkin from the "Dangerous Minds" website:

"After listening to and discarding everything after a few bars, I came across a track called “Tubular Bells” by someone named Mike Oldfield on a new label in England, Virgin Records. After the opening motif, which I found haunting, the rest of the track was a kind of demonstration of the sound made by various bells. But, that opening motif, it was perfect." 89.241.206.185 (talk) 14:35, 15 July 2021 (UTC)

Why were all informations about rereleases removed from article?
Earlier versions of article had info about 2009 editions https://en.wikipedia.org/w/index.php?title=Tubular_Bells&oldid=1046820232#Track_listing — Preceding unsigned comment added by 83.22.35.71 (talk) 15:07, 18 December 2021 (UTC)
 * Because they were unsourced - all information on Wikipedia must come from verifiable sources. Also, it's not very important to list every single release version of an album - Wikipedia is an encyclopedia, not a listings directory: see WP:NOTDIRECTORY. Richard3120 (talk) 16:22, 18 December 2021 (UTC)
 * How did the 2009 editions vary? Why were they notable? Thanks. Martinevans123 (talk) 16:48, 18 December 2021 (UTC)

World record
Was the amount of instruments (28) a record in itself for Mike oldfield during the making of tubular bells Nicolausbovill72 (talk) 09:47, 25 September 2023 (UTC)
 * No idea, but I doubt it... I'm sure classical music albums have far more instruments on them. You'll have to be more specific. Richard3120 (talk) 01:32, 1 April 2024 (UTC)

Also done by Book Of Love
Tubular Bells was also remade by the 80’s Goth-Synth band Book Of Love. 2601:645:E7E:1250:24CB:4FE9:BEA:3D3E (talk) 03:40, 4 June 2024 (UTC)
 * But if it isn't notable, then it's not worth mentioning - it needs to pass WP:SONGCOVER. Richard3120 (talk) 19:43, 4 June 2024 (UTC)

title: Talk:Tubular Bells


text:
User talk:Mrdelayer~

= ALBUS DUMBLEDORE AND ARAGOG DIE. = = SEVERUS SNAPE IS THE HALF-BLOOD PRINCE. = = SNAPE'S FATHER WAS A WIZARD. = = SNAPE'S MOTHER WAS A MUGGLE NAMED EILEEN PRINCE. = = HE IS A PRINCE (CAPITAL P), NOT A PRINCE (LOWERCASE P). = = BILL WEASLEY MARRIES FLEUR DELACOUR AND HIS FACE IS MUTILATED. =

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

title: User talk:Mrdelayer~


text:
User talk:Kriegpaolo

Welcome!
Hello, Kriegpaolo, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

 * If you haven't already, drop by the new user log and tell others a bit about yourself.
 * Always sign your posts on talk pages with  so others will know who left which comments.
 * The Five Pillars of Wikipedia
 * Our policies, guidelines, and simplified ruleset
 * How to edit a page and write a great article
 * The Wikipedia tutorial and picture tutorial
 * The handy Manual of Style
 * And finally, remember to be bold in updating pages!

I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  03:18, July 17, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

title: User talk:Kriegpaolo


text:
Home School Legal Defense Association

The Home School Legal Defense Association (HSLDA) is a United States-based organization that seeks to advance the freedom of parents to homeschool their children. HSLDA describes itself as a "Christian organization."

HSLDA is organized as a 501(c)(3) nonprofit organization, located in Purcellville, Virginia, which is also the home of Patrick Henry College, founded by Michael Farris in 2000. Farris was also CEO of the conservative Christian legal organization Alliance Defending Freedom from 2017–22.

History
HSLDA was founded by Michael Farris in 1983 for the purpose of defending homeschooling families. At that time, homeschooling was not specifically legal in most of the states of the U.S. under compulsory schooling laws. Those who practiced homeschooling were often harassed or prosecuted. Through a combination of legal action and legislative lobbying, HSLDA played a large part in the legalization of homeschooling throughout the U.S.

A high point of HSLDA's existence was its central role in the 1994 defeat of language in bill H.R. 6. This bill would have required all teachers in the U.S., potentially including home educators, to have teacher certification. HSLDA used their grassroots lobbying system in each of the 50 states which coordinated members to contact their legislators about pending legislation. Their members overloaded the phone switchboards at Capitol Hill, and through the efforts of their members and other organizations, the bill was amended to remove the problematic language. While HSLDA is proud of this, some homeschoolers disagreed. As noted by Mark Hegener, then publisher of Home Education Magazine, "HSLDA used homeschooling families to jump strongly on the Federal side of the scale of State's rights vs. Federal rights. For homeschoolers this means someday, some poor federal bureaucrat is going to be stuck with the task of writing regulations which define homeschooling."

HSLDA's speech and debate league broke off to form the National Christian Forensics and Communications Association in 2001. That same year, Patrick Henry College was founded by Michael Farris, who was the college's president until 2006. Today, HSLDA's 80,000+ members receive free legal assistance if they are contacted by public school officials, or need legal help in relation to their rights to homeschool.

HSLDA has been criticized, from both inside and outside the larger homeschooling movement, for its ties to the Christian Right and its advocacy for various conservative political and religious causes, some of which are unrelated to homeschooling.

Generation Joshua
In 2003, HSLDA, feeling a need to educate youth in civics and politics, founded Generation Joshua. Generation Joshua (often abbreviated as "Gen J" by its members,) is an American Conservative Christian youth organization that aims to encourage the involvement of 11- to 19-year-olds in politics. Its members, which number 6,000 as of 2006, participate in civics education, over 60 clubs, student action teams, voter registration drives, and "Benjamin Rush" Awards, which offer members a chance to earn a trip to Washington, D.C., amongst other things.

HSLDA Online Academy
HSLDA and Patrick Henry College founded HSLDA Online Academy in 2009 to provide online Christian courses to homeschool families. Originally named Patrick Henry College Preparatory Academy, HSLDA Online Academy has expanded beyond college preparatory courses and now offers an array of high school classes online, including English & writing, mathematics, social studies, and foreign languages.

Publications

 * The HSLDA publishes a bimonthly magazine which is mailed to all of its members.
 * The HSLDA published Constitutional Law for Enlightened Citizens by Michael P. Farris.

HSLDA Compassion
HSLDA Compassion provides "Assistance to needy home schooling families".

NCFCA
The National Christian Forensics and Communications Association, or NCFCA, is a speech and debate league for homeschooled students in the United States, established in 2001 after outgrowing HSLDA, which had been running the league since it was originally established in 1995. NCFCA is now organized under its own board of directors with regional and state leadership coordinating tournaments and other activities.

Patrick Henry College
Patrick Henry College, or PHC, is a private, non-denominational Protestant college, founded by HSLDA, that focuses on teaching classical liberal arts and government, located in Purcellville, Virginia. It is the first college in America founded specifically for Christian home-schooled students. The school was incorporated in 1998 by Michael Farris. It officially opened September 20, 2000, with 92 students, and has since grown to approximately 325 students.

Federal courts
Calabretta v. Floyd
 * In the 1990s, HSLDA represented a family in their suit against a Yolo County, California, police officer and social worker who conducted a warrantless search, including strip search of minor children, during a child abuse investigation. The social worker argued that she was not bound by the Fourth Amendment restrictions against unreasonable search and seizure.  Furthermore, both the social worker and police officer claimed immunity from suits regardless of whether or not they violated a family's constitutional rights.  The Ninth Circuit Court of Appeals ruled on August 26, 1999, that "a social worker and a police officer are not entitled to qualified immunity for investigating a report of a child crying by making a nonconsensual entry into a home without a search warrant or special exigency and coercing a parent to aid them in strip-searching her child."  This ruling clarified that social workers are government officials and are bound by the Fourth Amendment and may be sued for violations of that amendment and has been cited repeatedly in subsequent court rulings regarding searches in child abuse investigations.

Camdenton R-III School District v. Mr. and Mrs. F
 * In 2006, HSLDA represented a family that sought to have their son protected from a government mandated "special needs evaluation". The Eighth Circuit Court of Appeals ruled that a school district may not force a child to undergo a special needs evaluation against the desires of the child's parents.  The school district rested its arguments on the federal Individuals with Disabilities Act (IDEA).  However, the court ruled that "Where a home-schooled child's parents refuse consent [for an evaluation], privately educate the child, and expressly waive all benefits under the IDEA, an evaluation would have no purpose. . . . [A] district may not force an evaluation under the circumstances in this case."

Loudermilk vs. Arpaio, et al.
 * A 2007 decision by the Arizona District Court states that entry by law enforcement and child protective services personnel into a private residence is not consensual when it is given after law enforcement threatens the family with the arrest of the parents and seizure of their children.

State courts
F vs. Braxton Family
 * Maine Supreme Court ruled that parents' rights to their children override grandparents' rights to their grandchildren. HSLDA represented a family against the grandparents.  The grandparents disagreed with the parents' child-rearing decisions and sued the parents to have unrestricted, court-mandated access to the children.  The Maine Supreme Court affirmed a lower court ruling against the grandparents.

The People v. DeJonge
 * Michigan Supreme Court struck down the state's teacher certificate requirement as an unconstitutional abridgment of the constitution's free exercise of religion clause. The DeJonge's were convicted of teaching their children without a government issued teacher's certificate.  HSLDA represented the family in its appeals which established that parents do not need a teacher's certificate to teach their children.

In the Matter of Stumbo
 * The North Carolina Supreme Court unanimously affirmed that social services may not begin an investigation based solely on an anonymous tip. Furthermore, it reaffirmed that social service workers are bound, as government employees, to the Fourth Amendment assurances against unreasonable search and seizure.

In Re Gauthier Children: Petition to Compel Cooperation with Child Abuse Investigation
 * HSLDA represented a family which faced a court-ordered home visit by a social service worker after the family was accused of medical neglect. The juvenile court approved the court-order without probable cause.  The Superior Court of Pennsylvania found that the court-order was illegal in that it "was unsupported by probable cause and therefore violated their state and federal constitutional rights against unreasonable searches and seizures."

title: Home School Legal Defense Association


text:
User talk:Sekelsenmat

Welcome!
Hello, Sekelsenmat, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

 * If you haven't already, drop by the new user log and tell others a bit about yourself.
 * Always sign your posts on talk pages with  so others will know who left which comments.
 * The Five Pillars of Wikipedia
 * Our policies, guidelines, and simplified ruleset
 * How to edit a page and write a great article
 * The Wikipedia tutorial and picture tutorial
 * The handy Manual of Style
 * And finally, remember to be bold in updating pages!

I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  03:19, July 17, 2005 (UTC)

P.S. Feel free to leave a message on my talk page if you need help with anything or simply wish to say hello. :)

Uau! Thank you very much! --Felipe Monteiro de Carvalho 02:30, 13 August 2005 (UTC)

re MIDletPascal
The article stated "WARNING: Any class produced by this product will have a Trojan (virus) embedded... DO NOT USE THIS SOFTWARE" If this is false, it is libelous. If its true, we still don't want to be associated with statements like that (truth is not always a defense against libel charges, in some jurisdictions) but on the other hand we don't want an article that in normal operation creates dangerous code without including any warning about it, and in fact could conceivably be held to account for failing to warn readers. Better altogether to just duck the whole thing. Herostratus 18:12, 28 November 2006 (UTC)
 * Right, sorry. I had let myself be played by a vandal, my bad. It's restored. Herostratus 20:47, 28 November 2006 (UTC)
 * Although this is strange: Is this person just a crank or what? Herostratus 06:23, 29 November 2006 (UTC)

Orphaned fair use image (Image:Prussian Blue.jpg)
Thanks for uploading Image:Prussian Blue.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable under fair use (see our fair use policy).

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Ajuda ae
Fala felipe!

Eu vi ai na sua userbox que voce e um programador de pascal, ow, tem jeito de voce hospedar o free pascal pra mim? porque o site tah off —The preceding unsigned comment was added by Samuelgames (talk • contribs) 14:17, 30 March 2007 (UTC).

Coisas
http://www.emmestech.com/software/cygwin/pexports-0.43/pexports-0.43.zip —Preceding unsigned comment added by 194.39.218.10 (talk) 16:13, 6 December 2007 (UTC)

PATH=c:\Programas\Dev-Cpp\bin\ pexports.exe lclexports.dll > liblclexports.def dlltool.exe --def liblclexports.def --dllname lclexports.dll --output-lib liblclexports.a

library lclexports;

{$mode objfpc}{$H+}

uses Interfaces,   // Necessary to create the widgetset object Classes, FormsExports;

exports Application_Initialize, Application_Run, TForm_Create, TForm_Show;

begin end.

unit FormsExports;

{$mode objfpc}{$H+}

interface

uses Classes, Forms;

procedure Application_Initialize; cdecl; procedure Application_Run; cdecl; function TForm_Create(Owner: Pointer): TForm; cdecl; procedure TForm_Show(Self: TForm); cdecl;

implementation

procedure Application_Initialize; cdecl; begin Application.Initialize; end;

procedure Application_Run; cdecl; begin Application.Run; end;

function TForm_Create(Owner: Pointer): TForm; cdecl; begin Result := TForm.Create(TComponent(Owner)); end;

procedure TForm_Show(Self: TForm); cdecl; begin Self.Show; end;

end. —Preceding unsigned comment added by 194.39.218.10 (talk) 17:42, 6 December 2007 (UTC)

Disputed fair use rationale for Image:MIDletPascal.png
Thank you for uploading Image:MIDletPascal.png. However, there is a concern that the rationale provided for using this image under "fair use" may not meet the criteria required by Non-free content. This can be corrected by going to the image description page and add or clarify the reason why the image qualifies for fair use. Adding and completing one of the templates available from Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy. Please be aware that a fair use rationale is not the same as an image copyright tag; descriptions for images used under the fair use policy require both a copyright tag and a fair use rationale.

If it is determined that the image does not qualify under fair use, it might be deleted by adminstrator within a few days in accordance with our criteria for speedy deletion. If you have any questions, please ask them at the media copyright questions page. Thank you.BetacommandBot (talk) 12:53, 8 March 2008 (UTC)

your question on nl:user talk:Niels
Hi, I've replied there. Niels? ennl 19:08, 25 May 2009 (UTC)

Notification: changes to "Mark my edits as minor by default" preference
Hello there. This is an automated message to tell you about the gradual phasing out of the preference entitled "Mark all edits minor by default", which you currently have (or very recently had) enabled.

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Thank you for your understanding and happy editing :) Editing on behalf of User:Jarry1250, LivingBot (talk) 19:41, 14 March 2011 (UTC)

File copyright problem with File:Screenshot_of_Opera_Mobile_11_for_Android.png
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If you have any questions, please feel free to ask them at the media copyright questions page. Thanks again for your cooperation. Chris G Bot (talk) 03:40, 30 March 2011 (UTC)
 * You have forgotten to add a fair-use rationale to it. I went ahead and added one. But don't forget next time. Fleet Command (talk) 07:42, 1 May 2011 (UTC)

John The Baptist
Buddy - you need to tone down the rhetoric. "Yelling" at the Libs and non-Christians is not going to change anyone's opinion and in fact is going to make them think that of you as some angry Bible thumper. I'm telling you this as a friend and fellow Christian. You need to take a chill. Also your edit in John The Baptist changed "CE" to "BC". I know you meant to make it "AD", because making it BC put his death 25 yrs before Jesus was born, but your mistake now makes you look like an angry Bible thumper who can't even get his facts right.

Wikipedia is a crawling with non-Christians. In order to get your point across, you need to do it intelligently and lucently or you will just be "laughed out of the room". You can do better than this. I've been on here for years and I've gotten it hard and heavy from some rabid non-Christians. You can't give in to their game and you need to be perfect or they'll jump all over you. Just telling you.

Please take this in the spirit it is given as I'm trying to help you. Feel free to delete this after you read it and/or talk back to me if you have (polite) comments. Yours, Ckruschke (talk)Ckruschke

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:06, 23 November 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:32, 23 November 2015 (UTC)

title: User talk:Sekelsenmat


text:
Axa Equitable Center

Axa Equitable Center (originally the Equitable Tower or Equitable Center West) is an office skyscraper at 787 Seventh Avenue, between 51st and 52nd Streets, in the Midtown Manhattan neighborhood of New York City. Completed in 1986 and designed by Edward Larrabee Barnes, the building measures 752 ft tall with 54 stories. Equitable Center West was developed by the Equitable Life Assurance Society (later renamed Equitable Holdings, part of Axa) adjacent to Equitable's existing skyscraper at 1285 Avenue of the Americas.

The facade is clad in granite, applied in a two-tone pattern of white horizontal and red vertical bands. The building has three setbacks, as well as a penthouse at the top with arched windows. Equitable acquired an extensive collection of artwork to display in the building's public spaces. There is a public galleria from 51st to 52nd Street, which forms part of 6½ Avenue, as well as an arched entrance atrium from Seventh Avenue. The complex also includes an underground concourse, several restaurants, and a corporate auditorium.

The building was proposed in the early 1980s and, after the site was acquired, Equitable's board approved the plans for the tower in 1983. When the tower opened, the company's corporate offices occupied about a third of the space, and the ground story had commercial concerns such as the Le Bernardin restaurant and a branch of the Whitney Museum. Equitable only used the tower as its headquarters until the late 1990s, and the California Public Employees’ Retirement System (CalPERS) acquired Axa Equitable Center in 2016.

Site
787 Seventh (formerly known as the AXA Equitable Building) is at 787 Seventh Avenue in the Midtown Manhattan neighborhood of New York City. The building's rectangular land lot occupies the western half of the city block bounded by Seventh Avenue to the west, 51st Street to the south, Sixth Avenue (Avenue of the Americas) to the east, and 52nd Street to the north. The site covers 80,333 ft2, with a frontage of 200 ft on Seventh Avenue and 400 ft along the side streets.

Adjacent is 1285 Avenue of the Americas (1285 Sixth Avenue; Equitable Center East), designed by Skidmore, Owings & Merrill and constructed from 1959 to 1961. The Sixth Avenue building occupies the eastern half of the city block. The sidewalk in front of the building is made of pink granite, extending eastward in front of 1285 Sixth Avenue. The sidewalks adjacent to 1285 Sixth Avenue comprise Urban Plaza North and South, designed by Scott Burton. Axa Equitable Center is also near 810 Seventh Avenue to the northwest, the Sheraton New York Times Square Hotel and Flatotel New York City to the north, Credit Lyonnais Building to the northeast, 1271 Avenue of the Americas to the southeast, The Michelangelo to the south, and the Winter Garden Theatre to the southwest. The site occupied by Axa Equitable Center had contained the Victoria and Abbey hotels just before the skyscraper's construction.

Architecture
Axa Equitable Center was designed in the postmodern style by Edward Larrabee Barnes  for the Equitable Life Assurance Society. The building is 752 ft tall with 54 stories. Severud Associates was the structural engineer and Turner Construction was the main contractor. The structure uses 300000 ft2 of stone and 28000 ST of steel. Rather than dictate the precise style for the building, Equitable CEO John B. Carter had requested only that Barnes create "a top-quality building". Nonetheless, Carter had specific requests for several of the interior spaces.

For Equitable Tower's construction, Equitable acquired $7 million or $7.5 million worth of artwork to display in both public and private spaces. The work includes large murals by Sol LeWitt and Roy Lichtenstein and sculptures by Scott Burton and Barry Flanagan. In addition, works by Milton Avery, George Bellows, James E. Buttersworth, Marsden Hartley, and Alex Katz decorated the offices. Some works, such as a mobile by Alexander Calder and the bronze sculpture Day by Paul Manship, were already in Equitable's art collection when Equitable Tower was built. Equitable hired several experts, including art consultant Emily Braun, to assist in arranging the artwork. Equitable publications referred to 787 Seventh Avenue, along with 1285 Sixth Avenue, as "one square block of art".

Form and facade

The entire building is set back 10 ft from the street on each side. A public galleria runs from north to south, dividing the lowest six floors of the building. The seventh and eighth stories span the north and south ends of the galleria. The north and south elevations rise with three setbacks, while the west and east elevations rise without setbacks. The setbacks on the north and south elevations are placed at the 12th, 34th, and 50th stories, with each setback being 14 ft deep. Barnes intended for the setbacks to recall those on 30 Rockefeller Plaza and the International Building, two of Rockefeller Center's tallest buildings. One of the early plans for Axa Equitable Center, which was illustrated in a monograph of Barnes's work, was for the massing to instead contain setbacks on the west and east, with the north and south elevations rising as a slab-like wall from the street. In a subsequent iteration of the plans, Barnes had planned deep porches at the setbacks.

The facade is made of limestone, granite, and glass. The Indiana limestone and Brazilian granite on the facade is applied in a two-tone pattern. The vertical pilasters are clad with reddish-brown granite, which is also used for some horizontal bands just below each setback. The pilasters divide the facades into horizontal spandrel bands of buff-colored limestone, which alternate with glass windows on each floor. Barnes had used these materials because they harmonized with the colors and materials used on the neighboring buildings. Axa Equitable Center uses 5,800 panes of glass on its facade.

The main entrance on Seventh Avenue is set within a semicircular-headed arch measuring 72 ft tall. There is a loading dock at the eastern end of the 52nd Street elevation. There are double-height mechanical spaces at each setback. These double-height floors contain recessed windows to give the impression that the red pilasters are massive piers; the recessed windows were inspired by those in Art Deco buildings. The recessed windows on the double-height floors also wrap around to the west and east elevations. The topmost penthouse is embellished with large triumphal-arched windows on its west and east elevations, which illuminate the Equitable boardrooms. The boardroom windows measure 42 ft in diameter and 53 ft tall. While the original plan had been to use ocular windows, Barnes instead used triumphal arches because they allowed more light to enter the boardroom spaces.

Galleria and concourse
At the middle of the city block is the galleria from 51st to 52nd Street. It is one of six passageways that form 6½ Avenue, a set of full-block passageways from 51st to 57th Street between Sixth and Seventh Avenues. The passageway was built as a "through-block connection" under the Special Midtown District, created in 1982. The space measures 45 ft wide and 91 ft tall underneath the north and south ends, where the seventh and eighth floors cross the galleria. The center of the space, beneath the skylights, is 124 ft tall. Burton designed outdoor seating for the galleria. On the galleria's eastern wall is a passageway to 1285 Sixth Avenue's lobby, which originally connected with the Paine Webber Art Gallery in that building. The lobbies of 1285 Sixth Avenue and Equitable Center measured a combined 800 ft long. An elevator lobby for the First National Bank of Chicago, just east of the galleria, contained Agnes Denes's artwork Hypersphere: The Earth in the Shape of the Universe, a set of 144 glass panels.

LeWitt commissioned a set of six geometric artworks for the walls of the galleria entitled Wall Drawing: Bands of Lines in Four Colors and Four Directions, Separated by Gray Bands. As the name indicates, LeWitt's artwork consists of vertical, horizontal, and diagonal bands in four colors, created in acrylic paint on limestone. These works, which are up to 106 ft high, are illuminated by natural light coming through the rooftop skylights. In addition, Flanagan designed two bronze sculptures at the galleria's north and south ends, each depicting animals in whimsical scenes. The north end contains Young Elephant (1986), while the south end contains Hare on Bell (1985).

Two escalators lead from the galleria to Axa Center's public basement concourse. The escalators are placed within a glass enclosure containing a gold-colored frame. The basement concourse is connected to Rockefeller Center's underground concourse, which in turn provides a connection to the New York City Subway's 47th–50th Streets–Rockefeller Center station. Axa Center's basement concourse also contains the Athletic & Swim Club, which has a fitness center and a small swimming pool. Valerie Jaudon had created a mural for the swimming pool's wall, measuring 72 by.

Interior
Axa Center contains 1740000 ft2 of interior space. According to the New York City Department of City Planning, the building has a gross floor area of 1,633,544 ft2. Equitable was allowed to include an additional 49161 ft2 in exchange for providing privately owned public space. The steel superstructure contains two-story outrigger trusses wrapping around the 11th and 36th stories, which transfer the structural loads and absorb the wind loads at each of the setbacks. Belt trusses connect the outrigger trusses to the building's structural core. The roof is surrounded by a hat truss, behind which is mechanical equipment.

From the beginning, 787 Seventh Avenue contained several "smart" building systems, such as high-capacity fiber optic cables and conduits, as well as a computerized display to monitor energy use, security, and elevators. The "smart" systems cost $2 to $4 million, though that cost also included a retrofit of 1285 Sixth Avenue. The building is internally connected to 1285 Sixth Avenue at the ground floor, concourse, and first eight stories. The 787 Seventh Avenue building was known as Equitable Center West or Equitable Tower, while the 1285 Sixth Avenue building was known as Equitable Center East. The two structures were initially known collectively as the "Equitable Center".

Atrium and lobby
Leading from Seventh Avenue is a five-story atrium, which serves as the main lobby. The atrium is an 80 ft cube. Its large size is in part due to a commercial holdout who did not leave the site until construction had already started. At the center of the atrium, Burton designed Atrium Furnishment, which consists of a 40 ft marble semicircular banquette and a circular marble fountain with trees. Though the atrium in general has a white marble floor, Atrium Furnishment is surrounded by red granite pavers, which were intended to provide a contrast between the circular artwork and the cubical atrium. A bronze band surrounds the artwork as well. On the eastern wall of the atrium, facing the main archway on Seventh Avenue, is a Lichtenstein artwork, Mural with Blue Brushstroke, which measures 68 by. Lichtenstein had painted the mural on-site in 1986.

A pair of parallel passageways leads east from the atrium to the galleria, each originally decorated with a separate artwork. Thomas Hart Benton's America Today murals, commissioned in 1931, were originally installed in the northern passageway, around the elevator core. The Benton murals were originally installed in the New School for Social Research, and Equitable had acquired the Benton murals in 1984 for a reported $3.1 million. The murals were relocated to 1290 Sixth Avenue in the mid-1990s. The southern passageway of the lobby has a niche, which contains Paul Manship's sculpture Day. Manship had crafted Day in 1938 as part of a set of four bronze works called The Moods of Time.

Retail and restaurants
A branch of the Whitney Museum of American Art occupied space in two storefront galleries from 1986 to 1992. There was a north gallery for permanent works and a south gallery for temporary exhibitions. The Equitable Tower location, the largest of the Whitney's four branches at the time, occupied 3000 ft2 in each gallery. As part of the arrangement, Equitable gave money to the Whitney and paid the branch's operating expenses for six years. After the Whitney branch closed, its space became the Equitable Gallery. Another tenant was the Cathedral of St. John the Divine, which operated two stores with souvenirs from the city's museums. The Urbanspace food hall has also operated at ground level since 2020.

From the building's opening in early 1986, Equitable officials wanted to operate what Newsday described as "nothing but the best of restaurants". Initially, there was an Italian restaurant called Palio and a French restaurant called Le Bernardin. Palio's ground-floor bar measured 30 by, with a 24 ft ceiling, and its second floor contained a dining room. The former bar room's walls still contain a mural by Sandro Chia entitled Palio, which depicts the Palio di Siena horse race. Le Bernardin, a Michelin-starred restaurant, occupies a less architecturally elaborate space, originally decorated with velvet upholstery. A third restaurant, the American grill Sam's Restaurant, opened in late 1987. While Le Bernardin continued to operate in the building in the 2010s, the old Palio space has operated as the Aldo Sohm Wine Bar since 2014. Meanwhile, Sam's was replaced by Judson Grill and then Bar Americain.

Other stories
The building has 31 passenger elevators, as well as three freight elevators and two vehicular elevators. Twenty-six of the passenger elevators lead from the lobby to the upper floors. Four of these elevators run from the lobby to floors 2 through 9; eight elevators serve floors 9 through 23; six elevators serve floors 23 through 33; and eight elevators serve floors 34 through 50. There are also two elevators in the annex, serving the lobby through floor 8; another elevator connecting the lobby to the subcellar; and two elevators connecting the Axa Equitable auditorium to the lobby.

A broadcast studio and auditorium were also designed for the building. The Equitable auditorium has 487, 495, or 500 seats, accessed from a staircase from the atrium. The auditorium has been used for several major corporate events, including the announcement of a merger between IBM and Lotus Software, as well as the merger announcement of Kimberly-Clark and Scott Paper Company. It has also been used for musical performances, such as a jazz performance by Roy Nathanson in 1990.

Equitable officials had their own private bathrooms as well as Chippendale furniture. The 49th and 50th floors comprised Equitable's executive suite and were connected by a stair. The 49th floor was designed with 14 dining rooms, each with works from a different artists. The dining rooms range from a small accommodation, with one table and four chairs, to a dining hall with a baby grand piano, sofas, and a fireplace. There were two executive rooms at the 50th story: one facing east and the other facing west. The rooms had classical-inspired moldings, large woodwork, and custom furnishings designed by Kohn Pedersen Fox Conway. The western room, which served as Equitable's main boardroom, was originally designed with a green carpet with a large circular table. The eastern room had Equitable's main dining room and contained Triptych, a trio of landscapes by Brad Davis.

History
Equitable Holdings (originally the Equitable Life Assurance Society) had constructed several structures in New York City since the late 19th century, as well as several across the United States. The first New York City office was the Equitable Life Building on 120 Broadway in Lower Manhattan, completed in 1870. The Equitable Life Building was destroyed by a fire in 1912 and replaced by the current Equitable Building at 120 Broadway. Equitable Life moved to 393 Seventh Avenue (now 11 Penn Plaza) in 1924, and it moved to 1281 Sixth Avenue in 1961. Equitable had occupied all 1.8 e6ft2 in its Sixth Avenue building for over twenty years. However, by the 1980s, it was looking to move decentralize its New York City office. The company split into four major divisions, of which only one, Equitable Capital, remained in the Sixth Avenue building. At the time, office space in Midtown Manhattan was in high demand and Equitable felt it could lease its Sixth Avenue building at a great profit.

Development
After considering relocating elsewhere in the United States, Equitable planned to expand its Sixth Avenue headquarters by 1980. Over the next year, it acquired an adjacent L-shaped site extending to Seventh Avenue, measuring 67000 ft2. Except for a small plot on the corner of Seventh Avenue and 52nd Street, Equitable had control of the entire city block. Equitable first announced its intention, in March 1981, to construct a tower on the newly acquired Seventh Avenue site. Demolition of existing buildings, such as the Victoria and Abbey hotels, began soon after. General contractor Turner Construction performed the demolitions manually, even though it had the city government's permission to use dynamite, since it wished to minimize disruption to neighboring structures. During one demolition in 1982, a steel beam fell through the roof of a nearby deli.

Equitable's board officially approved plans in February 1983 to move its headquarters to a Seventh Avenue building. Edward Larrabee Barnes was hired as the architect. Equitable's new tower was one of several high-rise developments planned for the area at the time, in spite of a slight decline in New York City's office market. Equitable planned to sell its Sixth Avenue headquarters to get a tax deduction on the new building. The old Sixth Avenue structure would be partially occupied by Paine Webber. Equitable officials were not worried about the fact that Seventh Avenue was not a prestigious executive address. This was a contrast to two decades earlier, when officials had thought Sixth Avenue was "more like Speakeasy Row than Corporate Corridor".

While much of the building was to be completed by 1985, the section at the corner of Seventh Avenue and 52nd Street was occupied by an eight-story building and would be delayed. Construction of Equitable Tower had to be closely coordinated to avoid delays or disruptions, since even a one-month delay in completion would cost Equitable $6 million in rent and $3 million in construction loans. Work was complicated by the fact that traffic on the neighboring streets could not be disrupted during construction. On two sides of the construction site, there was only 10 to 12 ft of space within which builders could work, and there was no space for materials to be stored on site. Equitable president John B. Carter announced in May 1985 that a series of artworks would be commissioned for the building. During construction that July, a construction hoist fell from Equitable Tower and killed two workers.

Opening and early years
By early 1986, Equitable had finished the atrium, galleria, plazas, and lobby, as well as a branch of the Whitney Museum. The company had taken the top third of the building and expected to rent out the remaining stories at a rate of 40 to 50 $/ft2, a higher rate than at nearby office buildings. At the time, there were few tenants for the west tower's vacant space, and Equitable was marketing both the west and east towers as part of the same complex. The building ultimately cost $200 million to construct. A public preview of the new tower's boardrooms took place on February 1, 1986, as part of a benefit event for the Center for Arts Information. The Whitney branch opened on February 11, 1986. Douglas McGill of The New York Times called the Whitney branch the "latest and largest addition to an extensive collaboration between a major art museum and the corporate world."

The building was technically owned by Equitable Real Estate Investment Management, which leased space to Equitable for its own corporate offices. Within a year of Equitable Tower's opening, eighty percent of the space had been leased. Among the tenants were arts organizations American Council for the Arts, Center for Arts Information, and Volunteer Lawyers for the Arts, which were offered below-market-rate rents. In addition, accounting firm Ernst & Whinney (later Ernst & Young) took space in the tower. By October 1987, when Black Monday occurred, Equitable Tower was fully leased despite charging higher rents per square foot than other buildings in the area. The American grill Sam's Restaurant opened at ground level at the end of that year.

1990s and 2000s
By 1990, Equitable was in the process of being acquired by the French company Axa. Within two years, Equitable had gone public and downsized most of its employees, leaving only 2,200 working at 787 Seventh Avenue. The company was considering leaving for the suburbs, given the high costs of occupying office space in midtown, but ultimately decided against it. The Whitney branch in Equitable Tower closed in 1992, when its original agreement expired, and it was replaced by an art gallery called the Equitable Gallery. Sam's Restaurant closed the next year, being replaced by another American grill, Judson Grill, in early 1994.

Equitable only occupied ten percent of 787 Seventh Avenue by early 1995, when it placed 300,000 ft2 of space for lease. That year, Equitable announced it would be moving one block east to 1290 Sixth Avenue, with only the highest-ranking executives remaining at 787 Seventh Avenue. Much of Equitable's space at 787 Seventh Avenue was taken by law firm Willkie Farr & Gallagher, and the floor just below the penthouse was occupied by Paramount Capital. With Equitable's relocation, the America Today murals were moved to 1290 Sixth Avenue. In the late 1990s, David Emil planned to open a restaurant called Night Sky on the 50th floor, but it was canceled after Equitable wished to lease that floor as offices. The 1997 chess match of Deep Blue versus Garry Kasparov, in which IBM supercomputer Deep Blue defeated world chess champion Garry Kasparov, took place at Equitable Center as well.

By 2000, the building's tenants included Bank One, BNP Paribas, Hicks Muse, and Willkie Farr & Gallagher. About a third of the total space, 500,000 ft2, was set to become available for lease in 2002 when Ernst & Young's lease expired. Much of Ernst & Young's space was taken in 2001 by law firm Sidley Austin, which had to renovate 11 floors within two months after its old World Trade Center offices were destroyed in the September 11 attacks. Another lessee that had been displaced from the World Trade Center was investment banking firm Keefe, Bruyette & Woods, which borrowed space from BNP Paribas and Wachtell, Lipton, Rosen & Katz before leasing its own fourth-floor space. The Palio restaurant closed in 2002, and Judson Grill closed two years later; the latter was replaced by Bar Americain. Citigroup leased a major block of space, covering 250000 ft2, in late 2005, including the 50th-floor penthouse. Other tenants in the 2000s included investment manager New Mountain Capital as well as IT company SAS Institute.

2010s to present

Palio's space became part of Piano Due, which closed in 2011 and was replaced by the Aldo Sohm Wine Bar in 2014. Axa Equitable placed 787 Seventh Avenue and 1285 Sixth Avenue for sale in August 2015. At the time, 787 Seventh Avenue was almost completely occupied, with only 1.6 percent of the space vacant. By the end of the year, the California Public Employees’ Retirement System (CalPERS) had shown interest in acquiring 787 Seventh Avenue for $1.9 billion. This would make Axa Equitable Center one of the most expensive single buildings to ever be sold in New York City. In February 2016, CalPERS announced it had purchased the building. The purchase was financed with a $780 million mortgage from Deutsche Bank.

Bar Americain, at the building's ground floor, closed in 2018. A helicopter crashed on Axa Equitable Center's roof on June 10, 2019, killing the pilot and sparking a fire that prompted the building's evacuation. No one else was hurt in the crash, and the helicopter's wreckage was removed. The Urbanspace food hall opened at the ground level of Axa Equitable Center in early 2020. In 2022, following the COVID-19 pandemic in New York City, BNP Paribas renovated its offices at 787 Seventh Avenue to encourage workers to return to the firm's physical offices. In addition, a sign with the name "BNP Paribas" was installed above the Seventh Avenue entrance, replacing Equitable's name. Although 787 Seventh Avenue had an occupancy rate of 96 percent by early 2024, its value had declined by $123 million since the pandemic; at the time, the building was estimated to be worth $917 million. The reduced valuation reflected the fact that BNP Paribas had downsized its space at the building from 450000 to 300000 ft2, while the lease of another major tenant, UBS, was scheduled to expire in 2026.

Tenants
, several financial and law firms occupy the space, including:
 * BNP Paribas, banking group
 * Citigroup, investment bank
 * Sidley Austin, law firm
 * Stifel, investment bank
 * UBS, investment bank
 * Willkie Farr & Gallagher, law firm

Reception
The design of Equitable Tower was largely criticized upon its completion. Paul Goldberger called the building "54 stories of ambivalence", saying it "adds almost no grace to the skyline". Progressive Architecture was similarly critical of the "undistinguished quality" of the facade, saying: "Barnes's tower can't seem to make up its mind whether it's a Modern skyscraper or a Post-Modern one", Roger Kimball of The New Criterion wrote: "Mr. Barnes seems to have abandoned any attempt at a cogent architectural design. Instead, he has contrived to produce one of the most pretentious and ungainly new buildings in New York." The New Criterion cited Equitable Tower's "large clunky base", its "replaceable"-looking granite and limestone facade, and its massive arches that "seem more like movie-set novelties" as flaws in the design. Suzanne Stephens said the criticism showed that Barnes was "more adept at chipping, chamfering and chiseling buildings with rotated geometries". By contrast, architectural writer Donald M. Reynolds said the building was "one of the largest and most comprehensive collaborations of architecture, urban planning, and public art since Rockefeller Center".

The artwork was received more positively by architectural and art critics. The New York Times reported that the artwork was a "statement of [Equitable's] belief not only in the commercial and promotional value of art, but also in the role art can play in the quality of corporate and communal life". Progressive Architecture characterized the collection as "one of the more successful corporate art programs to come along in some time", as opposed to the "resolutely ho-hum" character of much of Equitable Tower. Phaidon Press wrote of the art collection: "AXA Equitable Life Insurance wished to project a positive image of itself to New Yorkers—as progressive, leading edge and civic-minded, as demonstrated by this indisputable gift to the city." Conversely, The New Criterion wrote that the collection was "not art but money", in that it was a showcase of Equitable's wealth rather than a display of art for its own sake. Goldberger thought that, even with the art and public spaces, the building "lacks a kind of freshness, as if everyone involved in this project were doing it by rote".

Influence on other developments
Equitable was the first major company to erect a headquarters on Seventh Avenue in Midtown. At the time of its completion, the building was the only major office structure on Seventh Avenue. This led Architectural Record to say: "Equitable Life Assurance Society has heeded Horace Greeley's dictum, 'Go West', though not, to be sure, very far west." According to Reynolds, the building's construction encouraged office development to move west from Sixth to Seventh Avenue, just as the construction of Rockefeller Center had encouraged a similar westward movement from Fifth to Sixth Avenue.

Architectural Record described the building as having been proposed "amidst a swirl of controversy over what some see as an over-concentration of new skyscraper construction in Manhattan's crowded midtown". Nonetheless, the development of Equitable Tower directly improved the character of the surrounding area, particularly the Midtown portion of Seventh Avenue, in the mid-1980s. Following the tower's construction, William Zeckendorf developed the nearby One Worldwide Plaza to improve the character of Eighth Avenue. Though developers praised the development boom that followed Equitable Tower's construction, civic organizations worried that theaters north of Times Square would be quickly replaced by offices.

title: Axa Equitable Center


text:
Bellevue East High School

Bellevue East High School is a four-year public secondary school in Bellevue, a suburb south of Omaha, Nebraska. It opened in 1962 as Bellevue High School and was renamed Bellevue East in 1977, following the opening of Bellevue West. It is part of the Bellevue Public School System, with approximately 1,450 students in grades 9 through 12.

Athletics
Bellevue East's marching band won the 2021 NSBA state marching contest.

Performing arts
BEHS has three competitive show choirs. They include the mixed-gender groups "Take II" and "East in Harmony" as well as the all-female "Sensations".

Currently under the direction of Jeremy Krug and Kaitlyn Keck, BEHS has seven bands along with many smaller ensembles. Those being their Marching Band, Wind Ensemble, Symphonic Band, Winter Winds, Jazz 1, Jazz 2, and Campus Band. Marching Band runs from late May all they way until around the start of November. From there, it splits off into Wind Ensemble and Symphonic Band for the concert season that runs through the rest of the year. Campus Band is a concert band that goes throughout the entire school year, consisting entirely on students that don't do Marching Band. Winter Winds is a group of students that participate in an indoor marching season that takes place from around the middle of November to April. Jazz 1 and Jazz 2 run throughout the school year, and can consist of students from Wind Ensemble, Symphonic Band, and Campus Band.

Bellevue East's Marching Band and Winter Winds shows have been written most recently by Michael J. Miller, famously known as the brass writer for the DCI group, Colts.

Notable alumni

 * Jerry DePoyster, Class of 1964: football player
 * Jim Webb, Class of 1965: United States Senator from Virginia, screenwriter, and author
 * Robert Hays, Class of 1965: actor
 * Bonnie McElveen-Hunter, Class of 1968: businesswoman and former U.S. Ambassador to Finland
 * Rik Bonness, Class of 1972: professional football player
 * Barclay Knapp, Class of 1975: Senior Fellow at Johns Hopkins University, CEO & Co-Founder of M2M Spectrum Networks
 * Buddy Carlyle, Class of 1996: Major League Baseball player
 * Tyler Cloyd, Class of 2005: Major League Baseball player
 * Yvonne Turner, Class of 2006: WNBA Basketball player

title: Bellevue East High School


text:
James McNair Baker

James McNair Baker (July 20, 1821 – June 20, 1892) was a lawyer, politician, and Senator from Florida in the Confederate Congress during the American Civil War.

Biography
Baker was born in Robeson County, North Carolina, a son of Archibald S. Baker and Catherine McCallum. He graduated from Davidson College in Davidson, North Carolina, in 1844. His family has long been associated with the college, and the Baker Sports Complex there is named for them. Initially, Baker set up a law practice in Lumberton, North Carolina. But, after a bout with typhoid fever, he determined to move to a warmer climate and traveled to Florida on horseback. He re-established his practice of the law for a time at Old Columbia on the Suwannee River. But, he then moved to the town of Alligator, where he encouraged the residents to change the uninviting name to the modern Lake City.

In 1852, Baker was named State Attorney for the Suwannee Circuit, and served as a delegate to the Whig National Convention in Baltimore. There, despite the protests of the Florida delegation, the party nominated General Winfield Scott for President of the United States. Scott was extremely unpopular in the state due to his prosecution of the Seminole Wars, and the decision to put him at the top of the party's ticket alienated many voters. So, it was no surprise in 1856 when Baker failed to win election to the U.S. Congress as a Know Nothing-Whig candidate despite his extensive horseback travels across the state.

In 1859, Baker succeeded in winning election as the state judge for the 4th Judicial District, which met in Suwannee. The same year, he married Fanny Gilchrist. During the tumultuous Election of 1860, Judge Baker supported the failed Constitutional Union ticket of Bell and Everett and opposed Florida's secession after the election of Abraham Lincoln. Once the secession ordinance passed, however, he loyally supported the decision of his adopted state.

Judge Baker was still on the bench in 1861, when the Florida legislature created Baker County in his honor. The following year, the same body selected him to serve as one of the state's two senators in the Confederate Congress. He moved to Richmond, Virginia, for the duration of the U.S. Civil War.

Returning to Florida after the defeat of the South in 1865, Baker was quickly appointed a justice of the Florida Supreme Court by Governor David S. Walker. However, ratification of the state's Reconstruction constitution in 1868 forced his resignation and return to private practice. Over the next several years, he gained his greatest professional reputation for litigation associated with the disposition of lands held by the state's Internal Improvement Fund—which had been created in 1855 to attract Northern capital and spur development.

By 1876, Baker was an active member of the state's Democratic Executive Committee, and worked hard to bring about an end to the Reconstruction era in Florida. In 1881, he was returned as a judge on the state's 4th Judicial Circuit by Governor William Bloxham. He was re-appointed in 1885 by his successor Governor Edward A. Perry. But, he resigned due to declining health in 1890.

Last years and death
Judge Baker retired in Jacksonville, where he became an elder in the Presbyterian church. He died at his home in that city, aged 70, and was buried at the nearby Evergreen Cemetery. He was survived by his wife and five children.

title: James McNair Baker


text:
New College of California School of Law

New College of California School of Law was a private, non-profit law school in San Francisco, California. It was founded in 1973 as a part of the now defunct New College of California, and deemed itself the oldest public interest law school in the United States. It offered a full-time three-year program and a part-time four-year program. New College of California was investigated for financial aid mismanagement, and financial aid funds were frozen while the investigation took place. While no proof of financial wrongdoing was ever released to the public, the financial aid freeze caused the school to become unable to meet its financial demands. In February 2008, due to the college's inability to meet its payroll, the Western Association of Schools and Colleges withdrew its accreditation of New College of California. As a result, the college folded. As of April 1, 2008, the law students transferred to John F. Kennedy University School of Law (as did several faculty members, ) and New College School of Law ceased to exist.

A number of well-known lawyers and activists taught and studied at the school, including Roberta Achtenberg, Stephen Bingham, Angela Davis, Peter Gabel, Randolph Daar, and Tom Hayden.

A documentary film, "Practitioners of Justice," about the history, faculty, and alumni of the New College School of Law was made in 2022.

title: New College of California School of Law


text:
Seok (Korean name)

Seok, also spelled Suk, is a rare Korean family name held by about 56,500 South Koreans, as well as an element in some Korean given names.

As a family name
The family name Seok can be written with either of two hanja, one meaning "stone", and the other meaning "ancient". The former version is the more widespread of the two. The 2000 South Korean census found 46,066 people by this name. Of these, the great majority are members of the Gyeongju Seok clan and the Chungju (also called Hongju) Seok clan. The latter had a 2000 South Korean population of 9,544. The Gyeongju Seok clan claims descent from certain of the early rulers of Silla; the first Gyeongju Seok to sit on the throne was the fourth Silla king, Talhae.

In a study by the National Institute of the Korean Language based on 2007 application data for South Korean passports, it was found that 61.3% of people with that surname spelled it in Latin letters as Seok in their passports, vs. 30.6% as Suk. Rarer alternative spellings (the remaining 8.1%) included Seog, Sok, Souk, and Sock.

People with this family name include:

 * Seok Joo-myung (1908–1950), Korean lepidopterist of the Japanese colonial period
 * Seok Cheoljoo (born 1950), South Korean painter
 * Suk Jong-yul (born 1968), South Korean professional golfer
 * Suk Min-hee (born 1968), South Korean Olympic team handball player
 * Jeannie Suk (born 1973), Korean American law professor
 * Seok Eun-mi (born 1976), South Korean Olympic table tennis player
 * Suk Jin-wook (born 1976), South Korean volleyball player
 * Suk Hyun-jun (born 1991), South Korean footballer

In given names
There are 20 hanja with the reading Seok on the South Korean government's official list of hanja which may be used in given names; common ones are shown in the table above.

People with the single-syllable given name Seok include:
 * Baek Seok (1912–1995), South Korean poet
 * Yi Seok (born 1941), descendant of the Joseon Dynasty royal family
 * Jo Seok (born 1983), South Korean webcomic artist
 * Kim Seok (born 1991), South Korean football player
 * Kim Seok (equestrian) (born 1992), South Korean equestrian

Names containing this syllable include:

 * Seok-ho
 * Seok-ju
 * Suk-won
 * Beom-seok
 * Dong-suk
 * Hyun-seok
 * Jae-suk
 * Ji-seok
 * Jong-seok
 * Jun-seok
 * Kwang-seok
 * Kyung-seok
 * Man-seok
 * Min-seok
 * Tae-suk
 * Yeon-seok
 * Yun-seok
 * Ho-seok
 * Seok-jin

title: Seok (Korean name)


text:
User:Master rigel2

The first name of the user "Master_rigel2" is Rigel, which is most likely not coincidental. Rigel is 26 years old, and became a contributor to the Wikipedia in June, of 2005. His present adopted articles include Liberty BASIC.

A habit has formed of expanding and creating articles in areas of interest that are either in-complete or not yet present in the Wikipedia. Present interests include programming, Visual Basic, various other computer topics, philosophy, human psychology, the internet, and abstract thought.

A healthy social life has not been maintained in the years leading up to the time of writing this article, and so he devotes much of his time, to collecting information, learning and applying ideas, and debunking popular myths in various fields of study including psychology and philosophy.

title: User:Master rigel2


text:
Rhode Island Route 115

Route 115 is a 6.4 mi numbered state highway is the U.S. state of Rhode Island. Its western terminus is at Route 116 in Hope and its eastern terminus is at Route 117 in Warwick.

Route description
Route 115 takes the following route through Rhode Island:

 * Scituate: 0.8 mi; Route 116 to Cranston city line
 * Main Street, Jackson Flat Road and Main Street
 * Cranston: 0.2 mi; Scituate town line to Coventry town line
 * Main Street
 * Coventry: 0.7 mi; Cranston city line to West Warwick town line
 * Main Street
 * West Warwick: 2.2 mi; Coventry town line to Warwick city line
 * Main Street, [Main Street, Pike Street] (East Main Street), East Main Street and Providence Street
 * Warwick: 2.1 mi; West Warwick town line to Route 117
 * Toll Gate Road

History
Toll Gate Road is named such because it used to be a connector road to a toll gate for the old New London Turnpike.

title: Rhode Island Route 115