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Longford–Westmeath (Dáil constituency)

Longford–Westmeath is a parliamentary constituency represented in Dáil Éireann, the lower house of the Irish parliament or Oireachtas. The constituency elects 4 deputies (Teachtaí Dála, commonly known as TDs) on the system of proportional representation by means of the single transferable vote (PR-STV).

History and boundaries
The constituency previously existed from 1921 to 1937 and from 1948 to 1992, but was abolished for the 1992 general election. It was re-created by the Electoral (Amendment) Act 2005 which gave effect to the 2004 Constituency Commission Report on Dáil Constituencies, and was first used in its current form at the 2007 general election. It contains the County Longford portion of the former Longford–Roscommon constituency, and most of the former Westmeath constituency apart from the north-eastern area around Castlepollard and Delvin, which became part of the new Meath West constituency.

The Electoral (Amendment) (Dáil Constituencies) Act 2017 defines the constituency as:

In the Constituency Review Report 2023, the Electoral Commission recommended that the electoral divisions of Westmeath in the Meath West constituency should be transferred to the Longford-Westmeath constituency, thereby making the constituency comprise the entire counties of Longford and Westmeath for the first time since 1980. It was also allocated an additional seat to become a five seat constituency.

For the next general election, the Electoral (Amendment) Act 2023 defines the constituency as:

2016 general election
Final result following a recount.

1970 by-election
Following the death of Fianna Fáil TD Patrick Lenihan, a by-election was held on 14 April 1970. The seat was won by the Fine Gael candidate Patrick Cooney.

1930 by-election
Following the death of Fianna Fáil TD James Killane, a by-election was held on 13 June 1930. The seat was won by the Fianna Fáil candidate James Geoghegan.

1923 general election
Michael Gallagher notes that newspapers at the time were not consistent with the exact figures of the first count so there may have been slight differences to the below. Full figures for the second to the ninth counts are unavailable. The order of eliminations was O'Farrell on 138 votes, Carrigy 735, Groarke 924, Philips 1,203, Gavin 1,244, Redmond 1,396, Victory 1,851, Wilson 2,689 and Garahan 2,793.

1921 general election

 * }

title: Longford–Westmeath (Dáil constituency)


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Égaules

Égaules is a small hamlet annexed to Volvic in Puy-de-Dôme département, in Auvergne, France.

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

title: Égaules


text: User talk:206.45.15.60

title: User talk:206.45.15.60


text:
Naenara

Naenara is the official web portal of the North Korean government. It was the first website in North Korea, and was created in 1996. The portal's categories include politics, tourism, music, foreign trade, arts, press, information technology, history, and "Korea is One".

The website carries publications such as The Pyongyang Times, The Democratic People's Republic of Korea (magazine) magazine, Korea Today magazine and Foreign Trade magazine along with Korean Central News Agency news.

South Korean users' access to the site has been blocked by South Korean authorities since 2011. As of July 2014, the website remains blocked.

title: Naenara


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Talk:Pot liquor

Collard liquor and pot liquor are not synonomous terms. The product and name,pot liquor or "pot likker" is the liquid formed after the greens have been boiled, in water, with the appropriate type of greens,seasonings and smoked or cured pork meat. "Pot likker" is what remains after you eat the greens and meat. You might have a type of "pot likker" after boiling various types of peas or beans with smoked or cured pork meat. These vegtables of choice would be black eyed peas, field peas with snaps, crowder peas, zipper peas, fresh and or dryed lima beans and others but normally this liquid would not be called "pot likker". Although it still would have a decent taste based on the seasonings and the meat used in the dish.

I've always known "pot liquor" to be a misspelling of the original name with two Ks. I see no reputable sources cited for "pot liquor"

-In the novel To Kill a Mockingbird, it's referred to as "pot liquor" at the end of chapter 23. --71.232.8.64 (talk) 23:27, 6 April 2009 (UTC)

Potlikker is Dutch for spatula. (The rubber kind that "licks" the bowl)

Health benefits
"Pot liquor is healthful and contains essential vitamins and minerals (including iron, Vitamin C), that help improve the immune system."

Pot likker improves the immune system? Someone should tell medical science that. I think we can lose this sentence, can't we. Flapdragon (talk) 00:43, 12 September 2008 (UTC)

And I wonder that the vitamins survive boiling. --2607:FEA8:D5DF:FEF6:7163:E39D:7C9:91BE (talk) 01:28, 5 May 2019 (UTC)

Vitamin K and Warfarin
I removed a sentence advising that people on Warfarin (Coumadin) not consume pot liquor. I believe that this advice is potentially dangerous because "Rather than avoiding vitamin K, you should maintain a consistent intake of vitamin K by maintaining a consistent diet." (Quoted from ClotCare Online) So if somebody on Warfarin has pot liquor as part of his regular diet, suddenly avoiding pot liquor could cause his vitamin K levels to become too low. Rugbyhelp (talk) 23:45, 11 January 2010 (UTC)

Pot liquor
My mother always called the leftover juice from boiling country ham "pot liquor." After storing in icebox or cold garage, the top layer of fat was removed. She used the remaining pot liquor for soups. She never made greens of any kind. We use it in our rural home for greens. Greens made with ham pieces or smoked jowl alone do not have the rich delicious flavor of greens cooked with pot liquor. Origin woul be late 19th century Maryland. Mardavetq (talk) 22:14, 25 November 2019 (UTC)

title: Talk:Pot liquor


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Talk:Fred Perry

Removed the skinhead tag. I really dont see why that would be in there, if it should be in there, someone correct me.

Bearingbreaker92 15:04, 15 August 2006 (UTC)

Actually, the Fred Perry clothing line is probably most well known in the non-tennis world as a preferred status symbol/costume for ALL skinheads. FYI, most skinheads are not fascists. 'Boneheads' (as nazi skins are also called) make up the the minority of skinheads. In any case, however, I don't see any reason to have a tag connecting Fred Perry to skinhead culture. I've met very few skins who actually know anything about tennis or Fred Perry the man.

Ryecatcher773

BTW, The Federal Republic of Germany did not exist in 1935, so it is inappropriate to use its flag on this page for Gottfried von Cramm. This is a general problem on Wikipedia.

mjk 07:21, 29 September 2007 (UTC)

Fair use rationale for Image:Fred Perry 1933.jpg
Image:Fred Perry 1933.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 20:13, 13 February 2008 (UTC)

Fair use rationale for Image:Fred Perry Forehand.jpg
Image:Fred Perry Forehand.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 20:16, 13 February 2008 (UTC)

Fair use rationale for Image:Fred Perry Time Cover.jpg
Image:Fred Perry Time Cover.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 20:17, 13 February 2008 (UTC)

The September 3, 1934 issue of Time magazine has Frederick J. Perry on the cover and a feature story on him. This issue's copyright was renewed in 1962 and is still valid. To use this cover in the article Fred Perry there need to be a discussion about the magazine or the cover. This should be least several sentences long.

The cover and feature story can found at Time magazine's web site: http://www.time.com/time/covers/0,16641,19340903,00.html

The image will need a Non-free / fair use media rationale such as the one found here Image:TimeDec10 1984.jpg or Image:George W Romney TIME.jpg

-- SWTPC6800 (talk) 05:42, 27 February 2008 (UTC)

Runs to Grand Slam Finals
–––

Some good stuff in a BBC article
BBC New online has a handy article with some info which could be usefully incorporated into this - Calum (talk) 13:01, 3 July 2009 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20140519183811/http://www2.wlu.edu/documents/registrar/honors/hondegs.pdf to http://www.wlu.edu/documents/registrar/honors/hondegs.pdf
 * Added archive https://web.archive.org/web/20070927202649/http://www.stockport.gov.uk/content/leisureculture/parksrecreation/countryside/countrysidewalkandtrails/fredperrysouth?a=5441 to http://www.stockport.gov.uk/content/leisureculture/parksrecreation/countryside/countrysidewalkandtrails/fredperrysouth?a=5441

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Proud Boys Statement
Can someone please appropriately add a section to the Clothing Brand section about how the far-right/white supremacist group "Proud Boys" adopted the Black/Yellow/Yellow twin tipped shirt as a uniform, and the brand's response? The response is here: https://www.fredperry.com/us/helpcentre/article/proud-boys-statement-1 — Preceding unsigned comment added by 47.147.93.107 (talk) 18:16, 27 September 2020 (UTC)

title: Talk:Fred Perry


text:
File:The Salmon of Doubt Macmillan front.jpg

Summary
Scan of the front cover of the UK hardcover first edition of The Salmon of Doubt by Douglas Adams. Published by Macmillan, London, UK, 2002.

Fair use rationale:

While this image is being used in the article about the book itself, it is also being used in the article about its author. The book is a final, posthumous collection of writings by a famous author and speaker. For that reason, it is believed that the use of this image will not infringe on the rights of the publisher, Macmillan.


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Roscommon–South Leitrim (Dáil constituency)

Roscommon–South Leitrim was a parliamentary constituency represented in Dáil Éireann, the lower house of the Irish parliament or Oireachtas, from 2007 to 2016. The constituency elected 3 deputies (Teachtaí Dála, commonly known as TDs). The method of election was proportional representation by means of the single transferable vote (PR-STV).

History and boundaries
The constituency was created for the 2007 general election by the Electoral (Amendment) Act 2005, which gave effect to the 2004 Constituency Commission Report on Dáil Constituencies. It included all of County Roscommon and the southern portion of County Leitrim (the area to the east and south of Lough Allen). This territory was previously represented through the constituencies of Longford–Roscommon and Sligo–Leitrim, both of which were abolished in 2007.

The Electoral (Amendment) Act 2009 defined the constituency as:

It was abolished at the 2016 general election and replaced by the Roscommon–Galway and Sligo–Leitrim constituencies.

2015 Marriage Equality referendum
On 22 May 2015, Roscommon–South Leitrim was the only constituency to vote against the proposition in what is sometimes described as the marriage equality referendum, with 51.42% voting No.


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Sligo–North Leitrim (Dáil constituency)

Sligo–North Leitrim was a parliamentary constituency represented in Dáil Éireann, the lower house of the Irish parliament or Oireachtas, from 2007 to 2016. The constituency elected 3 deputies (Teachtaí Dála, commonly known as TDs). The method of election was proportional representation by means of the single transferable vote (PR-STV).

History and boundaries
The constituency was created by the Electoral (Amendment) Act 2005, which gave effect to the 2004 Constituency Commission Report on Dáil Constituencies and was first used at the 2007 general election. It largely replaced the previous constituency of Sligo–Leitrim, although it ceded the southern half of Leitrim to the new constituency of Roscommon–South Leitrim, though a subsequent revision in 2007 restored a portion of South Leitrim to the constituency. It consisted of all of County Sligo and the parts of County Leitrim, contained in the Local Electoral Areas of Dromahair and Manorhamilton.

The Electoral (Amendment) Act 2009 defined the constituency as:

It was abolished at the 2016 general election and replaced by the re-created Sligo–Leitrim constituency.

title: Sligo–North Leitrim (Dáil constituency)


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The Blue Lagoon (1949 film)

The Blue Lagoon is a 1949 British coming-of-age romance and adventure film directed and co-produced by Frank Launder (with Sidney Gilliat) and starring Jean Simmons and Donald Houston. The screenplay was adapted by John Baines, Michael Hogan, and Frank Launder from the 1908 novel The Blue Lagoon by Henry De Vere Stacpoole. The original music score was composed by Clifton Parker and the cinematography was by Geoffrey Unsworth.

The film tells the story of two young children shipwrecked on a tropical island paradise in the South Pacific. Emotional feelings and physical changes arise as they grow to maturity and fall in love. The film has major thematic similarities to the Biblical account of Adam and Eve.

Plot
In 1841, 8-year-old Emmeline Foster and 10-year-old Michael Reynolds, two British children, are the survivors of a shipwreck in the South Pacific. After days afloat, they are marooned on a lush tropical island in the company of kindly old sailor Paddy Button. Eventually, Paddy dies in a drunken binge, leaving Emmeline and Michael alone. They survive solely on their resourcefulness and the bounty of their remote paradise.

Eight years later, in 1849, the now-adult couple live together in the island paradise, fish, and collect "beads" from the shellfish in the surrounding lagoon. One day, a ship arrives carrying Doctor Murdoch and James Carter, two British men, who are intimated to have fled as criminals from civilization. Surprised to find the couple on the island, Doctor Murdoch soon realises that Michael collects valuable pearls without knowing their true worth. While Murdoch attempts to trick Michael into getting him a bounty of pearls, Carter tries to kidnap Emmeline and escape. Murdoch and Carter kill each other on the boat, and Michael and Emmeline vow to never attempt to leave the island again. They marry, and during a tropical storm, a child, Paddy, is born.

In 1852, Emmeline is reminded of the outside world and wants to leave the island. She fears for their child if Michael and she should die. Michael gives in to her pleading, and they pack a small boat and leave the island. Becalmed in mid-ocean, they succumb to exposure. A British ship finds them, but the movie only shows that Paddy is still alive in the small boat, leaving their fate unclear.

Cast

 * Jean Simmons as Emmeline Foster
 * Donald Houston as Michael Reynolds
 * Susan Stranks as Emmeline (younger)
 * Peter Rudolph Jones as Michael (younger)
 * Noel Purcell as Paddy Button
 * James Hayter as Dr. Murdock
 * Cyril Cusack as James Carter
 * Nora Nicholson as Mrs. Stannard
 * Maurice Denham as Ship's Captain
 * Philip Stainton as Mr. Ansty
 * Patrick Barr as Second Mate
 * Lyn Evans as Trotter
 * Russell Waters as Craggs
 * John Boxer as Nick Corbett
 * Bill Raymond as Marsden

Production history
The film was an adaptation of a novel whose previous screen adaptation was completed for release in 1923, but it is the earliest surviving adaptation.

In 1928, Herbert Wilcox acquired the motion picture rights to the novel from I.W. Schlesinger to produce a remake. To eliminate competition with his film, Wilcox purchased all existing prints of the 1923 adaptation that weren't in circulation. A year later, he officially announced the inclusion of this project in his portfolio of motion pictures in production. He planned to film it in multiple-language versions in French and Spanish, in 2-strip Technicolor, and with a full libretto of native music. The project was abandoned due to the Great Depression and was not restarted until 1935, now with backing from the newly formed General Film Distributors (GFD). After development resumed, Wilcox planned to cast either Joel McCrea or Richard Cromwell as the male lead. It was going to be shot in 3-strip Technicolor in Honolulu.

After a spectacular fire at the British and Dominions Imperial Studios on 9 February 1936 destroyed the last surviving print of the 1923 film, Wilcox lost interest in the project, and the rights were assumed by GFD's new sister company Gainsborough Pictures at the recommendation of Frank Launder, who always admired the novel. Gainsborough announced the film in 1938 as part of a slate of 10 films. The stars were to be Michael Redgrave and Margaret Lockwood, who had just appeared in Gainsborough's The Lady Vanishes; Will Fyffe was to co-star. It was going to be shot on location in the East Indies for the exteriors and at the Islington Poole Street studio for the interiors. Carol Reed was going to direct. In 1939, Gainsborough went into a co-production with 20th Century Fox to secure funding, and Lockwood was going to co-star with Richard Greene, under contract to Fox. Plans to make the film were postponed due to World War II.

The project was reactivated after the war and announced in 1946, with Frank Launder attached to direct. Extensive location searches were undertaken before deciding to make the film in Fiji.

Plans to make the film were postponed due to Britain's currency difficulties, but eventually, plans were reactivated.

Censorship
In 1946, Joseph Breen told Universal Studios that they could turn the book into a movie if they made some changes to follow the Hays Code. Breen said the characters could not be related, the love should be between grown-ups, and there could not be any sex scenes or birth scenes. He also asked them to take out the parents' suicide. In 1948, Breen approved the script with further changes, like no nudity or suggestive content, and suggested they show the marriage passing incontinently. Indeed, though there were rules and restrictions, they still made and released the movie.

Casting
Jean Simmons was attached to the project at an early stage due to her success in Great Expectations (1946).

Donald Houston was chosen as the male protagonist from a pool of more than 5,000 candidates, including Laurence Harvey and Roger Moore,  100 of whom had screen tests.

Filming
Before embarking on their journey to the island, Launder, Noel Purcell, and Jean convened with Prince Thakombow of Fiji, who was studying in London at the time. They treated the prince to a tour of Pinewood, followed by a relaxed discussion regarding the film's production intricacies, including the imminent expedition to the islands, which the prince enthusiastically supported. Before departure, Jean had the privilege of visiting Henry de Vere Stacpoole, the author of The Blue Lagoon, who resided on the Isle of Wight. During this visit, the 84-year-old gifted Jean a green coral charm he had acquired from Fiji four decades earlier while gathering material for his renowned novel.

On November 27, 1947, Jean Simmons embarked on a journey from Poole aboard a BOAC seaplane bound for Sydney, Australia. Arranged by the Rank Organisation in coordination with her voyage to Fiji, a comprehensive tour of Australia was on her itinerary. The extensive flight included layovers in Cairo, Calcutta, and Singapore. Her departure garnered significant press coverage, with film footage capturing the moment featured in various newsreels. The farewell at the airport was emotionally charged, particularly for Winifred, Jean's mother, who accompanied her daughter. This marked not only Jean's maiden flight but also her inaugural trip abroad, evoking tears as mother and daughter bid each other farewell. After three days, Jean encountered a delay in her flight bound for Sydney when the immigration service in Darwin detained her and twelve other passengers for three hours. Their vaccination documents against cholera were deemed insufficient, causing concern as they had arrived from Cairo, where the virus was rampant, prompting scrutiny from the Australian Department of Health. Fortunately, the situation was resolved the following day.

Jean's journey encountered complications when the Brisbane airport closure due to inclement weather halted the resumption of her travels. After a prolonged wait, the plane, which had paused for refueling, eventually landed in Sydney on December 2 amidst the enthusiastic welcome of 50 fans. Her first act upon arrival, as recounted in local media, was to send a food parcel to her mother. On December 5, she graced the gala premiere of Launder’s latest film, Captain Boycott, featuring Stewart Granger, who later married Simmons. Jean's explorations across Australia, spanning from Sydney to Adelaide to Melbourne and back, were meticulously documented in national newspapers. Engagements such as press interviews, radio appearances, visits to various institutions including hospitals, schools, botanical gardens, and zoos, as well as attendance at film premieres, ballet performances, formal dinners, and other public events, filled her schedule until December 21, when she finally departed for the Fiji Islands. There was uncertainty regarding her entry into Fiji due to her age of 18. The colonial government of Fiji was discussing the possibility of prohibiting individuals under 19 from entering the country as a preventative measure against the introduction of polio. On December 22, a light plane carrying Leslie Gilliat, the producer and brother of Sidney Gilliat, crashed into a river near Suva. Both Gilliat and the pilot escaped unharmed. On New Year's Eve, Houston and Simmons were almost injured in Fiji when their car was overturned.

The crew initially filmed scenes around Suva's capital, lodging at the Grand Pacific Hotel on the southeastern shore of Viti Levu. Filming on coral reefs in rough seas resulted in injuries for almost every member. After a stop in Lautoka, they traveled to the Yasawa Islands via motorboats from Australia. Jean and her dresser Irene Williams had a cabin to themselves but later shared it with four other crew members. Despite the challenges, the director praised Jean's cooperative attitude in a lengthy article about their experience. During the production, challenges arose in the form of mosquitos, sandflies, snakes, and sharks, which posed threats to the crew's well-being. While Jean managed to escape unscathed, Donald Houston found himself hospitalized after sustaining a severe injury while swimming through a rock-bound water chute. Similarly, Launder suffered a broken wrist towards the end of the shooting, requiring him to wear a sling. These incidents underscored the hazards encountered during the filming process.

Due to bad weather conditions, the filming process was prolonged for three months. By mid-March 1948, the production unit achieved 90% of its objective in Fiji, accomplishing 222 camera set-ups, equivalent to around 37 minutes of screen time, or roughly one-third of the completed film. Following three months spent on location, Jean prepared to return to London where filming was set to resume at Pinewood Studios in April. Demonstrating astute planning, Rank arranged her journey back, incorporating stops in Hollywood and New York. This strategic decision was made to promote Jean, who remained relatively unknown in the United States, through local publicity efforts. Arriving in San Francisco on March 17 with a bandaged foot after cutting it on a piece of coral on the last day of shooting in Fiji, Jean was warmly welcomed by her long-separated sister Edna. A horde of reporters awaited her at the Mark Hopkins Hotel and again at Union Station in Los Angeles, where she proceeded after a day. Collecting clothes sent from England and meeting bigwigs Walter Wanger and Howard Hughes marked her first day at the Beverly Hills Hotel, followed by a star-studded cocktail party in her honour. Hollywood offered her a lead role soon, however, she sought advice from her mentor J. Arthur Rank before taking a decision. Her most remarkable moment was attending the 20th Academy Awards as an official receiver and collecting the award for Best Cinematography on behalf of Jack Cardiff, among several others. The prestigious night ended at the Mocambo nightclub socialising with celebrated winners.

The remaining film production took place at Pinewood, with an interruption in late July 1948. Upon the resumption of filming, the studio's make-up artist, George Blacker, was tasked with harmonizing the skin tones of Jean Simmons and Donald Houston, as their natural tones were swiftly diminishing. The official opening of the Olympic Games at Wembley necessitated the urgent use of all of Rank's Technicolor cameras. The final sequences were completed after the Olympic Games, with filming concluding by the end of September.

Commercial
The Blue Lagoon was the seventh-most popular film at the British box office in 1949. According to Kinematograph Weekly, the 'biggest winner' at the box office in 1949 Britain was The Third Man with "runners up" being Johnny Belinda, The Secret Life of Walter Mitty, The Paleface, Scott of the Antarctic, The Blue Lagoon, Maytime in Mayfair, Easter Parade, Red River, and You Can't Sleep Here.

The film generated producer's receipts amounting to £186,500 within the United Kingdom and £164,900 in overseas markets, ultimately yielding a profit of £40,300 by 24 December 1949 primarily driven by its international earnings.

Contemporary
Writing for the Spectator, Virginia Graham praised the film by deftly navigating the potential pitfalls of a South Seas romance, anticipating a clichéd spectacle of tropical excess but finding instead a charming narrative. She commended the film for its restraint from sentimentality, noting the poignant early scenes with child actors Susan Stranks and Peter Jones. She criticized Donald Houston's acting, albeit acknowledging his aesthetic fit for the role while praising Jean Simmons for her performance. Graham also highlighted the film's visual appeal, particularly the scenery. Despite the film's potential for tropical clichés, Graham found it pleasantly devoid of such excesses, making it rather charming.

Writing for the New Statesman, William Whitebait offered a disparaging perspective, likening the arrival of popular novels and plays to the screen to the unanticipated appearance of a heavily advertised product on a store shelf. He stated, "Best-sellers from the circulating library and the stage have an awful way of looming up on the screen like some toothpaste or pickle which, threatening for years from advertisements, at last, confronts us as the only brand on the counter." Whitebait described the film as a "sad, absurd little idyll" of two castaways, a boy, and a girl, on an island, criticizing the lack of character growth, the film's reliance on the idyllic setting, and the charm of its leads, Donald Houston and Jean Simmons. He noted, "They do a good deal of hopping about beaches instead; and since Mr. Donald Houston and Miss Jean Simmons make a charming pair, and the beach is real Pacific in Technicolor, this is a dream of a film for the snowy evenings." Whitebait concluded his review with a critique of Houston's performance, suggesting that the actor may have taken liberties with his character's dialogue. He wrote, "I don’t know, by the way, that Mr. Houston had been playing quite fair, because when the revelation comes he quotes very pat to the moment [John] Donne’s 'I wonder, by my troth, what thou and I Did till we loved?'"

According to A. H. Weiler, a reviewer from the New York Times, the film depicted a tranquil Polynesian utopia accurately but was lacking in excitement. Nonetheless, he acknowledged that the leisurely-paced events were juxtaposed against a picturesque backdrop of Technicolor sunsets, gorgeous beaches, and verdant vegetation. Additionally, he commended the competent performances of the limited cast. Nevertheless, Weiler believed that the movie's most noteworthy feature was its magnificent Technicolor scenery.

In his review for Variety, Harold Myers expressed that the Technicolor cinematography of a stunning South Pacific setting was an appropriate and romantic setting for the movie. However, he found fault with the weak plot and stated that the tale of two children marooned on a South Sea island lacked a cohesive storyline. Although he praised the movie's visual beauty, he criticised the leading actors for not being challenged beyond their physical appearances.

A Harrison's Reports critic gave a mixed review. The reviewer praised the film's aesthetic qualities and its visually appealing elements. However, the critic had reservations over the plausibility of the narrative and the predominantly sluggish tempo of the picture.

The Monthly Film Bulletin offered a nuanced perspective, noting initial interest and action in the narrative before a decline in momentum. While praising Noel Purcell's excellent portrayal of the sailor and the standout performance of Cyril Cusack as a trader, it found the lead actors, Jean Simmons and Donald Houston, competent but not outstanding. The review acknowledged the film's visual appeal, citing beautiful Fijian locations and impressive cinematography, but criticized its length and perceived lack of depth.

Mandel Herbstman, a critic for the Motion Picture Daily, however, gave a positive review of the movie. He liked how the film used Technicolor to show both beautiful and violent scenes of nature. Herbstman thought that the movie would appeal to a wide range of viewers and could fit into different types of adventure and romance stories. He also mentioned that the film's tension and violent moments added to its dramatic impact. Herbstman praised Jean Simmons' portrayal of the lead female character for her physical grace and innocence. Lastly, he thought that Donald Houston did a good job as the male lead.

Jay Carmody of the Washington Star called it a summertime love cinema must-see. Carmody praised Jean Simmons' film star performance. The film's sensitive and tasteful depiction of two youngsters stranded on a beautiful South Pacific island was praised. Carmody liked the film's unexpected emotional and event depth. He also appreciated the well-used comedy, which enhanced the story. Simmons and Donald Houston's portrayals of Emmeline and Michael, the film's adult characters, were Carmody's highlights. Carmody called The Blue Lagoon a great film, praising Simmons' charming and innocent performance and the supporting cast's work.

The Newsweek reviewer offered a critical perspective. While praising the genuine portrayal of the children's arrival on the island and the film's visual appeal, its loss of credibility and slow character development were criticised. The reviewer also pointed out the contrived nature of the romantic plot and its reliance on coincidences. Despite these flaws, the reviewer acknowledged the film's effectiveness as a form of tropical escapism.

Time criticised the picture for its weaknesses and wasted opportunity. The reviewer found the film's South Sea romance tedious and emotionally sluggish, like a Norse saga. The review praised the film's Technicolour cinematography and delightful props but criticised the absence of character dialogue. Contrived catastrophes like an underwater struggle with an octopus and a delayed sex exploration were unsatisfying attempts to make up for this shortfall. The reviewer also criticised the plot, notably the representation of a child's birth, which they considered unsuitable for Jean Simmons.

Lesley Morris of The Advocate criticized the movie for its childish and dull plot, stating that despite its visually stunning scenes and beautiful locations, extensive publicity, and efforts such as shooting in Fiji, the film couldn't escape failure, hinting at mismanagement of resources and indirectly holding J. Arthur Rank accountable for the flawed execution.

Mae Tinée for the Chicago Tribune praised the film's picturesque setting and captivating beginning, with skilful scenes of survival on a deserted island. She commended the performances of the cast, particularly the child actors and Noel Purcell. However, she noted a loss of momentum in the narrative as it transitions into a routine romance. Tinée highlighted the film's superb cinematography, including stunning shots of nature and a dramatic hurricane scene. She criticized the pacing in the later reels, suggesting it could have concluded more effectively.

The Sydney Sunday Herald appreciated the film's visual depiction of adolescent reading material and romantic entertainment value, noticing its lack of novelty but noting its commercial success. The critic praised the Technicolour cinematography and sensitively depicted sensual awakening between the heroes. The two villains' temporary disturbance and the couple's baby-rearing difficulty are discussed. The performers performed well, and the reviewer said the film's choice fit Stacpoole's romantic literary style.

In his review for The Age, Erle Cox expressed disappointment over film producers' interference in adapting literary works to the screen, sympathizing with the original authors and criticizing the alterations made by producers, particularly in the story's ending. However, he acknowledged the film's faithful use of the source material, praised the lead actors' performances, and highlighted the film's scenic tropical setting. He also pointed out memorable scenes, such as an underwater battle and a fortuitous hurricane during filming.

Philip K. Scheuer of the Los Angeles Times commended the film for its enchanting use of cinematography to depict a tropical romance. He praised the development of Jean Simmons and Donald Houston's characters, who evolve from castaways to parents over a decade on a South Sea island. Scheuer noted the film's portrayal of life's extremes, including birth, death, and the struggle for survival, culminating in the characters' rescue by a passing ship. He compared the narrative favorably to stories by Powell and Pressburger and acknowledged the British team's affectionate treatment of the plot. The review succinctly covered dramatic moments, character development, and production insights, all the while applauding the film's romantic and adventurous spirit, standout performances, and directorial prowess.

Richard L. Coe of The Washington Post portrayed the film as a consequence of an unexpected encounter with a how-to-behave manner book, deeming it a pleasant watch, despite its narrative shortcomings. Coe observed the film's struggle to define its narrative focus, appreciating the characters' survival skills and instinct for proper attire, highlighting a thwarted attempt to lure the characters into civilization and emphasising the significance of a book of etiquette in guiding the girl's behaviour. Despite an uncertain objective and leisurely pace, the film was commended for its cool escape quality, an attractive central duo, and visually appealing Technicolor cinematography.

The China Mail 's review praised the film for its captivating portrayal of two characters stranded on a Pacific island, commending the expert colour photography, vibrant visuals, and sincere performances while acknowledging minor pacing issues and deeming it likely to appeal to a broad audience appreciating its engaging narrative and unusual climax.

The Hong Kong Telegraph lauded the movie as a genuine escape, with the picturesque setting of Jean Simmons and Donald Houston as castaways, featuring real footage of a hurricane in Fiji, and delivering refreshing entertainment through their enjoyable performances, particularly Noel Purcell's effective portrayal of the sailor landing with them on the island as children.

The film was praised by The Voice for its charm and exquisite visuals. Jean Simmons received praise for her fitting performance as Emmeline, while Donald Houston impressed as the young man. Noel Purcell's portrayal of the sailor was highly regarded, and James Hayter and Cyril Cusack were praised for their effective portrayal of two deceitful characters.

In his review for The New Republic, Robert Hatch characterized the film as a "monument to unbecoming innocence," depicting the challenges faced by two English children stranded on a tropical island as they navigated the complexities of adulthood, with additional elements like an octopus, pearl hunters, and a treetop apartment left unspecified in terms of their impact on the overall film.

Myles Standish from The St. Louis Post-Dispatch lauded the film's stunning Technicolor visuals of the South Seas, while criticizing the weak storyline which did not match its visually striking setting. Standish pointed out the film's failed attempt to contrast island life with societal chaos, especially in its portrayal of English renegades. While he praised actress Jean Simmons for her performance, he lamented the film's inability to give her a significant role and lack of artistic camera work. Standish concluded that the film did not effectively leverage its visual and casting strengths, leading to a narrative that fell short of its vibrant setting.

Roberts Dunstan of the Melbourne Herald provided a critical review of the film, noting significant deviations from the source material. Dunstan expressed confusion about the film's aspirations, criticizing the tepid and unconvincing portrayal of the central love story between two shipwrecked characters. Terms such as "underplayed" and "lukewarm" were used to emphasize the perceived lack of passion and intensity in the romantic elements. The review highlighted the panoramic photography depicting the South Sea setting as the sole positive aspect. Overall, it presented a scathing assessment of a film that failed to capture the essence of the novel and fell short of delivering a compelling cinematic experience, with its visual aesthetics standing as the only redeeming quality.

F. Keith Manzie of The Argus conveyed an overall positive assessment, lauding the lead performances of Jean Simmons and Donald Houston. He described Simmons as "youthful, easy-mannered, and altogether charming," highlighting her as J. Arthur Rank's most promising screen player. The film was commended for its visual appeal, with particular praise for the exciting quality of the early scenes featuring the shipwreck and the marooned children, likened to The Swiss Family Robinson. Manzie noted that The Blue Lagoon stood out among island-themed films of the time, positioning it as the only one deemed acceptable, especially when compared to others featuring Dorothy Lamour and Jon Hall. The lead characters, Emmeline and Michael, were positively appraised, with Simmons being hailed as the most attractive island girl in the film. The supporting cast, including Susan Stranks, Peter Jones, and Noel Purcell, were also recognized for their performances. Despite a noted shift in tone as the characters grew up, the review concluded that The Blue Lagoon provided an agreeable experience as a piece of escapism, successfully offering a visually pleasing and immersive break from reality.

The July 1949 issue of Movieland magazine presented a positive review of the movie, capturing the film's enchanting and visually captivating essence. The reviewer, in a whimsical tone, celebrated the movie's ability to fulfil the universal fantasy of a tropical island shipwreck and the allure of a Robinson Crusoe-like existence, especially with a romantic interest in the opposite sex. Applauding the use of Technicolor and the superb scenery that heightened the cinematic experience, the review highlighted the exquisite portrayal of the character's growth by Jean Simmons and the fitting depiction of the hero by Donald Houston, who was appropriately described as "browned and muscular." Despite acknowledging a lack of narrative coherence, the reviewer maintained an optimistic stance, asserting that the film's overall fascination, beauty, and romantic charm would contribute to audience enjoyment, making The Blue Lagoon a compelling cinematic venture.

Helen Hendricks of Screenland appreciated the film's adventurous plot and the convincing transformation of the protagonists from children to adults, played by Donald Houston and Jean Simmons. However, she subtly criticised their desire to leave their paradise, indicating a conflict between nature's allure and societal constructs.

Paul Jones of The Atlanta Constitution positively reviewed the film, lauding the unique storyline and the vibrant use of Technicolor, and expressed confidence in the cast's capability to deliver compelling performances, particularly highlighting Jean Simmons' previous memorable role in Hamlet.

In his Film Review, F. Maurice Speed expressed disappointment, deeming it the least interesting work Sidney Gilliat and Frank Launder had produced up to that point. The film failed to captivate Speed, who conveyed a sense of dissatisfaction with the outcome of Gilliat and Launder's ambitious cinematic endeavour.

Pierre Robin of La Cinématographie Française critiqued the film as long and static, though he acknowledged the well-executed dramatic scenes, adequate staging, aesthetically appealing colour palette and locations, and recognized the performances of Susan Stranks, Peter Jones, Jean Simmons, and Donald Houston while deeming Noel Purcell's portrayal of a grumpy sailor as perfect.

M.J. McMahon of the Australian Women’s Weekly had appreciated the film's aesthetic appeal, noting the 'naive charm' and 'lovely' scenery, a result of the location work in Fiji, and the characters' development, from shipwrecked children to mature adults. The plot had been described as 'light and fragile', suggesting it was not the film's main strength. McMahon had also highlighted the performances of Jean Simmons and Donald Houston, the romantic leads, with a slight critique of Houston's performance as 'stilted at times'.

Sydney Tomholt from the Australian Broadcasting Commission criticised the film's non-traditional narrative about two shipwrecked children, citing a weak script devoid of realism and incident. The initial part was praised for character portrayal but introducing island traders shifted the narrative to melodrama, lessening engagement. The ending, differing from the book, was noted. Despite an exciting octopus fight and stunning tropical scenes, the film's dull portrayal of castaways' life, acted by Jean Simmons and Donald Houston, was criticised.

Retrospective
In 1952, Paul Rotha called the film "an escape into empty romanticism." In his 1964 book Where We Came In, C.A. Oakley criticized the film, calling it a 'pot-boiler', suggesting that it lacked creativity and critical acclaim despite being financially successful. In the Sunday Times Guide to Movies on Television, Angela Allan called the film "slow-moving but ultimately pleasant idyll on desert isle." Despite the narrative potential that its source material offered, George Perry wrote in his book The Great British Picture Show that the movie ultimately fell short of expectations and provided a rather underwhelming cinematic experience. Steven H. Scheuer gave it a two-star rating, suggesting a lukewarm reception, and noted the picturesque scenery but asserted that it failed to compensate for the film's narrative weaknesses. Described as a "moderate adventure drama," his review provides minimal commentary on the cast and director, emphasizing the film's shortcomings in storytelling despite its visual appeal. Leonard Maltin called the film "slowly paced but refreshing."

In a 2007 analysis, Shane Burridge compared the 1949 and 1980 film adaptations of The Blue Lagoon. Burridge faulted the 1949 version for its superficial treatment of survival and abrupt maturation while praising the 1980 remake's explicit sexual content. He commended the 1949 film's innocence and performances but noted unsettling hints of a grim finale. Burridge suggested that audience preference might swing between the original and the remake based on these elements.

Robin Holabird wrote in 2021 that the movie "captures the tone using less salaciousness than the 1980 interpretation." He praised it as a respectable endeavour owing to the involvement of a director who once worked with Alfred Hitchcock, an Academy Award-winning cinematographer, and talented actress Jean Simmons.

Legacy
David Cronenberg has stated to David Breskin that it was the scariest movie that he ever saw as a kid, and he holds it in high regard. Cronenberg explained that the apprehension represented in this particular film stemmed from the disconnection between the two teenage protagonists and their parents. According to Cronenberg, the concept of parental separation constituted the most fear-inducing factor, as he hypothesised that neonates are universally fearful of such separation. In addition, the individual remarked that adults frequently interpret children's fear of movies based on their perspective, ignoring the fact that children can endure far more frightening circumstances than adults may believe.

An interview with Susan Stranks for the BFI channel on YouTube in 2021 revived interest in the film.

Other versions and sequel

 * The novel was adapted into a motion picture by a Hollywood studio (Columbia Pictures) for the first time in a version that was released in 1980 starring Brooke Shields and Christopher Atkins. The updated version, directed by Randal Kleiser and written by Douglas Day Stewart, included nudity and sexual content, although not as much as the book. According to Kleiser himself, it was the book and not the 1949 film that inspired his version of the story. However, because it used the same locations and kept some features as the 1949 film, it could be considered a remake. That version was followed in 1991 by the sequel Return to the Blue Lagoon, starring Milla Jovovich and Brian Krause. Although the sequel bears a strong similarity to the 1980 film, it bears little resemblance to Stacpoole's second novel, The Garden of God. The pearl-greedy traders do not appear in Stacpoole's original novel, but in the third novel, The Gates of Morning, a pair of sailors attack the people of a nearby island for pearls after seeing a woman wearing a double pearl hair ornament, as Emmeline does in the 1949 film.
 * A "contemporary remake" of The Blue Lagoon was made for television in 2012. Called Blue Lagoon: The Awakening, it depicts two teenagers Emmaline Robinson (Indiana Evans) and Dean McCullen (Brenton Thwaites) being stranded on a tropical island. The male lead from the 1980 film, Christopher Atkins, appears in this film as one of the teachers on the shipborne field trip where Emma and Dean are lost at sea and end up on an island.

Availability
The Blue Lagoon made its television debut in the United States on ABC's Famous Film Festival on December 18, 1955. By the 1960s and 1970s, it became a television staple but, due to tighter broadcast schedules and several royalty disputes, its last appearances on broadcast television were in 1980 on WOR-TV in New York, in 1981 on TCN-9 in Sydney, and in 1982 on Tyne Tees Television. As a result, the film remained unseen on television due to rights conflicts between the estate of the novel's author Henry De Vere Stacpoole, who died in 1951, and controlled the motion picture rights to the story in every English-language-speaking country except for the United States, where the novel has already become part of the public domain, and the Rank Organisation, who controlled the rights to the 1949 film, rendering the movie as a virtual orphan work. Due to these issues, the film has not yet been released formally on home video. However, Carlton Communications, later merged with Granada plc to form ITV plc, which inherited Rank's film library, licensed clips of the film to Sony Pictures Home Entertainment for their 2003 DVD release of the 1980 film adaptation of the book.

Preservation
One 16mm copy is held at the UCLA Film and Television Archive. The film could be viewed at the BFI National Archive.

title: The Blue Lagoon (1949 film)


text:
Talk:Oveta Culp Hobby

Biography assessment rating comment
WikiProject Biography Assessment

The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article. -- Yamara 02:56, 30 May 2007 (UTC)

Discussion
Could someone edit the page to mention that she is memorialized in part with an elementary school in her name located on Fort Hood, TX, as a part of Killeen ISD?

could someone please find information on hobby's childhood? -- 20:27, 17 February 2008 216.71.224.229

Political Affiliation
Hello! I added some more to Hobby's life (more specifically her and her husband's political affiliations since it's not explicitly stated anywhere). If not relevant, please let me know and feel free to edit. Check it out in the Personal life/family section.

Thanks!

Zoreltimes (talk) 05:46, 17 October 2017 (UTC)

Autodidact? Really?
When someone uses the word "autodidact", it's 99% bull. In any case, that's a terribly important word to assign to someone who is "self-taught", by definition. Why even mention it at all? Ms. Hobby clearly attended several universities but failed to graduate from any of them. I think that speaks more about her dedication to education than any single word can do. Leading with the phrase "An autodidact..." introduces a non-neutral POV, since it influences the reader. It should be removed, and the reader can decide for his/herself whether or not Ms. Hobby was "educated". In real terms, who isn't an "autodidact"? We all teach ourselves, and it's impossible to quantify. That's why people attend formal classes and earn degrees; to prove something that is otherwise impossible to prove. Right? 98.194.39.86 (talk) 14:04, 6 January 2018 (UTC)

Never mind, I edited that sentence, since it was taken word-for-word from a publisher online, and did not include a source and was not cited. I don't read the WP guidelines, but I'm pretty sure it's not OK to copy and paste directly from web sites. That's plagiarism, methinks. 98.194.39.86 (talk) 14:15, 6 January 2018 (UTC)

title: Talk:Oveta Culp Hobby


text:
Talk:Wolfgang Pauli

God "joke"
I find story about Pauli and god totally inadequate. It has nothing to do in this place. 84.47.65.174 19:12, 30 May 2005 (UTC) It seems there are people here dedicated to introduce abrahamic religions in all texts, so Dirac's article has MORE space dedicated to his opinions on God than his quantum equation, LOL, zeitgeist — Preceding unsigned comment added by User Talk:47.58.99.60 • 09:33, 7 August 2018 (UTC)
 * I agree, and deleted it. Brighterorange 17:09, 1 Jun 2005 (UTC)
 * Well, Themanwithoutapast reverted it, so I won't re-revert out of politeness, but I still think this story absolutely does not belong in the article. It doesn't appear to be "well known" in any sense (can't find any hits for it on Google, and certainly my physics friends know nothing of it), has nothing to do with his "personality" (especially since he left the Catholic church) or "reputation" (as it is clearly fictional, or at best, mythological). The numerology is a very sure indicator of its kookiness. Someone please remove it, or at least argue for its relevance. Brighterorange 15:08, 4 Jun 2005 (UTC)

 * FWIW, the Pauli joke is fairly well-known in the physics community. The story ties in with Pauli's reputation for panning poorly thought-out physical theories (his equally famous phrase, "not even wrong", is in the same vein.) As for numerology, Pauli (along almost every other good physicist) really was fascinated by why α is so nearly 1/137. -- CYD
 * I think I understand the problem. I'm now able to find several references for the "joke", but the joke ends with Pauli shaking his head and telling God that he is wrong. The bit that follows and that explains 137 in terms of numerological babble (ridiculous--why should God work in base 10? why not 173? why not 1/137 exactly? Why not any other small numbers that can easily be found featuring important roles in the bible?) was apparently added afterwards. Without this new "punchline", the joke sort of makes sense (though I still don't think jokes really belong in an encyclopedia article) and is not offensive to me. Therefore, I removed the numerology and left the joke. (But would still support removing the whole thing). Brighterorange 18:50, 4 Jun 2005 (UTC)
 * ...and I am fascinated why pi is 3,141.. and I have been born on 3rd of January 1941 (oh, god must have done so!!)...not funny at all. I agree that the incriminated story has nothing to do in this article. Matyas 18:19, 4 Jun 2005 (UTC)
 * Deleted the joke. This is an encyclopedia, not a joke book. Shinigami27 (talk) 17:42, 5 May 2008 (UTC)

This incident is detailed in many sources, and often is used to illustrate Pauli's personality and approach, and the manner in which his colleagues regarded him. I am not sure why someone deemed it "unnecessary", but future attempts to strip this modest article of this well-known account should be preceded by some discussion. 137.111.13.200 (talk) 01:26, 23 September 2011 (UTC)

Popular Culture
With admirable consistency, the reference to popular culture in this Wikipedia article has a degrading effect. Every Wikipedia article that I have seen that contains such a reference is deleterious. Much popular culture is created by people who have only monetary profit as a goal. Many of them have limited knowledge, probably as a result of spending their time watching television and movies instead of reading. I would like to delete the section on popular culture.Lestrade 18:07, 15 February 2006 (UTC)Lestrade

Categories
It is alleged that nobody but the Nazis called Pauli Jewish. However, see the following:

--20.138.246.89 10:00, 12 September 2006 (UTC)
 * List of Jewish Nobel prize winners
 * "Pauli described himself as being three-quarters Jewish"
 * List of Famous Jewish Catholics, i.e. "people that are both Catholic and Jewish".

It is something that should be discussed. Assuming Pauli himself was made up of equal share of his grandparents he's then ethnically 75 percent Jewish, i.e. his paternal grandmother and grandfather is both Jewish, and on his mothers side he has one Jewish grandparent. But at the same time both his mother and his father was religiously Christian. It's a tough call since "Jew" can mean someone being Jewish in both a religious as well as ethnic sense.

90.224.18.89 (talk) — Preceding undated comment added 09:26, 5 April 2015 (UTC)

Nobody but the Nazis and monomaniacs who try to herd everybody noteworthy and not blameful into a list, that is. Bellbird 13:50, 12 September 2006 (UTC)

 * You are in violation of WP:NPA.--20.138.246.89 15:17, 12 September 2006 (UTC)

dates
just concerning this part

"At the beginning of 1931, shortly after his divorce and immediately following his postulation of the neutrino, Pauli had a severe breakdown. "

see: http://books.google.com.au/books?id=fkjSagZVzhwC&pg=PA24&lpg=PA24&dq=pauli+divorce&source=bl&ots=G-VKxreVrH&sig=v4ce9LtF2FgrDRA4PjMZba0Qx5E&hl=en&ei=-nw3SrvmM86JkQXhnMSMDQ&sa=X&oi=book_result&ct=result&resnum=2#PPA24,M1 and http://en.wikipedia.org/wiki/Neutrino#Proposal_of_neutrino_existence.2C_from_conservation_arguments

Ill change it, but I dont know how to cite the source: Lindorff, D. (2004). "Pauli and Jung: the meeting of two great minds". ISBN 0835608379. Retrieved on 2009-6-16 —Preceding unsigned comment added by 60.241.117.205 (talk) 11:25, 16 June 2009 (UTC)

Cause of death
Should we categorize his death as caused by pancreatic cancer? __meco (talk) 17:46, 5 July 2009 (UTC)

OK, done. Dirac66 (talk) 19:37, 5 July 2009 (UTC)

Pauli & Jung
A major part of Pauli's life involved his treatment and later work with Swiss Psychologist Carl Jung. The 'subject' in Jung's PSYCHOLOGY AND ALCHEMY is Wolfgang Pauli. Both men were interested in how the psyche effected material processes, Jung in terms of synchronicity and Pauli in terms of the Quantum Process. Some of Pauli's scientific researches arose out of their dialogue. Should this also be mentioned? It seems a shame to miss it, even if people are embarrassed by the idea of a 'hard-headed Scientist' spending time with an analyst. The page does, after all, mention Jung as one of his friends. ThePeg (talk) 16:23, 19 October 2009 (UTC)

Timeline error
"Pauli may have been unconcerned that much of his work thus went uncredited, but when it came to Heisenberg's world-renowned, 1958, Lecture at Göttingen on their joint work on a unified field theory, and the press release calling Pauli a mere "assistant to Professor Heisenberg", Pauli became offended, shooting back several times over the years at CERN and elsewhere by denouncing Heisenberg's physics prowess."

How could he have shot back "several times over the years" after the 1958 lecture, when he died in December 1958? — Preceding unsigned comment added by Jorgeditor (talk • contribs) 09:38, 3 February 2014 (UTC)

 * I have now removed the words over the years after listening to (Part 6 of) the source YouTube video, which does not contain these words or anything similar. Perhaps the editor who inserted this meant over the remaining year of his life. Dirac66 (talk) 02:10, 4 February 2014 (UTC)

Removed questionable statement
I removed this. Google finds the cited book (ISBN 354056859X), but not the word "twat" in it. I don't have access to the full text, so I can't verify the statement. However, the user who introduced it is called Ihatedirac2k13, see also their contributions, and the similar editing pattern of Ihatedirac. This stretches the limits of AGF a bit too much. —  H HHIPPO  22:02, 7 February 2013 (UTC)

 * Fully agree. --Chris Howard (talk) 20:29, 8 February 2013 (UTC)

The same statement was inserted again today by numbered editor 130.88.75.200, still without a page number. So I am going to remove it again for now and make two requests in case someone wants to insert it again: 1) Please add the page number of the alleged quote. It is not reasonable to expect others to scan an entire book to find one quote. 2) If this is a translation of something Pauli wrote or said in German, please give the original German word. Perhaps it has a less offensive alternate translation which would be more appropriate. Dirac66 (talk) 02:24, 19 March 2013 (UTC)
 * Another numbered editor tried this again today. Since the last time I have checked my library and found the book which is the alleged source of this quote. The index contains 10 references to Dirac and I have now looked at these pages. As I expected, there is no such quote or indeed any inappropriate remark by Pauli. Dirac66 (talk) 18:57, 8 April 2013 (UTC)

 * And it appeared today from editor 130.88.114.60. Reverted and issued a introducing deliberate factual error warning, level 1. -- Racer X11 Talk to me Stalk me  17:47, 26 May 2014 (UTC)

Blocked from editting
Why is this page blocked from being editted? xox — Preceding unsigned comment added by 130.88.75.200 (talk) 18:25, 16 April 2013 (UTC)
 * See the article edit history for 13 April. Vsmith (talk) 22:02, 16 April 2013 (UTC)

Room 137
Can we get another citation for the story about Pauli dying in Room 137? I remember reading a different version of this (I can't remember what book), in that he was actually in Room 136, and requested to be moved to Room 137 before dying. One of the versions might be apocryphal, like Newton and his apple. Nicole Sharp (talk) 07:10, 23 August 2016 (UTC)

External links modified
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A Commons file used on this page or its Wikidata item has been nominated for deletion
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 * Wolfgang Pauli.jpg

Arrogant? WAT?
The paragraph about his conversation with Paul Ehrenfest hardly betrays arrogance. Ehrenfest lightly insults Pauli's character, and Pauli immediately reverses to insult Ehrenfest's work. This is witticism. If it were arrogance, one would hardly expect that the result would be that they become very good friends. NathanZook (talk) 20:14, 2 June 2020 (UTC)

ETH
"In 1940, he tried in vain to obtain Swiss citizenship, which would have allowed him to remain at the ETH." I assume this refers to ETH Zurich, but there is no preceding mention of him arriving there in the first place.Newburyjohn (talk) 07:19, 19 June 2021 (UTC)

 * Thanks for noticing this. After checking the revision history, I traced the problem to an edit on 10 March 2021 which re-organized the Early Years section and deleted the ETH appointment and a few other facts for no apparent reason. I will restore the facts for which I can find sources. Dirac66 (talk) 20:30, 29 June 2021 (UTC)

Overall
Can't help feeling that Pauli was an underachiever. Burraron (talk) 14:10, 10 July 2023 (UTC)

title: Talk:Wolfgang Pauli


text:
Talk:Norman Morrison

Comment
Should we change the external links? Even though the material on Norman Morrison is good, some of the other material on the same pages does not have a neutral POV.

Stamp
Is there a reference for this statement: "a postage stamp, possession of which was prohibited in the US"? I googled around and couldn't find anything.

 * Norman was honoured all over the world for his sacrifice, but especially in North Vietnam where the government issued a postage stamp in his honour. This stamp was considered a danger to American citizens, especially children, so it was declared contraband. It was against the law to import or posses this postage stamp while on American soil. Upon the establishment of diplomatic relations wiith Vietnam this ban was removed - http://www.davidsettinoscott.com/walk-05.htm
 * That's the only reference I can find, I agree it sounds odd, but don't fully support removing the line either since there is a reference to it, however debateable. I may eMail the webmaster of that site and ask if he has any references however. Sherurcij 19:54, August 10, 2005 (UTC)
 * Interesting. It might be a good idea to add this to the Censorship_in_the_United_States article.--Timtak 23:53, 19 September 2005 (UTC)

 * I'm a librarian with access to a large set of expensive online databases including the full text of the New York Times going back to 1851. I couldn't find reference to the prohibition of the Vietnamese Norman Morrison stamp anywhere.  I looked in several other databases and also did some Google searching.  I also am hesitant to remove the line, since it may eventually lead to someone verifying this as absolutely false or absolutely true.  I don't think its true but would love to know for sure.

 * As an amateur philatelist, I know that US citizens are not permitted to have stamps, no matter the subject, from certain countries that are under US embargo (Cuba and N. Korea come to mind, but N. Vietnam would not surprise me at all - I'm pretty sure that Soviet stamps are allowed). This is why US-based catalogues, such as the Scott catalogue don't have list prices, or lists of stamps for these countries.  So, it isn't the subject matter that's verboten, it's the country of issue.  (BTW, as a Canadian, I'm not subject to the same restraints, and I have a few N. Korean, Cuban (and possibly N. Vietnamese, I'd have to check) in my collection.  Don't know what I'd do if I had to move down south ... ) --Canuckguy 02:57, 24 July 2007 (UTC)

External Link
The first external link [] has a POV conclusion.

WikiProject class rating
This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 02:09, 23 August 2007 (UTC)

Fair use rationale for Image:Normanmorrison.jpg
Image:Normanmorrison.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 17:25, 2 January 2008 (UTC)

 * I have not seen these pix, and do not know what they show, but it seems that adding a photo of him on fire, at the very least, would make for a far more compelling article (see the article about Thích Quảng Đức, the picture of whom was a "photo of the year"). A portrait-style picture would also be helpful.  It's hard to believe that there are none out there... --Piledhigheranddeeper (talk) 17:53, 2 November 2015 (UTC)

Fair use rationale for Image:MorrisonTribute.jpg
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BetacommandBot (talk) 15:20, 8 March 2008 (UTC)

wording
OK so was it kerosene as stated in your article or gasoline as also stated in your article. Please make up your mind. — Preceding unsigned comment added by 68.1.188.84 (talk) 03:43, 10 December 2014 (UTC)

Poem: "Ê-mi-ly, con"
For interest, a translation of the poem by Tố Hữu is here: http://taybui.blogspot.com/2010/09/e-mi-ly-con-emily-child-to-huu-1965.html - but note that as a personal blog this is not a suitable source for a ref on the main page. Snori (talk) 06:39, 17 January 2016 (UTC)

Play
Dunno about notability; it'd be nice to see a source other than the (apparent) author. Anmccaff (talk) 18:07, 31 May 2017 (UTC)

title: Talk:Norman Morrison


text:
Talk:Puddle jumper

OOps i forgot to use the move link, sorry, i lost the history...--Zxcvbnm 19:14, 30 May 2005 (UTC)

Origin of Term
Sorry to be the old man of the discussion. "Puddle Jumper" is a very old term for a light aircraft capable of utilizing small air strips and or lakes for commuting small distances. Literally a small plane that due to small distances traveled, was considered to be "jumping between puddles." The Old Allegheny Air (Now US Airlines) flew puddle jumpers for some routes, due to their history as an air mail carrier.

So the pun on Star gate puddles is certainly relevant. But given they were named by an Air force pilot, I would have to believe that the writers were also referring to the normal common use term of puddle jumper as used by western pilots. Some historical non fictional accuracy would be nice for the wikipedia entry. —Preceding unsigned comment added by 67.166.39.189 (talk) 17:46, 16 February 2008 (UTC)

Dimensions of a Jumper?
I know that they are 8m long, but what about from the flat bottom to the top, and from the widest point on both sides?

Where did the figure of 8m come from? As far as I know, the show's execs don't usually give out dimensions of ships.

Faris b 04:54, 17 October 2006 (UTC)

I don't know where the length came from, although they might mention it in "Thirty-Eight Minutes". In terms of height and maximum beam, we know its almost, but not quite as wide as the interior diameter of the stargate. 72.38.154.42 23:17, 17 January 2007 (UTC)

Gene to fly?
If I remember correctly, the gene is required to fly the Puddle Jumper at all. It's not a matter of requiring initialization. This is why Doctor Becket learned to fly it despite his lack of flight skills, since in an emergency, his having the gene may be more important than having a good pilot. (And the Ancient Technology Activation gene article lists the Jumper as one of the tech items that requires the gene for use.) Benabik 05:52, 10 April 2006 (UTC)

The Definat One/wraith cloak-to-shield reference
"However, on one occasion (The Defiant One), a wraith tampered with a jumper's controls thereby somehow generating a shield around it, causing Major John Sheppard to run into the vessel."

Is there any evidence in that episode that the shield was created by the jumper and not a device the Wraith brought with him? {unisnged}

 * We've never seen the wraith with shields before.MioTheGreat 13:06, 13 August 2006 (UTC)

Right, it does seem backwards.... 12:03, 22 May 2006 (UTC)

Hyper drive and shields
if the ancients are so advanced how come then that the puddle jumpers can not go into hyper space or have any shields if they were designed for exploration you would think that they should have hyper drives so that they could reach othr planets quickly that dont have stargates.

 * they were designed to go through stargates, primarily for trading perhaps? then again one wonders why a race as advanced as the Lanteans needs to trade...

 * The Ancients built the Stargate networks to travel between the planets under their domain. Of course, in Pegasus, we have lots of orbital Stargates, made to restrict Wraith movement between worlds (if I recall correctly) so walking through a Stargate is out of the question.  Thus the jumpers.  Also, if the Ancients wanted to go to a non-Stargate planet, they DID have other ships with hyperdrives, not to mention the city-ships like Atlantis.  Also, the puddle jumpers DO have shields.  McKay figured out how to turn the city shield into a cloak, and the jumper cloaks into shields.  This ability is taken advantage of during several episodes, the best example having just aired in Canada, 3x11 The Return Part 2.  Sheppard and Zellanka (however you spell it) also use it to enable their jumper to dive deeper underwater to search for McKay (I think it's a season 2 episode). --The MAZZTer 23:54, 4 January 2007 (UTC)

They're not meant for trade either, they're basically armed shuttles, they're for ferrying the Ancient around their planet(s), basically their version of cars.

Faris b 20:45, 14 October 2006 (UTC)
 * ...in other words: Nobody knows, all we know is that they hold several people, they fit through a Stargate and have several drones and that they are not FTL capable. thanks/Fenton, Matthew Lexic Dark 52278 Alpha 771 20:50, 14 October 2006 (UTC)

 * Very minor Atlantis spoiler... I'll try to keep it minimal. In 3x15 (only been aired in Canada, thank God for the Internet!) McKay invents a prototype hyperdrive for the jumpers.  However it is only a computer simulation and no physical prototype has yet been built... considering McKay, at the end of the episode, possibly might no longer understand the simulation he wrote (watch the episode to find out why) the writers may choose to give this capability to Atlantis or not. --The MAZZTer 23:50, 4 January 2007 (UTC)

Energy Weapon
The article says there is an energy weapon fired from the front of the craft. Upon closer inspection of the episode in question 08x13 It's Good to be King, the weapons seem to originate in the engine pods near where the drones are fired.
 * That episode was, if memory serves, the first appearance ever of a jumper on Stargate SG-1, but I suppose this was after they were introduced in Atlantis... I am positive in at least one episode of Atlantis the viewer can clearly see a forward section open and the weapon fire... perhaps it's Atlantis 1x01 or 1x02, and I'm sure something can be seen in season 2 and 3 episodes.  It's likely the design was/is evolving, or the mismatched designs were done on purpose to show the jumper in SG-1 8x13 is an older model or simply made for a different galaxy (it would have to be, for the DHD part at least).  In short... don't worry too much about it. :) --The MAZZTer 23:44, 4 January 2007 (UTC)

Gateship
In Part 2 of the Return, one of the Asurans refered to the Puddle Jumper the team used as a "gateship". Is it possible that this was what the Ancients called the ship? -- SFH 17:40, 23 November 2006 (UTC)
 * Definitely possible.. probably best that we don't consider renaming at the moment though.. thanks/Fenton, Matthew Lexic Dark 52278 Alpha 771 17:44, 23 November 2006 (UTC)

 * No, of course not, but mentioning it in the article might be relevant. -- SFH 17:47, 23 November 2006 (UTC)
 * Sounds good. thanks/Fenton, Matthew Lexic Dark 52278 Alpha 771 17:54, 23 November 2006 (UTC)

DHD
Have somebody notices that the DHD in the 2º and 3º type of console are (like the rest of the cockpit, not only the console) are different from the 1º, it can be seen that the enter button isnt pressed, but there is a light blue on (it can be turn on in echoes when they are underwater)also when Sheppard dial the milky way gate on the return he push 8 keys, the last one (which supposed to be the enter) was one on the right side. So what? the enter button is among the others and the new DHDs only have 35 symbols or what?.190.48.69.6 18:08, 11 December 2006 (UTC)

"Like a sieve"
Click click. I think it should be noted that the door was designed to keep air inside the cockpit area. In 38 Minutes, the pressurized/unpressurized sides would have been reversed, and this is something the door wasn't necessarily designed for. Although it's fairly clear (to me at least) at that point the writers had decided the door WOULD in fact leak like a sieve and later changed their minds to make it air-tight, I think this explanation helps fill in the minor plot hole better than the current possible explanation in the wiki entry.

... I feel like such a nerd now. :) --The MAZZTer 23:37, 4 January 2007 (UTC)
 * I belive this is wrong anyway. From what I remember, the door would leak in 38 minutes because Rodney caused a slight thrust from the engines, pushing the jumper further into the gate, and causing the bottom of the door to enter the event horizon. Thus when the gate closed, the air would leak out though the hole. -- Trekker 16:52, 19 January 2007 (UTC)

 * That was a later problem. When the jumper first got stuck, a suggestion was to wait out the 38 minutes (and give up on the guys inside the cockpit).  Let them wormhole take the cockpit, leave the end section floating in space with the door shut, send another jumper to pick them up.  That was when they said it would leak like a seive.  The problem that the door had been breached by the event horizon happened later, when some salt water was flicked from Shepherd's neck onto the control crystals.  Now I'm a nerd ;-)  --17:03, 19 January 2007 (UTC)

"Puddle Jumper" is also a slang term for the smaller turboprop planes flown to smaller regional airports. I'm not sure how widespread the term is, but it's in fairly common usage in the Northern US (Minnesota, Wisconsin, Michigan - each have lakes which would be flown over, for example). --ABQCat 20:19, 5 Mar 2005 (UTC)

Where is the origin of the 4th defintion of the "Non-PC" Term? Just never heard of it and sounds like it belongs more in urbandictionary than wiki

Maintenance deletion
What exactly needs to be done with this page? Merged into/from where?-- Kungfu Adam ( talk ) 15:10, 1 March 2007 (UTC)

Intro
The intro is not written very well; a bit gobbledygook-ish...

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title: Talk:Puddle jumper


text:
Talk:Jacques Demers

Assessment comment
Substituted at 19:20, 29 April 2016 (UTC)

title: Talk:Jacques Demers


text: Talk:Brian Hayward

title: Talk:Brian Hayward


text: Talk:Johnny Quilty

title: Talk:Johnny Quilty


text: Talk:Steve Penney (ice hockey)

title: Talk:Steve Penney (ice hockey)


text: File:Last Chance to See Harmony front.jpg


text:
Reg Park

Roy "Reg" Park (7 June 1928 – 22 November 2007) was an English bodybuilder, businessman, and actor. His first title was Mr. Britain in 1949. He then won Mr. Universe in 1951, 1958, and 1965. He went on to star in five films, all of which featured him playing Hercules. Later in life, he received renewed interest for being the first inspiration (and later a mentor) to Arnold Schwarzenegger.

Early life
Park was born in Leeds on 7 June 1928. Showing athletic interests early in life, he dedicated his teenage years to excelling in football, where he played in the reserves for Leeds United FC. He had no specific interest in bodybuilding until age 16, when he met David Cohen. Upon learning that Cohen lifted weights at a friend's house, Park joined in out of curiosity; his resulting legendary physique would soon begin to grow from barbells, dumbbells, and a simple chinning bar. During his national service, Park worked as a Physical Training Instructor in Singapore. Upon his discharge from the British Army in 1948, he witnessed his first physique contest, the inaugural NABBA Mr. Universe contest in London. The competition saw John Grimek beating Steve Reeves in controversial fashion, and it was this contest that inspired Park to compete.

Career
After one year of training, Park earned the title of Mr. Britain in 1949. He then spent six months in the United States after his parents paid his expenses as a gift. There, he met up with publisher Joe Weider, who began to feature him prominently in his popular muscle magazines. The next year, Park was runner-up to Reeves in the 1950 NABBA Amateur Mr. Universe in London, which was also a close contest.

After a second full year of training, Park broke what had been an American monopoly on bodybuilding titles by winning the 1951 National Amateur Bodybuilders Association (NABBA) Amateur Mr. Universe. He cemented his status by winning the 1958 and 1965 NABBA Pro Mr. Universe titles. Standing 6 ft 1 in and with a top weight of 250 lb, he was known for his mass and was a forerunner to the size-focused aspects that dominate modern bodybuilding. He was also renowned for his strength, which he often demonstrated in contests and strongman exhibitions. He is on record as the second man (after Doug Hepburn) to bench press 500 lb. As an actor, he made five films, all of which were Italian sword and sandal pictures featuring him as Hercules, Maciste and Ursus.

Park was an early influence and lifelong mentor to Austrian bodybuilder Arnold Schwarzenegger, who said that he was first inspired to lift weights after seeing Park playing Hercules. For three years in the 1960s, Schwarzenegger was trained by Wag Bennett at Bennett's gym in Forest Gate, where he had the chance to meet Park and be mentored by him. Bonus footage from the DVD release of the documentary Pumping Iron (1977) features Park mentoring Schwarzenegger. Park can also be heard performing MC duties in the Mr. Universe and Mr. Olympia contests featured in the film.

Park moved to South Africa at an unknown date; up to the time of his fatal illness in 2007, at the age of 79, he continued to train clients at the Morningside Virgin Active Gym in Sandton. He has been featured in many fitness and bodybuilding magazines, and has also appeared on the cover of Muscle & Fitness. He was inducted into the International Federation of Bodybuilders (IFBB) IFBB Hall of Fame's first ballot in 1999.

Death
Eight months after being diagnosed with skin cancer that soon spread to the rest of his body, Park died on 22 November 2007 at his home in Johannesburg at the age of 79. His wife of 55 years, Mareon, and their two children Jeunesse and Jon Jon were by his side. His son Jon Jon, who was trained by Park, also became a personal trainer and is a former Olympic swimmer. Today, Jon Jon is the owner of the popular Legacy Gym in West Los Angeles. Park's daughter Jeunesse founded the non-profit organisation Food & Trees for Africa.

Bodybuilding titles

 * 1946 Mr Britain 4th
 * 1949 Mr Britain 1st
 * 1950 Best Developed Athlete in America - IFBB, Tall, 1st
 * 1950 Best Developed Athlete in America - IFBB, Overall Winner Mr Europe
 * 1950 Overall Winner Mr Universe - NABBA, Tall, 2nd
 * 1951 Mr Universe - NABBA, Tall, 1st
 * 1951 Mr Universe - NABBA, Overall Winner
 * 1958 Mr Universe - Pro - NABBA, Tall, 1st
 * 1958 Mr Universe - Pro - NABBA, Overall Winner
 * 1965 Mr Universe - Pro - NABBA, Tall, 1st
 * 1965 Mr Universe - Pro - NABBA, Overall Winner
 * 1970 Mr Universe - Pro - NABBA, Tall, 2nd
 * 1971 Mr Universe - Pro - NABBA, Tall, 3rd
 * 1973 Mr Universe - Pro - NABBA, Tall, 2nd

Competitive stats

 * Height: 6'1" (185 cm)
 * Contest weight: 214-222 lbs (97–101 kg)
 * Off-season weight: 225-250 lbs (102–113 kg)
 * Arms: 18.5 @ 215 lbs, 19.0 @ 230 lbs" (47–48 cm)

Filmography

 * Ercole Alla Conquista Di Atlantide (1961) Italy. aka Hercules Conquers Atlantis (1962 UK title) Hercules and the Captive Women (1963 US title)
 * Ercole Al Centro Della Terra (1961) Italy. aka Hercules in the Centre of the Earth (1962 UK title) and Hercules in the Haunted World (1963 US title) co-starring Christopher Lee
 * Maciste Nelle Miniere Di Re Salomone (1964) Italy. aka Maciste in King Solomon's Mines (1964)
 * Ursus, Il Terrore Dei Kirghisi (1964). Italy. aka Hercules, Prisoner of Evil (1964)
 * Sfida Dei Giganti (1965) Italy. aka Hercules the Avenger (1965)

title: Reg Park


text: User talk:211.231.187.48

title: User talk:211.231.187.48


text:
Ihievbe

Ihievbe (also spelled Sebe or Isebe) is a town in Owan East local government area of Edo State, Nigeria, Africa with a population of approximately 50,000 people. Geographically, it is between Auchi and Afuze. The name Ihievbe is commonly misspelled in maps and some other literature as Sebe or Isebe. The people of Ihievbe speak the Ihievbe language, a dialect of Edoid as the native language, and English as the common language. Ihievbe are Afemai people. As with the rest of Nigeria, there are two main religions, Christian and Muslim. The subsistence of the people from Ihievbe is mostly based on agriculture and animal husbandry. the ihievbe community was founded by Obo ca.1504—1536, a contemporary of Prince Uguan and according to narrative tradition related to Uzuanbi of Emai. Obo was further related to a junior branch of the royal clan of Benin.

title: Ihievbe