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Laotian Americans

Laotian Americans (ຄົນລາວອາເມລິກາ) are Americans who trace their ancestry to Laos. Laotian Americans are included in the larger category of Asian Americans. The major immigrant generation were generally refugees who escaped Laos during the warfare and disruption of the 1970s, and entered refugee camps in Thailand across the Mekong River. They emigrated to the United States during the late 1970s and throughout the 1980s.

The category ‘Laotian American' includes all ethnic groups who lived within the borders of Laos, except the Hmong community.

History
Laotian immigration to the United States started shortly after the Vietnam War. Refugees began arriving in the U.S. after a Communist government came to power in Laos in 1975 and by 1980, the Laotian population of the U.S. reached 47,683, according to census estimates. The numbers increased dramatically during the 1980s so the census estimated that there were 147,375 people by 1990. The group continued to grow, somewhat more slowly, to 167,792 by 2000. By 2008, the population nearly reached 240,532. Included are the Hmong, a mountainous tribe from that country.

Demographics
The states with the largest Laotian American populations (including the Hmong from Laos) are California (58,424, 0.2%), Texas (13,298, 0.1%), Minnesota (10,065, 0.2%), Washington (9,333, 0.2%), Colorado (7,434, 0.1%), Tennessee (6,336, 0.1%), Illinois (5,822, 0.1%), North Carolina (5,566, 0.1%), Georgia (5,560, 0.1%), Florida (4,896, 0.05%), and Oregon (4,692, 0.1%). There are about over 200,000 ethnic Lao in America. Approximately 8,000 to 11,000 Americans are of mixed Lao and other descent. Ethnic Lao people may identify as both Lao American and Laotian American (see also Hmong American).

Most were estimated to live in the West (95,574), followed by the South (44,471), Midwest (37,820), and Northeast (15,382).

Cities or regions with significant Laotian-American populations include the Seattle metropolitan area (enumerating 12,190; 0.4% of its population); San Francisco Bay Area (11,545; 0.2%); Dallas–Fort Worth metropolitan area (10,500; 0.2%); Sacramento metropolitan area (9,814; 0.4%); Minneapolis – Saint Paul area (8,676; 0.3%); San Diego metropolitan area (8,079; 0.3%); Fresno metropolitan area (7,967; 0.9%); Greater Los Angeles Area (7,120; 0.04%); Nashville metropolitan area (6,210; 0.4%); Portland metropolitan area (5,806; 0.3%); Chicago metropolitan area (4,762; 0.05%); San Joaquin County, California (4,266; 0.6%); Providence, Rhode Island (3,456; 0.2%); Denver metropolitan area (2,673), Des Moines, Iowa (2,270), Anchorage metropolitan area (1,997; 0.5%), and Fort Smith, Arkansas-Arkoma, Oklahoma (1,730).

Smaller Laotian communities can be found in other cities and metropolitan areas across the United States. In the Southern United States, there is a significant Laotian community in St. Petersburg, Florida, where at least 1,000 Laotian-Americans reside. There are communities in Habersham County, Georgia (740), and Houston, Texas.

In the Southwestern and Midwestern United States, there are Laotian communities in Denver, Colorado; Storm Lake, Iowa (400; 4%), and Wichita, Kansas (1,594; 0.4%). The Oaklawn-Sunview community near Wichita is 11.5% Laotian American. In the Chicago area, there are sizable Laotian communities in the suburban cities of Aurora, Elgin, Joliet, and Rockford.

In the San Francisco Bay Area, the Laotian population is concentrated in the cities of Oakland, Richmond/San Pablo, San Jose, and Santa Rosa/Roseland. Elsewhere in Northern California, there are Laotian communities in Chico, Eureka, Redding, Stockton, and Yuba City. In central and southern California, there are communities in Fresno - also one of the largest Hmong communities outside Laos, Merced, and in Tulare County, California, especially in the city of Porterville. In the 1980s after the communist takeover of Laos, over 10,000 Laotians settled in central California. Many of the Laotians settled in central California to work in the farmland there. Additional Laotian communities exist in the Los Angeles Metropolitan area and in the Inland Empire region (i.e. Banning).

In the Northeast, there are Laotian communities spread across the New England states. With the large concentration in Providence, Rhode Island, Woonsocket, Rhode Island, Lowell, Massachusetts, and Newmarket, New Hampshire.

Poverty
According to data collected by the American government in 2013, 18.5% of all Laotian Americans live under the poverty line. A Pew Research Center study published in 2019 found that the poverty rate had dropped to 13% which is equal to the national average.

Gangs have been an issue in the Laotian community ever since the 1980s and 1990s, although like most Asian communities, gangs have decreased in number and/or have received less media coverage for their activity. Gangs like the Original Laotian Gangsters in West Valley City, Utah, Asian Boyz chapters in California which include a large number of Cambodian Americans, but also have Laotian Americans, and other Asian Bloods and Crips gangs have committed serious crimes starting in the 1980s.

Per capita income
In 2014, identified by factfinder census, when Americans' per capita income was divided by ethnic groups Laotian Americans were revealed to have a per capita income of only $21,479 below the American average of $25,825.

Lack of education and school dropout rates
According to data collected in 2013, 38% of all Laotian Americans drop out of high school.

Religion
66% of the population in Laos adhere to Buddhism and Buddhism is the basis and mainstream religion practiced in Laos. Lao Buddhists belong to Theravada Buddhism and are tolerant towards the pre-Buddhist animist or folk beliefs, which is the belief of spiritual essence possessed in objects and creatures. Buddhists residing in rural parts of Lao also maintained the belief in ancestral spirits, which are the souls and spirits from afterlife. Although Buddhism is the major religion practiced in Laos, there are also Christian minority. There are three Christian churches in Laos: Lao Evangelical Church, the Seventh-day Adventist Church and the Roman Catholic Church.

Theravada Buddhist Temple
Laotian-American populations have constructed numerous Buddhist temples, called vat or wat. Over time, the congregation donates money to customize and add on to the facility, as well as to add fine artwork and craftsmanship, resulting in a Laotian Buddhist temple that has some traditional features. Examples include Wat Lao Buddhavong located outside Washington, D.C.; Wat Lao Buddharam of San Diego, California; Wat Lao of S. Farmington, Minnesota; Wat Lao Buddhamamakaram of Columbus, Ohio; Wat Lao Mixayaram and Wat Lao Dhammacetiyaram of Seattle, Washington; Wat Lao Buddha Ariyamett Aram Temple in Morris, Connecticut; Wat Lao Lane Xang, founded in 1993 in Willington, Connecticut; Wat Lao Rattanaram in Richmond, California and the Wat Lao Mixayaram in Lowell, Massachusetts. With the growth of Laotian communities in more diverse areas, they have moved to and constructed temples in rural areas, such as Lane Xang Village, located between Lafayette and New Iberia in Louisiana.

Representation in media
One of the first national Laotian-American publication, Lao Roots Magazine, was published in 2007. The English-language magazine is geared toward the younger generation of the Laotian-American community. Published in San Diego by a small volunteer staff, the magazine has reached widespread national circulation within the Laotian-American community. After the publication ceased, former staff member and Yale University graduate Siamphone Louankang created the popular online magazine LaoAmericans.com, which continues to share stories by and about Americans of Laotian descent.

The documentary film The Betrayal (Nerakhoon) was directed by Ellen Kuras and Thavisouk Phrasavath. It portrays the epic of a family forced to emigrate from Laos after the chaos of the secret air war waged by the U.S. during the Vietnam War. Kuras spent 23 years chronicling the family's journey in this film. The film won a Spectrum Award for the Full Frame Documentary Film Festival; it was nominated for an Oscar for best documentary.

American animated sitcom, King of the Hill between 1997 and 2010, featured ten Laotian-American animated characters in various roles, to include series regulars, recurring, guest roles, or single appearances:
 * Kahn Souphanousinphone, voiced by Toby Huss
 * Minh Souphanousinphone, voiced by Lauren Tom
 * Connie Souphanousinphone, voiced by Lauren Tom
 * Tid Pao Souphanousinphone, voiced by Lucy Liu
 * Laoma Souphanousinphone, voiced by Amy Hill
 * Ted Wassonasong, voiced by Mike Judge
 * Cindy Wassonasong, voiced by Lauren Tom
 * Chane Wassonasong, voiced by Pamela Adlon
 * General Gum Nga Hexumalayasabrath, voiced by James Sie
 * Phonsawan Souphanousinphone, voiced by James Sie

The subject of Jamie Wyeth's painting Kalounna in Frogtown is Laotian American.

Krysada Binly Phounsiri (Lancer) & Kennedy Phounsiri (EraNetik), brothers from San Diego, California who share the same passion for breakdancing, were featured on season 6 of America's Got Talent with a dance team called the Body Poets and are now current performers in the Jabbawockeez - "MÜS.I.C" Show in Las Vegas, Nevada. They are also part of the breakdance crew "The Calamities", which they created in 2002.

CSI: Crime Scene Investigation (season 6), in episode 2 titled “Room Service” both the murder victim and perpetrator are Laotian American.

Sports
Laotian Americans have excelled in a variety of sports achieving success at the collegiate, national and international level. While many of the individuals discussed in this section may not be notable among the general U.S. population, they are considered pioneers in sport within the Laotian American community and many are believed to be the first to compete at a national level or higher. Many of the second and later generation Laotian American athletes are of mixed heritage.

Khan Malaythong is thought to have become the first Laotian American to represent the U.S. at the Olympic games when he qualified for the U.S. badminton team as a doubles competitor at the 2008 Summer Olympics.

Phoothaphone “Ko” Chandetka is a nationally recognized competitive body builder of Laotian descent who has competed on and off for over twenty years. He is believed to be the first Laotian American to achieve notoriety in the sport. Ko won his first NPC title in 1991 at the age of nineteen and competed at the national level as recently as 2016 when he placed 7th in the Mr. Olympia contest.

Examples of Laotian American football players competing at the NCAA Division I level include Scott Phaydavong (Drake University), Ramaud Chiaokiao-Bowman (Northwestern), Taisun Phommachanh (Clemson),  Malachi Moore, Tyler Phommachanh (University of Connecticut),  and Nous Keobounnam (Oregon State). Scott Phaydavong may have been the first Laotian America to play football professionally when in 2009 he joined the German Football League's Schwabisch Hall Unicorns. Ramaud Chiaokiao-Bowman signed with the Indianapolis Colts as an undrafted free agent in 2021 although he did not obtain a roster spot.

Angelina Messina, a competitive swimmer from Illinois who is of mixed Laotian and Italian heritage, competed in the 2020 United States Olympic Trials at the age of sixteen. She is the first known Laotian American swimmer to qualify for the U.S. Olympic Swimming Trials and swims at the University of Pittsburgh. Laos began inviting foreign athletes of exceptional ability with documented Lao heritage to represent Laos in international competition in 2020 with boxer Walter Sarnoi Oupathana being the first American to do so. Several Lao-America athletes represented Laos at the 2023 SEA Games in Cambodia including swimmers Angelina Messina, Ariana Dirkzwager, Astrid Dirkzwager, and Steven Insixiengmay along with wrestler Dawson Sihavong. Sihavong won a bronze medal in Greco-Roman wrestling and silver medal in freestyle wrestling.

Notable people
This is a list of notable Laotian Americans, including both original immigrants who obtained American citizenship and their American descendants.

This list does not include Hmong Americans, who can be found in the List of Hmong Americans.

To be included in this list, the person must have a Wikipedia article showing they are Laotian American or must have references showing they are Laotian American and are notable.

 * Samad Bounthong, soccer player
 * Ko Chandetka, professional bodybuilder, co-author of the book I am Phoothaphone and subject of the 2019 documentary film Fallen Star Rising Sun.
 * Chloe Dao, winner of the second season of the reality show Project Runway
 * Mattie Do, is Laos's first and only female film director and the first horror film director from Laos. She directed films Chanthaly (2012), Dearest Sister (2016) and The Long Walk (2019).
 * John Douangdara, Petty Officer, 1st Class (PO1), lead dog handler for the elite SEAL Team Six; may be the first Laotian American to die as a SEAL Team Six member
 * Ariana Dirkzwager, swimmer
 * TC Huo, writer
 * Jujubee, drag queen and reality television personality
 * Xaykham "Xay" Rexford Khamsyvoravong, first Lao (non-Hmong identifying) mayor in America, first Southeast Asian and Asian mayor of Newport, Rhode Island, current Mayor of Newport, Rhode Island
 * Channapha Khamvongsa, Executive Director and founder of Legacies of War
 * Malichansouk Kouanchao, visual artist
 * Tina Maharath, Ohio State Senator
 * Khan Malaythong, badminton player at the 2008 Summer Olympics
 * Malachi Moore, football player
 * Justin Phongsavanh, F54 Paralympic Javelin bronze medalist at the 2020 Paralympic Games
 * Krysada Panusith Phounsiri, poet, engineer and break-dancer
 * Thavisouk Phrasavath, Oscar-nominated, Emmy-winning director
 * Chanida Phaengdara Potter, writer, community activist
 * Nor Sanavongsay, artist, app developer
 * Walter Sarnoi Oupathana, professional boxer
 * Konerak Sinthasomphone (ກອນລັກ ສິນທະສົມພອນ), 14-year-old victim of Jeffrey Dahmer
 * Andre Soukhamthath, mixed martial artist in the Ultimate Fighting Championship
 * Catzie Vilayphonh, spoken word poet of the group Yellow Rage who were featured on the first season of Def Poetry Jam
 * Kulap Vilaysack, actress, comedian, and podcaster
 * Saymoukda Vongsay, writer
 * Izaac Wang, Chinese-Laotian-American actor best known for his work on Good Boys (2019), Raya and the Last Dragon (2021), and Gremlins: Secrets of the Mogwai (2023).
 * Bryan Thao Worra, writer

In fiction

 * Souphanousinphone family of animated series King of the Hill

title: Laotian Americans


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Taira (disambiguation)

The Taira clan was a major Japanese clan of samurai.

Taira may also refer to:

 * Taira, Toyama, a village in Toyama prefecture, Japan
 * Taira, the center of Iwaki, Fukushima, Japan
 * Taira (spider): a genus of spiders (family Amaurobiidae)
 * Tayra (Eira barbara), a neotropical Mustelidae

People with the surname

 * Afonso Taira, Portuguese footballer
 * Kaima Taira (平良 海馬), Japanese baseball player
 * Masaji Taira (平良 正次), Gojū Ryū practitioner
 * Nancy Taira, Mexican actress
 * Susumu Taira (平良進), Japanese actor
 * Taira Shinken (平 信賢) was a Japanese martial artist
 * Takunori Taira, Japanese engineer
 * Tomi Taira (平良 とみ), Japanese actress
 * Toshiko Taira (平良 敏子), Japanese textile artist
 * Yoshihisa Taira, composer
 * Yuna Taira (平 祐奈), Japanese actress

People with the given name or nickname

 * Taira Inoue (平 井上), Japanese footballer
 * Yuliia "Taira" Paievska
 * Taira Uematsu (born 1983), Japanese coach for the San Francisco Giants of Major League Baseball

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

title: Taira (disambiguation)


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User talk:Litsehimmel~enwiki

Hello, welcome to Wikipedia. Here are some useful links in case you haven't already found them;

 * How to edit a page
 * How to write a great article
 * Naming conventions
 * Manual of Style

If you have any questions, see the help pages or add a question to the village pump. I hope you enjoy editing here and being a Wikipedian!

Kosebamse 07:57, 13 Nov 2003 (UTC)

You can sign your name using three tildes, like. If you use four, you can add a datestamp too.

 * Thank you for the word of welcome. I am already active on the Dutch version of Wikipedia, but being demi-Brit, I thought I'd have a look-see here as well. And yes, I thoroughly enjoy being a Wikipedian. I get to spew what little knowledge I have without being constantly contradicted, well, ok, I do get a little flack from time to time...;-) Litsehimmel 10:29, Nov 13, 2003 (UTC)

Your account will be renamed
Hello,

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 01:22, 20 March 2015 (UTC)

Renamed
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title: User talk:Litsehimmel~enwiki


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User:John Merrall

Born in 1970 in Canada, he presently is poking around Wikipedia fixing the odd cursory, misleading article on shoegazing.

Someday he might volunteer to write a proper article on Gabriel Marcel, since he was one of the more interesting thinkers in existentialism, and it's really sad that there's nothing here on him yet.

title: User:John Merrall


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Clyde Cowan

Clyde Lorrain Cowan Jr (December 6, 1919 – May 24, 1974) was an American physicist and the co-discoverer of the neutrino along with Frederick Reines. The discovery was made in 1956 in the neutrino experiment. Reines received the Nobel Prize in Physics in 1995 in both their names.

Early life
Born the oldest of four children in Detroit, Michigan, Cowan's family moved to St. Louis, Missouri, where he began his education attending public schools. While attending the Missouri School of Mines and Metallurgy in Rolla, Missouri, Cowan was Editor-in-Chief of the Missouri Miner newspaper from 1939–1940, and graduated in 1940 with a BS in chemical engineering.

Military career
Cowan was a captain in the United States Army Air Forces, where he earned a bronze star in World War II.

From 1936–1940 he was in the Reserve Officers' Training Corps. Cowan joined the U.S. Army Chemical Warfare Service with the rank of Second Lieutenant when America joined World War II in 1941. In August 1942, he was transferred to Eighth Air Force stationed in London, England. In 1943 he designed and built an experimental cleaning unit to be used in case of gas attack. In the following year, he joined the staff of the British Branch of the MIT Radiation Laboratory, which was located in Great Malvern, England. In 1945 he was a liaison officer with the Royal Air Force, working to expedite transmittal of technical information and equipment. He returned to the United States in 1945, and worked at Wright Patterson Air Force Base in Dayton, Ohio. He left active duty in 1946.

Academic career
Benefitting from the G.I. Bill, Cowan attended Washington University in St. Louis, Missouri, receiving a master's degree, and a PhD in 1949. He then joined the staff of the Los Alamos Scientific Laboratory in New Mexico, where he met Frederick Reines.

In 1951 Reines and Cowan began the Cowan–Reines neutrino experiment, in hopes of discovering the neutrino. Because the neutrino was hypothetically created through beta decay, the two men made use of the Savannah River Plant in Aiken, South Carolina, as their source of potential neutrinos. The pair collected data for months, and in 1956, concluded that they had certainly observed the neutrino, publishing their work in the July 20, 1956 issue of Science. Reines was later awarded the 1995 Nobel Prize in Physics for their work in this experiment. He alone received the award, because Cowan died in 1974, and Nobel Prizes are not awarded posthumously.

Cowan began his teaching career in 1957 as a Professor of Physics at George Washington University in Washington, D.C. The following year he left GWU and joined the faculty of The Catholic University of America in Washington, D.C., a post he held until the end of his life. He also acted at various times as a consultant to the U.S. Atomic Energy Commission (AEC), US Naval Ordnance Laboratory, the United States Naval Academy, the United States Army, United Mine Workers of America, Electric Boat Co., and the Smithsonian Institution, Washington, D.C.

Cowan died in Bethesda, Maryland of a sudden heart attack on May 24, 1974, and was buried in Arlington National Cemetery.

Family
Cowan was married in Woodford, England, January 29, 1943 to Betty Eleanor, daughter of George Henry and Mabel Jane (Mather) Dunham of Wanstead, England. Seven of their children died in infancy. They had three surviving children. Cowan adopted two sons.

His grandson, James R. Riordon, a science journalist and a former physicist and engineer who heads the American Physical Society media relations office, initially conceived of the distributed computing project Einstein@home, which searches gravitational wave data for signals from massive rotating objects such as pulsars.

Cowan was a direct descendant of L. L. Langstroth, the "Father of Modern Beekeeping".

title: Clyde Cowan


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Cambodian

Cambodian usually refers to: Cambodian may also refer to:
 * Something of, from, or related to the country of Cambodia
 * Cambodian people (or Khmer people)
 * Cambodian language (or Khmer language)
 * For citizens and nationals of Cambodia, see Demographics of Cambodia
 * For languages spoken in Cambodia, see Languages of Cambodia

Other

 * Cambodian architecture
 * Cambodian cinema
 * Cambodian culture
 * Cambodian cuisine
 * Cambodian French
 * Cambodian literature
 * Cambodian music
 * Cambodian name
 * Cambodian nationalism
 * Cambodian descendants worldwide:
 * Cambodian Americans
 * Cambodian Australians
 * Cambodian Canadians
 * Cambodians in France

title: Cambodian


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Parasitic drag

Parasitic drag, also known as profile drag,  is a type of aerodynamic drag that acts on any object when the object is moving through a fluid. Parasitic drag is a combination of form drag and skin friction drag. It affects all objects regardless of whether they are capable of generating lift.

Total drag on an aircraft is made up of parasitic drag and lift-induced drag. Parasitic drag is named as such because it is not useful, whereas lift-induced drag is the result of an airfoil generating lift. Parasitic drag comprises all types of drag except lift-induced drag.

Form drag
Form drag arises because of the shape of the object. The general size and shape of the body are the most important factors in form drag; bodies with a larger presented cross-section will have a higher drag than thinner bodies; sleek ("streamlined") objects have lower form drag. Form drag follows the drag equation, meaning that it increases with the square of the velocity, and thus becomes more important for high-speed aircraft.

Form drag depends on the longitudinal section of the body. A prudent choice of body profile is essential for a low drag coefficient. Streamlines should be continuous, and separation of the boundary layer with its attendant vortices should be avoided.

Form drag includes interference drag, caused by the mixing of airflow streams. For example, where the wing and fuselage meet at the wing root, two airstreams merge into one. This mixing can cause eddy currents, turbulence, or restrict smooth airflow. Interference drag is greater when two surfaces meet at perpendicular angles, and can be minimised by the use of fairings.

Wave drag, also known as supersonic wave drag or compressibility drag, is a component of form drag caused by shock waves generated when an aircraft is moving at transonic and supersonic speeds.

Form drag is a type of pressure drag, a term which also includes lift-induced drag. Form drag is pressure drag due to separation.

Skin friction drag
Skin friction drag arises from the friction of the fluid against the "skin" of the object that is moving through it. Skin friction arises from the interaction between the fluid and the skin of the body, and is directly related to the wetted surface, the area of the surface of the body that is in contact with the fluid. Air in contact with a body will stick to the body's surface and that layer will tend to stick to the next layer of air and that in turn to further layers, hence the body is dragging some amount of air with it. The force required to drag an "attached" layer of air with the body is called skin friction drag. Skin friction drag imparts some momentum to a mass of air as it passes through it and that air applies a retarding force on the body. As with other components of parasitic drag, skin friction follows the drag equation and rises with the square of the velocity.

Skin friction is caused by viscous drag in the boundary layer around the object. The boundary layer at the front of the object is usually laminar and relatively thin, but becomes turbulent and thicker towards the rear. The position of the transition point from laminar to turbulent flow depends on the shape of the object. There are two ways to decrease friction drag: the first is to shape the moving body so that laminar flow is possible. The second method is to increase the length and decrease the cross-section of the moving object as much as practicable. To do so, a designer can consider the fineness ratio, which is the length of the aircraft divided by its diameter at the widest point (L/D). It is mostly kept 6:1 for subsonic flows. Increase in length increases Reynolds number ($$Re$$). With $$Re$$ in the denominator for skin friction coefficient's relation, as its value is increased (in laminar range), total friction drag is reduced. While decrease in cross-sectional area decreases drag force on the body as the disturbance in air flow is less.

The skin friction coefficient, $$C_f$$, is defined by
 * $$C_f \equiv \frac{\tau_w}{q},$$

where $$\tau_w$$ is the local wall shear stress, and q is the free-stream dynamic pressure. For boundary layers without a pressure gradient in the x direction, it is related to the momentum thickness as
 * $$C_f = 2 \frac{d \theta}{d x}.$$

For comparison, the turbulent empirical relation known as the One-seventh Power Law'' (derived by Theodore von Kármán) is:
 * $$C_{f,tur} = \frac{0.074}{Re^{0.2} },$$

where $$Re$$ is the Reynolds number.

For a laminar flow over a plate, the skin friction coefficient can be determined using the formula:

 * $$C_{f,lam} = \frac{1.328}{\sqrt{Re}}$$

title: Parasitic drag


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Systems programming

Systems programming, or system programming, is the activity of programming computer system software. The primary distinguishing characteristic of systems programming when compared to application programming is that application programming aims to produce software which provides services to the user directly (e.g. word processor), whereas systems programming aims to produce software and software platforms which provide services to other software, are performance constrained, or both (e.g. operating systems, computational science applications, game engines, industrial automation, and software as a service applications).

Systems programming requires a great degree of hardware awareness. Its goal is to achieve efficient use of available resources, either because the software itself is performance critical or because even small efficiency improvements directly transform into significant savings of time or money.

Overview
The following attributes characterize systems programming:
 * The programmer can make assumptions about the hardware and other properties of the system that the program runs on, and will often exploit those properties, for example by using an algorithm that is known to be efficient when used with specific hardware.
 * Usually a low-level programming language or programming language dialect is used so that:
 * Programs can operate in resource-constrained environments
 * Programs can be efficient with little runtime overhead, possibly having either a small runtime library or none at all
 * Programs may use direct and "raw" control over memory access and control flow
 * The programmer may write parts of the program directly in assembly language
 * Often systems programs cannot be run in a debugger. Running the program in a simulated environment can sometimes be used to reduce this problem.

In systems programming, often limited programming facilities are available. The use of automatic garbage collection is not common and debugging is sometimes hard to do. The runtime library, if available at all, is usually far less powerful, and does less error checking. Because of those limitations, monitoring and logging are often used; operating systems may have extremely elaborate logging subsystems.

Implementing certain parts in operating systems and networking requires systems programming, for example implementing paging (virtual memory) or a device driver for an operating system.

History
Originally systems programmers invariably wrote in assembly language. Experiments with hardware support in high level languages in the late 1960s led to such languages as PL/S, BLISS, BCPL, and extended ALGOL for Burroughs large systems. Forth also has applications as a systems language. In the 1970s, C became widespread, aided by the growth of Unix. More recently a subset of C++ called Embedded C++ has seen some use, for instance it is used in the I/O Kit drivers of macOS. Engineers working at Google created Go in 2007 to address developer productivity in large distributed systems, with developer-focused features such as Concurrency, Garbage Collection, and faster program compilation than C and C++. In 2015 Rust came out, a general-purpose programming language often used in systems programming. Rust was designed with memory safety in mind and to be as performant as C and C++.

Alternative meaning
For historical reasons, some organizations use the term systems programmer to describe a job function which would be more accurately termed systems administrator. This is particularly true in organizations whose computer resources have historically been dominated by mainframes, although the term is even used to describe job functions which do not involve mainframes. This usage arose because administration of IBM mainframes often involved the writing of custom assembler code (IBM's Basic Assembly Language (BAL)), which integrated with the operating system such as OS/MVS, DOS/VSE or VM/CMS. Indeed, some IBM software products had substantial code contributions from customer programming staff. This type of programming is progressively less common, and increasingly done in C rather than Assembly, but the term systems programmer is still used as the de-facto job title for staff administering IBM mainframes even in cases where they do not regularly engage in systems programming activities.

title: Systems programming


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Robert Frank

Robert Frank (November 9, 1924 – September 9, 2019) was a Swiss American photographer and documentary filmmaker. His most notable work, the 1958 book titled The Americans, earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider's view of American society. Critic Sean O'Hagan, writing in The Guardian in 2014, said The Americans "changed the nature of photography, what it could say and how it could say it. [ ... ] it remains perhaps the most influential photography book of the 20th century." Frank later expanded into film and video and experimented with manipulating photographs and photomontage.

Background and early photography career
Frank was born in Zürich, Switzerland, the son of Rosa (Zucker) and Hermann Frank. His family was Jewish. Robert states in Gerald Fox's 2004 documentary Leaving Home, Coming Home: A Portrait of Robert Frank that his mother, Rosa (other sources state her name as Regina), had a Swiss passport, while his father, Hermann originating from Frankfurt, Germany had become stateless after losing his German citizenship as a Jew. They had to apply for the Swiss citizenship of Robert and his older brother, Manfred. Though Frank and his family remained safe in Switzerland during World War II, the threat of Nazism nonetheless affected his understanding of oppression. He turned to photography, in part as a means to escape the confines of his business-oriented family and home, and trained under a few photographers and graphic designers before he created his first hand-made book of photographs, 40 Fotos, in 1946. Frank emigrated to the United States in 1947, and secured a job in New York City as a fashion photographer for Harper's Bazaar.

In 1949, the new editor of Camera magazine, Walter Laubli (1902–1991), published a substantial portfolio of Jakob Tuggener pictures made at upper-class entertainments and in factories, alongside the work of the 25 year-old Frank who had just returned to his native Switzerland after two years abroad, with pages including some of his first pictures from New York. The magazine promoted the two as representatives of the 'new photography' of Switzerland.

Tuggener was a role model for the younger artist, first mentioned to him by Frank's boss and mentor, Zurich commercial photographer Michael Wolgensinger (1913–1990) who understood that Frank was unsuited to the more mercenary application of the medium. Tuggener, as a serious artist who had left the commercial world behind, was the "one Frank really did love, from among all Swiss photographers," according to Guido Magnaguagno and Fabrik, as a photo book, was a model for Frank's Les Américains ('The Americans') published ten years later in Paris by Delpire, in 1958.

He soon left to travel in South America and Europe. He created another hand-made book of photographs that he shot in Peru, and returned to the U.S. in 1950. That year was momentous for Frank, who, after meeting Edward Steichen, participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA); he also married fellow artist Mary Frank (née Lockspeiser), with whom he had two children, Andrea and Pablo.

Though he was initially optimistic about the United States' society and culture, Frank's perspective quickly changed as he confronted the fast pace of American life and what he saw as an overemphasis on money. He now saw America as an often bleak and lonely place, a perspective that became evident in his later photography. Frank's own dissatisfaction with the control that editors exercised over his work also undoubtedly colored his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines including McCall's, Vogue, and Fortune. Associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has termed The New York School of photographers (not to be confused with the New York School of art) during the 1940s and 1950s.

In 1955, Frank achieved further recognition with the inclusion by Edward Steichen of seven of his photographs (many more than most other contributors) in the world-touring Museum of Modern Art exhibition The Family of Man that was to be seen by 9 million visitors and with a popular catalogue that is still in print. Frank's contributions had been taken in Spain (of a woman kissing her swaddled babe-in-arms); of a bowed old woman in Peru; a rheumy-eyed miner in Wales; and the others in England and the US, including two (one atypically soft-focus) of his wife in pregnancy; and one (later to be included in The Americans) of six laughing women in the window of the White Tower Hamburger Stand on Fourteenth Street, New York City.

The Americans
Inspired by fellow Swiss Jakob Tuggener's 1943 filmic book Fabrik, Bill Brandt's The English at Home (1936), and Walker Evans's American Photographs (1938), and on the recommendation of Evans (a previous recipient), Alexey Brodovitch, Alexander Leiberman, Edward Steichen, and Meyer Schapiro, Frank secured a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation in 1955 to travel across the United States and photograph all strata of its society. Cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family along with him for part of his series of road trips over the next two years, during which time he took 28,000 shots. 83 of these were selected by him for publication in The Americans.

Frank's journey was not without incident. He later recalled the anti-Semitism to which he was subject in a small Arkansas town. "I remember the guy [policeman] took me into the police station, and he sat there and put his feet on the table. It came out that I was Jewish because I had a letter from the Guggenheim Foundation. They really were primitive." He was told by the sheriff, "Well, we have to get somebody who speaks Yiddish." ... "They wanted to make a thing out of it. It was the only time it happened on the trip. They put me in jail. It was scary. Nobody knew where I was." Elsewhere in the South, he was told by a sheriff that he had "an hour to leave town." Those incidents may have contributed to the dark view of America found in the work.

Shortly after returning to New York in 1957, Frank met Beat writer Jack Kerouac "at a New York party where poets and Beatniks were," and showed him the photographs from his travels. However, according to Joyce Johnson, Kerouac's lover at the time, she met Frank while waiting for Kerouac to emerge from a conference with his editors, at Viking Press, looked at Frank's portfolio, and introduced them to each other. Kerouac immediately told Frank, "Sure I can write something about these pictures." He eventually contributed the introduction to the U.S. edition of The Americans. Frank also became lifelong friends with Allen Ginsberg, and was one of the main visual artists to document the Beat subculture, which felt an affinity with Frank's interest in documenting the tensions between the optimism of the 1950s and the realities of class and racial differences. The irony that Frank found in the gloss of American culture and wealth over this tension gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques.

This divergence from contemporary photographic standards gave Frank difficulty at first in securing an American publisher. Les Américains was first published in 1958 by Robert Delpire in Paris, as part of its Encyclopédie Essentielle series, with texts by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck that Delpire positioned opposite Frank's photographs. It was finally published in 1959 in the United States, without the texts, by Grove Press, where it initially received substantial criticism. Popular Photography, for one, derided his images as "meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness." Though sales were also poor at first, the fact that the introduction was by the popular Kerouac helped it reach a larger audience. Over time and through its inspiration of later artists, The Americans became a seminal work in American photography and art history, and is the work with which Frank is most clearly identified. Critic Sean O'Hagan, writing in The Guardian in 2014, said "it is impossible to imagine photography's recent past and overwhelmingly confusing present without his lingeringly pervasive presence." and that The Americans "changed the nature of photography, what it could say and how it could say it. [ . . . ] it remains perhaps the most influential photography book of the 20th century."

In 1961, Frank received his first individual show, entitled Robert Frank: Photographer, at the Art Institute of Chicago. He also showed at the Museum of Modern Art in New York in 1962.

The French Journal Les Cahiers de la photographie devoted special issues 11 and 12 in 1983 to discussion of Robert Frank as a gesture of admiration for, and complicity with, his work, also to set forth his critical capacity as an artist.

To mark the fiftieth anniversary of the first publication of The Americans, a new edition was released worldwide on May 30, 2008. For this new edition from Steidl, most photographs are uncropped (in contrast to the cropped versions in previous editions), and two photographs are replaced with those of the same subject but from an alternate perspective.

A celebratory exhibit of The Americans, titled Looking In: Robert Frank's The Americans, was displayed in 2009 at the National Gallery of Art in Washington, D.C., the San Francisco Museum of Modern Art (SFMOMA), and at the Metropolitan Museum of Art in New York. The second section of the four-section, 2009, SFMOMA exhibition displays Frank's original application to the John Simon Guggenheim Memorial Foundation (which funded the primary work on The Americans project), along with vintage contact sheets, letters to photographer Walker Evans and author Jack Kerouac, and two early manuscript versions of Kerouac's introduction to the book. Also exhibited were three collages (made from more than 115 original rough work prints) that were assembled under Frank's supervision in 2007 and 2008, revealing his intended themes as well as his first rounds of image selection. An accompanying book, also titled Looking In: Robert Frank's The Americans, was published, the most in-depth examination of any photography book ever, at 528 pages. While working as a guard at the Metropolitan Museum of Art, Jason Eskenazi asked other noted photographers visiting the Looking In exhibition to choose their favorite image from The Americans and explain their choice, resulting in the book, By the Glow of the Jukebox: The Americans List.

Films
By the time The Americans was published in the United States in 1959, Frank had moved away from photography to concentrate on filmmaking. Among his films was the 1959 Pull My Daisy, which was written and narrated by Kerouac and starred Ginsberg, Gregory Corso and others from the Beat circle. The Beats emphasized spontaneity, and the film conveyed the quality of having been thrown together or even improvised. Pull My Daisy was accordingly praised for years as an improvisational masterpiece, until Frank's co-director, Alfred Leslie, revealed in a November 28, 1968 article in the Village Voice that the film was actually carefully planned, rehearsed, and directed by him and Frank, who shot the film with professional lighting.

In 1960, Frank was staying in Pop artist George Segal's basement while filming The Sin of Jesus with a grant from Walter K. Gutman. Isaac Babel's story was transformed to center on a woman working on a chicken farm in New Jersey. It was originally supposed to be filmed in six weeks in and around New Brunswick, but Frank ended up shooting for six months.

Frank's 1972 documentary of the Rolling Stones, Cocksucker Blues, is arguably his best known film. The film shows the Stones on tour, engaging in heavy drug use and group sex. Frank said of the Stones, "It was great to watch them — the excitement. But my job was after the show. What I was photographing was a kind of boredom. It's so difficult being famous. It's a horrendous life. Everyone wants to get something from you." Mick Jagger reportedly told Frank, "It's a fucking good film, Robert, but if it shows in America we'll never be allowed in the country again." The Stones sued to prevent the film's release, and it was disputed whether Frank as the artist or the Stones as those who hired the artist owned the copyright. A court order restricted the film to being shown no more than five times per year, and only in the presence of Frank. Frank's photography also appeared on the cover of the Rolling Stones' album Exile on Main St..

Other films by Frank include Me and My Brother, Keep Busy, and Candy Mountain (the last was co-directed with Rudy Wurlitzer).

Later life and death
Though Frank continued to be interested in film and video, he returned to still images in the 1970s, publishing his second photographic book, The Lines of My Hand, in 1972. This work has been described as a "visual autobiography", and consists largely of personal photographs. However, he largely gave up "straight" photography to instead create narratives out of constructed images and collages, incorporating words and multiple frames of images that were directly scratched and distorted on the negatives. None of this later work has achieved an impact comparable to that of The Americans. As some critics have pointed out, this is perhaps because Frank began playing with constructed images more than a decade after Robert Rauschenberg introduced his silkscreen composites—in contrast to The Americans, Frank's later images simply were not beyond the pale of accepted technique and practice by that time.

Frank and Mary separated in 1969. He remarried, to sculptor June Leaf, and in 1971, moved to the community of Mabou, Nova Scotia in Cape Breton Island, Nova Scotia in Canada. In 1974, his daughter, Andrea, was killed in a plane crash in Tikal, Guatemala. Also around this time, his son, Pablo, was first hospitalized and diagnosed with schizophrenia. Much of Frank's subsequent work dealt with the impact of the loss of both his daughter and subsequently his son, who died in an Allentown, Pennsylvania hospital in 1994. In 1995, in memory of his daughter he founded the Andrea Frank Foundation, which provides grants to artists.

After his move to Nova Scotia, Canada, Frank divided his time between his home there, in a former fisherman's shack on the coast, and his Bleecker Street loft in New York. He acquired a reputation for being a recluse (particularly since the death of Andrea), declining most interviews and public appearances. He continued to accept eclectic assignments, however, such as photographing the 1984 Democratic National Convention, and directing music videos for artists such as New Order ("Run"), and Patti Smith ("Summer Cannibals"). Frank produced both films and still images, and helped organize several retrospectives of his art. His work has been represented by Pace/MacGill Gallery in New York since 1984. In 1994, the National Gallery of Art in Washington, D.C. presented the most comprehensive retrospective of Frank's work to date, entitled Moving Out.

Frank died on September 9, 2019, at his home in Nova Scotia.

Publications by Frank

 * Les Américains = The Americans
 * Paris: Delpire, 1958. French. Includes text in French by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck about American political and social history, selected by Alain Bosquet. Part of the Encyclopédie Essentielle series.
 * New York: Grove Press, 1959. Introduction by Jack Kerouac.
 * New York: Aperture; Museum of Modern Art, 1969. Revised and enlarged edition. With an introduction by Jack Kerouac, a brief introduction by Frank, and a survey of Frank's films, each represented by a page of film frame stills.
 * Göttingen: Steidl, 2008. ISBN 978-3-86521-584-0. Most photographs are uncropped compared with cropped versions in previous editions, and two photographs are replaced with those of the same subject but from an alternate perspective.
 * The Lines of my Hand.
 * Tokyo: Yugensha. Deluxe, slipcased edition. Edition of 1000 copies, 500 featured the slipcase photograph of "New York City, 1948", 500 featured the slipcase photograph of "Platte River, Tennessee".
 * New York: Lustrum Press, 1972. Paperback.
 * New York: Pantheon. ISBN 9780394552552.
 * Flower is… Yugensha, 1987. Edition of 1000 copies, 500 featured "Champs-Élysées, 1950 [Fleurs]" tipped onto the front cover, 500 featured "Metro Stalingrad" tipped onto the front cover.
 * Flamingo. Göteborg, Sweden: Hasselblad Center, 1997. ISBN 9783931141554. Catalogue for Hasselblad Award exhibition, Hasselblad Center, Goteborg, Sweden.
 * London/Wales. Published in collaboration with the Corcoran Gallery, Washington, D.C., for an exhibition held May 10 – July 14, 2003.
 * Zurich; New York: Scalo, 2003. ISBN 9783908247678.
 * Göttingen: Steidl, 2007. ISBN 978-3865213624.
 * Come Again. Göttingen: Steidl, 2006. ISBN 9783865212610. According to the back cover, "Photos have been taken within the context of the photographical project 'Beirut, city centre, 1991', Éditions de Cyprès, Paris."
 * Paris. Göttingen: Steidl, 2006. ISBN 978-3865215246.
 * Peru. Göttingen: Steidl, 2006. ISBN 978-3865216922.
 * Zero Mostel Reads a Book. Göttingen: Steidl, 2006. ISBN 978-3865215864.
 * Tal Uf Tal Ab. Göttingen: Steidl, 2010. ISBN 978-3869301013. The first of the "Visual Diaries" combining photos from Frank's early career with the more private pictures he made in the latter part of his life. Other titles in the series are marked with a *
 * Pangnirtung. Göttingen: Steidl, 2011. ISBN 978-3869301983.
 * Pull My Daisy. Göttingen: Steidl, 2011. ISBN 978-3865216731. A transcript of Kerouac's narration from the film Pull My Daisy (1959) with film stills and an introduction by Jerry Tallmer.
 * Ferne Nähe: Hommage für Robert Walser = Distant Closeness: A Tribute to Robert Walser. Bern: Robert Walser-Zentrum, 2012. ISBN 978-3-9523586-2-7.
 * You Would. Göttingen: Steidl, 2012. ISBN 978-3869304182. *
 * Park/Sleep. Göttingen: Steidl, 2013. ISBN 978-3869305851. *
 * Partida. Göttingen: Steidl, 2014. ISBN 978-3869307954. *
 * What We Have Seen. Göttingen: Steidl, 2016. ISBN 978-3958290952. *
 * Leon of Juda. Göttingen: Steidl, 2017. ISBN 978-3958293113. *
 * Good Days Quiet. Göttingen: Steidl, 2019. ISBN 978-3-95829-550-6.

Critical studies, reviews and biographies

 * Les Cahiers de la photographie 11/12 and Special 3, “Robert Frank, la photographie, enfin,” 4th quarter, 1983; essays by Walker Evans, Gilles Mora, Alain Bergala, and others.
 * Looking In: Robert Frank's The Americans. Washington, D.C.: National Gallery of Art; Göttingen: Steidl, 2009. ISBN 978-3-86521-806-3. By Sarah Greenough. With essays by Stuart Alexander, Phillip Brookman, Michel Frizot, Martin Gasser, Jeff L. Rosenheim, Lucy Sante and Anne Wilkes Tucker. Published to accompany an exhibition organised by the National Gallery of Art, Washington, D.C.
 * By the Glow of the Juke Box: The Americans List. New York: Red Hook, 2012. ISBN 978-0-984195-48-0 Edited by Jason Eskenazi, with contributions from 276 photographers
 * Reviews The Americans.

Films

 * Don't Blink – Robert Frank (2015). Documentary directed by Laura Israel.
 * Leaving Home, Coming Home: A Portrait of Robert Frank (2004). Documentary directed by Gerald Fox

Awards

 * 1955: Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation.
 * 1996: Hasselblad Foundation International Award in Photography from the Hasselblad Foundation.
 * 2002: Edward MacDowell Medal, MacDowell Colony, Peterborough, NH.
 * 2015: Doctor of Fine Arts, honoris causa, Nova Scotia College of Art and Design University, Halifax, Canada.

title: Robert Frank


text:
Talk:Hutchison Whampoa

Bias?
Just like to point out that two thirds of this article consists of Whampoa's "strong links to the Communist party" and plots by the company to control the Pentagon and Panama Canal. One sentence (and a short one at that), is devoted to the opposing point of view. I'd also like to point out that many of the "sources" listed are arch-conservative think tanks and organizations. There aren't any quotes from people who are actually innvolved with the company.Also like to point out that the source of the "declassified intelligence report" is judicialwatch.org, one of the "conservative critics of China." Now I'm only an innocent reader, but it occurs to me that it would be a whole lot more factual if this "declassified intelligence report" were taken from an actual goverment institution's website. —Preceding unsigned comment added by 70.247.174.215 (talk • contribs)
 * I've removed the section on the intelligence report, as the credibility of the source is in question. Would be rather different if they provided a copy or a link to a copy of the document itself.  The section says the material is in a report, however, the single link is only enough to back up a claim of "Group X claims that Report Y contains ...", which gets a little tenuous. 81.104.165.184 16:31, 21 May 2006 (UTC)

What does this paragraph has to do with the article itself? "The final negotiaton and signature of the Panama Canal Treaties was done by President Jimmy Carter in September 1977, and provided that as from 12 p.m. on 1 January 2000, Panama would assume full control of canal operations and become primarily responsible for its defense.[6] Today, the Autoridad del Canal de Panamá (Panama Canal Authority) is responsible for the operation and management of the canal. Hutchison Whampoa operates ports in Panama, as it does in Mexico and other parts of the Americas." The article is about the port company... not about the Panama Canal, and whether they operate ports in the country (as they do in many other countries) or not has nothing or very little to do with the Panama Canal Treaties of 1977, the section appears biased to present Hutchison as some dark communist handler of the Panama Canal or some sort, when in reality, HPH is just a company with a contract to operate two ports (and a cruise terminal) in the country. This paragraph should be eliminated or re written. More over, the mentioned article [6] does not state in any way that Panama is "primarily responsible" for the defense of the Panama Canal, so the citation does not support the statement of the paragraph and is therefore against wikipedias policy on citations (in fact, defense of the Panama Canal is guaranteed by the De Concini Amendment of 1978, although that is not within the scope of this article or paragraph).Pixelpty (talk) 07:04, 29 August 2009 (UTC)

Founder?
The link to founder John Hutchison is not correct. That person is someone else. Anyone have information on the actual founder? JXM 07:07, 19 December 2006 (UTC)

Unlinking
I have reverted this edit twice now. WP:MOSLINK says "The use of links to other Wikipedia articles, for example, Ant, is encouraged. Use the links for all words and terms that are relevant to the article." Can you please explain why you keep removing internal links? There is a three-revert-rule which attempts to solve these edit disputes be encouraging discussion. —Dgiest c 03:17, 26 February 2007 (UTC)

Previously involved editors
I am having a content dispute with over whether to include internal links in the article. The reason I've made a RFC is I've had no luck communicating with this person and would like the opinion of an outsider per Dispute Resolution procedures. The diffs we're revert warring over are this versus this. I'd be amenable to a compromise version but like I said, has been uncommunicative.  —dgies tc 16:00, 5 March 2007 (UTC)
 * Comment by Dgies

Previously uninvolved editors
My thoughts are thus: There is currently no "References" section in the article, which I will add now. External links generally should not be included in the article itself, but rather in citations. Links to the company itself as citations should be as limited as possible, and citations instead provided from reputable secondary sources. However, 1-2 links to the company's main Web site may be included in the External links section. Smee 22:11, 25 March 2007 (UTC).
 * Comment by Smee

The use of hyperbole like "Li Ka-shing is now one of the most powerful entrepreneur and philanthropists in the world." especially without a source is strongly discouraged. Even if you did have a source it should read more like "In 2006, Hong Kong Elite Magazine announced Li Ka-shing to be the most powerful entrepreneur in Asia with a worth estimated at 500 million trilion gazillion yuan" - quote your source, don'tmake your source a fact.
 * Comment by ZayZayEM

Please be wary of using only positive biased sources of information in craeting articles. On commercial companies, this can be hard as most information comes from the company itself. This sort of information should not be given undue weight and consideration towards POV should be made. This article currently reads like an advertisement.

I support the creation of wikilinks (even red ones) to topics that are A) Relevent to the article's content by providing context for statements and B) Are encyclopedic of nature. Your creation of wikilinks to miscelleneous companies seems valid, even if they are mostly redlinks.--ZayZayEM 02:25, 3 April 2007 (UTC)

Running of the Panama Canal
Does Hutchison Whampoa in reality run the Panama Canal? According to the article they have some activity there, but I'm wondering whether this truly reflects the extent of their influnce? __meco (talk) 14:35, 10 September 2010 (UTC)

Érdeklődés
Tisztelt Hölgyem/Uram!

Érdeklődöm,hogy Magyar állampolgárként dolgozhatnék-e az önök cégénél? 10 éve dolgozom egy Japán cégnél Magyarországon egy Kaizen csoportban. Válaszukat megköszönve:Kovács Attila

kovacs.attila@indamail.hu — Preceding unsigned comment added by 193.226.249.202 (talk) 07:36, 30 September 2011 (UTC)

Criticism
I have removed a sentence opposing the viewpoint og the Burma Campaign UK. The reference for the opposing viewpoint was to a porn site. Enough said. Madchine (talk) 21:06, 25 January 2012 (UTC)

Confusing tenses in lede
The article lede starts: "Hutchison Whampoa Limited (HWL) is an investment holding company based in Hong Kong. It was a Fortune Global 500 company and one of the largest companies listed on the Hong Kong Stock Exchange." Note is an investment holding company and was a Fortune Global 500 company; the rest of the lede continues to refer to the company in the past tense. The second paragraph may be a clue (it describes a merger) but by this time the damage has been done and the reader is unsure whether the company still exists or not in any form. Could this be re-cast by someone who understands what's going on, please? Tonywalton Talk 22:56, 2 October 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Hutchison Whampoa. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20081016000833/http://www.burmacampaign.org.uk:80/dirty_list/dirty_list_details.html to http://www.burmacampaign.org.uk/dirty_list/dirty_list_details.html#h

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 22:37, 17 October 2015 (UTC)

title: Talk:Hutchison Whampoa


text:
Malia, Crete

Malia (Greek: Μάλια) is a coastal town and municipal unit situated in the northeast corner of the Heraklion region of Crete, Greece. It is part of the municipality of Hersonissos and is located approximately 34 kilometers (21 miles) east of Heraklion. As of 2021, the population of the municipal unit was recorded at 5,501. The area also encompasses the villages of Mochos (Greek: Μοχός), Krasi (Greek: Κράσι), and Stalida (Greek: Σταλίδα), covering a total area of 60.720 square kilometers (23.444 sq mi). Malia is renowned as a tourist destination, particularly known for its vibrant nightlife. Additionally, the town is home to Minoan ruins located three kilometers to the east, spanning an area of approximately 1 square kilometer (0.4 sq mi).

Palace of Malia
In close proximity to the modern town lies an archaeological site housing the remains of a Minoan palace and an associated settlement. Dating back to the Middle Bronze Age, the palace suffered destruction from an earthquake during the Late Bronze Age, a fate shared by Knossos and other contemporaneous sites. Subsequently, the palace underwent reconstruction towards the latter part of the Late Bronze Age, with the majority of the visible ruins dating from this period. The palace notably includes a sizable central courtyard measuring 48m x 23m. Positioned on the southern side are two sets of ascending steps, alongside a network of small chambers. An intriguing feature within the premises is a carved stone known as a kernos stone, resembling a millstone with an attached cup. On the northern side of the courtyard, one finds storage rooms containing large earthenware pithos jars, some reaching heights of up to two meters. These vessels were utilized for storing various commodities such as grain and olive oil, with the rooms featuring a sophisticated drainage system designed to manage spilled liquids.

The palace of Malia was initially uncovered in 1915 by Greek archaeologist Joseph Hadzidakis. Subsequent excavation work commenced in 1922 under the auspices of the French School at Athens in collaboration with Greek scholars. Jean Charbonneaux oversaw the excavation of the Central Court starting in 1921. Following World War I, Fernand Chapouthier and Pierre Demargne resumed excavations, unearthing the palace and its adjacent residential neighborhood. In the 1950s, further excavation efforts were led by Micheline and Henri van Effenterre, Andre Dessene, Olivier Pelon, and Jean-Claude Poursat, who explored different sections of the site. Pascal and Claude Darcque Bourrain conducted additional investigations in 1981, focusing on the northwest corner of the palace. Soundings conducted by Olivier Pelon in 1981 and 1982 provided new insights into the palace's precursors. Since 1988, Alexandre Farnoux and Jan Driessen have continued excavation work at the site.

The Palace of Malia covers a floor area of 7,500 square meters and is aligned along a north-south axis, consistent with other Minoan palaces. In terms of architectural design and amenities, it is comparatively smaller and less elaborate than palaces like Knossos and Phaestos.

The Palace of Malia exhibits distinctive features that set it apart from other Minoan palaces. These include the presence of eight kouloures or silos located in the southwest corner, an oblique building situated in the north court, and an altar positioned in the Central Court.

The Central Court serves as the focal point around which various districts or ensembles are organized, interconnected by corridors and pathways. Each of these quarters is designated for specific functions, but they are best understood individually before considering their placement within the overall layout. Olivier Pelon identified four distinct functional areas: representative, residential, cultic-religious, and economic (Magazine).

Radiating outwards from the Central Court, the rooms were arranged centrifugally, resulting in the characteristic projections and recesses typical of Minoan Palace facades. The façade was imbued with a distinct significance:

The west façade holds particular significance at Malia. It features meticulously carved cuboid blocks of sandstone centrally placed atop a base running the full width (known as Ashlar masonry), with limestone blocks at the edges. These elements epitomize the typical attributes of Minoan façades, characterized by a succession of projecting and recessed walls.

The west façade is preceded by a sizable courtyard known as the West Court, measuring 100 meters long and 20 meters wide. Olivier Pelon identifies it as a transitional zone between the residential and administrative areas, bridging the secular and religious realms. Originally, the entire West Court was constructed with Kalderim, featuring 1.05-meter-wide limestone slabs. These "raised walks" likely served as ceremonial paths, leading to key points within the structure.

The West Court is flanked to the north and south by noteworthy complexes: to the north is the "Hypostyle Crypt," subject to much discussion. This space, connected underground to several storage areas, possibly served as a meeting place for councils during the era of the early palaces. To the south, large storage chambers were partially unearthed, not directly connected to the palace architecturally but evidently linked during the Protopalatial period. Many of these rooms still contain numerous Pithoi, or large storage jars.

Through archaeological soundings and dating analysis, the site reveals a core dating back to the Early Minoan III to Middle Minoan IA periods (mid 3rd millennium BCE/2300–1900 BCE). This pre-palatial phase is evident along the west façade (Quarter I) and in the north of the Central Court (Quartier IX). The construction of the initial palace structure occurred during the Middle Minoan IB to Middle Minoan II periods (1900–1700 BCE), similar to contemporary palatial sites.

During the subsequent New Palace Period, two major phases emerged, spanning Middle Minoan III and Late Minoan IA (1700–1450 BCE). The first palace, built around 1900 BCE, likely succumbed to an earthquake around 1700 BCE. This period witnessed the development of an urban center with settlements, the palace, villas, workshops, and cemeteries. While little remains visible from this stage within the palace, surrounding complexes like the "Hypostyle Crypt," "Agora," and "Quartier Mu" indicate the political center of the time.

The New Palace, constructed circa 1650 BCE, was later destroyed around 1450 BCE, akin to Phaestos and Zakros, possibly due to the eruption of Thera, subsequent earthquakes, or Mycenaean invasions. The palace was encompassed by a Minoan town, recently uncovered with ongoing excavations. Large semi-transparent roofs shield significant excavation areas, allowing tourist access in some sections while walkways enable passage above others. Identified structures include metal and ceramic workshops, meeting rooms, and a large residential dwelling with an en-suite bath, reminiscent of designs at Phaistos, all strategically positioned to maximize scenic views.

Malia resort
Malia has transformed into a prominent holiday destination, boasting a bustling holiday resort characterized by tourism and commercial activities. The town's economy thrives on hotels, restaurants, gift shops, bars, and nightclubs, catering to the needs of tourists. Renowned for its vibrant nightlife, Malia has emerged as a top tourist hub in Crete and Europe, drawing comparisons to destinations like Ibiza and Magaluf. Predominantly frequented by young visitors from the United Kingdom and Northern Europe, Malia's nightlife scene is elevated by the presence of renowned DJs and events. The Main Strip serves as the focal point, hosting a plethora of bars, clubs, taverns, and restaurants, complemented by nearby accommodation options including hotels and apartments.

Malia boasts a scenic sandy beach stretching from the base of the strip and extending eastward toward the vicinity of the Minoan palace of Malia.

In the past, Malia was renowned for its agricultural output and iconic windmills. Presently, it's celebrated for its pristine beaches, crystal-clear waters, and the historic Minoan Palace of King Sarpidon, one of Crete's prominent ancient sites. The town offers a blend of tradition and modernity, divided by the main road. To the south lies the old town, characterized by charming alleyways and traditional architecture, including renovated buildings and ancient churches. Visitors can explore traditional taverns and restaurants. In contrast, the newer part of town, located north of the main road, features a vibrant nightlife scene with numerous bars and clubs, alongside shopping opportunities and eateries serving traditional cuisine.

Malia gained prominence as the setting for the 2011 British comedy film, The Inbetweeners Movie, depicting a lads' holiday adventure of the main characters. Over the years, Malia has seen a surge in popularity, surpassing other holiday resorts like Ayia Napa and Zante. Independent reviews of booking data from various travel agents indicated Malia as the favored destination among young adults in 2013. Additionally, the 2023 film How to Have Sex was also filmed in Malia.

Krasi village
Krasi village is situated approximately 46.3 km southeast of Heraklion city and just 6 km south of Malia town, nestled inland within Hersonissos Municipality at an elevation of 600 m. Its residents primarily engage in agricultural pursuits, particularly olive cultivation and livestock farming. A notable feature of the village is its square, adorned with three ancient plane trees. Located on the southern side of the village is the "Megalh Vrish- Ydragogio" fountain, which continues to supply water for local agricultural irrigation and the surrounding area. The village's church, Metamorphosis Sotiros, boasts intricate frescoes and a finely carved wooden temple. An archaeological highlight of the area is the "Protominoikos Tafos," a tomb unearthed in 1929 by Spiridon Marinatos, predating the Minoan era. Krasi also boasts a rich tradition in music and dance.

Mochos village
Mochos village is situated approximately 12 km south of Stalis village, nestled on the mountainside about 45 km southeast of Heraklion city, within Hersonissos Municipality at an elevation of 400 m. It is renowned for its preservation of 16th-century architecture, featuring a splendid village square. Annually, on the 15th of August, the village hosts a celebration in honor of the Virgin Mary, drawing a large gathering of individuals who indulge in traditional culinary delights and revel in the sounds of Cretan traditional music and dance until the early hours of the morning. A visit to the Folklore Museum of Mochos offers insights into traditional Cretan life through the presentation of a typical Cretan house and a collection of tools and objects from traditional occupations of old.

Stalis village
Stalis village, situated 31 km east of Heraklion city, lies just 3 km east of Hersonissos village and 3 km from Malia town. As a coastal resort, Stalis offers various amenities, including shops, restaurants, and accommodation options. It's popular among families for its serene ambiance and fully-equipped beaches. Stalis provides easy access to nearby nightlife hotspots in Malia and Hersonissos. The village hosts the annual Xwrodeion event on August 12th, featuring Cretan traditions and local delicacies. Admission to this event is free.

title: Malia, Crete


text:
Talk:Serbs

March 2023
Population of Republic of Serbia needs to be updated. According to the 2022 Census of Population it was 6,690,887 in 2022.
 * Pictogram voting comment.svg Note: datacommons.org claims that the population estimate is from ec.europa.eu. However, their estimate (6,690,887) doesn't match the europa's (6,770,000). M.Bitton (talk) 20:22, 31 March 2023 (UTC)
 * Red information icon with gradient background.svg Not done for now: Let's clear up the sourcing situation first. Actualcpscm (talk) 23:55, 31 March 2023 (UTC)

Bosnia
So a user keeps reverting Bosnia and Herzegovina to Bosnia...I've checked and every other page has BiH. Pinging User:Liliannnaa Vamsi20 (talk) 16:36, 15 April 2023 (UTC)

 * Note I'm not reverting the edit again because I don't want to be blocked for edit warring. Vamsi20 (talk) 16:39, 15 April 2023 (UTC)

2022 census data
The data should be updated in according to the 2022 Census in Serbia. According to it, there are 5'360'239 Serbs in Serbia. — Preceding unsigned comment added by 79.140.148.87 (talk) 15:19, 28 April 2023 (UTC)

title: Talk:Serbs


text:
The Americans (photography)

The Americans is a photographic book by Robert Frank which was highly influential in post-war American photography. It was first published in France in 1958, and the following year in the United States. The photographs were notable for their distanced view of both high and low strata of American society. The book as a whole created a complicated portrait of the period that was viewed as skeptical of contemporary values and evocative of ubiquitous loneliness. "Frank set out with his Guggenheim Grant to do something new and unconstrained by commercial diktats" and made "a now classic photography book in the iconoclastic spirit of the Beats".

Background
In 1949, the new editor of Camera magazine, Walter Laubli (1902–1991), published a substantial portfolio of Jakob Tuggener pictures made at upper-class entertainments and in factories, alongside the work of 25 year-old Robert Frank who had just returned to his native Switzerland after two years abroad, with pages including some of his first pictures from New York. The magazine promoted the two as representatives of the ‘new photography’ of Switzerland.

Tuggener was a role model for the younger artist, first mentioned to him by Frank's boss and mentor, Zurich commercial photographer Michael Wolgensinger (1913–1990) who felt that Frank would never fit the commercial system. Tuggener, as a serious artist who had left the commercial world behind, was the “one Frank really did love, from among all Swiss photographers,” according to Guido Magnaguagno and Tuggener's Fabrik (1943), as a photo book sequenced poetically and conceived without text like a silent movie, was a model for Frank's conception of Les Américains published fifteen years later in Paris by Delpire, in 1958.

Inspired by fellow Swiss Tuggener's book, Bill Brandt's The English at Home (1936), and Walker Evans' American Photographs (1938), and on the recommendation of Evans (a previous recipient), Alexey Brodovitch, Alexander Liberman, Edward Steichen, and Meyer Schapiro, Frank secured a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation in 1955 to travel across the United States and photograph all strata of its society. He took his family along with him for part of his series of road trips over the next two years, during which time he took 28,000 shots. Only 83 of those were finally selected by him for publication in The Americans.

Sean O'Hagan, writing in The Guardian, about the inclusion of The Americans as the starting point in David Campany's critical journey into the photographic road trip, The Open Road (2014), said "Swiss-born Frank set out with his Guggenheim Grant to do something new and unconstrained by commercial diktats. His aim was to photograph America as it unfolded before his somewhat sombre outsider's eye. From the start, Frank defined himself against the traditional Life magazine school of romantic reportage."

Frank's journey was not without incident. While driving through Arkansas, Frank was arbitrarily thrown in jail for three days after being stopped by the police who accused him of being a communist (their reasons: he was shabbily dressed, he was Jewish, he had letters about his person from people with Russian sounding names, his children had foreign sounding names – Pablo & Andrea, and he had foreign whiskey with him). He was also told by a sheriff elsewhere in the South that he had "an hour to leave town."

Introduction
Shortly after returning to New York in 1957, Frank met Beat writer Jack Kerouac on the sidewalk outside a party and showed him the photographs from his travels. Kerouac immediately told Frank "Sure I can write something about these pictures," and he contributed the introduction to the U.S. edition of The Americans.

Style
Frank found a tension in the gloss of American culture and wealth over race and class differences, which gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques.

Critical views
The book initially received harsh criticism in the US, where the tone of the book was perceived as derogatory to national ideals. Much of the criticism Frank faced was as well related to his photojournalistic style, wherein the immediacy of the hand-held camera introduced technical imperfections into the resulting images. Popular Photography, for one, derided Frank's images as "meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness." This stands in contrast to Walker Evans' American Photographs, a direct inspiration to Frank, with its rigidly framed images shot via large-format viewcamera. Though sales were also poor at first, Kerouac's introduction helped it reach a larger audience because of the popularity of the Beat phenomenon. Over time and through its inspiration of later artists, The Americans became considered a seminal work in American photography and art history, and the work with which Frank is most clearly identified.

Sociologist Howard S. Becker has written about The Americans as social analysis: Robert Frank's (...) enormously influential The Americans is in ways reminiscent both of Tocqueville's analysis of American institutions and of the analysis of cultural themes by Margaret Mead and Ruth Benedict. Frank presents photographs made in scattered places around the country, returning again and again to such themes as the flag, the automobile, race, restaurants—eventually turning those artifacts, by the weight of the associations in which he embeds them, into profound and meaningful symbols of American culture.

Publishing history
Frank's divergence from contemporary photographic standards gave him difficulty at first in securing an American publisher. Les Américains was first published on 15 May 1958 by Robert Delpire in Paris as part of its Encyclopédie Essentielle series. Writings by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck were included, that Delpire positioned opposite Frank's photographs. Many thought that Frank's photos served more to illustrate the writing rather than the converse. The cover was decorated with a drawing by Saul Steinberg.

In 1959, The Americans was finally published in the United States by Grove Press, with the text removed from the French edition due to concerns that it was too un-American in tone. The added introduction by Kerouac, along with simple captions for the photos, were now the only text in the book, which was intended to mirror the layout of Walker Evans' American Photographs.

On the occasion of the 50th anniversary of the book's original publication (15 May 2008), a new edition was published by Steidl. Frank was involved in the design and production of this edition which used modern scanning of Frank's original prints, and tritone printing. A new format for the book was worked out, new typography selected, a new cover designed and Frank chose the book cloth, foil embossing and endpaper. As he has done for every edition of The Americans, Frank changed the cropping of many of the photographs, usually including more information, and two slightly different photographs were used.

A new edition is due to be published in 2024 by Aperture after the publisher received a $1m endowment grant from the Andrea Frank Foundation.

Exhibitions

 * Ackland Art Museum, University of North Carolina at Chapel Hill, Chapel Hill, NC, 2008/2009
 * Looking In: Robert Frank's The Americans, National Gallery of Art, Washington D.C., 2009; San Francisco Museum of Modern Art, San Francisco, CA, 2009;   Metropolitan Museum of Art, New York City, 2009

title: The Americans (photography)


text:
Triumph Motor Company

The Triumph Motor Company was a British car and motor manufacturing company in the 19th and 20th centuries. The marque had its origins in 1885 when Siegfried Bettmann of Nuremberg formed S. Bettmann & Co. and started importing bicycles from Europe and selling them under his own trade name in London. The trade name became "Triumph" the following year, and in 1887 Bettmann was joined by a partner, Moritz Schulte, also from Germany. In 1889, the businessmen started producing their own bicycles in Coventry, England.

Triumph manufactured its first car in 1923. The company was acquired by Leyland Motors in 1960, ultimately becoming part of the giant conglomerate British Leyland (BL) in 1968, where the Triumph brand was absorbed into BL's Specialist Division alongside former Leyland stablemates Rover and Jaguar. Triumph-badged vehicles were produced by BL until 1984 when the Triumph marque was retired, where it remained dormant under the auspices of BL's successor company Rover Group. The rights to the Triumph marque are currently owned by BMW, who purchased the Rover Group in 1994.

Triumph Cycle Company (1897-1930)
S. Bettman & Co. was renamed the Triumph Cycle Co. Ltd. in 1897. In 1902 they began producing Triumph motorcycles at their works in Coventry on Much Park Street. At first, they used engines purchased from another company, but the business prospered and they soon started making their own engines. In 1907 they purchased the premises of a spinning mill on Priory Street to develop a new factory. Major orders for the 550 cc Model H were placed by the British Army during the First World War; by 1918 Triumph had become Britain's largest manufacturer of motorcycles.

In 1921 Bettmann was persuaded by his general manager Claude Holbrook (1886–1979), who had joined the company in 1919, to acquire the assets and Clay Lane premises of the Dawson Car Company and start producing a car and 1.4-litre engine type named the Triumph 10/20 designed for them by Lea-Francis, to whom they paid a royalty for every car sold. Production of this car and its immediate successors was moderate, but this changed with the introduction in 1927 of the Triumph Super 7, which sold in large numbers until 1934.

Triumph Motor Company (1930-1944)
In 1930 the company's name was changed to Triumph Motor Company. Holbrook realised he could not compete with the larger car companies for the mass market, so he decided to produce expensive cars, and introduced the models Southern Cross and Gloria. At first they used engines made by Triumph but designed by Coventry Climax, but in 1937 Triumph started to produce engines to their own designs by Donald Healey, who had become the company's experimental manager in 1934.

The company encountered financial problems however, and in 1936 the Triumph bicycle and motorcycle businesses were sold, the latter to Jack Sangster of Ariel to become Triumph Engineering Co Ltd. Healey purchased an Alfa Romeo 8C 2300 and developed a new car model with an Alfa inspired straight-8 engine type named the Triumph Dolomite. Three of these cars were made in 1934, one of which was used in competition and destroyed in an accident. The Dolomites manufactured from 1937 to 1940 were unrelated to these prototypes.

In July 1939 the Triumph Motor Company went into receivership and the factory, equipment and goodwill were offered for sale. The Thos. W. Ward scrapping company purchased Triumph, and placed Healey in charge as general manager, but the effects of the Second World War again stopped the production of cars; the Holbrook Lane works were completely destroyed by bombing in 1940.

Standard Triumph (1930-1960)
In November 1944 what was left of the Triumph Motor Company and the Triumph trade name were bought by the Standard Motor Company and a subsidiary "Triumph Motor Company (1945) Limited" was formed with production transferred to Standard's factory at Canley, on the outskirts of Coventry. Triumph's new owners had been supplying engines to Jaguar and its predecessor company since 1938. After an argument between Standard-Triumph managing director, Sir John Black, and William Lyons, the creator and owner of Jaguar, Black's objective in acquiring the rights to the name and the remnants of the bankrupt Triumph business was to build a car to compete with the soon to be launched post-war Jaguars.

The pre-war Triumph models were not revived and in 1946 a new range of Triumphs was announced, starting with the Triumph Roadster. The Roadster had an aluminium body because steel was in short supply and surplus aluminium from aircraft production was plentiful. The same engine was used for the 1800 Town and Country saloon, later named the Triumph Renown, which was notable for the styling chosen by Standard-Triumph's managing director Sir John Black. A similar style was also used for the subsequent Triumph Mayflower light saloon. All three of these models prominently sported the "globe" badge that had been used on pre-war models. When Sir John was forced to retire from the company this range of cars was discontinued without being replaced directly, sheet aluminium having by now become a prohibitively expensive alternative to sheet steel for most auto-industry purposes.

In the early 1950s it was decided to use the Triumph name for sporting cars and the Standard name for saloons and in 1953 the Triumph TR2 was initiated, the first of the TR series of sports cars that were produced until 1981. Curiously, the TR2 had a Standard badge on its front and the Triumph globe on its hubcaps.

Standard had been making a range of small saloons named the Standard Eight and Ten, and had been working on their replacements. The success of the TR range meant that Triumph was considered a more marketable name than Standard, and the new car was introduced in 1959 as the Triumph Herald. The last Standard car to be made in the UK was replaced in 1963 by the Triumph 2000.

Leyland and Beyond (1960-1984)
Standard-Triumph was bought by Leyland Motors Ltd. in December 1960; Donald Stokes became chairman of the Standard-Triumph division in 1963. In 1967 Leyland Motor Corporation bought the Rover company and in 1968 Leyland Motor Corporation merged with British Motor Holdings (created out of the merger of the British Motor Corporation and Jaguar two years earlier) which resulted in the formation of British Leyland Motor Corporation. Triumph set up an assembly facility in Speke, Liverpool in 1960, gradually increasing the size of the company's most modern factory to the point that it could produce 100,000 cars per year. However, only a maximum of 30,000 cars was ever produced as the plant was never put into full production use, being used largely as an assembly plant. During the 1960s and '70s Triumph sold a succession of Michelotti-styled saloons and sports cars, including the advanced Dolomite Sprint, which, in 1973, already had a 16-valve four-cylinder engine. It is alleged that many Triumphs of this era were unreliable, especially the 2.5 PI (petrol injection) with its fuel injection problems. In Australia, the summer heat caused petrol in the electric fuel pump to vapourise, resulting in frequent malfunctions. Although the injection system had proven itself in international competition, it lacked altitude compensation to adjust the fuel mixture at altitudes greater than 3000 ft above sea level. The Lucas system proved unpopular: Lucas did not want to develop it further, and Standard-Triumph dealers were reluctant to attend the associated factory and field-based training courses.

For most of its time under Leyland or BL ownership the Triumph marque belonged in the Specialist Division of the company, which went by the names of Rover Triumph and later Jaguar Rover Triumph, except for a brief period during the mid-1970s when all BL's car marques or brands were grouped together under the name of Leyland Cars. The only all-new Triumph model initiated as Rover Triumph was the TR7, which was in production successively at three factories that were closed: Speke, the poorly run Leyland-era Standard-Triumph works in Liverpool, the original Standard works at Canley, Coventry and finally the Rover works in Solihull. Plans for an extended range based on the TR7, including a fastback variant codenamed "Lynx", were ended when the Speke factory closed. The four-cylinder TR7 and its short-lived eight-cylindered derivative the TR8 were terminated when the road car section of the Solihull plant was closed (the plant continued to build Land Rovers.)

Demise of Triumph Cars
The last Triumph model was the Acclaim, introduced in 1981 and essentially a rebadged Honda Ballade built under licence from the Japanese carmaker Honda, at the former Morris Motors works in Cowley, Oxford. The Triumph name disappeared over the summer of 1984, when the Acclaim was replaced by the Rover 200, a rebadged version of Honda's next generation Civic/Ballade model. This was the first phase of a rebranding of the Rover Group which would also see the Austin and Morris brands disappear by the end of the 1980s and the Rover brand dominate most of the company's products. The BL car division had by then been named the Austin Rover Group, which also retired the Morris marque in 1984 as well as the Triumph brand.

Current ownership and possible revival
The trademark is owned currently by BMW, which acquired Triumph when it bought the Rover Group in 1994. When BMW sold Rover, it retained the Triumph and Riley marques. The Phoenix Consortium, which bought Rover, attempted to buy the Triumph brand, but BMW refused, saying that if Phoenix insisted, it would break the deal. The Standard marque was transferred to British Motor Heritage Limited. The Standard marque is still retained by British Motor Heritage, who also have the licence to use the Triumph marque in relation to the sale of spares and service of the existing 'park' of Triumph cars.

Proposals were reportedly made in the early 2000s for BMW to market a cheaper, four cylinder, rear wheel drive car based on the Z4 Roadster to rival the Mazda MX-5. This new car was speculated to be branded as either an Austin-Healey or a Triumph. Development of the car took place, although production did not commence.

In 2005, it was reported that BMW's Designworks studio in California proposed reviving the Triumph brand for use on the new Mini Roadster, branding and styling it as a Triumph. The idea was rejected by Mini dealers, averse to selling a second legacy brand and adding extra showrooms.

In late 2007, the magazine Auto Express, after continued rumours that Triumph might be revived with BMW ownership, featured a story showing an image of what a new version of the TR4 might look like. BMW did not comment officially on this.

In 2011, BMW applied for a European trademark to use the Triumph laurel wreath badge on vehicles, as well as a wide variety of merchandise. The application was published in late 2012, and further stirred rumours regarding the revival of the Triumph brand. Piers Scott, head of corporate communications for BMW Australia stated in an interview with Drive that: "'[The Triumph brand] is always there to be rejuvenated should we choose, I don't think people realise we have Triumph in our stable, but I struggle to see a place for it . I can't think of anything that is in the production timeframe that would not be wearing a BMW badge - be it 'i' or just BMW.'"In 2023, automotive design house Makkina (with permission from BMW) revealed the Triumph TR25 concept car for its 25th anniversary, as well as to celebrate the 100th anniversary of Triumph Cars itself. Based on the BMW i3S, the TR25 pays homage to the Triumph TR2 MVC575 'Jabbeke' of 1953, featuring many design cues from the record breaking car. Speaking with Auto Express, Makkina director Michael Ani stated that the TR25 is intended as a concept, although the BMW platform and powertrain provide scope to bring the car to production should the opportunity arise.

Prototypes

 * Triumph TR7 Sprint
 * Triumph Fury
 * Triumph Lynx

Badging
Globe

Pre-war Triumphs carried a stylised Globe badge, usually on the radiator grille, and this was also used on the first three models produced under Standard's control.

Griffin

Standard had introduced a new badge in 1947 for their own models, first seen on the Vanguard, a highly stylised motif based on the wings of a Griffin. With the introduction of the TR2, a version of this badge appeared for the first time on the bonnet of a production Triumph, while the Globe continued to appear on the hubcaps. This same double-badging also appeared on the TR3 and TR4, the 2000 and the 1300.

However, the original Herald, Spitfire, Vitesse and GT6 models all carried only the Griffin badge on their bonnets/radiator grilles, with unadorned hubcaps.

The TR4A appeared with a Globe badge on the bonnet, apparently signifying a return to the original Triumph badging. This was short-lived, as a policy of Leylandisation mean that neither Globe nor Griffin appeared on subsequent models from the TR5 onwards, or on later versions of the Spitfire, GT6 and 2000.

Leyland

Leyland's corporate badge, a design based on the spokes of a wheel, appeared on the hubcaps of the 1500FWD, and next to the Triumph name on the metal identification labels fitted to the bootlids of various models. It was also used for the oil filler cap on the Dolomite Sprint engine. However it was never used as a bonnet badge, with models of that era such as the TR6 and the second generation 2000 carrying a badge simply stating the name "Triumph".

Stag

The Stag model carried a unique grille badge showing a highly stylised stag.

Laurel wreath

The last versions of the TR7 and Dolomite ranges received an all-new badge with the word Triumph surrounded by laurel wreaths, and this was also used for the Acclaim. It was carried on the bonnet and the steering wheel boss.

Films and TV series featuring Triumphs

 * In Alfred Hitchcock Presents, TV Series, 1955–1962 (Triumph TR3A)
 * In Dr No, 1962 James Bond film with Sean Connery (Triumph Herald)
 * In My Favorite Martian TV Series 1963- (Later 2 different cars) with Bill Bixby and Ray Walston (Triumph TR4)
 * In Le Gendarme de Saint-Tropez, in 1964 with Louis de Funès and Michel Galabru (Triumph TR3A)
 * In 1962, Go French ! Triumph Herald 12/50, Triumph Herald 1200, with Jean Lefebvre or Jean Carmet
 * In Thunderball (1965) is the fourth spy film in the James Bond series starring Sean Connery (Triumph Herald)
 * In Les Aventures de Michel Vaillant, TV series, in 1967 (Triumph TR3A) – (Triumph TR4)
 * In The Great Holidays (movie), 1967 (Triumph TR4A – Triumph Herald Saloon) with Louis de Funès
 * In Fantômas contre Scotland Yard, Film, 1967 with Jean Marais or Louis de Funès (Triumph Herald 1200 Estate)
 * In Les Globe-trotters, TV Series, 1966–1968 (Triumph TR3A)
 * In The Brain (1969) with Jean-Paul Belmondo, Bourvil, David Niven or Eli Wallach (Triumph TR4)
 * In Le clan des siciliens, Film, 1969 with Jean Gabin, Lino Ventura or Alain Delon (Triumph Herald 13/60)
 * In Derrick, TV Series, 1974–1998 (Triumph TR4A) with Horst Tappert, Fritz Wepper
 * In 1971 Diamonds are Forever, James Bond 007, played by Sean Connery, travels to Amsterdam in the Netherlands in a Triumph Stag.
 * In Straw Dogs – Triumph Stag
 * In The Adventures of Rabbi Jacob (1973), (Triumph TR4) with Louis de Funès, Henri Guybet or Popeck
 * In Starsky and Hutch, TV series, 1975–1979 (Triumph TR3A)
 * In Scout toujours...', French comedy film by Gérard Jugnot released in 1985 (Triumph TR4)
 * In Three Men and a Baby 1987, Tom Selleck drives a (Triumph TR6)
 * In The Grimleys 1999–2001, PE teacher Douglas "Dynamo" Digby, drives a Triumph Spitfire
 * In Top Gear, TV series, 2002–2015 (Triumph Herald 1200)
 * In Final Destination 3 (2006), Triumph Spitfire
 * In Legend, 2015 film featuring Tom Hardy (Triumph Spitfire)
 * In Viva Las Vegas (1964) Ann-Margret drives a TR-3
 * In Educating Rita, Michael Caine's character, Frank, drives a Triumph Herald
 * In Fellini's film La Dolce Vita (1960) Marcello Mastroianni and Anita Ekberg drive a TR3A
 * In BUtterfield 8, Elizabeth Taylor has a TR3A
 * In The End of the F***ing World, TV Series, (2017 - 2019) Triumph Acclaim

title: Triumph Motor Company