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14th Street–Union Square station

The 14th Street–Union Square station is a New York City Subway station complex shared by the BMT Broadway Line, the BMT Canarsie Line and the IRT Lexington Avenue Line. It is located at the intersection of Fourth Avenue and 14th Street, underneath Union Square Park in Manhattan. The complex is near the border of several neighborhoods, including the East Village to the southeast, Greenwich Village to the south and southwest, Chelsea to the northwest, and both the Flatiron District and Gramercy Park to the north and northeast. The 14th Street–Union Square station is served by the, , , , and trains at all times; the  and  trains at all times except late nights; the W train on weekdays; and <6> train weekdays in the peak direction.

The Lexington Avenue Line platforms were built for the Interborough Rapid Transit Company (IRT) as an express station on the city's first subway line, which was approved in 1900. The station opened on October 27, 1904, as one of the original 28 stations of the New York City Subway. As part of the Dual Contracts, the Broadway Line platforms opened in 1917 and the Canarsie Line platform opened in 1924. Several modifications have been made to the stations over the years, and they were combined on July 1, 1948. The complex was renovated in the 1990s and was placed on the National Register of Historic Places in 2005.

The Lexington Avenue Line station has two abandoned side platforms, two island platforms, and four tracks, while the parallel Broadway Line station has two island platforms and four tracks. The Canarsie Line station, crossing under both of the other stations, has one island platform and two tracks. Numerous elevators make most of the complex, except for the Lexington Avenue Line station, compliant with the Americans with Disabilities Act of 1990 (ADA). In 2019, over 32 million passengers entered this station, making it the fourth-busiest station in the system.

First subway
Planning for a subway line in New York City dates to 1864. However, development of what would become the city's first subway line did not start until 1894, when the New York State Legislature passed the Rapid Transit Act. The subway plans were drawn up by a team of engineers led by William Barclay Parsons, chief engineer of the Rapid Transit Commission. It called for a subway line from New York City Hall in lower Manhattan to the Upper West Side, where two branches would lead north into the Bronx. A plan was formally adopted in 1897, and all legal conflicts concerning the route alignment were resolved near the end of 1899. The Rapid Transit Construction Company, organized by John B. McDonald and funded by August Belmont Jr., signed the initial Contract 1 with the Rapid Transit Commission in February 1900, in which it would construct the subway and maintain a 50-year operating lease from the opening of the line. In 1901, the firm of Heins & LaFarge was hired to design the underground stations. Belmont incorporated the Interborough Rapid Transit Company (IRT) in April 1902 to operate the subway.

The 14th Street station was constructed as part of the route segment from Great Jones Street to 41st Street. Construction on this section of the line began on September 12, 1900. The section from Great Jones Street to a point 100 feet (30 m) north of 33rd Street was awarded to Holbrook, Cabot & Daly Contracting Company. Two streetcar tracks on Union Square East were temporarily relocated to one side of the street while contractors excavated through solid rock on the site. During the line's construction, the contractors installed a temporary compressed-air plant in Union Square, prompting a lawsuit from the operator of a nearby hotel. The New York Court of Appeals ruled in 1902 that the contractors had to disassemble the compressed-air plant and to stop storing materials in Union Square Park. By late 1903, the subway was nearly complete, but the IRT Powerhouse and the system's electrical substations were still under construction, delaying the system's opening. The 14th Street station opened on October 27, 1904, as one of the original 28 stations of the New York City Subway from City Hall to 145th Street on the Broadway–Seventh Avenue Line.

The opening of the 14th Street station turned Union Square into a major transportation hub. With the northward relocation of the city's theater district, Union Square became a major wholesaling district with several loft buildings, as well as numerous office buildings. Initially, the IRT station was served by local and express trains along both the West Side (now the Broadway–Seventh Avenue Line to Van Cortlandt Park–242nd Street) and East Side (now the Lenox Avenue Line). West Side local trains had their southern terminus at City Hall during rush hours and South Ferry at other times, and had their northern terminus at 242nd Street. East Side local trains ran from City Hall to Lenox Avenue (145th Street). Express trains had their southern terminus at South Ferry or Atlantic Avenue and had their northern terminus at 242nd Street, Lenox Avenue (145th Street), or West Farms (180th Street). Express trains to 145th Street were later eliminated, and West Farms express trains and rush-hour Broadway express trains operated through to Brooklyn. As part of an experiment to improve the subway line's ventilation, the Rapid Transit Commission installed large fans at the 14th Street station in July 1905.

To address overcrowding, in 1909, the New York Public Service Commission proposed lengthening the platforms at stations along the original IRT subway. As part of a modification to the IRT's construction contracts made on January 18, 1910, the company was to lengthen station platforms to accommodate ten-car express and six-car local trains. In addition to $1.5 million (equivalent to $ million in ) spent on platform lengthening, $500,000 (equivalent to $ million in ) was spent on building additional entrances and exits. It was anticipated that these improvements would increase capacity by 25 percent. At the 14th Street station, the northbound island platform was extended 55 ft north and 100 ft south, while the southbound island platform was extended 128 ft north, necessitating the replacement of some structural steel north of the intersection of Fourth Avenue and 13th Street. Gap fillers were added to the southbound island platform at this time. Six-car local trains began operating in October 1910. On January 23, 1911, ten-car express trains began running on the Lenox Avenue Line, and the following day, ten-car express trains were inaugurated on the West Side Line. In 1918, the Lexington Avenue Line opened north of Grand Central–42nd Street, and the original line was divided into an H-shaped system. All trains at the 14th Street–Union Square station were sent via the Lexington Avenue Line.

Dual Contracts
After the original IRT opened, the city began planning new lines. The New York Public Service Commission adopted plans for what was known as the Broadway–Lexington Avenue route (later the Broadway Line) on December 31, 1907. A proposed Tri-borough system was adopted in early 1908, incorporating the Broadway Line. Operation of the line was assigned to the Brooklyn Rapid Transit Company (BRT; after 1923, the Brooklyn–Manhattan Transit Corporation or BMT ) in the Dual Contracts, adopted on March 4, 1913. The Dual Contracts also entailed a subway route under 14th Street, to run to Canarsie in Brooklyn; this became the BMT's Canarsie Line.

Broadway Line
In May 1913, the Public Service Commission began receiving bids for Section 4 of the Broadway Line, between Houston Street and Union Square. This was the first construction contract to be placed for bidding after the Dual Contracts had been signed. The next month, the Dock Contractor Company submitted a low bid of $2.578 million. This section was to include a station at Union Square between 14th and 16th Streets. Local civic group Broadway Association and various property owners objected to the fact that Dock Contractor was to receive the contract, citing the firm's lack of experience. The Public Service Commission approved Dock Contractor's bid despite these objections, and the contract was awarded later that month. The section between 16th and 26th Streets was awarded to the E. E. Smith Construction Company in September 1913 for $2.057 million (equivalent to $ million in ).

From the outset, the 14th Street–Union Square station was intended as an express station on the Broadway Line. To save money, the station was built using an open cut method. A 120 ft strip of land, running diagonally through Union Square Park, was closed and excavated. By late 1913, large portions of Union Square Park had been demolished for the construction of the Broadway Line's Union Square station. New York City's parks commissioner promised members of the public that the park would be remodeled after the station was finished. Because the Dual Contracts specified that the street surfaces needed to remain intact during the system's construction, a temporary web of timber supports was erected to support the streets overhead while the BMT platforms were being constructed.

The Broadway Line south of 14th Street was near completion by February 1916, and workers began restoring the section of Union Square Park above the 14th Street station. The same month, the Public Service Commission began accepting bids for the installation of finishes at seven stations on the Broadway Line from Rector Street to 14th Street. D. C. Gerber submitted a $346,000 low bid for the finishes. The section of the line north of 14th Street, by contrast, was still incomplete. Although it was technically possible for the BRT to terminate trains at Union Square, the line would not be profitable until it was extended at least to 34th Street. The Broadway Line's 14th Street–Union Square station opened on September 4, 1917, as the northern terminus of the first section of the line between 14th Street and Canal Street. Initially, it only served local trains. Within three months of the Broadway Line station's opening, the 14th Street–Union Square station recorded more daily passengers than either the Grand Central–42nd Street station or the Brooklyn Bridge–Chambers Street station, leading Women's Wear to describe the Union Square complex as "probably the world's greatest underground traffic point".

On January 5, 1918, the Broadway Line was extended north to Times Square–42nd Street and south to Rector Street, and express service started on the line. For about three weeks, a shuttle service ran between Union Square and Times Square. Local trains from Brooklyn began running through to Times Square on January 27. While local trains terminated at the Times Square station, express trains from Brooklyn continued to terminate at Union Square until a northward extension to 57th Street opened in July 1919, allowing express trains to operate to Times Square. To aid navigation, in 1920, the BRT installed illuminated signs on the southbound platforms of Union Square and two other Broadway Line stations.

Canarsie Line
At Union Square, the BRT's Canarsie Line was to pass under both the Broadway and Lexington Avenue lines. Booth and Flinn was awarded the first contract for the line, namely a tunnel under the East River, in January 1916. At the time, the Public Service Commission was completing plans for the rest of the line; the commission began accepting bids for two parts of the line within Manhattan, sections 1 and 2. in April 1916. The next month, Booth and Flinn won the contract for section 1, which was to cost $2.528 million (equivalent to $ million in ). By early 1919, the section of the line under 14th Street was about 20 percent completed.

In 1922, the Charles H. Brown & Son Corporation was contracted to build out the Canarsie Line's stations in Manhattan, including the Union Square station. Track-laying in the tunnels between Sixth and Montrose Avenues started in the last week of October 1922. A passageway between the Broadway and Canarsie Line stations at Union Square was completed in late 1923. The Canarsie Line station at Union Square opened on June 30, 1924, as the second-westernmost stop on the 14th Street–Eastern Line, which ran from Sixth Avenue under the East River and through Williamsburg to Montrose and Bushwick Avenues. Service was extended east to Canarsie on July 14, 1928, stopping at Union Square. The extension of service to Canarsie and Sixth Avenue reduced overcrowding at the Canal Street station in Lower Manhattan.

1920s and 1930s modifications
In 1922, the Rapid Transit Commission awarded a contract to the Wagner Engineering Company for the installation of navigational signs at the Union Square station and several other major subway stations. The IRT platforms received blue-and-white signs, while the BMT platforms received red-white-and-green navigational signs. The Broadway Line station's platforms originally could only fit six 67 ft cars. In 1926, the New York City Board of Transportation (BOT) received bids for the lengthening of platforms at nine stations on the Broadway Line, including the 14th Street station, to accommodate eight-car trains. Edwards & Flood submitted a low bid of $101,750 for the project. The platform-lengthening project was completed in 1927, bringing the length of the Broadway Line platforms to 535 feet.

In May 1928, the New York City Board of Estimate awarded a $607,223 contract to improve transfers between the Canarsie and Broadway lines at Union Square, which was expected to help relieve crowding at Canal Street. The low bidder was the Hart & Early Co. Work on the transfer between the Broadway and Canarsie lines began that August. The project involved constructing a 30000 ft2 mezzanine and raising and re-landscaping the adjacent portion of Union Square Park to provide enough headroom. Existing statues in the park were relocated as part of improvements to the park. In addition, the contractor added twelve stairs from the mezzanine to the Broadway Line platforms and twelve stairs from the mezzanine to the Canarsie Line platform. The mezzanine and stairs were intended to accommodate 2,000 passengers per minute in either direction, and the rebuilt station would be capable of accommodating 50 million passengers per year. At the time, the Union Square station was one of the city's busiest, with 52 million annual passengers. The renovation was nearly completed by mid-1931.

1940s to 1970s
The city government took over the BMT's operations on June 1, 1940, and the IRT's operations on June 12. In September 1945, the New York City Club presented a proposal for improving service on the IRT Lexington Avenue Line. The 14th Street–Union Square station on the IRT line would have been relocated about 500 ft northward, requiring the closure of the 18th Street station. Since the plan entailed having local trains terminate at 14th Street instead of at City Hall, the local platforms would be rebuilt at a lower level, with a crossover next to the station. In addition, all local trains would be lengthened from six to ten cars. This plan was not implemented. The transfer between the IRT and BMT platforms was placed inside fare control on July 1, 1948. As part of a pilot program, the BOT installed three-dimensional advertisements at the Union Square station in late 1948. The BOT studied the feasibility of building an underpass from the station to the eastern side of Union Square East at 15th Street in January 1949, and Loft Inc. opened a candy store in the BMT mezzanine that April.

During 1956, the Central Savings Bank and Union Square Savings Bank both opened branches on the Union Square station's mezzanine. The New York City Transit Authority (NYCTA) lengthened both of the Lexington Avenue Line platforms by 150 ft as part of a $1.3 million project that was completed at the beginning of 1958. After the extensions were completed, the NYCTA began requiring that, during PM rush hours, alighting Lexington Avenue Line riders use only one of the staircases on the northbound platform to reduce congestion. In the 1960s, the NYCTA started a project to lengthen station platforms on the Broadway Line to 615 feet to accommodate 10-car trains. As part of the project, the Broadway Line platforms at Union Square were extended 85 feet to the north. Additionally, the NYCTA installed a closed-circuit television system on the Lexington Avenue Line platforms in 1965 as part of a pilot program to deter crime there.

Efforts were made to renovate the Union Square station during the late 1970s as part of an effort to redevelop the area around Union Square. During this time, $1.2 million was raised for a renovation of the Union Square station. This included $120,000 raised by the 14th Street–Union Square Area Project and the Metropolitan Transportation Authority (MTA), as well as $900,000 from the federal government. The renovation, which was limited to the complex's mezzanine level, coincided with the original IRT line's 75th anniversary. Local civic groups, the MTA, and the New York City Transit Authority began soliciting bids for the station's renovation in December 1978. The project included relocating turnstiles away from hallways, closing or straightening some passageways, removing most concession stands, and relocating a district headquarters for the New York City Transit Police to the station. The renovation, which had been completed by 1980, was one of the first such projects conducted through the MTA's Adopt-a-Station program.

1980s and early 1990s
The MTA evicted 25 businesses, who occupied a combined 8000 ft2, from the station's mezzanine in 1981 to free up space. That year, the MTA listed the Union Square station on the Lexington Avenue Line among the 69 most deteriorated stations in the subway system. The MTA provided funding for a further renovation of the Union Square station in its 1985–1989 capital plan. By 1982, the entrances in the southern portion of Union Square were to be renovated as part of a refurbishment of Union Square Park. The entrances had been renovated by 1985. The MTA also renovated 10600 ft2 of storefronts at the station in 1984. Seven storefronts received glass enclosures. During the mid-1980s, the New York City Department of City Planning prepared zoning guidelines for the Union Square area, which would allow a greater maximum floor area ratio in exchange for subway improvements. William Zeckendorf, who was developing the adjacent Zeckendorf Towers, agreed in 1984 to build and maintain subway entrances within Zeckendorf Towers as "a public benefit", in exchange for being allowed to increase the towers' floor area by 20 percent. This was because of zoning rules that required many developers in Lower Manhattan, Midtown Manhattan, and Downtown Brooklyn to relocate and maintain subway entrances that were formerly on the street. In exchange for adding and maintaining an entrance with escalators and elevators at the building's base, Zeckendorf was allowed to add 153,006 ft2 to his building. The Zeckendorf plan received some opposition from members of the public but was approved by the New York City Board of Estimate in early 1985. As part of the construction of Zeckendorf Towers the 14th Street–Union Square station was partially renovated in the late 1980s. The modifications included a modification of the mezzanine, a new station entrance with escalators under Zeckendorf Towers, and a new station entrance at 15th Street. In addition, to speed up passenger flow, dozens of platform conductors were assigned to direct crowds on the Lexington Avenue Line platforms during the late 1980s.

On August 28, 1991, an accident just north of the IRT station killed five passengers and injured 215 others in one of the deadliest incidents in New York City Subway history. The derailment occurred at the entry to a former pocket track on the Lexington Avenue Line station, which was removed after the accident. The operator of a southbound 4 train was supposed to switch to the local track because the express track was being repaired. The train was traveling 40 mph in a 10 mph zone, and the train derailed after the first car traveled through the switch. Five cars were damaged heavily, being scrapped on site, and the track infrastructure suffered heavy structural damage as a result. The entire infrastructure, including signals, switches, track, roadbed, cabling, and 23 support columns were replaced.

1990s renovation
In April 1993, the New York State Legislature agreed to give the MTA $9.6 billion for capital improvements. Some of the funds would be used to renovate nearly one hundred New York City Subway stations, including all three stations at 14th Street–Union Square. On July 9, 1993, the contract for the project's design was awarded for $2.993 million. As part of the contract, the consultant investigated whether the MTA could reconfigure the IRT passageway, reframe the exit structure on the Lexington Avenue platforms to accommodate the relocation and widening of stairs, build a new fan room, remove stairs on the Broadway Line platforms, reframe the existing structure, and rebuild a new staircase between the intermediate and IRT mezzanines. After the consultant deemed that all of these modifications were feasible, in May 1994, the MTA and the consultant reached a supplemental agreement worth $984,998 to allow the consultant to prepare designs. Lee Harris Pomeroy prepared plans for the project, which was to cost $38.5 million and start in December 1994, with a new entrance pavilion and elevator on the southeast corner of Union Square Park. The same year, a New York City Transit Police station opened in the Broadway Line mezzanine.

A construction contract was ultimately signed in March 1995, and NAB Construction Corp. was hired to renovate the station. As part of the project, power infrastructure was upgraded to allow the construction of MetroCard vending machine equipment. The station was also to receive color-coded signs (corresponding to the trunk colors of the services that stopped there), and six pieces of the station's original wall were to be displayed. The Union Square Greenmarket, directly above the station, was relocated during the renovation. By 1996, the renovation project was running behind schedule. The MTA had planned to install a forced-ventilation system in the station as part of a pilot program, but this was delayed. In addition, at least one staircase to the Canarsie Line platform was canceled, even though it would have relieved congestion. The MTA also canceled plans for a new subway entrance in Union Square Park because the New York City Department of Parks and Recreation (NYC Parks) refused to remove trees to make way for the entrance. Pomeroy claimed that NYC Parks would have had to remove one tree, while NYC Parks commissioner Henry Stern said the entrance would be expensive, inconveniently located, and require the removal of three trees.

During the late 1990s, the MTA had received $1.6 million from The Related Companies, which had developed a building on the site of two subway entrances at Broadway and 14th Street. Local residents requested that the MTA spend the money to improve pedestrian access around Union Square. Subsequently, mayor Rudy Giuliani announced plans in early 1998 to spend $2.6 million on an expansion of the park; the MTA agreed to contribute $400,000 toward the project. The expansion consisted of a pocket park in a traffic island at the southeast corner of Union Square, which was completed in 2000.

The MTA announced in 1999 that it would begin installing a forced-ventilation system above the IRT platforms at Union Square. The forced-ventilation system, consisting of 32 ceiling fans, was completed by July 2000 at a cost of $1 million. In addition, as part of a program to increase accessibility in the New York City Subway, the MTA had planned to install elevators to the Broadway Line and Canarsie Line platforms by 1998. These elevators were not completed until 2000. Furthermore, elevators to the Lexington Avenue Line platforms could not be installed because the portions of the platforms under the mezzanine were too narrow. The project, which was finished in 2001, cost $40 million and increased the station's public space by 30 percent.

21st century
The station's token booths were shuttered in May 2005, after fare tokens were replaced with MetroCards; station agents were deployed elsewhere in the station to answer passengers' queries. This was part of a pilot program that was tested at seven other stations.

As part of the 2015–2019 MTA Capital Program and the L Project, several modifications were implemented on the platform to improve circulation and to reduce crowding. The stairs from the Broadway Line platforms were rebuilt in March 2019; the stair from the downtown Broadway Line platform was reconfigured entirely. Additionally, a new escalator was installed from the east mezzanine to the platform; it cost around $15 million and opened on September 10, 2020. The Union Square Partnership proposed a $100 million overhaul of Union Square in 2021; the plans included a new subway entrance with escalator and elevator access.

Station layout

The IRT Lexington Avenue Line and BMT Broadway Line stations both run in a north–south direction and are both two levels below ground. The Lexington Avenue Line platforms are to the east, running under Fourth Avenue and Union Square East, while the Broadway Line platforms are to the west, running under Broadway and cutting directly under Union Square Park. The BMT Canarsie Line station runs west–east under both of the other stations, along 14th Street.

A 480 ft mezzanine stretches above the BMT Broadway Line platforms, ramping down to a control area at its south end, where there are stairs down to the Broadway Line platforms and transfers to the other platforms. The tops of the mezzanine and passageway walls are decorated with friezes made of raised geometric patterns on rectangular tiles. White-on-green tiles with the number "14" are placed at the tops of the walls at regular intervals, while white-on-green "Union Square" tablets are installed below the friezes. Rectangular red metal frames also surround sections of the original wall. The mezzanine is relatively shallow, and because it was built with insufficient clearance, Union Square Park was raised by 4 ft to accommodate the station. The precinct house of New York City Police Department (NYPD)'s Transit District 4 is located on the mezzanine.

Directly east of the control area at the south end of the BMT Broadway Line mezzanine, a 20 ft corridor slopes down to the IRT mezzanine. There are two overpasses above the IRT platforms, connecting the station complex with exits on the east side of both Fourth Avenue and Union Square East. Galleries extend from the overpasses above the platforms, with stairs leading downward from the galleries to each island platform. Original faience plaques with the number "14" are in the southern end of the IRT mezzanine, near one of the entrances. Other decorations, such as a pale blue frieze, date from later renovations. Storefronts, as well as steel and glass enclosures, are located near the Zeckendorf Towers.

A corridor runs above the western side of the IRT station, connecting the two overpasses. Prior to the 1990s renovation, this corridor had been used as storage space. Another staircase extends from the IRT mezzanine to a small mezzanine above the Canarsie Line platform. Another mezzanine on the western side of the station serves the Canarsie Line platform directly. There were several connecting passageways between the western Canarsie Line mezzanine and the larger concourse area above the Broadway Line. However, these passageways have been sealed off. The passageways to the Canarsie Line platform is decorated with cruciform borders similar to those in the other passageways.

Artwork
Framing Union Square, by Mary Miss, is a station-wide art installation commissioned as part of the MTA Arts & Design program. It consists of six wall segments on the corridor above the western side of the IRT station, which were originally part of a double-height wall adjacent to the IRT station's southbound local platform. The wall segments have faience cornices, mosaic tile borders, and plaques of eagles. Bright red frames surround objects such as mosaics, cables, and bolts. According to Miss, the artwork was intended to invite "the public to look below the surface, to see a 'slice' of the station, its structure, its history". In 2005, an artwork called City Glow by Chiho Aoshima was installed within an advertising space at the station.

Imprinted on the walls of the BMT mezzanine are over 3,000 stickers with the names of victims of the September 11 attacks, which were put up by artist John Lin and sixteen friends on September 10, 2002. The stickers were not sanctioned by the MTA and have deteriorated since they were placed. Another work of street art, a temporary wall of Post-it notes known as "Subway Therapy", appeared on the station's walls after the 2016 United States presidential election but was removed after one month.

Exits

There are numerous entrances and exits to the station. An entrance with one stair, escalator bank, and elevator in the Zeckendorf Towers, at the northeast corner of 4th Avenue and 14th Street, connects with the southeast end of the station. This entrance provides Americans with Disabilities Act of 1990 (ADA) access to the station. The Zeckendorf Towers entrance is privately maintained;, the escalators there had been among the least reliable in the New York City Subway system for several years. There are two stairs to each of the southwest and southeast corners of the same intersection. All of these lead directly to the Lexington Avenue Line mezzanine. One block to the west, two staircases on the south side of 14th Street between Broadway and University Place lead to the western Canarsie Line mezzanine. A closed exit extended to the west side of Broadway between 13th and 14th Streets.

The central portion of the station contains another exit from the Lexington Avenue Line mezzanine to the Zeckendorf Towers, which leads to the southeast corner of Union Square East and 15th Street. There are also two stairs inside Union Square Park between 14th and 15th Streets. One is closer to Union Square West between these two streets, opposite the equestrian statue of George Washington, while the other is closer to Union Square East and 15th Street. These entrances are closest to the Broadway Line station. The Union Square Park entrances contain large polygonal metal-and-glass canopies, which date from a 1985 renovation of the park.

At the northern end of the station, two stairs rise to Union Square Park on the east side of Union Square West at 16th Street. These lead directly to the Broadway Line mezzanine.

IRT Lexington Avenue Line platforms
The 14th Street–Union Square station is an express station on the IRT Lexington Avenue Line. The 4 and 6 trains stop here at all times; the 5 train stops here at all times except late nights; and the <6> train stops here during weekdays in the peak direction. The 5 train always makes express stops, and the 6 and <6> trains always make local stops; the 4 train makes express stops during the day and local stops at night. The next station northbound is for local trains and  for express trains, while the next station southbound is  for local trains and  for express trains. When the subway opened, the next local stop to the north was ; that station closed in 1948.

The station has four tracks and two island platforms. The uptown and downtown platforms are offset from each other, having been extended at their rear ends, and are curved. The island platforms allow for cross-platform interchanges between local and express trains heading in the same direction. Local trains use the outer tracks while express trains use the inner tracks. The island platforms were originally 350 ft long, like the other express stations on the original IRT,  but later were extended to 525 ft. The platforms are 30 ft wide at their widest point. Platform gap fillers on the downtown side use proximity sensors to detect when trains arrive, automatically extending when a train has stopped in the station. Unlike the rest of the complex, no elevators lead down to the Lexington Avenue Line platforms. This is because the portions of the platforms under the mezzanine are too narrow for elevators. A 2020 study by Stantec found that, unless the downtown platform were rebuilt, it could never become fully accessible because of its "extreme curvature". According to a separate report by engineering firm STV, it would be prohibitively expensive to relocate the southbound platform northward to eliminate the gap fillers.

The station has two abandoned local side platforms; the northbound platform is visible through windows, bordered with wide, bright red frames. A combination of island and side platforms was also used at Brooklyn Bridge–City Hall on the IRT Lexington Avenue Line and 96th Street on the IRT Broadway–Seventh Avenue Line.

Design
As with other stations built as part of the original IRT, the station was constructed using a cut-and-cover method. The tunnel is covered by a U-shaped trough that contains utility pipes and wires. The bottom of this trough has a foundation of concrete no less than 4 in thick. Each platform consists of 3 in concrete slabs, beneath which are drainage basins. The platforms have I-beam columns spaced every 15 ft. Additional columns between the tracks, spaced every 5 ft, support the jack-arched concrete station roofs. There is a 1 in gap between the trough wall and the platform walls, which are made of 4 in-thick brick covered over by a tiled finish.

The walls near the tracks do not have any identifying motifs with the station's name, as all station identification signs are on the platforms. The trackside walls are clad with vertical white glass tiles. The original decorative scheme for the side platforms consisted of blue tile station-name tablets, blue and buff tile bands, a yellow faience cornice, and blue faience plaques. The mosaic tiles at all original IRT stations were manufactured by the American Encaustic Tile Company, which subcontracted the installations at each station. The decorative work was performed by faience contractor Grueby Faience Company. Above the IRT platforms are 32 ceiling fans, which were installed in 2000.

Track layout
Similar to at 72nd Street on the IRT Broadway–Seventh Avenue Line, there were originally additional tracks at the approach to either platform between each pair of local and express tracks. These tracks were approximately 300 ft long and were used as "stacking" tracks, where trains could be held momentarily until the platform was clear and the train could enter the station. The tracks here and at 72nd Street were rendered useless when train lengths grew beyond these tracks' capacity. The track between the southbound tracks, north of the southbound platform, was removed as a result of the 1991 derailment. A similar track still exists between the northbound tracks south of the northbound platform.

BMT Broadway Line platforms
The 14th Street–Union Square station is an express station on the BMT Broadway Line that has four tracks and two island platforms. The N and Q trains stop here at all times. The R stops here at all times except late nights, while the W stops here during weekdays. The next station northbound is for local trains and  for express trains, while the next station southbound is  for local trains and  for express trains. The island platforms were originally 530 ft long but were extended to 615 ft in the early 1970s. Both platforms are 18 ft wide. The platforms are 30 ft below the street. At the southern end of each platform, three stairs and an elevator lead to the mezzanine, and one stair leads to the Canarsie Line platforms. At the northern end of each platform, two stairs lead to the mezzanine.

The tunnel is covered by a U-shaped trough that contains utility pipes and wires. The bottom of this trough has a concrete foundation no less than 4 in thick. Each platform consists of 3 in concrete slabs, beneath which are drainage basins. The platforms have I-beam columns spaced every 15 ft; these columns are placed 3 ft from the platform edge. Additional columns between the tracks, spaced every 5 ft, support the jack-arched concrete station roofs. The trackside walls also contain exposed I-beam columns, dividing the trackside walls into 5-foot-wide panels.

The panels on the trackside walls consist of white square ceramic tiles. A frieze with multicolored geometric patterns runs atop the trackside walls, with a square mosaic tile placed inside the frieze at intervals of three panels. A band of narrow green tiles runs along the left and right edges of each white-tiled panel, as well as below the frieze and mosaic tiles. The mosaic tiles, by Jay Van Everen, are part of a work entitled The junction of Broadway and Bowery Road, 1828, a reference to the two streets that intersect at Union Square.

BMT Canarsie Line platform
The Union Square station (announced as 14th Street–Union Square on rolling stock) on the BMT Canarsie Line has two tracks and one island platform. The L train stops here at all times. The station is between to the west and  to the east. Various stairs and an elevator go up from the platform to the mezzanine. A stair also leads directly to either of the Broadway Line platforms. An escalator leads directly from the Canarsie Line platform to the IRT mezzanine.

The tunnel is covered by a U-shaped trough that contains utility pipes and wires. The bottom of this trough has a concrete foundation no less than 4 in thick. The platform consists of 3 in concrete slabs, beneath which are drainage basins. The platform contains I-beam columns spaced every 15 ft; these columns are placed between 28 and 42 in from the platform edge. The trackside walls also contain exposed I-beam columns, dividing the trackside walls into 5-foot-wide panels.

The panels on the trackside walls consist of white square ceramic tiles. A band of narrow green tiles runs along the left, right, and top edges of each white-tiled panel. A frieze with multicolored geometric patterns runs atop the trackside walls, with a hexagonal mosaic tile with the letter "U" placed inside the frieze at intervals of three panels.

Ridership
The 14th Street–Union Square station has historically ranked among the New York City Subway's busiest stations. Although the station had only 14 million passengers in 1913, this had increased to 40 million passengers per year in 1925 shortly after the opening of the Canarsie Line platform. By the early 1930s, the complex recorded 52 million annual passengers. The number of passengers entering the 14th Street–Union Square station annually declined over the years, from 22.702 million in 1963 to 17.168 million in 1973.

By 2011, the Union Square station was the fourth-busiest in the system, behind the Times Square, Grand Central, and Herald Square stations; at the time, an average of 107,352 riders entered the station every weekday. In 2019, the station had 32,385,260 boardings, making it the fourth-most-used station in the -station system. This amounted to an average of 101,832 passengers per weekday. Due to the COVID-19 pandemic in New York City, ridership dropped drastically in 2020, with only 10,830,712 passengers entering the station that year. However, it remained the system's fourth most-used station.

title: 14th Street–Union Square station


text:
User:Joergoyen

german version Jörg Oyen

profil

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

title: User:Joergoyen


text:
Stan Richards

Stanley Richardson, known professionally as Stan Richards (8 December 1930 – 11 February 2005), was an English television actor, best known for his portrayal of Seth Armstrong in the ITV soap opera Emmerdale.

Career
He played the role of Seth Armstrong from May 1978 until his death of emphysema in 2005, having been originally "signed" to the series for a run of just 4 weeks. He had previously acted in six episodes of Coronation Street as Arthur Stokes, having started his career aged 15 as a pub pianist.

Upon his death, his life and work were honoured at the British Soap Awards in 2005.

title: Stan Richards


text: User talk:83.109.231.7

title: User talk:83.109.231.7


text:
Wikipedia:Articles for deletion/EyeQ

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Joyous 19:40, Feb 19, 2005 (UTC)

EyeQ
Name used for some tech articles, not notable enough. Radiant! 11:37, 13 Feb 2005 (UTC)

 * Delete - not very helpful or encylodedic Brookie 12:00, 13 Feb 2005 (UTC)
 * It's an attempt at a disambiguation page. I think that the best way to create disambiguation pages is to let them grow naturally from the conflicts that arise between articles with the same names.  There's nothing wrong with creating a disambiguation page from scratch, of course, provided that one is also going to create the articles that it disambiguates amongst.  Had this page just been created hours ago and with some dangling hyperlinks on it, I'd have given the page the benefit of the doubt.  As it is, it has been five months and this page has seen effectively zero growth.  The dangling hyperlinks that were there were never filled in.  Indeed, the original article seemed to be a weak attempt to justify advertising the fourth item by masquerading as a disambiguation for the other three.  They are all simply non-notable brand names as far as I can tell.  There is, however, a record label "Eye Q" that appears to fulfil the WikiProject Music/Notability and Music Guidelines criteria, although I'll let others be the final judges of that.  The article could be completely rewritten to be about that.  Move to Eye Q if that happens.  Otherwise Delete and allow Eye Q to happen

 * Keep- and rewrite the article --¿? 16:53, 13 Feb 2005 (UTC)
 * Check this user's contributions: personal-attack pranks, vandalism, bogus inquiries about Nelson Mandela, etc. This may not be a genuine vote. -- 17:49, 13 Feb 2005 (UTC)
 * Delete - there's no article here, and no articles being disambiguated. -- Cyrius|✎ 17:21, 13 Feb 2005 (UTC)
 * Delete, this is a stealth ad. Wyss 01:58, 14 Feb 2005 (UTC)
 * Delete. No real content, it does look like an ad. Carrp | Talk 17:47, 15 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.

title: Wikipedia:Articles for deletion/EyeQ


text:
Kamen Rider Hibiki

Kamen Rider Hibiki (仮面ライダー) is a Japanese tokusatsu superhero television series, serving as the fifteenth installment in the popular Kamen Rider Series of tokusatsu programs. It is a joint collaboration between Ishimori Productions and Toei. Kamen Rider Hibiki first aired on January 30, 2005 and aired its final episode on January 22, 2006. It aired as a part of TV Asahi's Super Hero Time along with Mahō Sentai Magiranger.

This series is noted for introducing new themes and styles yet unseen in other shows. The catchphrase for the series is: "To us, there are heroes." (ぼくたちには、ヒーローがいる). Kamen Rider Hibiki is the first Kamen Rider Series to be broadcast in a high-definition format.

Plot
The Kamen Riders, known as Oni, battle man-eating beasts called Makamou with "pure sound". One of the Oni, a man named Hibiki, ends up having a "teacher-and-apprentice"-like relationship with Asumu Adachi, a young boy unsure of himself and is at a crossroads in his life as he transitions to high school. Asumu learns to be an adult through watching Hibiki and the other Oni as they all train together to hone their skills in fighting the Makamou and the homunculi aiding them. However, the sudden rise of Makamou numbers proves to be a prelude to an upcoming calamity.

Takeshi
Takeshi (猛士) is a secret organization based in Yoshino, Nara, having been established two centuries ago as a partnership between the Oni and a select group of humans to defend Japan from the Makamou. In the present day, Takeshi has offices across Japan composed of Oni and a backup team that provided intelligence and support.

The combatant agents of Takeshi are known as Oni, who have long protected humans from the Makamou for centuries. The title of every Oni bears the -ki suffix (鬼), which is semantically identical to "Oni" in Japanese language. It also has some resemblance with the real name of the Oni.

While transformed, each Oni equips with three types of respective Ongekitai (音撃帯) utility belt to be compatible with their personal Ongeki Weapons (音撃兵器) for the finishing moves:
 * Ongekiko (音撃鼓) can only be used by Percussion instrument user Oni.
 * Ongekimei (音撃鳴) can only be used by Wind instrument user Oni.
 * Ongekishin (音撃震) can only be used by String instrument user Oni.

 * Hibiki (ヒビキ)
 * Real name Hitoshi Hidaka (日高 仁志), Hibiki is among the most seasoned Oni with a strong sense of ethics and believes in constantly training oneself to keep up with their strength while being somewhat of a mentor figure. He takes Asumu under his wing, helping in any way that includes giving him needed advice. Using the Transformation Tuning Fork Onkaku (変身音叉・音角), he transforms into Kamen Rider Hibiki and use his Ongekibou Rekka (音撃棒・烈火) drumsticks as bludgeoning weapons. He later acquires the ability to become Hibiki Kurenai (響鬼紅) from his summoning training, and then Armed Hibiki (響鬼) with a modified ancient vocal weapon known as the Armed Saber.

 * Ibuki (イブキ)
 * Real name Iori Izumi (和泉 伊織), he is a composed member of an Oni family that oversee Takeshi's Yoshino headquarters and takes that position of protecting others and taking extremely dangerous missions with pride. But Ibuki gradually begins fearing death while realizing he was not as strong as he assumed himself to be, though he musters the courage to help Hibiki during the Orochi event. Using the Transformation Oni Whistle Onteki (変身鬼笛・音笛), he can transform into Kamen Rider Ibuki (仮面ライダー威吹鬼) and use his Ongekikan Reppu (音撃管・烈風) trumpet gun as a weapon.

 * Akira Amami (天美 あきら)
 * Ibuki's apprentice, who wanted to become an Oni out of revenge after her parents were killed by Makamou. While able to become an Oni, she eventually gives up her goal of being an Oni following her time with Shuki and resumes a normal life.

 * Todoroki (トドロキ)
 * Real name Tomizo Todayama (戸田山 登己蔵), he was originally an apprentice to Zanki who resolved to make a name for himself as the present-day Kamen Rider Todoroki (仮面ライダー轟鬼) rather than inherit his master's title. To transform, Todoroki uses the Transformation Oni String Onjo (変身鬼弦・音錠) bracelet. After becoming an official Oni, Todoroki is given his mentor's Ongekigen Retsurai (音撃弦・烈雷) guitar for his own.

 * Zanki (ザンキ)
 * Real name Zaoumaru Zaitsuhara (財津原 蔵王丸), he is among the most seasoned of the Oni with Todoroki as his apprentice. Using the Transformation Oni String Onka (変身鬼弦・音伽) bracelet, he can transform into Kamen Rider Zanki (仮面ライダー斬鬼) and uses his OngekiShingen Retsuzan (音撃真弦・烈斬) guitar as his weapon. Due to an injury he suffered from mentor Shuki during his days as her apprentice, Zanki resolves to serve as Todoroki's support while his apprentice takes over his duties as an Oni. While he ended up dead when forced to transform again, he uses a forbidden spell Shuki taught him to remain among the living until Todoroki is able to stand on his own two feet.

 * Ichiro Tachibana (立花 勢地郎)
 * The current head official of Takeshi's Kantō branch and father of the Tachibana sisters, a cheerful man who gives the Oni under him thoughtful advice while sending them out on their missions while having a personal library where he researches the Makamou.

 * Kasumi Tachibana (立花 香須実):
 * The eldest Tachibana sister, a very intelligent individual who usually acts as a field support by providing the Oni supplies and extra Disc Animals.

 * Hinaka Tachibana (立花 日菜佳):
 * The youngest Tachibana sister, a cheerful girl who usually hangs around Takeshi Headquarters to track the Makamou and rarely goes out into the field.

 * Midori Takizawa (滝澤 みどり)
 * Takeshi's equipment and weapons designer. She is responsible for creating the sound weapons for the Oni and the Disc Animals. She is an old friend of Hitoshi, who has been friends since childhood and joined Takeshi to aid him once he became the current Hibiki.

 * Konosuke Kogure (小暮 耕之助)
 * The head of Takeshi's weapon design section and Midori's mentor, a former Oni who is said to have defeated twenty Makamou single-handedly. He is also a singer in his spare time. Much of Takeshi, including Ichiro, fears him because of his strict disciplinary personality (with the exception of a few people). When he is angered, he chases his "victim" and hits them with a paddle. He also travels using a motorcycle with the newly improved Armed Saber which he made and was almost too powerful for any Oni to control, causing them to lose their transformation abilities for a month. When Torodoki and Hibiki were affected by the Armed Saber, Konosuke trained the two with his special training to improve their powers. The training, utilizing energy from the gut while singing, paid off for Hibiki because it enabled him to wield the Armed Saber. After that, Konosuke left for Yoshino.

Others

 * Asumu Adachi (安達 明日夢)
 * A high school student who Hibiki took under his wing for advice and decides to become his apprentice before resolving to live a normal life and support Hibiki instead.

 * Hitomi Mochida (持田 ひとみ)
 * Asumu's classmate and Todoroki's cousin.

 * Kyosuke Kiriya (桐矢 京介)
 * A high school student who becomes Asumu's rival after becoming an apprentice to Hibiki. After Asumu stepped down from becoming an Oni, Kyosuke became both Hibiki's only apprentice and a full-fledged Oni a year after the events of Orochi.

 * Ikuko Adachi (安達 郁子)
 * Asumu's mother who works as a taxi driver.

 * Shuki (シュキ)
 * Real name Shiori Shinagawa (品川 栞), Shuki is a former Oni with a knowledge of Oni lore who uses ancient Oni techniques that include the Firebird shikigami and means to appear in her early 30s. Unlike the other Oni who fight the Makamou to protect humans, Shuki's motivation was to track down and kill the Makamou Notsugo after it slaughtered her family years ago. Because of her personal vendetta, and inflicting her former apprentice Zanki with a crippling injury when her chance to kill Notsugo presented itself, Shuki was stripped of her Oni title as she was being gradually consumed by her Oni power. Shuki resurfaced years later in a suit of Oni Armor (鬼の鎧) before stealing Todoroki's Onjo to resume her form as Kamen Rider Shuki (仮面ライダー朱鬼), taking Akira as her apprentice due to their similarities. Shuki succeeds in exacting her revenge on Natsugo by sacrificing herself so Zanki can kill it, and Shuki requesting Zanki to bury her under flowers to conceal her true face.
 * Among making many changes to the Kamen Rider look, Kamen Rider Hibiki introduced Kamen Rider Shuki, the third officially recognized female Heisei Kamen Rider in a Kamen Rider series after Kamen Rider Femme from Kamen Rider Ryuki and Kamen Rider Larc from Kamen Rider Blade.

Douji and Hime
The term used for a pair of homunculi servants that aid a Makamou, revealed to be clones created by a couple known as the "Man and Woman of the Western-Style House" (洋館の男女), who are the antagonists of most of the series despite preferring to act from behind the scenes. It is assumed they were humans who achieved a means of immortality long ago and have been modifying the Makamou to wipe out the Oni and destroy humanity. The Douji (童子) are the clones of the Man while the Hime (姫) are clones of the Woman, the Parent clones who care for the Makamou having swapped voices and the ability to transform into humanoid versions of their "children". The Parents are created by Kugutsu (クグツ) clones, the ones in black trench coats creating the Giant-Type Makamou Parents with the black Kugutsu Hime providing them with armor modification, while the ones in white robes create the Summer-Type Makamou Parents. The Kugutsu were executed by Super Douji and Super Hime. Eventually, the Man and Woman are forced into a ceasefire with the Oni as the Makamou were becoming too uncontrollable during the Orochi Phenomenon. A year after the Orochi Phenomenon was stopped, they created the Makamou Satori to abduct an ideal human (Hitomi) so they can use her to create more stable clones. At the end of the series, they are revealed to be the clones of the "Mysterious Man and Woman" (謎の男女), who still need them to carry on their work.

 * Super Douji (スーパー童子) and Super Hime (スーパー姫)
 * The "perfected" version of the Douji and Hime clones that replace the obsolete clones in supporting Makamou, originally childish in personality before they "matured" into homicidal psychopaths wanting to taste Oni blood. But they need to eat a special "armor orb" at a regular basis to prolong their lives. During the Orochi Phenomenon, the clones started to develop a sense of self as they begin, with Super Hime starting to question their existence and their creators' intent, to Super Douji's annoyance. After being told to protect the Oni, they attempted a rebellion against their creators' will which resulted in them dying from losing the method that prolonged their short lives.

Makamou
The regular antagonists of the series; the Makamou (魔化魍) are an assortment of monstrous creatures that usually dwell in the rural areas and consume human beings as food. Chimerical in appearance with their size and shape depending on the environment they are born in, and serving as the basis of the yōkai myths, the Makamo are a naturally created phenomena though some have been modified by the Man and Woman to be stronger and unpredictable. But the Makamou can destabilize and explode when exposed to pure sound produced by the Oni's attacks.

In the final arc, a chain of events called the Orochi Phenomenon (オロチ現象) occurs. Marked by the appearance of Kodama's Forest, every known Makamou appears at the same time, increasing in massive numbers to the point where not even the Man and Woman can control them. By the climax, the Makamou start to dissolve into a purple miasma and killing by the hundreds. Hibiki eventually stopped Orochi by performing the sealing ritual, dealing with a massive army of Makamou bent on stopping him from ending their era before it could begin. In the end, the Orochi was halted and Makamou numbers dwindled back to normal.

Giant-Type Makamo
The Giant-Type Makamou are most common type of Makamou, essentially daikaiju with heights that vary from 22 ft. to 75 ft. Makamou that fall under this listing include Tsuchigumo (ツチグモ) and Bakegani (バケガニ).

Summer-Type Makamou
The Summer-Type Makamou are human-sized Makamou that normally appear during the summer, apparently starting the Japanese legend of ghosts and yōkai appearing on Earth during the summer. While the Summer-Type Makamou lack in size, they make it up in their ability to replicate themselves in large numbers and when one is destroyed they can easily be replaced. The key to destroying them is to destroy the original so no more replicates can be created. The Ongekida finishers are the most efficient way of destroying them.

Experimental Type Makamou
The Experimental-Type Makamou are Makamou developed by the Man and Woman to suppress the other two types, modified to be resistant to Oni attacks after the Man and Woman analyzed the Armed Saber.

Kodama
The Kodama (コダマ) is a tree-like Makamou whose appearance marks the beginning of an Orochi event, able to traps its victims within a forest it spawns. Todoroki was dispatched to investigate, only to be ambushed by a wooden puppet Kodama created. The puppet managed to overpower Armed Hibiki and drive the Oni out of its forest. The Kodama later reappeared, trapping Ibuki and Kasumi, whom the monster intended to eat. While Ibuki and Todoroki battle the medium, Asumu and Kyosuke find Kodama and manage to free Kasumi from it, the medium feeling its master's pain before being quickly destroyed by Ibuki while Kodama is destroyed by Armed Hibiki.

Development
The Kamen Rider Hibiki trademark was registered by Toei on October 21, 2004.

Kamen Rider Hibiki began with Shigenori Takatera as the Toei producer, however, Shinichiro Shirakura, who though having participated in other Heisei Kamen Rider series, had no involvement whatsoever in the Hibiki production, was appointed producer of the film Kamen Rider Hibiki & the Seven Senki, eventually replacing Takatera in the TV production from episode 30. The writing staff also changed; Tsuyoshi Kida and Shinji Ōishi were replaced by Toshiki Inoue and Shōji Yonemura, who had worked with Shirakura on Sh15uya and other Heisei Kamen Rider series.

In addition, personalities such as Sensha Yoshida, a renowned manga artist; Hiroshi Yamamoto, a video game designer; Masao Higashi, a seasoned television and movie critic; and many others published severe criticisms in their personal blogs because of this. Even the show's star, Shigeki Hosokawa, who portrayed Hibiki, stated in his personal website that Inoue's scripts "needed adjustments" and that this whole staff change was "fraudulent". With the first production staff, Hosokawa would join the writers' meetings and give suggestions, however Hosokawa could not give his opinion in the second production staff meetings due to time restraints.

In an interview published on TV Asahi's main website, Hosokawa stated that the script for the final episode was rewritten on the final day of filming. He later said that the script was sent in so late that it arrived on set as the final battle was being filmed. This finale was scrapped and then a new ending that, according to Hosokawa, was nothing like the intended ending, was filmed. Later in the interview, Hosokawa said that the Oni suit used by Kyosuke was a kitbash of two new suits made especially for the characters of Asumu and Kyosuke. Hosokawa said that this was the most upsetting change to him as the final script had been rewritten six times at that point and all but the filmed version contained both Asumu and Kyosuke becoming Oni.

In January 2006, at the Kamen Rider Super Live, Hosokawa stated that the series was "essentially an incomplete process" and that "it should not have ended that way". Mitsu Murata, who portrayed the Douji characters, declared on his blog: "I cannot forgive them, I want to continue his idea", complaining about the removal of Takatera as producer. These declarations caused an unprecedented storm within the professional tokusatsu market and many of Toei's executives were berated for allowing a series to be handled in such a manner.

There has never been any official statement from Toei, but many critics point out several facts might have caused it, the main reason being the low toy sales. It is not usual for a Toei production to have two different producers for the TV series and the movie. It is likely that a different producer was appointed for the movie because Toei was suffering from schedule problems with Takatera.

Changes
 * Asumu's opening narration at the start of every episode was removed starting with episode 30.
 * A new opening was introduced in episode 34 and following.
 * The use of kanji being flashed on screen during scenes was removed altogether by episode 30.
 * The ending sequence was removed altogether.
 * The characters of Kyosuke Kiriya and Shuki were introduced to the series.
 * Originally Eiki and Shouki were both supposed to be the main cast members, but had their parts completely removed.
 * The fire-breathing (Onibi) and the clawed Oni (Onizume) abilities' sequences were completely removed along with Ibuki opening his mouth for his attack. The Makamou that opened their mouths too wide or spurted liquids were also removed. There had been complaints about these sequences from parent advocacy groups who claimed that they scared children.
 * Things as complicated-to-animate CG Makamou and shooting in mountains were almost entirely reduced probably due to cost issues, leading critics to believe that Takatera was forcefully removed from the project due to his unwillingness to change his script to adapt to these changes.

Film
The movie spin-off of the 2005 Kamen Rider series, entitled Kamen Rider Hibiki & The Seven Senki the Movie (劇場版 仮面ライダー響鬼と7人の戦鬼) was released on September 3, double-billed with Mahō Sentai Magiranger the Movie: Bride of Infershia. The film takes place in the Warring States Period, serves as a prequel to the Makamou war, and features five movie-only Oni known as Kabuki, Kirameki, Habataki, Nishiki, and Touki.

Hyper Battle DVD
In Kamen Rider Hibiki: Asumu Transform! You Can Be an Oni, too!! (仮面ライダー響鬼 明日夢変身！キミも鬼になれる！！), Asumu Adachi imagines if he could be like Kamen Rider Hibiki, and are approached by talking Disc Animals who teach him how to be like Hibiki, eventually allowing Asumu to transform into Kamen Rider Armed Hibiki. Kamen Rider Sabaki also appears in the DVD.

Novels

 * Kamen Rider Hibiki: Compass to Tomorrow (仮面ライダー響鬼 明日への), written by Osamu Inamoto, is a novelization of episodes 1 - 6. The novel followed relatively the same plot as the TV series but added new characters and enemies towards the end of its run. The novel was released in July 2005.
 * Kamen Rider Hibiki (仮面ライダー響鬼), written by Tsuyoshi Kida, is part of a series of spin-off novel adaptions of the Heisei Era Kamen Riders. The novel was released on May 23, 2013.

Video game
Kamen Rider Hibiki was released by Bandai for the PlayStation 2 on December 1, 2005. It featured a unique cross compatibility with the Taiko no Tatsujin Tatacon controller, where the taiko-like controller could be used in the rhythm game-like sections of Hibiki. It was also released alongside a special edition of the Taiko no Tatsujin series which included the theme songs of the Kamen Rider Hibiki TV show ("Kagayaki" and "Shōnen yo"). A release for the GameCube was planned, but ultimately scrapped.

Manga
The S.I.C. Hero Saga side story for Hibiki is titled Masked Rider Hibiki: Seven Ogres (MASKED RIDER HIBIKI -SEVEN OGRES-), which is an alternate telling of the film Hibiki & The Seven Senki. It features the original character Kamen Rider Armed Hibiki (Sengoku Period ver.) (仮面ライダー装甲響鬼（戦国時代ver.）). The Seven Ogres storyline ran in the June through September 2006 issues of Monthly Hobby Japan magazine.

 * Chapter titles
 * 1) Takeshi (猛士)
 * 2) Kabuki (歌舞鬼)
 * 3) Kurenai (紅)
 * 4) Orochi (オロチ)

Cast

 * Hibiki: Shigeki Hosokawa (細川 茂樹)
 * Asumu Adachi: Rakuto Tochihara (栩原 楽人)
 * Kasumi Tachibana: Mayu Gamō (蒲生 麻由)
 * Hinaka Tachibana: Miyuki Kanbe (神戸 みゆき)
 * Hitomi Mochida: Erika Mori (森 絵梨佳)
 * Akira Amami: Nana Akiyama (秋山 奈々)
 * Ibuki: Jouji Shibue (渋江 譲二)
 * Todoroki: Shingo Kawaguchi (川口 真五)
 * Zanki: Kenji Matsuda (松田 賢二)
 * Kyosuke Kiriya: Yūichi Nakamura (中村 優一)
 * Douji, Kugutsu, Man of the Western-Style House, Mysterious Man, Parent Hime (Voice): Mitsu Murata (村田 充)
 * Hime, Kugutsu, Woman of the Western-Style House, Mysterious Woman, Parent Douji (Voice): Sei Ashina (芦名 星)
 * Ikuko Adachi: Kaoru Mizuki (水木 薫)
 * Midori Takizawa: Masako Umemiya (梅宮 万紗子)
 * Ichiro Tachibana: Atomu Shimojō (下條 アトム)
 * Next Preview Narration: Kazuya Nakai (中井 和哉)
 * Junction Narration: Kouji Nakata (中田 浩二)

Guest cast

 * Tsutomu Tsumura (25-27): Kento Shibuya (渋谷 謙人)
 * Konosuke Kogure (32, 33): Akira Fuse (布施 明)
 * Shuki (36, 37): Reiko Kataoka (片岡 礼子)

International Broadcasts
In the Philippines, it was aired on TV5 with a Tagalog dub as Masked Rider Hibiki from 2009 to 2010.

Songs

 * Opening themes
 * "Kagayaki" (輝)
 * Composition & Arrangement: Toshihiko Sahashi
 * Episodes: 1 - 33, 48
 * "Hajimari no Kimi e" (始まりの君へ)
 * Lyrics: Shoko Fujibayashi
 * Composition & Arrangement: Toshihiko Sahashi
 * Artist: Akira Fuse
 * Episodes: 34 - 47

 * Ending theme
 * "Shōnen yo" (少年よ)
 * Lyrics: Shoko Fujibayashi
 * Composition & Arrangement: Toshihiko Sahashi
 * Artist: Akira Fuse
 * Episodes: 1 - 33, 48

title: Kamen Rider Hibiki


text:
Talk:McDonald's Monopoly

Time of year?
Do we have the dates of each of the promotions? I’m curious if it’s usually in the fall, spring, summer, etc? gujamin (talk) 19:46, 17 September 2019 (UTC) (Still a question gujamin (talk) 22:02, 10 October 2022 (UTC))

Year of first game?
I have no way to prove this but I know the game started prior to when this article states. I worked for McDonald's 1980-1983 in Florida as a crew person and swing manager and I distinctly remember receiving boxes about the size of French fry cases filled with loose, paperboard monopoly game pieces. You would tear off the ends and then open them up to reveal the prize. The prizes ranged from food items up to I think the grand prize was $50,000. You had to either buy something to get a game piece or you could ask for one game piece but you had to mail a letter to the company with a stamped self addressed envelope and they would send you one game piece for free. This was to get around gambling laws. I can't find any information about this on line. But I know we had them and that was the only time I ever worked for that company. What am I missing?

title: Talk:McDonald's Monopoly


text:
Gruesome Twosome

Gruesome Twosome may refer to:
 * A Gruesome Twosome, a 1945 Warner Bros. Merrie Melodies cartoon featuring Tweety Bird
 * The Gruesome Twosome (1967 film), film directed by Herschell Gordon Lewis
 * The Gruesome Twosome in the Creepy Coupe 02, recurring characters in the animated 1968 Hanna-Barbera series, Wacky Races
 * The Gruesome Twosome Tour, a 2010 concert tour featuring Rob Zombie and Alice Cooper
 * "Gruesome Twosome", a 1961 episode of The Dick Tracy Show
 * A nickname for Frank and Charlie, from the TV series It's Always Sunny in Philadelphia

title: Gruesome Twosome


text: Category:Stellar evolution

title: Category:Stellar evolution