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Filter bank

In signal processing, a filter bank (or filterbank) is an array of bandpass filters that separates the input signal into multiple components, each one carrying a sub-band of the original signal. One application of a filter bank is a graphic equalizer, which can attenuate the components differently and recombine them into a modified version of the original signal. The process of decomposition performed by the filter bank is called analysis (meaning analysis of the signal in terms of its components in each sub-band); the output of analysis is referred to as a subband signal with as many subbands as there are filters in the filter bank. The reconstruction process is called synthesis, meaning reconstitution of a complete signal resulting from the filtering process.

In digital signal processing, the term filter bank is also commonly applied to a bank of receivers. The difference is that receivers also down-convert the subbands to a low center frequency that can be re-sampled at a reduced rate. The same result can sometimes be achieved by undersampling the bandpass subbands.

Another application of filter banks is signal compression when some frequencies are more important than others. After decomposition, the important frequencies can be coded with a fine resolution. Small differences at these frequencies are significant and a coding scheme that preserves these differences must be used. On the other hand, less important frequencies do not have to be exact. A coarser coding scheme can be used, even though some of the finer (but less important) details will be lost in the coding.

The vocoder uses a filter bank to determine the amplitude information of the subbands of a modulator signal (such as a voice) and uses them to control the amplitude of the subbands of a carrier signal (such as the output of a guitar or synthesizer), thus imposing the dynamic characteristics of the modulator on the carrier.

Some filter banks work almost entirely in the time domain, using a series of filters such as quadrature mirror filters or the Goertzel algorithm to divide the signal into smaller bands. Other filter banks use a fast Fourier transform (FFT).

FFT filter banks
A bank of receivers can be created by performing a sequence of FFTs on overlapping segments of the input data stream. A weighting function (aka window function) is applied to each segment to control the shape of the frequency responses of the filters. The wider the shape, the more often the FFTs have to be done to satisfy the Nyquist sampling criteria. For a fixed segment length, the amount of overlap determines how often the FFTs are done (and vice versa). Also, the wider the shape of the filters, the fewer filters that are needed to span the input bandwidth. Eliminating unnecessary filters (i.e. decimation in frequency) is efficiently done by treating each weighted segment as a sequence of smaller blocks, and the FFT is performed on only the sum of the blocks. This has been referred to as weight overlap-add (WOLA) and weighted pre-sum FFT. (see )

A special case occurs when, by design, the length of the blocks is an integer multiple of the interval between FFTs. Then the FFT filter bank can be described in terms of one or more polyphase filter structures where the phases are recombined by an FFT instead of a simple summation. The number of blocks per segment is the impulse response length (or depth) of each filter. The computational efficiencies of the FFT and polyphase structures, on a general purpose processor, are identical.

Synthesis (i.e. recombining the outputs of multiple receivers) is basically a matter of upsampling each one at a rate commensurate with the total bandwidth to be created, translating each channel to its new center frequency, and summing the streams of samples. In that context, the interpolation filter associated with upsampling is called synthesis filter. The net frequency response of each channel is the product of the synthesis filter with the frequency response of the filter bank (analysis filter). Ideally, the frequency responses of adjacent channels sum to a constant value at every frequency between the channel centers. That condition is known as perfect reconstruction.

Filter banks as time–frequency distributions
In time–frequency signal processing, a filter bank is a special quadratic time–frequency distribution (TFD) that represents the signal in a joint time–frequency domain. It is related to the Wigner–Ville distribution by a two-dimensional filtering that defines the class of quadratic (or bilinear) time–frequency distributions. The filter bank and the spectrogram are the two simplest ways of producing a quadratic TFD; they are in essence similar as one (the spectrogram) is obtained by dividing the time domain into slices and then taking a Fourier transform, while the other (the filter bank) is obtained by dividing the frequency domain in slices forming bandpass filters that are excited by the signal under analysis.

Multirate filter bank
A multirate filter bank divides a signal into a number of subbands, which can be analysed at different rates corresponding to the bandwidth of the frequency bands. The implementation makes use of downsampling (decimation) and upsampling (expansion). See and  for additional insight into the effects of those operations in the transform domains.

Narrow lowpass filter
One can define a narrow lowpass filter as a lowpass filter with a narrow passband. In order to create a multirate narrow lowpass FIR filter, one can replace the time-invariant FIR filter with a lowpass antialiasing filter and a decimator, along with an interpolator and lowpass anti-imaging filter. In this way, the resulting multirate system is a time-varying linear-phase filter via the decimator and interpolator. The lowpass filter consists of two polyphase filters, one for the decimator and one for the interpolator.

A filter bank divides the input signal $$x\left(n\right)$$ into a set of signals $$x_{1}(n),x_{2}(n),x_{3}(n),...$$. In this way each of the generated signals corresponds to a different region in the spectrum of $$x\left(n\right)$$. In this process it can be possible for the regions overlap (or not, based on application).

The generated signals $$x_{1}(n),x_{2}(n),x_{3}(n),...$$ can be generated via a collection of set of bandpass filters with bandwidths $$\rm BW_{1},BW_{2},BW_{3},...$$ and center frequencies $$f_{c1},f_{c2},f_{c3},...$$(respectively). A multirate filter bank uses a single input signal and then produces multiple outputs of the signal by filtering and subsampling. In order to split the input signal into two or more signals, an analysis-synthesis system can be used.

The signal would split with the help of four filters $$H_{k}(z)$$ for k =0,1,2,3 into 4 bands of the same bandwidths (In the analysis bank) and then each sub-signal is decimated by a factor of 4. In each band by dividing the signal in each band, we would have different signal characteristics.

In synthesis section the filter will reconstruct the original signal: First, upsampling the 4 sub-signals at the output of the processing unit by a factor of 4 and then filter by 4 synthesis filters $$F_{k}(z)$$ for k = 0,1,2,3. Finally, the outputs of these four filters are added.

Statistically optimized filter bank (Eigen filter bank)
A discrete-time filter bank framework allows inclusion of desired input signal dependent features in the design in addition to the more traditional perfect reconstruction property. The information theoretic features like maximized energy compaction, perfect de-correlation of sub-band signals and other characteristics for the given input covariance/correlation structure are incorporated in the design of optimal filter banks. These filter banks resemble the signal dependent Karhunen–Loève transform (KLT) that is the optimal block transform where the length L of basis functions (filters) and the subspace dimension M are the same.

Multidimensional filter banks

Multidimensional filtering, downsampling, and upsampling are the main parts of multirate systems and filter banks.

A complete filter bank consists of the analysis and synthesis side. The analysis filter bank divides an input signal to different subbands with different frequency spectra. The synthesis part reassembles the different subband signals and generates a reconstructed signal. Two of the basic building blocks are the decimator and expander. For example, the input divides into four directional sub bands that each of them covers one of the wedge-shaped frequency regions. In 1D systems, M-fold decimators keep only those samples that are multiples of M and discard the rest. while in multi-dimensional systems the decimators are D × D nonsingular integer matrix. it considers only those samples that are on the lattice generated by the decimator. Commonly used decimator is the quincunx decimator whose lattice is generated from the Quincunx matrix which is defined by $$\begin{bmatrix}\;\;\,1 & 1 \\-1 & 1 \end{bmatrix}$$

The quincunx lattice generated by quincunx matrix is as shown; the synthesis part is dual to the analysis part. Filter banks can be analyzed from a frequency-domain perspective in terms of subband decomposition and reconstruction. However, equally important is Hilbert-space interpretation of filter banks, which plays a key role in geometrical signal representations. For generic K-channel filter bank, with analysis filters $$\left\{ h_{k}[n]\right\} _{k=1}^{K} $$, synthesis filters $$\left\{ g_{k}[n]\right\} _{k=1}^{K}$$, and sampling matrices $$\left\{ M_{k}[n]\right\} _{k=1}^{K} $$. In the analysis side, we can define vectors in ''$$\ell^{2}(\mathbf{Z}^{d}) $$'' as

 * $$\varphi_{k,m}[n]\stackrel{\rm def}{=}h_{k}^{*}[M_{k}m-n]$$,

each index by two parameters: $$1\leq k\leq K$$ and $$m\in \mathbf{Z}^{2}$$.

Similarly, for the synthesis filters $$g_{k}[n]$$ we can define $$\psi_{k,m}[n]\stackrel{\rm def}{=}g_{k}^{*}[M_{k}m-n]$$.

Considering the definition of analysis/synthesis sides we can verify that $$c_{k}[m]=\langle x[n],\varphi_{k,m}[n] \rangle$$ and for reconstruction part:

 * $$\hat{x}[n]=\sum_{1\leq k\leq K,m\in \mathbf{Z}^{2}}c_{k}[m]\psi_{k,m}[n]$$.

In other words, the analysis filter bank calculate the inner product of the input signal and the vector from analysis set. Moreover, the reconstructed signal in the combination of the vectors from the synthesis set, and the combination coefficients of the computed inner products, meaning that

 * $$\hat{x}[n]=\sum_{1\leq k\leq K,m\in \mathbf{Z}^{2}}\langle x[n],\varphi_{k,m}[n] \rangle\psi_{k,m}[n]$$

If there is no loss in the decomposition and the subsequent reconstruction, the filter bank is called perfect reconstruction. (in that case we would have $$x[n]=\hat{x[n]}$$. Figure shows a general multidimensional filter bank with N channels and a common sampling matrix M. The analysis part transforms the input signal $$x[n]$$ into N filtered and downsampled outputs $$y_{j}[n],$$ $$j=0,1,...,N-1$$. The synthesis part recovers the original signal from $$y_{j}[n]$$ by upsampling and filtering. This kind of setup is used in many applications such as subband coding, multichannel acquisition, and discrete wavelet transforms.

Perfect reconstruction filter banks
We can use polyphase representation, so input signal $$x[n]$$ can be represented by a vector of its polyphase components $$x(z)\stackrel{\rm def}{=}(X_{0}(z),...,X_{|M|-1}(z))^{T} $$. Denote $$y(z)\stackrel{\rm def}{=}(Y_{0}(z),...,Y_{|N|-1}(z))^{T}.$$

So we would have $$y(z)=H(z)x(z)$$, where $$H_{i,j}(z)$$ denotes the j-th polyphase component of the filter $$H_{i}(z)$$.

Similarly, for the output signal we would have $$\hat{x}(z)=G(z)y(z)$$, where $$\hat{x}(z)\stackrel{\rm def}{=}(\hat{X}_{0}(z),...,\hat{X}_{|M|-1}(z))^{T} $$. Also G is a matrix where $$G_{i,j}(z)$$ denotes ith polyphase component of the jth synthesis filter Gj(z).

The filter bank has perfect reconstruction if $$x(z)= \hat{x}(z)$$ for any input, or equivalently $$I_{|M|}=G(z)H(z)$$ which means that G(z) is a left inverse of H(z).

Multidimensional filter design

1-D filter banks have been well developed until today. However, many signals, such as image, video, 3D sound, radar, sonar, are multidimensional, and require the design of multidimensional filter banks.

With the fast development of communication technology, signal processing system needs more room to store data during the processing, transmission and reception. In order to reduce the data to be processed, save storage and lower the complexity, multirate sampling techniques were introduced to achieve these goals. Filter banks can be used in various areas, such as image coding, voice coding, radar and so on.

Many 1D filter issues were well studied and researchers proposed many 1D filter bank design approaches. But there are still many multidimensional filter bank design problems that need to be solved. Some methods may not well reconstruct the signal, some methods are complex and hard to implement.

The simplest approach to design a multi-dimensional filter bank is to cascade 1D filter banks in the form of a tree structure where the decimation matrix is diagonal and data is processed in each dimension separately. Such systems are referred to as separable systems. However, the region of support for the filter banks might not be separable. In that case designing of filter bank gets complex. In most cases we deal with non-separable systems.

A filter bank consists of an analysis stage and a synthesis stage. Each stage consists of a set of filters in parallel. The filter bank design is the design of the filters in the analysis and synthesis stages. The analysis filters divide the signal into overlapping or non-overlapping subbands depending on the application requirements. The synthesis filters should be designed to reconstruct the input signal back from the subbands when the outputs of these filters are combined. Processing is typically performed after the analysis stage. These filter banks can be designed as Infinite impulse response (IIR) or Finite impulse response (FIR). In order to reduce the data rate, downsampling and upsampling are performed in the analysis and synthesis stages, respectively.

Existing approaches
Below are several approaches on the design of multidimensional filter banks. For more details, please check the ORIGINAL references.

Multidimensional perfect-reconstruction filter banks
When it is necessary to reconstruct the divided signal back to the original one, perfect-reconstruction (PR) filter banks may be used.

Let H(z) be the transfer function of a filter. The size of the filter is defined as the order of corresponding polynomial in every dimension. The symmetry or anti-symmetry of a polynomial determines the linear phase property of the corresponding filter and is related to its size. Like the 1D case, the aliasing term A(z) and transfer function T(z) for a 2 channel filter bank are:

A(z)=1/2(H0(-z) F0 (z)+H1 (-z) F1 (z)); T(z)=1/2(H0 (z) F0 (z)+H1 (z) F1 (z)), where H0 and H1 are decomposition filters, and F0 and F1 are reconstruction filters.

The input signal can be perfectly reconstructed if the alias term is cancelled and T(z) equal to a monomial. So the necessary condition is that T'(z) is generally symmetric and of an odd-by-odd size.

Linear phase PR filters are very useful for image processing. This two-channel filter bank is relatively easy to implement. But two channels sometimes are not enough. Two-channel filter banks can be cascaded to generate multi-channel filter banks.

Multidimensional directional filter banks and surfacelets

M-dimensional directional filter banks (MDFB) are a family of filter banks that can achieve the directional decomposition of arbitrary M-dimensional signals with a simple and efficient tree-structured construction. It has many distinctive properties like: directional decomposition, efficient tree construction, angular resolution and perfect reconstruction. In the general M-dimensional case, the ideal frequency supports of the MDFB are hypercube-based hyperpyramids. The first level of decomposition for MDFB is achieved by an N-channel undecimated filter bank, whose component filters are M-D "hourglass"-shaped filter aligned with the w1,...,wM respectively axes. After that, the input signal is further decomposed by a series of 2-D iteratively resampled checkerboard filter banks IRCli(Li)(i=2,3,...,M), where IRCli(Li)operates on 2-D slices of the input signal represented by the dimension pair (n1,ni) and superscript (Li) means the levels of decomposition for the ith level filter bank. Note that, starting from the second level, we attach an IRC filter bank to each output channel from the previous level, and hence the entire filter has a total of 2(L1+...+LN) output channels.

Multidimensional oversampled filter banks

Oversampled filter banks are multirate filter banks where the number of output samples at the analysis stage is larger than the number of input samples. It is proposed for robust applications. One particular class of oversampled filter banks is nonsubsampled filter banks without downsampling or upsampling. The perfect reconstruction condition for an oversampled filter bank can be stated as a matrix inverse problem in the polyphase domain.

For IIR oversampled filter bank, perfect reconstruction have been studied in Wolovich and Kailath. in the context of control theory. While for FIR oversampled filter bank we have to use different strategy for 1-D and M-D. FIR filter are more popular since it is easier to implement. For 1-D oversampled FIR filter banks, the Euclidean algorithm plays a key role in the matrix inverse problem. However, the Euclidean algorithm fails for multidimensional (MD) filters. For MD filter, we can convert the FIR representation into a polynomial representation. And then use Algebraic geometry and Gröbner bases to get the framework and the reconstruction condition of the multidimensional oversampled filter banks.

Multidimensional nonsubsampled FIR filter banks
Nonsubsampled filter banks are particular oversampled filter banks without downsampling or upsampling. The perfect reconstruction condition for nonsubsampled FIR filter banks leads to a vector inverse problem: the analysis filters $$\{H_{1},...,H_{N}\}$$ are given and FIR, and the goal is to find a set of FIR synthesis filters $$\{G_{1},...,G_{N}\}$$ satisfying.

Using Gröbner bases

As multidimensional filter banks can be represented by multivariate rational matrices, this method is a very effective tool that can be used to deal with the multidimensional filter banks.

In Charo, a multivariate polynomial matrix-factorization algorithm is introduced and discussed. The most common problem is the multidimensional filter banks for perfect reconstruction. This paper talks about the method to achieve this goal that satisfies the constrained condition of linear phase.

According to the description of the paper, some new results in factorization are discussed and being applied to issues of multidimensional linear phase perfect reconstruction finite-impulse response filter banks. The basic concept of Gröbner bases is given in Adams.

This approach based on multivariate matrix factorization can be used in different areas. The algorithmic theory of polynomial ideals and modules can be modified to address problems in processing, compression, transmission, and decoding of multidimensional signals.

The general multidimensional filter bank (Figure 7) can be represented by a pair of analysis and synthesis polyphase matrices $$H(z)$$ and $$G(z)$$ of size $$N\times M $$ and $$M\times N$$, where N is the number of channels and $$M\stackrel{\rm def}{=}|M| $$ is the absolute value of the determinant of the sampling matrix. Also $$H(z)$$ and $$G(z)$$ are the z-transform of the polyphase components of the analysis and synthesis filters. Therefore, they are multivariate Laurent polynomials, which have the general form:

 * $$F(z)=\sum_{k\in \mathbf{Z}^{d}}f[k]z^{k}=\sum_{k\in \mathbf{Z}^{d}}f[k_{1},...,k_{d}]z_{1}^{k_{1}}...z_{d}^{k_{d}}$$.

Laurent polynomial matrix equation need to be solve to design perfect reconstruction filter banks:

 * $$G(z)H(z)=I_{|M|}$$.

In the multidimensional case with multivariate polynomials we need to use the theory and algorithms of Gröbner bases.

Gröbner bases can be used to characterizing perfect reconstruction multidimensional filter banks, but it first need to extend from polynomial matrices to Laurent polynomial matrices.

The Gröbner-basis computation can be considered equivalently as Gaussian elimination for solving the polynomial matrix equation $$G(z)H(z)=I_{|M|}$$. If we have set of polynomial vectors

 * $$\mathrm{Module}\left\{ h_{1}(z),...,h_{N}(z)\right\} \stackrel{\rm def}{=}\{c_{1}(z)h_{1}(z)+...+c_{N}(z)h_{N}(z)\}$$

where $$c_{1}(z),...,c_{N}(z)$$ are polynomials.

The Module is analogous to the span of a set of vectors in linear algebra. The theory of Gröbner bases implies that the Module has a unique reduced Gröbner basis for a given order of power products in polynomials.

If we define the Gröbner basis as $$\left\{ b_{1}(z),...,b_{N}(z)\right\}$$, it can be obtained from $$\left\{ h_{1}(z),...,h_{N}(z)\right\} $$ by a finite sequence of reduction (division) steps.

Using reverse engineering, we can compute the basis vectors $$b_{i}(z)$$ in terms of the original vectors $$h_{j}(z)$$ through a $$K\times N$$ transformation matrix $$W_{ij}(z)$$ as:

 * $$b_{i}(z)=\sum_{j=1}^{N}W_{ij}(z)h_{j}(z),i=1,...,K$$

Mapping-based multidimensional filter banks
Designing filters with good frequency responses is challenging via Gröbner bases approach.

Mapping based design in popularly used to design nonseparable multidimensional filter banks with good frequency responses.

The mapping approaches have certain restrictions on the kind of filters; however, it brings many important advantages, such as efficient implementation via lifting/ladder structures. Here we provide an example of two-channel filter banks in 2D with sampling matrix

$$D_{1}=\left[\begin{array}{cc} 2 & 0\\ 0 & 1 \end{array}\right]$$ We would have several possible choices of ideal frequency responses of the channel filter $$H_{0}(\xi) $$ and $$G_{0}(\xi)$$. (Note that the other two filters $$H_{1}(\xi) $$ and $$G_{1}(\xi)$$ are supported on complementary regions.)

All the frequency regions in Figure can be critically sampled by the rectangular lattice spanned by $$D_1$$.

So imagine the filter bank achieves perfect reconstruction with FIR filters. Then from the polyphase domain characterization it follows that the filters H1(z) and G1(z) are completely specified by H0(z) and G0(z), respectively. Therefore, we need to design H0(x) and G0(z) which have desired frequency responses and satisfy the polyphase-domain conditions. $$H_{0}(z_{1},z_{2})G_{0}(z_{1},z_{2})+H_{0}(-z_{1},z_{2})G_{0}(-z_{1},z_{2})=2$$

There are different mapping technique that can be used to get above result.

Filter-bank design in the frequency domain
When perfect reconstruction is not needed, the design problem can be simplified by working in frequency domain instead of using FIR filters.

Note that the frequency domain method is not limited to the design of nonsubsampled filter banks (read ).

Direct frequency-domain optimization
Many of the existing methods for designing 2-channel filter banks are based on transformation of variable technique. For example, McClellan transform can be used to design 1-D 2-channel filter banks. Though the 2-D filter banks have many similar properties with the 1-D prototype, but it is difficult to extend to more than 2-channel cases.

In Nguyen, the authors talk about the design of multidimensional filter banks by direct optimization in the frequency domain. The method proposed here is mainly focused on the M-channel 2D filter banks design. The method is flexible towards frequency support configurations. 2D filter banks designed by optimization in the frequency domain has been used in Wei and Lu. In Nguyen's paper, the proposed method is not limited to two-channel 2D filter banks design; the approach is generalized to M-channel filter banks with any critical subsampling matrix. According to the implementation in the paper, it can be used to achieve up to 8-channel 2D filter banks design.

(6)Reverse Jacket Matrix

In Lee's 1999 paper, the authors talk about the multidimensional filter bank design using a reverse jacket matrix. Let H be a Hadamard matrix of order n, the transpose of H is closely related to its inverse. The correct formula is: $$HH^T=I_n$$, where In is the n×n identity matrix and HT is the transpose of H. In the 1999 paper, the authors generalize the reverse jacket matrix [RJ]N using Hadamard matrices and weighted Hadamard matrices.

In this paper, the authors proposed that the FIR filter with 128 taps be used as a basic filter, and decimation factor is computed for RJ matrices. They did simulations based on different parameters and achieve a good quality performances in low decimation factor.

Directional filter banks
Bamberger and Smith proposed a 2D directional filter bank (DFB). The DFB is efficiently implemented via an l-level tree-structured decomposition that leads to $$2^{l}$$ subbands with wedge-shaped frequency partition (see Figure). The original construction of the DFB involves modulating the input signal and using diamond-shaped filters. Moreover, in order to obtain the desired frequency partition, a complicated tree expanding rule has to be followed. As a result, the frequency regions for the resulting subbands do not follow a simple ordering as shown in Figure 9 based on the channel indices.

The first advantage of DFB is that not only it is not a redundant transform but also it offers perfect reconstruction. Another advantage of DFB is its directional-selectivity and efficient structure. This advantage makes DFB an appropriate approach for many signal and image processing usage. (e.g., Laplacian pyramid, constructed the contourlets, sparse image representation, medical imaging, etc.).

Directional Filter Banks can be developed to higher dimensions. It can be use in 3-D to achieve the frequency sectioning.

Filter-bank transceiver
Filter banks are important elements for the physical layer in wideband wireless communication, where the problem is efficient base-band processing of multiple channels. A filter-bank-based transceiver architecture eliminates the scalability and efficiency issues observed by previous schemes in case of non-contiguous channels. Appropriate filter design is necessary to reduce performance degradation caused by the filter bank. In order to obtain universally applicable designs, mild assumptions can be made about waveform format, channel statistics and the coding/decoding scheme. Both heuristic and optimal design methodologies can be used, and excellent performance is possible with low complexity as long as the transceiver operates with a reasonably large oversampling factor. A practical application is OFDM transmission, where they provide very good performance with small additional complexity.

title: Filter bank


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Lola Bunny

Lola Bunny is a Looney Tunes cartoon character portrayed as an anthropomorphic female bunny created by Warner Bros. Pictures. She is generally depicted as Bugs Bunny's girlfriend. She first appeared in the 1996 film Space Jam.

Honey Bunny
A precursor character with the name "Honey Bunny" first appeared in the Bugs Bunny's Album comic book in 1953. That character was depicted as Bugs' cousin, and was an explorer. The name was reused for a separate character intended as Bugs' love interest, who debuted in Bugs Bunny Comic Book number 108 on November 15, 1966. Robert McKimson designed the prototype version of the character with Phil DeLara redesigning Honey and using her as a semi-regular in the Looney Tunes Gold Key Comics in the 1960s.

Honey's physical appearance varied over time. She was originally drawn with lop ears with a bow and pale yellow-tan fur. A female rabbit resembling this design appears at the end of the 1979 television special Bugs Bunny's Thanksgiving Diet. Later merchandise using the character depicted her as more closely resembling Bugs, with grey fur but a more visibly feminine model and clothing, which was used until the early 1990s. She also made several video game cameos such as The Bugs Bunny Crazy Castle, Bugs Bunny's Birthday Ball, and The Bugs Bunny Crazy Castle 2. Honey was also mentioned in the book Looney Tunes: The Official Visual Guide.

In the mid-1990s, Warner Bros. started working on Space Jam (1996). There were plans to feature Honey Bunny. Some artists commented that Honey looked too much like Bugs, and eventually created Lola Bunny as a replacement.

Voice actors

 * Desirée Goyette (shows at Six Flags Astroworld)
 * June Foray (shows at Marriott's Great America and Six Flags amusement parks)
 * Bob Bergen (Bugs Bunny's Birthday Ball)

Space Jam
Lola first appeared in the 1996 film Space Jam. She is shown with tan fur, blonde bangs, and wears a cropped white tank top, purple/blue shorts and a matching rubber band on both ears like a ponytail. She has light blue eyes and a curvy figure. Lola is voiced by Kath Soucie in the film.

Lola was created to serve as a romantic interest for Bugs. As soon as she appears, Bugs is instantly smitten and several other male characters ogle her. Throughout the film, there is a sub-plot of Bugs attempting to win her affection. Lola reciprocates Bugs' feelings when she is nearly injured by one of the opponents in the basketball game, and Bugs saves her.

According to author Kevin Sandler, Lola's personality is a combination of the Hawksian woman, tomboy, and femme fatale archetypes. She is a straight-talking, no-nonsense woman who is extremely independent and confident. She is both highly athletic and extremely seductive in her behavior. Her catchphrase is "Don't ever call me 'Doll'". As animation director Tony Cervone explained, Lola was originally intended to be more of a "tomboy", but the production team feared that she would appear "too masculine" and chose to emphasize her "feminine attributes" instead.

Following Space Jam, Lola has regularly appeared in solo stories in the monthly Looney Tunes comic published by DC Comics.

The Looney Tunes Show
Lola also appears in The Looney Tunes Show, where she is voiced by Kristen Wiig. As opposed to her personality in Space Jam, she is portrayed as an eccentric, scatterbrained, endearing, and cheerful young rabbit who tends to obsess over Bugs, whom she refers to as "Bun-Bun". She is very dedicated to achieving goals, but oftentimes tends to forget what she was doing. Lola is mostly involved in bizarre situations, either created by herself or when accompanied by her friend Daffy.

Bugs nevertheless appears to enjoy having her around, even surprising himself when declaring himself her boyfriend in "Double Date" where she helped Daffy get the courage to ask Tina Russo out on a date. Later in the series, Bugs and Lola are seen in multiple episodes spending time with each other.

Lola's wealthy parents Walter (voiced by John O'Hurley) and Patricia (voiced by Grey DeLisle in season 1, Wendi McLendon-Covey in season 2) appear in the show as well.

Lola is the titular lead character in the straight-to-video spin-off film Looney Tunes: Rabbits Run. In this film, however, here she is voiced by Rachel Ramras but still retains her Looney Tunes Show personality and appearance.

Other appearances
Lola appears as a news reporter twice, both in the direct-to-video film Tweety's High-Flying Adventure and the games Looney Tunes Racing and Looney Tunes: Space Race. Kath Soucie reprises her voice in both.

In the series Baby Looney Tunes, as well as in its direct-to-video film Baby Looney Tunes' Eggs-traordinary Adventure, she is like her older counterpart in Space Jam, having tomboyish traits and an affinity for basketball. She is voiced by Britt McKillip.

In the post-apocalyptic action-comedy Loonatics Unleashed, her descendant Lexi Bunny is one of the main characters.

The series New Looney Tunes portrays Lola as a happy and friendly character but with a more serious personality almost like her original character from her debut. She appears in the segments "Hare to the Throne", "Lola Rider" and "Rhoda Derby". Her appearance is similar to The Looney Tunes Show, although she wears a different outfit. She always shows eccentricity and maintains her carefree attitude but very clever and outwits her opponents similar to Bugs. Her intrepid and adventurous side appears within some episodes, where she performs various sports.

Lola returned in Space Jam: A New Legacy with an updated character redesign, voiced by Zendaya although Soucie was initially announced to be reprising the role.

Lola appeared in the preschool series Bugs Bunny Builders, this time being voiced by Chandni Parekh, once again having a different voice. This version gained the most positive reception for her personality and her defying gender stereotypes by working hard on projects with her friends and acting as a true leader for a construction team.

Lola appears in Tiny Toons Looniversity, a reboot of Tiny Toon Adventures, this time voiced by Kari Wahlgren. She is seen with Babs Bunny and the other tiny toons together onscreen for the first time; her occupation within Acme Looniversity is implied to be sports coach, including other roles such as the head chef.

Voice actresses
Since Lola Bunny's first official appearance in 1996, the cartoon character has been voiced by a variety of voice actresses.

For the majority of the Looney Tunes series, Lola's character was voiced by Kath Soucie, an American voice actress. Soucie has voiced Lola in Space Jam (1996), Tweety's High-Flying Adventure (2000), Looney Tunes Racing (2000), Looney Tunes: Space Race (2000), the Looney Tunes webtoons (2001–2005), Looney Tunes Dance Off (2010), New Looney Tunes (2015–2020), Looney Tunes World of Mayhem (2018–present), and ACME Fools (2023).

From 2011 to 2014, American actress, comedian, writer, and producer Kristen Wiig, voiced Lola in The Looney Tunes Show. For her portrayal, Wiig received several nominations including a Primetime Emmy and won the People's Choice Voice Acting Award in 2011.

Others

 * Britt McKillip (Baby Looney Tunes, Baby Looney Tunes' Eggs-traordinary Adventure)
 * Jessica DiCicco (as Lexi (descendant of character) in Loonatics Unleashed)
 * Rachel Ramras (Scooby Doo & Looney Tunes Cartoon Universe: Adventure, Looney Tunes: Rabbits Run)
 * Carla Delaney (Daffy Duck Dance Off)
 * Zendaya (Space Jam: A New Legacy)
 * Chandni Parekh (Bugs Bunny Builders)
 * Kari Wahlgren (Tiny Toons Looniversity)

Reception and legacy
Since her first appearance, Lola quickly became a fan favorite and an iconic character in the Looney Tunes franchise. She has frequently been regarded as an animated sex symbol. In 2020, she was named the "most attractive cartoon character across the world" based on global search volume per month. Shannon Carlin of Bustle.com praised Lola from Space Jam, calling her "confident" and "talented". Dan Kahan of PopDust.com wrote that Lola was meant to be "ogled, both by in-world characters and viewers".

Lola from The Looney Tunes Show was well received by critics. CBR.com ranked Lola and Bugs No. 2 in their 10 Best Romances From Childhood Cartoons, stating that she is more "lively and vapid" than in Space Jam, and is "pretty cute and funny to watch". IGN.com praised the character, calling her a "crazy but charming character" with Kristen Wiig doing "a phenomenal job". WhatCulture calls Lola more interesting compared to her first appearance, stating that the "Lola of this show is scatter-brained, strange, and incredibly off-putting, making her leagues more interesting and funny as a result." Jonathan North of Rotoscopers.com complimented Lola from the same series, saying that it "brought out Lola's character far better than her debut in Space Jam did."

In 2019, after watching the original Space Jam for the first time, Malcolm D. Lee, the director for Space Jam: A New Legacy, said that he "felt off-guard on how Lola was too sexualized" and decided to turn her into the typical "strong woman" character of modern films, stating: "The original Lola Bunny was not politically correct...It's important to reflect the authenticity of strong, capable female characters." The new personality and look gained controversy, specifically among Twitter, as fans complained her appearance made her less physically appealing.

Author Kevin Sandler has said that Lola Bunny was created as a female merchandising counterpart to Bugs Bunny. However, Lola Bunny is not the only character to see a rise in contemporary popularity, as original Looney Tunes merchandise in general has gained nostalgic value.

Accolades
Kristen Wiig, who portrayed Lola Bunny in The Looney Tunes Show, received several nominations for her work and won the 1 Behind the Voice Actors Award.

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

title: Lola Bunny


text:
BMT Lexington Avenue Line

The BMT Lexington Avenue Line (also called the Lexington Avenue Elevated) was the first standard elevated railway in Brooklyn, New York, operated in its later days by the Brooklyn Rapid Transit Company, the Brooklyn–Manhattan Transit Corporation, and then the City of New York.

The original line, as it existed at the end of 1885, traveled from Fulton Ferry in Downtown Brooklyn east to East New York, passing over York Street, turning right onto Hudson Avenue (which is now a pedestrian walkway within the Farrugut Houses), left onto Park Avenue, right onto Grand Avenue, left onto Lexington Avenue, right onto Broadway, and slight left onto Fulton Street.

The structure above Broadway and Fulton Street is now part of the BMT Jamaica Line. The original structure east of Alabama Avenue in East New York still exists, although it has been rebuilt to support subway cars, which are heavier than the former elevated cars. The remaining elevated structure is the oldest such structure in the subway system.

History
The Brooklyn Elevated Railroad opened the line to passengers at 16:00 on May 13, 1885, with a five-cent fare for trains every five minutes. The original line ran from York and Washington Streets (near the Brooklyn Bridge) along York Street, Hudson Avenue, Park Avenue, Grand Avenue, Lexington Avenue, and Broadway to Gates Avenue. The three stations on Park Avenue had island platforms, while all the other stations had two side platforms.

The first extension, east to Manhattan Beach Crossing in East New York, named for the crossing of the Manhattan Beach Division of the Long Island Rail Road, opened at 09:00 on June 14, 1885. Arrangements were made with the LIRR for joint tickets to Manhattan Beach, as well as with the Grand Street, Prospect Park and Flatbush Railroad (Franklin Avenue Line of streetcars) and Brooklyn, Flatbush and Coney Island Railway (Brighton Beach Line) to Brighton Beach. Other connections at East New York included the Long Island Rail Road towards the east, the Brooklyn and Rockaway Beach Railroad (Canarsie Line), and the New York, Woodhaven and Rockaway Railroad. Shops, car houses, and other facilities were located at East New York, where the New York City Subway's East New York Yard still stands.

On September 5, 1885, the line was extended one more station to Alabama Avenue near the Howard House, a union station for the steam and horse railroads into East New York. Another east terminal at Van Siclen Avenue was opened on December 3, 1885, with the structure above Fulton Street extending east two more blocks to Schenck Street. After a half day of infrequent service, trains began serving the new station on a regular schedule the next morning.

Several weeks before the line was completed to Van Siclen Avenue, the western terminal at Fulton Ferry was opened at noon on November 11, 1885. This portion of the line was built above York Street to just shy of the bridge, where it turned northwest parallel to the bridge, not turning back west under the bridge until Plymouth Street at the East River. That same day, a covered walkway above Washington Street from the inbound platform of the York and Washington Streets station to the Brooklyn Bridge was opened.

Brooklyn Elevated Railroad leased the newer Union Elevated Railroad, which had yet to run a train, on May 13, 1887. However, the two companies, despite sharing large portions of their lines, remained technically separate, commonly called the "Brooklyn and Union Elevated Railroads", until they merged in October 1890 and kept the Brooklyn Elevated Railroad name.

On April 10, 1888, Union Elevated opened the first piece of the Myrtle Avenue elevated, from Adams Street at City Hall east over Myrtle Avenue to Grand Avenue, where it junctioned with the Brooklyn elevated. The company operated through to the end of the Brooklyn elevated at Van Siclen Avenue. Another branch operated by Union Elevated, the Broadway elevated from Gates Avenue northwest to Driggs Avenue in Williamsburg, opened on June 25, 1888. This was extended to Broadway Ferry on July 14, 1888. The Myrtle Avenue elevated was extended north over Adams Street to Sands Street at the Brooklyn Bridge on September 1, 1888, and the Union elevated began running between Sands Street and Van Siclen Avenue. Union Elevated opened the Hudson Avenue elevated, a branch of the Brooklyn elevated from the intersection of Hudson and Park Avenues south to the Long Island Rail Road's Flatbush Avenue terminal, on November 5, 1888, and began operating between Fulton Ferry and Flatbush Avenue.

Another piece of the Myrtle Avenue elevated, from the crossing of the Brooklyn elevated at Grand Avenue east to Broadway, opened on April 27, 1889. Trains on this route did not cross the line on Grand Avenue, but turned onto Grand Avenue and used the Brooklyn elevated to Fulton Ferry. Simultaneously, the original Brooklyn elevated route via Lexington Avenue to Fulton Ferry was discontinued, with all Lexington Avenue trains running over Myrtle Avenue to the Brooklyn Bridge, and passengers for the ferry required to transfer at Myrtle Avenue station via several stairways.

Effective December 9, 1889, a new service pattern went into effect, in which the structure above Park Avenue and its three stations, two of them located one long block north of Myrtle Avenue stations, were closed. Myrtle Avenue trains, which had used this structure since April 27, instead continued along Myrtle Avenue to Hudson Avenue, turning north there via a new junction into the Hudson Avenue elevated, closed north of Myrtle Avenue since shortly after it opened due to safety concerns with the at-grade crossing at Myrtle Avenue. Thus passengers transferring between the two lines could disembark at Navy Street and simply enter the next train on the other route. The company continued to operate one daily train, closed to passengers, over Park Avenue, "to satisfy, it is thought, legal requirements", according to the Brooklyn Daily Eagle.

The structure above Park Avenue, closed to passengers since late 1889, was finally removed in late 1891. The New York State Board of Railroad Commissioners approved its abandonment on late December 1891, and removal soon began of the entire portion on Park Avenue, from the Hudson Avenue Elevated east to Grand Avenue, as well as the portion above Grand Avenue north of the Myrtle Avenue Elevated. This was the only part of the New York City elevated system to be permanently closed without ever having been electrified. By August 9, 1900, the rest of the line was electrified with third rail.

An extension of the Brooklyn elevated east to Cypress Hills, over Fulton Street and Crescent Street, opened on May 30, 1893, and the Brooklyn Union elevated extended both Lexington Avenue Line and Broadway Line trains to the new terminal. This extension incorporated portions of the old structure over Park Avenue.

The original Brooklyn elevated over Hudson Avenue and York Street to Fulton Ferry, only used by Myrtle Avenue elevated trains after 1889, was closed on April 11, 1904.

On April 27, 1950 it was announced that the line would be demolished at the suggestion of the Board of Transportation and the Brooklyn Borough President John Cashmore. Cashmore, following the line's demolition, wanted to widen the street to become a major traffic artery. The demolition of the line was expected to save $781,000 annually. Patronage on the line had decreased to 7,337 daily passengers, and the fare booths on the line were closed between 9 P.M. and 5. A.M., requiring conductors to collect fares onboard. The last Lexington Avenue train ran at 21:00 on October 13, 1950, with a small celebration, 65 years after the line opened. Transportation Commissioner G. Joseph Minetti joked that "if we had this many passengers riding regularly we wouldn't have to shut it down." Demolition began on November 1. Former riders of the Lexington Avenue Line were encouraged to use bus service along Gates and DeKalb Avenues or to use the IND Crosstown Line subway.

Service patterns
The original service pattern was a single line from Fulton Ferry to East New York. On April 27, 1889, all Lexington Avenue trains began using the Myrtle Avenue elevated to Sands Street at the Brooklyn Bridge, while the old portion above Park Avenue, Hudson Avenue, and other streets to Fulton Ferry became part of the outer Myrtle Avenue service. The Park Avenue structure was last used on December 8, 1889, but Myrtle Avenue trains continued to use the line on Hudson Avenue to Fulton Ferry. All Lexington Avenue trains served Sands Street after 1889, but Myrtle Avenue trains began alternating between Fulton Ferry and Sands Street on April 10, 1899, in order to avoid the transferring of Myrtle Avenue passengers to trains bound for the bridge. Lexington Avenue trains were extended from Sands Street over the Brooklyn Bridge to Park Row in June 1898. This pattern remained until the line to Fulton Ferry closed on April 11, 1904.

From 1904 until the abandonment of service on October 13, 1950, the Lexington Avenue service pattern (labeled 12 after 1924) was relatively simple. Trains began at either Park Row in Lower Manhattan or Sands Street in Downtown Brooklyn, and ran along the Broadway elevated at least to East New York and sometimes to Jamaica.

Original line from Fulton Ferry
Beginning on April 27, 1889, all Lexington Avenue trains used the Myrtle Avenue elevated west of Myrtle Avenue station, and this line was only used by Myrtle Avenue trains.

Later line from the Brooklyn Bridge
Lexington Avenue trains were moved to this route on April 27, 1889, joining the old route just west of Myrtle Avenue station.

Demolished section
This section of the line closed in three stages. Service past Bridge–Jay Streets ended in 1944. Service on the section shared with the BMT Myrtle Avenue Line ended in 1969 when that line closed, 19 years after the BMT Lexington Avenue Line itself was demolished between Washington Avenue on the Myrtle Avenue Line and Gates Avenue on the Jamaica Line.

BMT Jamaica Line
Just before Gates Avenue, Lexington Avenue trains joined the BMT Jamaica Line. The section of the BMT Jamaica Line used by Lexington Avenue trains is now used by the. The former connection to the BMT Lexington Avenue Line can be seen just west of Gates Avenue.

title: BMT Lexington Avenue Line


text:
Talk:James Russell Lowell

older comments
This page really needs to be wikified. Added notice. -- KneeLess 04:54, 2 Feb 2005 (UTC)

needs sections Bluemoose 09:06, 11 Mar 2005 (UTC)

Lowell features as one of the principal characters in The Dante Club by Matthew Pearl. I'd like to suggest a link to biographies of Lowell, his uncle Robert Traill Spence and grandfather Keith Spence at http://www.buyorkney.com/roots/biographies/james_russell_lowell/.Merrydancer 10:11, 22 March 2007 (UTC)

 * This is not to 'merrydancer'.
 * Change " These writers usually used conventional forms and meters in their poetry, making them suitable for families"=== indicating poetry isn't normally suitable for families?? Of course it is! 98.123.126.45 (talk) 03:34, 6 June 2023 (UTC)
 * This is one of the most confusing comments I've ever seen on Wikipedia. If it's not a note to merrydancer, why did you reply to them? And also, it's been 16 years. Also, yes, conventional forms and meters make poetry more palatable for family readings. --Midnightdreary (talk) 12:19, 6 June 2023 (UTC)

Sidebar
Make Wikipedia articles consistent. Add in the top sidebar for this subject the standard summary of his political appointments.

Propagate this fix across all articles on persons in Wikipedia.

Jimlue (talk) —Preceding undated comment added 21:47, 2 December 2018 (UTC)
 * Sorry...What do you mean by "sidebar"? And, Wikipedia articles, by definition, are not entirely consistent, even if you want to "propagate this fix across all articles on persons on Wikipedia". I'm afraid It's doubtful your comment here would result in such massive edits. --Midnightdreary (talk) 01:14, 3 December 2018 (UTC)

James Russell Lowell - 1855.jpg}} to appear as POTD soon
Hello! This is a note to let the editors of this article know that File: will be appearing as picture of the day on December 22, 2019. You can view and edit the POTD blurb at Template:POTD/2019-12-22. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page so Wikipedia doesn't look bad. :) Thanks! Cwmhiraeth (talk) 10:32, 11 December 2019 (UTC)

Commemoration Ode?
Revised Lives : Whitman, Religion, and Constructions of Identity in Nineteenth-Century Anglo-American Culture by William Pannapacker says "Lowell was proclaimed by many critics to have written the greatest poetic summation of the Civil War and tribute to Lincoln in his “Commemoration Ode" " (p. 93). Is this the same one he presented at Harvard? Is it independently notable? Does it merit more of a mention here? Eddie891 Talk Work 23:57, 11 January 2021 (UTC)
 * It's certainly the same poem and that's some high praise... I for one find Lowell's "Commemoration Ode" tedious so I'm not sure it's a common reaction. --Midnightdreary (talk) 00:38, 12 January 2021 (UTC)
 * Looking further into this, Pannapacker cites Aaron, The Unwritten War p. 70 for that paragraph Looking at my copy of Aaron, I see nothing of the sort. However, I have found some pretty high praise including "PROBABLY most literary critics and lovers of verse, if they were asked to name the finest single poem by an American writer, would accord that distinction to James Russell Lowell's Commemoration Ode." Eddie891 Talk Work 01:37, 12 January 2021 (UTC)

 * Goodness... These "most literary critics and lovers of verse" need some better taste! --Midnightdreary (talk) 01:54, 12 January 2021 (UTC)

Heavily ungrammatical
Sorry to come at this from a linguistic point of view, but Lowell's writing isn't "ungrammatical"; it's nonstandard. Yes, I understand that his writing is boldly, proudly, and flagrantly representing a non-standard dialect, but that's not the same as being ungrammatical, which means something like "not conforming to grammatical rules." It is conforming to grammatical rules: those of a 19th-century Yankee dialect. Wolfdog (talk) 22:47, 23 March 2021 (UTC)
 * It's important that we're avoiding original research here so we must look to reliable sources. Unfortunately, I no longer have access to the source I originally cited when adding that phrasing so I can't confirm what it says. --Midnightdreary (talk) 01:21, 24 March 2021 (UTC)
 * Perhaps you were thinking of comedic re-spellings or eye-dialect spellings? Again, this is distinct from a lack of grammaticality. Here's a source that mentions this as a concept (though it just as much mentions Lowell's attentions to detail with his eye-spellings): source. Wolfdog (talk) 02:24, 24 March 2021 (UTC)
 * I don't know why you would ask what I was thinking. I added the material under dispute but it was not my own thinking. As I noted above, I am unable to recall what the original source's wording was and no longer have access to that source. --Midnightdreary (talk) 13:23, 24 March 2021 (UTC)
 * The copy of sullivan I have access to says (forgive the extended quote, don't want to omit context + not sure what was being cited) on p. 213:
 * "But Lowell's nature, as he said, was 'naturally joyous.' He knew he must really, and he did, building anew on the literary reputation already firmy established by 1848, certainly his most productive year. In 1848 alone, a year of revolution throughout Europe, appeared Lowell's two most important works, The Biglow Papers and A Fable for Critics. Phrased in the caustic, disarmingly ungrammatical Yankee dialect of one Hosea Biglow, the archetype of his no-nonsense rustic kin, The Biglow Papers, First Series, for all its humor, is a damning assault on the evils and pretensions of mid-nineteenth century America..."
 * There's more to the page, available on archive.org with free registration, but I think that's the relevant context. Eddie891 Talk Work 13:53, 24 March 2021 (UTC)
 * This is very helpful so thank you. My recommendation would be to quote verbatim (According to Sullivan, the book was written in "caustic, disarmingly ungrammatical Yankee dialect") to avoid any accusations of original research. --Midnightdreary (talk) 14:48, 24 March 2021 (UTC)
 * I sincerely appreciate your willingness to avoid OR fights -- thanks. Ha, I'm asking what you're thinking because we're both human beings. So: are you saying we should quote "caustic, disarmingly ungrammatical"? You're not worried that this will raise more questions than clarifications? (I suppose we could say The Biglow Papers, as one biographer describes, are "phrased in the caustic, disarmingly ungrammatical Yankee dialect" of the early 19th century.) Wolfdog (talk) 16:21, 24 March 2021 (UTC)
 * Forgive me, I thought you were asking me to interpret the definition of ungrammatical. I do think the phrasing you offered that quotes the original source is a fair compromise. If sources suggest different ways to describe it, I would recommend we also include those. --Midnightdreary (talk) 18:15, 24 March 2021 (UTC)
 * None seems to be as colorful as Sullivan's descriptions. This dissertation for example says the Papers are "replete with nonstandard spellings" and "quasi-phonetic spellings". This document speaks of phonetic spellings and Lowell's own inconsistencies, while aiming to be quite objective-sounding in tone. The original Google Books source I linked above mentions the use of deliberate misspellings and says Lowell "worked to capture the sounds, cadences, and distinctive perspectives of a vernacular Yankee mind-set". Does any of this appeal to your intentions? (Certainly, descriptions of the character using the dialect being a "country bumpkin" are mentioned in the sources.) Wolfdog (talk) 12:44, 25 March 2021 (UTC)
 * I think any and all of those would be fair play for inclusion. I'm also at the point where I wonder if having an article on The Biglow Papers is justified, considering these complications and, obviously, abundance of sources. --Midnightdreary (talk) 14:22, 25 March 2021 (UTC)
 * OK. Is there any reason to privilege the "caustic, disarmingly ungrammatical" phrase in particular? It looks like most of the sources focus on spelling. Wolfdog (talk) 02:17, 26 March 2021 (UTC)
 * I've tried out some new phrasing on the page. Let me know what you think. Wolfdog (talk) 21:40, 27 March 2021 (UTC)

Organizational structure
An editor has suggested a new organizational structure for this article (see version here), which creates a new section on "Personal life" rather than spattering those details chronologically throughout the biography. I'm posting here for some opinions from other editors and would love to hear more. --Midnightdreary (talk) 01:47, 8 March 2024 (UTC)

title: Talk:James Russell Lowell


text:
Taipei Fubon Bank

Taipei Fubon Bank is a bank based in Taiwan. It was founded on 1 January 2005 from a merger of Fubon Bank with TaipeiBank.

It is 100% held by Fubon Financial Holding Co., Ltd.

title: Taipei Fubon Bank


text:
Richard Hunt (puppeteer)

Richard Hunt (August 17, 1951 – January 7, 1992) was an American puppeteer, best known as a Muppet performer on Sesame Street, The Muppet Show, Fraggle Rock, and other projects for The Jim Henson Company. His roles on The Muppet Show included Scooter, Statler, Janice, Beaker, and Sweetums and characters on Sesame Street included Gladys the Cow, Don Music, and Forgetful Jones.

Early life
Hunt was born in The Bronx, New York. The family eventually moved to Closter, New Jersey some years later.

Hunt came from a family of performers. As a student in middle school and high school, he put on puppet shows for local children, and was a fan of the then-fledgling Muppets. After high school graduation, and a four-month stint of doing weather reports at a local radio station, Hunt pursued a meeting with Jim Henson. He cold-called from a payphone and was invited to audition.

Career
After he was hired to work on Sesame Street, Hunt mostly performed background characters. One of his first major performances was as Taminella Grinderfall in The Frog Prince, physically performing the character while Jerry Juhl portrayed the voice. Hunt performed Scooter and shared Miss Piggy with Frank Oz until the final quarter of the first season of The Muppet Show.

His characters on Sesame Street included Forgetful Jones, Placido Flamingo, Don Music, Gladys the Cow, and Sully; Hunt also briefly performed Elmo before Kevin Clash was cast in that role. On Fraggle Rock, Hunt's main role was the performing the facial expressions and voice of Junior Gorg; he also performed Gunge (one of the Trash Heap's barkers) as well as several one-shot or minor characters.

Hunt also worked as a director of several home video releases such as Sing-Along, Dance-Along, Do-Along and Elmo's Sing-Along Guessing Game, as well as an episode of Fraggle Rock. Hunt was close friends with fellow puppeteer Jerry Nelson. Several of their characters were paired, such as Nelson's Floyd Pepper with Hunt's Janice; the Two-Headed Monster; and Nelson's Pa Gorg to Hunt's Junior Gorg on Fraggle Rock.

Personal life
Hunt was gay. When Rudolf Nureyev, also openly gay, made a guest appearance on The Muppet Show, Nureyev bluntly flirted with Hunt backstage. Hunt was in a relationship with Nelson Bird, a painter from Alabama, until Bird's death in 1985.

Mark Hamill told the Milwaukee Journal Sentinel during a chat in November 2003 that he became friends with Hunt during his Muppet Show appearance, and that "[Hunt] became one of the best friends my family has ever had."

Death and legacy
On January 7, 1992, Hunt died of HIV/AIDS-related complications at Cabrini Hospice in Manhattan, aged 40. He was cremated, and some of his ashes were sprinkled over the flower beds at the Hunt Family home in Closter, New Jersey. The Muppet Christmas Carol was dedicated to his memory.

Following Hunt's death, the roles of Scooter and Janice were reassigned to David Rudman in 2008. The roles of Beaker and Statler, likewise, were reassigned to Steve Whitmire and Jerry Nelson, respectively, with Whitmire performing Statler full-time later in 2002. As of 2017, Beaker is now performed by Rudman, and Statler by Peter Linz. John Henson was cast as Sweetums shortly prior to Hunt's death, having initially been trained by Hunt for physical performances in the attraction Muppet*Vision 3D, before Matt Vogel was cast in the role in 2009.

On Sesame Street, Hunt's roles of Sully, Sonny Friendly, and the right head of the Two-Headed Monster were also reassigned to Rudman until the former two were eventually retired, while the role of Gladys the Cow is now performed by Jennifer Barnhart. The role of Don Music has been performed by Ryan Dillon since 2019.

For the 2022 series Fraggle Rock: Back to the Rock, Hunt's characters such as Junior Gorg, Gunge, and Turbo Doozer were taken over by Dan Garza, John Tartaglia, and Ali J. Eisner, respectively.

Hunt's biography, Funny Boy, written by Jessica Max Stein, was published by Rutgers University Press in March 2024.

title: Richard Hunt (puppeteer)


text:
The Mission to Seafarers

The Mission to Seafarers (formerly The Missions to Seamen) is a Christian welfare charity serving merchant crews around the world. It operates through a global Mission 'family' network of chaplains, staff and volunteers and provides practical, emotional and spiritual support through ship visits, drop-in seafarers centres and a range of welfare and emergency support services.

Work
The Mission to Seafarers is a mission society of the Anglican Communion which offers help and support to merchant seafarers. The charity provides its services through the chaplains that it appoints to port centres in over 50 countries. Ship visitors supported by volunteers, are able to give free advice about employment issues or personal problems, as well as offer help in maritime emergencies. Through its centres the Mission to Seafarers provides communications, stores, transport services and publishes a bi-monthly news digest for seafarers called The Sea.

Network
The Mission to Seafarers has operations in over 200 ports around the world. In over 120 of these ports, the Mission has seafarers' centres – known as Flying Angel Centres, or Flying Angel Clubs – which offer communications facilities and rest and relaxation areas, and in some cases, accommodation. Sometimes, seafarers' centres are provided in ecumenical partnership with other organisations such as the Catholic Stella Maris. The rest of the charity's presence is made up of part-time or full-time chaplains, who offer onboard support services to seafarers.

The Mission to Seafarers is a founding member of the International Christian Maritime Association (ICMA), and its members in Canada and the United States are also members of the North American Maritime Ministry Association (NAMMA).

Its central office is in the church of St Michael Paternoster Royal, College Hill, London EC4R 2RL. This church, founded by Sir Richard Whittington was rebuilt by Sir Christopher Wren, and contains carvings by Grinling Gibbons. The Church is open Monday to Friday 9am to 4pm excluding holidays.

History
The Mission to Seafarers has its roots in the work of Anglican priest, John Ashley who in 1835 was on the shore at Clevedon with his son who asked him how the people on ships in the Bristol Channel could go to church. Recognising the needs of the seafarers on the four hundred sailing vessels in the Bristol Channel, he created the Bristol Channel Mission. He raised funds, and in 1839 a specially designed mission cutter named Eirene was built with a main cabin which could be converted into a chapel for 100 people.

His work inspired similar ministries in the UK, and it was decided in 1856 that these groups should be formally organised under the name The Mission to Seamen Afloat, at Home and Abroad. In 1858, this name was changed to The Missions to Seamen, and the organisation adopted its Flying Angel logo, still in use to this day.

As shipping transitioned from sail to steam methods, there became a need for places for seafarers to go while they were ashore, as ships could now dock at quaysides because they no longer had to anchor at sea waiting for a favourable wind. In response, the Mission gradually opened centres so that the men could be offered light refreshments, reading and games rooms, good cheap accommodation and a chapel. The Mission now operates over 250 centres in the world.

Notable supporters
The president is Princess Anne. The Mission's secretary general, the Revd Andrew Wright, is the Archbishop of Canterbury's official spokesman on maritime affairs.

title: The Mission to Seafarers


text:
High energy ignition

High energy ignition, also known as H.E.I., is an electronic ignition system designed by the Delco-Remy Division of General Motors. It was used on all GM vehicles, at least in the North American market, from 1975 through the mid-1980s. There were many design variations over the years, and provisions for computer controls were added for some applications starting in the late 1970s. A predecessor system called "Unitized Ignition" was optional on 1972 and 1973 Pontiacs.

Most—but not all—HEI systems have the ignition coil mounted in the distributor cap. A control module and magnetic pickup are mounted in the distributor, in place of a conventional ignition system's breaker points and condenser.

Control modules
There are four basic types of HEI control modules: four-, five-, seven-, and eight-pin. The four-pin module was used on carbureted engines and uses conventional mechanical timing controls (vacuum and centrifugal advance mechanisms). The five-pin module was introduced in 1978 and was an early attempt at electronic timing control; it contains a provision for connecting a knock sensor. The seven- and eight-pin modules are used on early computer-controlled engines in conjunction with fixed-timing distributors, as the computer controls the ignition timing.

Upgrading
HEI distributors are a popular swap on older GM cars originally equipped with points and condenser type ignition systems. The HEI system produces a more powerful spark, which allows for a wider spark plug gap for surer ignition of a fuel/air mix that may not be optimal. The HEI setup has also become a popular swap into non-GM vehicles.

title: High energy ignition


text:
World Golf Championships

The World Golf Championships (WGC) were a group of annual professional golf tournaments played from 1999 through 2023 created by the International Federation of PGA Tours as a means of gathering the best players in the world together more frequently than the pre-existing four major championships. All WGC tournaments are official money events on the PGA Tour and the European Tour, and officially sanctioned by the Asian Tour, Japan Golf Tour, Sunshine Tour, and PGA Tour of Australasia.

The WGC tournaments offered comparable prize money to the major championships. In the pantheon of golf events, the WGCs ranked below the major championships and above most other competitions, although The Players Championship, promoted by the PGA Tour as the "fifth major", may also claim such status.

Despite the name, the World Golf Championships did not claim to crown a recognised 'world champion'.

The World Golf Championships came to an end as the PGA Tour announced the 2023 WGC Match Play would be the last WGC tournament. The COVID-19 pandemic severely hampered the WGCs, as several tournaments were moved and the WGC-HSBC Champions in China was never played again once the pandemic began. As the PGA Tour's conflict with LIV Golf began, the PGA Tour pursued an "elevated status" for some existing events which have some similarities to WGC events (smaller fields, no cut, and higher prize money).

Events
The WGC Championship, WGC Match Play and WGC Invitational events all began in 1999, although the WGC Invitational is the direct successor of the World Series of Golf, which began in 1976 and the WGC Match Play is a direct successor to the Andersen Consulting World Championship of Golf which began in 1995. The WGC Championship originally traveled to different venues around the world. After 2006 it found a home at Doral Resort in Florida superseding the Doral Open, a long-standing event on the PGA Tour. Between 2000 and 2006, the men's World Cup was accorded WGC status. The WGC Champions, first held in 2005, was awarded World Golf Championships status starting with the 2009 edition, becoming the fourth WGC tournament on the worldwide calendar.

In April 2011, the Sunshine Tour announced that it would host a fifth WGC event. The event, to be known as the Tournament of Hope, was to be linked to awareness of poverty and HIV/AIDS in Africa. In early 2012 it was announced that the tournament would be played in 2013; later in 2012 it was announced that the tournament would not be a WGC event, but ultimately the tournament never took place.

The WGC concept was introduced to create a larger group of golf tournaments with a high global profile by bringing the leading golfers from different tours together on a more regular basis, rather than just for the major championships. At the time the publicity spoke of a "World Tour" which might develop on the basis of the World Championships and the majors.

The "World Tour" concept seems to have been dropped, but the four events usually attract almost all of the elite players who are eligible to compete and they rank among the most prestigious and high-profile events outside of the majors. The prize money on offer is very close to being the highest for any professional golf tournament. Winners generally receive 70 to 78 Official World Golf Rankings points, the most awarded for any tournament apart from the major championships, which carry 100 points, and The Players Championship, which is allocated 80. Tiger Woods has dominated these tournaments, winning 16 of the first 32 individual (non-World Cup) events and winning at least one event each year from 1999 to 2009.

From 2000 to 2006 the men's golf World Cup, a tournament for teams of two players representing their country, was a World Golf Championship event, although it was not an official money event on any tour. Beginning in 2007 it is no longer part of the World Golf Championships, but it is still played, and is currently known as the Mission Hills World Cup.

Also from 2000 to 2006, two or three of the four events were staged in the United States in most of the years, and one or two were staged elsewhere. Starting in 2007, all three of the individual World Golf Championships events were played in the United States, which attracted criticism from some golfers, including Tiger Woods and Ernie Els, and in the media outside the United States. PGA Tour Commissioner Tim Finchem responded by insisting that playing in the U.S is best for golf as more money can be made there than elsewhere. This criticism has been muted since the 2009 elevation of the HSBC Champions, held in China, to full WGC status. In addition, the WGC-Mexico Championship in 2017 marked the move of half the WGC events to outside the United States. At the end of the 2021 season, the number of WGC events was reduced to two, the Match Play and the HSBC Champions. The HSBC Champions was not held between 2020 and 2022 due to the COVID-19 pandemic, and the Match Play will cease following the 2023 edition.

The winners receive Wedgwood trophies named for a golf legend. The HSBC Champions features the Old Tom Morris Cup; the Dell Match Play Championship, the Walter Hagen Cup; the Mexico Championship, the Gene Sarazen Cup; and the Fedex St. Jude Invitational, the Gary Player Cup.

Multiple winners
Dustin Johnson is the only player to win all four individual WGCs. Tiger Woods' 18 WGC victories dwarfs his nearest rival, Johnson, with six. Although not counting as individual wins, Woods also won the then WGC-World Cup with the United States, and 2-time WGC winner Ernie Els won the same competition with South Africa.

 * Note: The World Cup did not count as individual wins, so it is not mentioned here as a part of this table.

title: World Golf Championships


text:
Hamilton Standard

Hamilton Standard was an American aircraft propeller parts supplier. It was formed in 1929 when United Aircraft and Transport Corporation consolidated Hamilton Aero Manufacturing and Standard Steel Propeller into the Hamilton Standard Propeller Corporation. Other members of United Aircraft included Boeing, United Airlines, Sikorsky and Pratt & Whitney. At the time, Hamilton was the largest manufacturer of aircraft propellers in the world.

History

Standard Steel Propeller had been formed in 1918 in Pittsburgh, Pennsylvania, and Hamilton Aero Manufacturing had been formed in 1920 in Milwaukee, Wisconsin, by Thomas F. Hamilton. Charles Lindbergh's Spirit of St. Louis used a propeller made by Standard Steel Propeller Company in his historic solo crossing of the Atlantic Ocean. The two companies were merged in 1929 by the United Aircraft and Transport Corporation.

In the early 1930s, Frank W. Caldwell of Hamilton Standard led a team that developed a variable-pitch propeller, using hydraulic pressure and centrifugal force to change the angle of attack of the blades. Caldwell received the 1933 Collier Trophy for this advance in flight propulsion. Later advances included full-feathering and reversible propellers.

Hamilton Standard was a division of United Aircraft Corporation (1934) along with Pratt & Whitney (engines).

In the early 1950s Hamilton developed the technology to accurately meter fuel in jet engines, and its fuel controls were employed on Boeing 707s and Douglas DC-8s, as well as most other Pratt & Whitney jet engines. In 1952, Hamilton Standard opened its plant in Windsor Locks, Connecticut. In 1958, Hamilton's first environmental control system entered service on the Convair 880. In 1968, Hamilton began delivering automatic, electronic systems for control of cabin pressure in aircraft. Hamilton's mechanical fuel controls, in use since the 1950s, evolved into electronically controlled fuel controls, and eventually, to full-authority digital electronic controls (FADEC) for jet engines, which are in use today on many commuter, airline, and military engine applications. Hamilton's environmental systems and early association with NASA were highlighted in the 1969 Apollo 11 Moon landing – supported by environmental control, fuel cell, and life support systems manufactured by Hamilton Standard.

General Motors' propeller business, which originated with its purchase of Aeroproducts in 1940, was acquired by Hamilton Standard in 1990.

Mergers
In 1999, the United Technologies Corporation acquired the Sundstrand Corporation and merged it with Hamilton to form Hamilton Sundstrand. Sundstrand brought a long history and portfolio of aerospace products to the newly named company. Hamilton Sundstrand continues to provide aerospace components and systems to most of the world's aircraft manufacturers, including Boeing, Airbus, Bombardier, and Embraer.

In 2012 Hamilton Sundstrand merged with Goodrich Corporation to become UTC Aerospace Systems. In 2018, UTC merged UTC Aerospace Systems with Rockwell Collins to form Collins Aerospace.

title: Hamilton Standard


text: Category:Banks of Taiwan

title: Category:Banks of Taiwan


text: User talk:194.226.230.5

title: User talk:194.226.230.5


text:
Manuel Tamayo y Baus

Manuel Tamayo y Baus (15 September 1829 – 20 June 1898) was a Spanish dramatist.

Life
He was born at Madrid, into a family connected with the theatre, his mother being the eminent actress Joaquina Baus. She appeared as Geneviève de Brabant in an arrangement from the French made by Tamayo when he was in his twelfth year. Through the influence of his uncle, Antonio Gil y Zárate, minister of education, Tamayo's independence was secured by his nomination to a post in a government office. The earliest of his printed pieces, Juana de Arco (1847), is an arrangement from Schiller, and Una Aventura de Richelieu, which the author has not cared to preserve, is said to be an imitation of Alexandre Dumas, père. The general idea of his Angela (1852) was derived from Schiller's Kabale und Liebe, but the atmosphere is Spanish, the situations are original, and the phrasing is Tamayo's own.

His first great success was Virginia (1853), a dramatic essay in Alfieri's manner, remarkable for its ingenuity and noble diction. In 1854 Tamayo was expelled from his post by the new Liberal government, but was restored before long by Cándido Nocedal, a minister who had been struck by the young man's talent. He collaborated with Aureliano Fernández-Guerra y Orbe in writing La Ricahembra (1854), a historical drama which recalls the vigor of Lope de Vega. The Madness of Love (1855), in which Juana la Loca, the passionate, love-sick daughter of Isabel the Catholic, figures as the chief personage, established Tamayo's reputation as Spain's leading playwright. Hija y Madre (1855) was a failure, and La Bola de Nieve (1856) is notable solely for its excellent workmanship. It is unfortunate that Tamayo's straitened means forced him to put original work aside and to adapt pieces from the French. Examples of this sort are fairly numerous. Lo Positivo (1862), imitated from Adrien-Augustin-Léon Laya's Duc Job, is well-nigh forgotten, though the Spanish version is a dexterous piece of stagecraft and contains some elements of original value. Del dicho al Jiecho (1864) is from La Pierre de touche of Jules Sandeau and Émile Augier, and a pleasing proverb, Más vale Maña que Fuerza (1866) is a great improvement upon Mme Caroline Bertons Diplomatie du Ménage.

The revolution of 1868, which cost Tamayo his post at the San Isidro Library, is indirectly responsible for No hay mal que por bien no venga (1868), a clever arrangement of Le Feu au Couvent, by Henri Murger's friend, Théodore Barrière. During these seven years Tamayo produced only one original piece, Lances de Honor (1863), which turned upon the immorality of duelling, and led to a warm discussion among the public. Written in prose, the piece is inspired by a breath of medieval piety which had not been felt in the Spanish theatre since the 17th century. This renascence of an old-world motive has induced many critics to consider Lances de Honor as Tamayos best work, but that distinction should be accorded rather to Un Drama nuevo (1867), a play in which the author has ventured to place Shakespeare and Yorick upon the scene.

Los Hombres de bien (1870) was Tamayo's final contribution to the Spanish stage. His last years were spent in recasting his Virginia, and the result of his efforts may be read in the posthumous edition of his Obras (Madrid, 1898–99). In 1858 Tamayo was elected a member of the Spanish Academy, to which he afterwards became permanent secretary; and in 1884 the Conservative minister, Alejandro Pidal y Mon, appointed him director of the National Library.

title: Manuel Tamayo y Baus


text:
Gus Williams (basketball)

Gus Williams (born October 10, 1953) is an American former professional basketball player in the National Basketball Association (NBA). Nicknamed "the Wizard", he played for the Seattle SuperSonics, winning an NBA championship in 1979. He also played for the Golden State Warriors, Washington Bullets and Atlanta Hawks.

High school and college
Williams played high school basketball at Mount Vernon, where he was selected player of the year in 1971 by the New York State Sportswriters Association. He played college basketball at the University of Southern California.

Professional career
Williams was selected in the second round of the 1975 NBA draft by the Golden State Warriors and in the first round of the 1975 ABA draft by the Spirits of St. Louis. Williams signed with the Warriors for the 1975–76 season and was named to the NBA All-Rookie Team in his first season. Williams played two seasons with the Warriors before he was allowed to leave as a free agent before the 1977–78 season, when he signed with the Seattle SuperSonics.

While with Seattle, Williams was twice selected to the NBA All-Star Game, and was an All-NBA First Team (1982) and All-NBA Second Team (1980) selection. Williams, whose style of play earned him the nickname "the Wizard", led the Sonics to the 1979 league title while averaging a team-high 28.6 points per game in the Finals.

While in the prime of his career, Williams sat out the entire 1980–81 season due to a contract dispute. He returned in 1981–82 and was named the NBA Comeback Player of the Year after finishing seventh in the league in scoring (23.4). He played three more seasons with the Sonics after that. In 1984, he signed with the Washington Bullets. During the 1984–85 season Williams played alongside the similarly named Guy Williams.

He finished his career with a 17.1 point-per-game scoring average in a career spanning 12 years from 1975 to 1987. In 2004 Williams' #1 jersey was retired by the Sonics. In 2016 Williams' jersey was retired by USC.

Williams' younger brother Ray (1954–2013) also played in the NBA.

Popular culture references
Williams is one of five 1970s Seattle SuperSonics players whose names are featured on characters in "The Exterminator," the third episode of Season 1 of iZombie. The other four are Freddie Brown, Wally Walker, Marvin Webster and Don Watts.

title: Gus Williams (basketball)


text:
Talk:EMD GP30

EMD Demonstrator #5629 Re#1962 became UP #875. EMD Demonstrator #5639 became SAL #534. Source http://community-1.webtv.net/ajkristopans/ROADSWITCHERS567/ --4.224.117.123 19:19, 14 October 2005 (UTC)

Good Article Review
This article is currently at Good Article Review. LuciferMorgan 19:20, 10 May 2007 (UTC)
 * This article has been delisted per WP:GAR for failure to meet GA criteria. Once the article has been brought up to standards, it may be renominated for GA. Regards, Lara Love  T / C  20:02, 18 May 2007 (UTC)

External links modified
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title: Talk:EMD GP30


text:
Flathead engine

A flathead engine, also known as a sidevalve engine or valve-in-block engine, is an internal combustion engine with its poppet valves contained within the engine block, instead of in the cylinder head, as in an overhead valve engine.

Flatheads were widely used internationally by automobile manufacturers from the late 1890s until the mid-1960s but were replaced by more efficient overhead valve and overhead camshaft engines. They are currently experiencing a revival in low-revving aero-engines such as the D-Motor.

The side-valve design
The valve gear comprises a camshaft sited low in the cylinder block which operates the poppet valves via tappets and short pushrods (or sometimes with no pushrods at all). The flathead system obviates the need for further valvetrain components such as lengthy pushrods, rocker arms, overhead valves or overhead camshafts. The sidevalves are typically adjacent, sited on one side of the cylinder(s), though some flatheads employ the less common "crossflow" "T-head" variant. In a T-head engine, the exhaust gases leave on the opposite side of the cylinder from the intake valve.

The sidevalve engine's combustion chamber is not above the piston (as in an OHV (overhead valve) engine) but to the side, above the valves. The spark plug may be sited over the piston (as in an OHV engine) or above the valves; but aircraft designs with two plugs per cylinder may use either or both positions.

"Pop-up pistons" may be used with compatible heads to increase compression ratio and improve the combustion chamber's shape to prevent knocking. "Pop-up" pistons are so called because, at top dead centre, they protrude above the top of the cylinder block.

Advantages
The advantages of a sidevalve engine include: simplicity, reliability, low part count, low cost, low weight, compactness, responsive low-speed power, low mechanical engine noise, and insensitivity to low-octane fuel. The absence of a complicated valvetrain allows a compact engine that is cheap to manufacture, since the cylinder head may be little more than a simple metal casting. These advantages explain why side valve engines were used for passenger cars for many years, while OHV designs came to be specified only for high-performance applications such as aircraft, luxury cars, sports cars, and some motorcycles.

At top dead centre, the piston gets very close to the flat portion of the cylinder head above, and the resultant squish turbulence produces excellent fuel/air mixing. A feature of the sidevalve design (particularly beneficial for an aero-engine) is that if a valve should seize in its guide and remain partially open, the piston would not be damaged, and the engine would continue operating safely on its other cylinders.

Disadvantages
The main disadvantages of a sidevalve engine are poor gas flow, poor combustion chamber shape, and low compression ratio, all of which result in a low-revving engine with low power output and low efficiency. Because sidevalve engines do not burn the fuel efficiently, they suffer from high hydrocarbon emissions.

Sidevalve engines can only be used for engines operating on the Otto principle. The combustion chamber shape is unsuitable for Diesel engines, which require a high compression ratio for ignition to occur.

In a sidevalve engine, intake and exhaust gases follow a circuitous route, with low volumetric efficiency, or "poor breathing", not least because the exhaust gases interfere with the incoming charge. Because the exhaust follows a lengthy path to leave the engine, there is a tendency for the engine to overheat. (Note: this is true for V-type flathead engines but less of an issue for inline engines which typically have the intake and exhaust ports on the same side of the engine block.) Although a sidevalve engine can safely operate at high speed, its volumetric efficiency swiftly deteriorates, so that high power outputs are not feasible at speed. High volumetric efficiency was less important for early cars because their engines rarely sustained extended high speeds, but designers seeking higher power outputs had to abandon the sidevalve. A compromise used by the Willys Jeep, Rover, Landrover, and Rolls-Royce in the 1950s was the "F-head" (or "intake-over-exhaust" valving), which has one sidevalve and one overhead valve per cylinder.

The flathead's elongated combustion chamber is prone to preignition (or "knocking") if compression ratio is increased, but improvements such as laser ignition or microwave enhanced ignition might help prevent knocking. Turbulence grooves may increase swirl inside the combustion chamber, thus increasing torque, especially at low rpm. Better mixing of the fuel/air charge improves combustion and helps to prevent knocking.

An advance in flathead technology resulted from experimentation in the 1920s by Sir Harry Ricardo, who improved their efficiency after studying the gas-flow characteristics of sidevalve engines.

The difficulty in designing a high-compression-ratio flathead means that most tend to be spark-ignition designs, and flathead diesels are virtually unknown.

History and applications
The sidevalve arrangement was especially common in the United States and used for motor vehicle engines, even for engines with high specific power output. Sidevalve designs are still common for many small single-cylinder or twin-cylinder engines, such as lawnmowers, rotavators, two-wheel tractors and other basic farm machinery.

Flathead cars
Multicylinder flathead engines were used for cars such as the Ford Model T and Ford Model A, the Ford flathead V8 engine and the Ford Sidevalve engine. Cadillac produced V-16 flathead engines for their Series 90 luxury cars from 1938–1940. Also in the British Morris Eight, and Morris Minor series I.

After WWII, flathead designs began to be superseded by OHV (overhead valve) designs. Flatheads were no longer common in cars, but they continued in more rudimentary vehicles such as off-road military Jeeps. In US custom car and hot rod circles, restored examples of early Ford flathead V8s are still seen.

Flathead aero-engines
The simplicity, lightness, compactness and reliability might seem ideal for an aero-engine, but because of their low efficiency, early flathead engines were deemed unsuitable. Two notable exceptions were the American Aeronca E-107 opposed twin aero engine of 1930 and the Continental A40 flat four of 1931, which became one of the most popular light aircraft engines of the 1930s. Two modern flatheads are the Belgian D-Motor flat-fours and flat-sixes. These are extremely oversquare and compact aero-engines with direct drive to a propeller.

Flathead motorcycles
Flathead designs have been used on a number of early pre-war motorcycles, in particular US V-twins such as Harley-Davidson and Indian, some British singles, BMW flat twins and Russian copies thereof. The Cleveland Motorcycle Manufacturing Company produced a T-head four-cylinder in-line motorcycle engine in the 1920s.

title: Flathead engine


text:
Talk:EMD GP30/to do

 * List of original owners
 * Info on non-BNSF survivors
 * Phase information
 * Any other rebuilds?
 * Models available (& inaccuracy of many)
 * Need a good cite for use of GM auto stylists

title: Talk:EMD GP30/to do


text:
File:Suite No2 for Cello All By Its Lonesome.jpg

Cover of "Suite No. 2 for Cello All By Its Lonesome", Image itself


text: Category:Wikipedias by language

title: Category:Wikipedias by language


text:
Tamayo

Tamayo may refer to:

 * Tamayo (surname), a surname
 * Tamayo, Dominican Republic, a municipality in the Dominican Republic
 * Tamayo (Demon Slayer: Kimetsu no Yaiba), a character in the manga series Demon Slayer: Kimetsu no Yaiba

People with the given name

 * Tamayo Akiyama, Japanese author
 * Tamayo Kawamoto (河本 圭代), Japanese video game composer
 * Tamayo Marukawa, Japanese politician
 * Miyagi Tamayo (宮城タマヨ), Japanese social worker and politician
 * Tamayo Perry (1975–2024), American professional surfer, lifeguard and actor

title: Tamayo