when did jump around start at uw madison

Another tradition at UW football games is the "Jump Around", where fans dance to the House of Pain song of the same name. This takes place between the third and fourth quarters. The tradition began on Saturday, October 10, 1998, at the Badgers' Homecoming game against the Purdue Boilermakers.[22] After no offensive points were scored in the third quarter, the Badgers' marketing agent in charge of sound piped the song through the loudspeakers.[23] It stirred up fans and players and has become a tradition of the last decade.

Camp Randall Stadium

Camp Randall Stadium is an outdoor stadium in Madison, Wisconsin, located on the University of Wisconsin–Madison campus. It has been the home of Wisconsin Badgers football since 1895, with a fully functioning stadium since 1917.  The oldest and fifth largest stadium in the Big Ten Conference, Camp Randall is the 41st largest stadium in the world, with a seating capacity of 80,321.[3]

The stadium lies on the grounds of Camp Randall, a former Union Army training camp during the Civil War.[4][5] The camp was named after then Governor Alexander Randall, who later became Postmaster General of the United States.

After an outcry from veterans over plans to turn the site into building lots, the state bought it in 1893 and presented it to the university.  Soon afterward, it was pressed into service as an athletic ground.  It was originally used by the track and field team before the football and baseball teams moved there in 1895.  However, the wooden bleachers were very difficult to maintain, and a portion of them were actually condemned as unsafe in 1914.  The university then asked for $40,000 to build a concrete-and-steel stadium, but only got half of the original request.  However, after three sections of bleachers collapsed during a 1915 game, the state readily granted the additional money.  The new stadium opened for the first time on October 6, 1917.  It consisted of 7,500 concrete seats—roughly corresponding to the lower portion of the current stadium's east grandstand—and 3,000 wooden seats from the old field.

After the wooden seats burned down in 1922, more permanent seats were added in stages until it consisted of a horseshoe opening to the south, with a running track around the field. The stadium was renovated at various points to raise the size of the horseshoe by nearly doubling the number of rows around the stadium in stages, placing south stands in front of the Wisconsin Field House (built in 1930), the removal of the track and addition of nearly 11,000 seats in 1958, the addition of the upper deck in 1966, and finally the 2005 addition of boxes along the eastern rim of the stadium.

Originally natural grass, the field was one of the first in the United States to convert to artificial turf in 1968.[6][7][8] Superturf was installed in 1980,[9] and a new AstroTurf field was installed in 1990,[10]  and replaced in 1998.[11] A new type of artificial grass, infilled FieldTurf, was installed for the 2003 season, replaced  after the spring term in time for the 2012 season.[12]

The stadium also houses athletic offices of the university. In 2002, a large-scale reconstruction project commenced, which added luxury boxes, a five-story office building, and separate football program offices. In addition, concessions, restrooms and other infrastructure items were upgraded, the walkway around the field was removed, and new scoreboards were installed. The construction was completed prior to the start of the 2004 season. The football team continued to play at the stadium throughout the construction.

Also during this period of reconstruction at the stadium, changes were made to the visiting team locker room. Known as one of the best visiting team locker rooms in the Big Ten Conference, it was initially painted a bright pink, a color thought to affect the play of the visiting team (similar to Iowa's pale pink visiting locker room). The UW Athletic Dept. decided that the color may irritate the opposing team and had the room painted a pale shade of blue called "prison blue", named for the shade of paint used in Wisconsin Department of Corrections facility cells, which is intended to have a "calming effect." Since this change, the Badgers have had a 43â€“4 home record.

The numbers of Wisconsin's two Heisman Trophy winners, Alan Ameche and Ron Dayne, are displayed on the upper deck faÃ§ade. Both of their numbers (35 and 33, respectively) are retired; The retired numbers of Elroy Hirsch (40), Dave Schreiner (80), Allan Schafer (83), and Pat Richter (88) were added during the 2006 football season.[13]

At Barry Alvarez's final game as head coach in 2005, plans were announced to place a statue of him in the Stadium's Kellner Plaza.  The bronze statue was unveiled in 2006 on October 13. On November 17, it was joined by a similar statue of former UW athlete and athletic director Pat Richter.[14]

Announced in the fall of 2010 and completed in January 2014, the Student Athlete Performance Center, an expansion of Camp Randall to the north, included a new scoreboard, academic and strength training facilities, multimedia instructional space, lower-level football team access tunnel, and renovated locker rooms, shower rooms and equipment space. Although the new scoreboard is listed as being 50 feet by 170 feet, the large Daktronics screen size is 4,271 square feet (per @BadgerFootball), with two smaller screens flanking either side.[15]

In 2018, a plan was announced to build premium seating in the south end zone (replacing existing bleacher seating), replace the artificial turf, upgrade utilities, and improve the press box.[16]

On October 30, 1993, Wisconsin defeated the Michigan Wolverines, 13â€“10, for the first time since 1981. As the final gun sounded, students began to charge the field to celebrate, but were blocked by the guardrails surrounding the field. The crowd in the back, not aware of what was going on at the front, continued to move forward, aided by gravity. Those in front were crushed against the rails and then trampled when the rails finally gave way and the throng spilled onto the field.[17] There were no fatalities, but 73 students were injured, six of them critically.[18] Several Badgers football players assisted with removing the injured from the tangle; some of them were medical students and administered CPR to many victims who were not breathing. Per Mar Security (stadium security) and the University of Wisconsin were later found liable for this situation.[19]

As a result, design changes were made in the stadium that increased the size and strength of the fences. Stadium personnel also received training to help them better handle a field rush. A field rush after a defeat of no. 1 Ohio State on October 16, 2010, showed that the measures taken after 1993 worked, as only one minor injury took place.[20][21]

Badger football events at Camp Randall Stadium include numerous traditions. Some of these include:

In 1969, the Badgers had lost 24 straight games, and Michael Leckrone took over the Wisconsin Marching Band. Working with athletic director Elroy Hirsch, Leckrone and the band created a fan event called "The Fifth Quarter", that took place at the end of the game.

Songs typically played during the Fifth Quarter include "On Wisconsin", "You've Said It All" (also known as the "Bud" song, referring to its beginning as a jingle in a Budweiser beer commercial), "Space Badgers" (A variation on the opening to Also sprach Zarathustra), "Dance Little Bird" (The Chicken Dance), "Beer Barrel Polka", "Tequila", and "Hey Baby." Many spectators remain in the stands for twenty minutes after the game to enjoy the performance. Many of the songs are associated with specific choreography in which the band, cheerleaders and the audience all participate.

At the end of the Fifth Quarter, the band lines up to play "Varsity" as the spectators sing. The band then exits the field via the north entrance to perform more and sing "It's Hard to Be Humble", after which the band marches to the Mosse Humanities Building, where it is dismissed.

The Fifth Quarter was officially named in 1978, and its traditions have been passed down since then.

However, on September 6, 2003, (the Badgers' first home game of the season), with construction of the skyboxes surrounding the stadium, UW officials decided to cancel the "Jump Around" tradition that had been a staple for five years. Stadium security and the local police department had been informed of this decision, but no notification had been given to the fans.[24] As the fourth quarter began and students realized there had been no "Jump Around", they became upset. Some jumped around without the requisite music. Then an entire section sat down in protest, a majority directed their middle finger at the sound booth, and a chant of "Fuck the sound guy" began. Sitting down was particularly significant as the student section generally stands on the bleachers while the team is playing. Chanting and booing continued through the majority of the fourth quarter.  With 6:29 to go in the game, Lee Evans scored on a 99-yard play and led the Badgers to a victory, thrilling the crowd.

When news surfaced on Monday, September 8, 2003, that this event was not a technical or human malfunction, but rather a decision by campus officials, the students launched a protest. Petitions circulated and students pushed back against administration. Structural engineers confirmed that the stadium would suffer no structural damage caused by the vibrations created by jumping. Two days later, Chancellor John D. Wiley announced that the "Jump Around" tradition would resume.[25]

The stadium is also used by the Wisconsin Interscholastic Athletic Association for its state football championships.

The Green Bay Packers have played 12 exhibition games at Camp Randall, which, up until 2013, had a larger seating capacity than the Packers' home stadium, Lambeau Field. The series began in 1986, shortly after the Chicago Bears began to use nearby University of Wisconsin-Platteville as a training camp site. The most recent pre-season Packers game at Camp Randall was played in 1999.

The University of Wisconsin men's and women's ice hockey teams each played an outdoor hockey game at Camp Randall Stadium on February 6, 2010, as part of the Culver's Camp Randall Hockey Classic.  The Wisconsin women defeated Bemidji State 6–1, while the Badger men beat Michigan 3–2.

Drum Corps International used the stadium as the site for its world championships in 1985, 1986, 1987, 1992, 1999, 2002, and 2006.

Camp Randall has also hosted a number of major concerts.

The Camp Randall athletic complex includes three additional facilities: the Field House, home to the UW basketball teams until January 1998, and now the wrestling and women's volleyball teams; the Dave McClain Athletic Facility, an indoor football practice facility named for the late Badgers football coach, Dave McClain, which also houses locker rooms for football, men's and women's track, and softball, and strength and conditioning, sports medicine, and academic services; and the Camp Randall Memorial Sports Center ("The Shell"), which contains a 200-meter indoor track that surrounds facilities for intramural sports. The indoor track is used by the UW track teams during their indoor seasons. The Shell also houses a practice ice sheet.

Note: Streaks do not include ties.

The following are the ten largest crowds in stadium history:


the inscriptions on the exterior of the taj mahal were designed by

The calligraphy on the Great Gate reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you."[20] The calligraphy was created in 1609 by a calligrapher named Abdul Haq. Shah Jahan conferred the title of "Amanat Khan" upon him as a reward for his "dazzling virtuosity".[21] Near the lines from the Qur'an at the base of the interior dome is the inscription, "Written by the insignificant being, Amanat Khan Shirazi."[22] Much of the calligraphy is composed of florid thuluth script made of jasper or black marble[21] inlaid in white marble panels. Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below. The calligraphy found on the marble cenotaphs in the tomb is particularly detailed and delicate.

Taj Mahal

The Taj Mahal (/ˌtɑːdʒ məˈhɑːl, ˌtɑːʒ-/;[3] meaning "Crown of the Palace"[4]) is an ivory-white marble mausoleum on the south bank of the Yamuna river in the Indian city of Agra. It was commissioned in 1632 by the Mughal emperor, Shah Jahan (reigned from 1628 to 1658), to house the tomb of his favourite wife, Mumtaz Mahal. The tomb is the centrepiece of a 17-hectare (42-acre)[5] complex, which includes a mosque and a guest house, and is set in formal gardens bounded on three sides by a crenellated wall.

Construction of the mausoleum was essentially completed in 1643 but work continued on other phases of the project for another 10 years. The Taj Mahal complex is believed to have been completed in its entirety in 1653 at a cost estimated at the time to be around 32 million rupees, which in 2015 would be approximately 52.8 billion rupees (U.S. $827 million). The construction project employed some 20,000 artisans under the guidance of a board of architects led by the court architect to the emperor, Ustad Ahmad Lahauri.

The Taj Mahal was designated as a UNESCO World Heritage Site in 1983 for being "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage". It is regarded by many as the best example of Mughal architecture and a symbol of India's rich history. The Taj Mahal attracts 7–8 million visitors a year. In 2007, it was declared a winner of the New7Wonders of the World (2000–2007) initiative.

The Taj Mahal was commissioned by Shah Jahan in 1631, to be built in the memory of his wife Mumtaz Mahal, a Persian princess who died giving birth to their 14th child, Gauhara Begum.[6] Construction of the Taj Mahal began in 1632.[7] The imperial court documenting Shah Jahan's grief after the death of Mumtaz Mahal illustrate the love story held as the inspiration for Taj Mahal.[8][9] The principal mausoleum was completed in 1643 and the surrounding buildings and garden were finished about five years later.[10]

The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand),[11] Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones. Buildings under his patronage reached new levels of refinement.[12]

The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin.[13]

The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately 55 metres (180Â ft) on each of the four long sides.  Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.[14]

The most spectacular feature is the marble dome that surmounts the tomb. The dome is nearly 35 metres (115 ft) high which is close in measurement to the length of the base, and accentuated by the cylindrical "drum" it sits on which is approximately 7 metres (23 ft) high. Because of its shape, the dome is often called an onion dome or amrud (guava dome).[15] The top is decorated with a lotus design which also serves to accentuate its height. The shape of the dome is emphasised by four smaller domed chattris (kiosks) placed at its corners, which replicate the onion shape of the main dome. The dome is slightly asymmetrical.[16] Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial which mixes traditional Persian and Hindustani decorative elements.

The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature provides a clear example of integration of traditional Persian and Hindu decorative elements.[17] The finial is topped by a moon, a typical Islamic motif whose horns point heavenward.[18]

The minarets, which are each more than 40 metres (130 ft) tall, display the designer's penchant for symmetry. They were designed as working minarets—a traditional element of mosques, used by the muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.

The exterior decorations of the Taj Mahal are among the finest in Mughal architecture. As the surface area changes, the decorations are refined proportionally. The decorative elements were created by applying paint, stucco, stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs.
Throughout the complex are passages from the Qur'an that comprise some of the decorative elements. Recent scholarship suggests that the passages were chosen by Amanat Khan.[19][20]

Abstract forms are used throughout, especially in the plinth, minarets, gateway, mosque, jawab and, to a lesser extent, on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. Herringbone inlays define the space between many of the adjoining elements. White inlays are used in sandstone buildings, and dark or black inlays on the white marbles. Mortared areas of the marble buildings have been stained or painted in a contrasting colour which creates a complex array of geometric patterns. Floors and walkways use contrasting tiles or blocks in tessellation patterns.

On the lower walls of the tomb are white marble dados sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of the carvings.  The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are of yellow marble, jasper and jade, polished and levelled to the surface of the walls.[21]

The interior chamber of the Taj Mahal reaches far beyond traditional decorative elements.  The inlay work is not pietra dura, but a lapidary of precious and semiprecious gemstones.[23] The inner chamber is an octagon with the design allowing for entry from each face, although only the door facing the garden to the south is used.  The interior walls are about 25 metres (82Â ft) high and are topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level and, as with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall.[24] The four central upper arches form balconies or viewing areas, and each balcony's exterior window has an intricate screen or jali cut from marble. In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. The octagonal marble screen or jali bordering the cenotaphs is made from eight marble panels carved through with intricate pierce work. The remaining surfaces are inlaid in delicate detail with semi-precious stones forming twining vines, fruits and flowers.  Each chamber wall is highly decorated with dado bas-relief, intricate lapidary inlay and refined calligraphy panels which reflect, in miniature detail, the design elements seen throughout the exterior of the complex.[25]

Muslim tradition forbids elaborate decoration of graves. Hence, the bodies of Mumtaz and Shah Jahan were put in a relatively plain crypt beneath the inner chamber with their faces turned right, towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise centre of the inner chamber on a rectangular marble base of 1.5 by 2.5 metres (4 ft 11 in by 8 ft 2 in). Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet. Shah Jahan's cenotaph is beside Mumtaz's to the western side, and is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on a slightly taller base precisely decorated with lapidary and calligraphy that identifies him. On the lid of the casket is a traditional sculpture of a small pen box.[24]

The pen box and writing tablet are traditional Mughal funerary icons decorating the caskets of men and women respectively. The Ninety Nine Names of God are calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal.  Other inscriptions inside the crypt include, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He travelled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri."[26]

The complex is set around a large 300-metre (980Â ft) square charbagh or Mughal garden.
The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. Halfway between the tomb and gateway in the centre of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The raised marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad.[27]

Elsewhere, the garden is laid out with avenues of trees labeled according to common and scientific names[28] and fountains. The charbagh garden, a design inspired by Persian gardens, was introduced to India by Babur, the first Mughal emperor. It symbolises the four flowing rivers of Jannah (Paradise) and reflects the Paradise garden derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of the Mughal period, Paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.

Most Mughal charbaghs are rectangular with a tomb or pavilion in the centre. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, the interpretation of the Archaeological Survey of India is that the Yamuna river itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise.[29] Similarities in layout and architectural features with the Shalimar Gardens suggests both gardens may have been designed by the same architect, Ali Mardan.[30] Early accounts of the garden describe its profusion of vegetation, including abundant roses, daffodils, and fruit trees.[31] As the Mughal Empire declined, the Taj Mahal and its gardens also declined.  By the end of the 19th century, the British Empire controlled more than three-fifths of India,[32] and assumed management of the Taj Mahal. They changed the landscaping to their liking which more closely resembled the formal lawns of London.[33]

The Taj Mahal complex is bordered on three sides by crenellated red sandstone walls; the side facing the river is open. Outside the walls are several additional mausoleums, including those of Shah Jahan's other wives, and a larger tomb for Mumtaz's favourite servant.[34]

The main gateway (darwaza) is a monumental structure built primarily of marble, and reminiscent of the Mughal architecture of earlier emperors. Its archways mirror the shape of the tomb's archways, and its pishtaq arches incorporate the calligraphy that decorates the tomb. The vaulted ceilings and walls have elaborate geometric designs like those found in the other sandstone buildings in the complex.[35]

At the far end of the complex are two grand red sandstone buildings that mirror each other, and face the sides of the tomb. The backs of the buildings parallel the western and eastern walls. The western building is a mosque and the other is the jawab (answer), thought to have been constructed for architectural balance although it may have been used as a guesthouse. Distinctions between the two buildings include the jawab's lack of a mihrab (a niche in a mosque's wall facing Mecca), and its floors of geometric design whereas the floor of the mosque is laid with outlines of 569 prayer rugs in black marble. The mosque's basic design of a long hall surmounted by three domes is similar to others built by Shah Jahan, particularly the Masjid-i Jahān-Numā, or Jama Masjid, Delhi. The Mughal mosques of this period divide the sanctuary hall into three areas comprising a main sanctuary and slightly smaller sanctuaries on either side.  At the Taj Mahal, each sanctuary opens onto an expansive vaulting dome. The outlying buildings were completed in 1643.[10]

The Taj Mahal is built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the centre of Agra in exchange for the land.[36] An area of roughly 1.2 hectares (3 acres) was excavated, filled with dirt to reduce seepage, and levelled at 50 metres (160Â ft) above riverbank. In the tomb area, wells were dug and filled with stone and rubble to form the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle.[37]

The Taj Mahal was constructed using materials from all over India and Asia.  It is believed over 1,000 elephants were used to transport building materials. The translucent white marble was brought from Makrana, Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty-eight types of precious and semi-precious stones were inlaid into the white marble.

According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A 15-kilometre (9.3Â mi) tamped-earth ramp was built to transport marble and materials to the construction site and teams of twenty or thirty oxen pulled the blocks on specially constructed wagons.[38] An elaborate post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to a large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.

The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab, and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion".  Construction of the mausoleum itself was essentially completed by 1643[7] while work continued on the outlying buildings.  Estimates of the cost of construction vary due to difficulties in estimating costs across time. The total cost at the time has been estimated to be about 32 million Indian rupees,[7] which is around 52.8 billion Indian rupees ($827 million US) based on 2015 values.[39]

Abdul Hamid Lahauri in his book Badshahnama refers to Taj Mahal as rauza-i munawwara, meaning the illumined or illustrious tomb.[40]
Soon after the Taj Mahal's completion, Shah Jahan was deposed by his son Aurangzeb and put under house arrest at nearby Agra Fort. Upon Shah Jahan's death, Aurangzeb buried him in the mausoleum next to his wife.[41] In the 18th century, the Jat rulers of Bharatpur invaded Agra and attacked the Taj Mahal, the two chandeliers, one of agate and another of silver, which were hung over the main cenotaph, were taken away by them, along with the gold and silver screen.  Kanbo, a Mughal historian, said the gold shield which covered the 4.6-metre-high (15Â ft) finial at the top of the main dome was also removed during the Jat despoliation.[42]

By the late 19th century, parts of the buildings had fallen into disrepair. During the time of the Indian Rebellion of 1857, the Taj Mahal was defaced by British soldiers and government officials, who chiselled out precious stones and lapis lazuli from its walls. At the end of the 19th century, British viceroy Lord Curzon ordered a sweeping restoration project, which was completed in 1908.[43][44] He also commissioned the large lamp in the interior chamber, modelled after one in a Cairo mosque. During this time the garden was remodelled with British-style lawns that are still in place today.

In 1942, the government erected a scaffolding to disguise the building in anticipation of air attacks by the Japanese Air Force.[45][46] During the India-Pakistan wars of 1965 and 1971, scaffolding were again erected to mislead bomber pilots.[47]

More recent threats have come from environmental pollution on the banks of the Yamuna River including acid rain[48] due to the Mathura Oil Refinery,[49] which was opposed by Supreme Court of India directives.[50] The pollution has been turning the Taj Mahal yellow. To help control the pollution, the Indian government has set up the Taj Trapezium Zone (TTZ), a 10,400-square-kilometre (4,000 sq mi) area around the monument where strict emissions standards are in place.[51]

Concerns for the tomb's structural integrity have recently been raised because of a decline in the groundwater level in the Yamuna river basin which is falling at a rate of around 1.5 m (5 ft) per year. In 2010, cracks appeared in parts of the tomb, and the minarets which surround the monument were showing signs of tilting, as the wooden foundation of the tomb may be rotting due to lack of water. It has been pointed out by politicians, however, that the minarets are designed to tilt slightly outwards to prevent them from crashing on top of the tomb in the event of an earthquake. In 2011, it was reported that some predictions indicated that the tomb could collapse within 5 years.[52][53]

Small minarets located at two of the outlying buildings were reported as damaged by a storm on April 11, 2018.[54]

The Taj Mahal attracts a large number of tourists. UNESCO documented more than 2 million visitors in 2001,[55] which had increased to about 7â€“8 million in 2014.[2] A two-tier pricing system is in place, with a significantly lower entrance fee for Indian citizens and a more expensive one for foreigners. Most tourists visit in the cooler months of October, November and February. Polluting traffic is not allowed near the complex and tourists must either walk from parking lots or catch an electric bus. The Khawasspuras (northern courtyards) are currently being restored for use as a new visitor centre.[56][57]

The small town to the south of the Taj, known as Taj Ganji or Mumtazabad, was originally constructed with caravanserais, bazaars and markets to serve the needs of visitors and workmen.[58] Lists of recommended travel destinations often feature the Taj Mahal, which also appears in several listings of seven wonders of the modern world, including the recently announced New Seven Wonders of the World, a recent poll with 100 million votes.[59]

The grounds are open from 06:00 to 19:00 weekdays, except for Friday when the complex is open for prayers at the mosque between 12:00 and 14:00. The complex is open for night viewing on the day of the full moon and two days before and after,[60] excluding Fridays and the month of Ramadan. For security reasons[61] only five items—water in transparent bottles, small video cameras, still cameras, mobile phones and small ladies' purses—are allowed inside the Taj Mahal.[62]

Ever since its construction, the building has been the source of an admiration transcending culture and geography, and so personal and emotional responses have consistently eclipsed scholastic appraisals of the monument.[63]  A longstanding myth holds that Shah Jahan planned a mausoleum to be built in black marble as a Black Taj Mahal across the Yamuna river.[64] The idea originates from fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. It was suggested that Shah Jahan was overthrown by his son Aurangzeb before it could be built. Ruins of blackened marble across the river in Moonlight Garden, Mahtab Bagh, seemed to support this legend. However, excavations carried out in the 1990s found that they were discoloured white stones that had turned black.[65] A more credible theory for the origins of the black mausoleum was demonstrated in 2006 by archaeologists who reconstructed part of the pool in the Moonlight Garden. A dark reflection of the white mausoleum could clearly be seen, befitting Shah Jahan's obsession with symmetry and the positioning of the pool itself.[66]

No evidence exists for claims that describe, often in horrific detail, the deaths, dismemberments and mutilations which Shah Jahan supposedly inflicted on various architects and craftsmen associated with the tomb. Some stories claim that those involved in construction signed contracts committing themselves to have no part in any similar design. Similar claims are made for many famous buildings.[67] No evidence exists for claims that Lord William Bentinck, governor-general of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.[68]

Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette.[69]

In 2000, India's Supreme Court dismissed P. N. Oak's petition[70] to declare that a Hindu king built the Taj Mahal.[67][71] In 2005 a similar petition was dismissed by the Allahabad High Court. This case was brought by Amar Nath Mishra, a social worker and preacher who says that the Taj Mahal was built by the Hindu King Parmar Dev in 1196.[72]

As of 2017, several court cases about Taj Mahal being a Hindu temple have been inspired by Oak's theory.[73][74] In August 2017, Archaeological Survey of India (ASI) stated there was no evidence to suggest the monument ever housed a temple.[75]

A theory that the Taj Mahal was designed by an Italian, Geronimo Vereneo, held sway for a brief period after it was first promoted by Henry George Keene in 1879 who went by a translation of a Spanish work  Itinerario, (The Travels of Fray Sebastian Manrique, 1629-1643). Another theory that a Frenchman, Austin of Bordeaux designed the Taj was promoted by William Henry Sleeman based on the work of Jean-Baptiste Tavernier. These idea were revived by Father Hosten and discussed again by E.B. Havell and served as the basis for subsequent theories and controversies.[76]

Eastern view in the morning

Western view at sunset

Taj Mahal through the fog


who played the eldest daughter in mrs. doubtfire

Lisa Jakub is a Canadian writer, yoga teacher, and former actress. She is best known for her role as Lydia Hillard in Mrs. Doubtfire.

Lisa Jakub

1985 - 2000 (actress)

Jakub was born on December 27, 1978 in Toronto, Ontario. She is of Slovak (father) and Welsh and Scottish (mother) descent. She attended multiple schools in her early life including Hillfield-Strathallan College.[1] Jakub later graduated from the University of Virginia with a degree in Sociology in 2010. [2]

Jakub's first role was in the 1985 film Eleni. She later appeared in Mrs. Doubtfire with Mara Wilson, Sally Field, Matthew Lawrence, and Robin Williams. When Jakub received the part of Lydia in Mrs. Doubtfire, her school expelled her for accruing too many absences. Robin Williams wrote a letter to Jakub's high school, pleading with them to re-admit Jakub but this was unsuccesful.[3]

She played Sandra in Matinee, appeared in A Pig's Tale and Independence Day, The Beautician and the Beast, and played the "inspiration" for Princess Leia in the short film George Lucas in Love.  She starred in Picture Perfect (1995), and portrayed a bordello worker in the American Old West in Painted Angels (1997).

After retiring from acting in 2001 at the age of 22,[4] Jakub moved to Virginia and married longtime partner, a former Hollywood theater manager, Jeremy Jones.[5] She has publicly stated that she has no plans to return to acting.[6] Jakub later became a writer, authoring two books called You Look Like That Girl (2015) and Not Just Me (2017) and regularly contributes to online blogs. [7] Jakub is also a qualified Kripalu yoga teacher.[8] She has openly discussed her battles with anxiety, depression and panic attacks, which she has suffered from since her teenage years and credits her yoga practice in helping her overcome her battles.[9]


what is the name of the deity for hinduism

Savitaṛ (Sanskrit: stem savitṛ-, nominative singular savitā) is a Vedic deity mentioned in the Rigveda, and possibly one of the Adityas i.e. off-spring of the female Vedic deity Aditi. His name in Vedic Sanskrit connotes "impeller, rouser, vivifier."

Savitr

He is sometimes associated with – and at other times distinguished from – Surya, "the Sun". When considered distinct from the Sun proper, he is conceived of as the divine influence or vivifying power of the Sun. The Sun before sunrise is called Savitr, and after sunrise until sunset it is called Sūrya.[1] Savitr is celebrated in eleven whole hymns of the Rig Veda and in parts of many others, his name being mentioned about 170 times in aggregate.

Savitr disappeared as an independent deity from the Hindu pantheon after the end of the Vedic period, but in modern Hinduism his name occurs in the well-known Gayatri mantra (taken from book three of the Rigveda; RV 3.62.10), which is therefore also known as the Sāvitrī.

Savitr is a deity whose name primarily denotes an agent, in the form of a noun derived from a verbal root with the agent suffix -tṛ added. The name of Savitr belongs to a class of Vedic theonyms, together with Dhatṛ, Tratṛ and Tvastr. These names denote that these are agent gods, who create, protect, and produce, respectively.[2]

Savitr has golden arms, and is broad-handed or beautiful-handed. He is also pleasant tongued or beautiful-tongued, and is once called iron-jawed. His eyes are golden as well. He is yellow-haired, an attribute shared with Agni and Indra. He dons on a tawny garb. He has a golden chariot with a golden axle, which is omni-form, just as he himself is capable of assuming all forms. His channel is analogized as a resplendent chariot drawn by two radiant steeds or by two or more bronze, white-footed stallions. Mighty splendour (“amati”) is preeminently attributed to Savitr, and mighty “golden” splendour to him only. Such splendour he stretches out or diffuses. He illumines the air, heaven and earth, the world, the spaces of the earth, the vault of heaven.

Like Pushan and Surya, he is lord of that which is mobile and is stationary. Savitr has been attributed to as upholding the movables and immovable, which signifies the maintenance of Dharma. Savitr is a beneficent god who acts as protector of all beings, who are provident and guard the world of spirits. Being an Aditya, Savitr is true to the Eternal Order and act as the score exacter.[3] His primordial pathways in the air are dustless and sleekly traversed, on them he is besought to fortify his invokers. He is prayed to convey the departed soul to where the righteous dwell. Savitr bestows immortality on the gods as well as length of life on man. He also bestowed immortality on the Rbhus, who by the greatness of their deeds advanced to his dwelling. Like other gods, Savitr is a supporter of the cosmos. Also, he holds the whole world, a role which was also assigned to Vishnu in the Vedas.

In the Rig veda, there are two classes of deities whose nature is founded on abstraction. The one class consisting of the direct personifications of abstract notions such as desire is rare, occurring only in the very latest hymns of the Rig veda and due to that growth of speculation which is so plainly traceable in the course of the Vedic age. The other and more numerous class comprises deities whose names primarily either denote an agent, in the form of a noun derived from a root with the suffix “-tṛ”, such as Dhatr, Creator, or designate some attribute, such as Prajapati, Lord of Creatures. This class, judged by the evolution of the mythological creations of the Veda, does not represent direct abstractions, but appears in each case to be derived from an epithet applied to one or more deities and illustrating a particular aspect of activity or character. Such epithets gradually becoming detached finally attained to an independent position. Thus Rohita, the Red One (whose female form is Rohinī), originally an epithet of the sun, as a separate deity in the capacity of a Creator.

In ‘The Religion and Philosophy of the Veda and Upanishads’ Vol. 1, noted Indologist A. Berriedale Keith at p. 204 remarks that:

“… [A] second class of gods who may be called abstract is afforded by the agent gods, such as Dhatr, whose name expresses a function which they perform, so that they can be called functional gods. In all the cases which are to be found in the Vedic literature we are able to say with a fair degree of plausibility that the conception formed itself from the use of the epithet in question in the first place of some concrete god, and then, after denoting that deity in the special field of action, it was gradually made into a separate deity concerned merely with the sphere of action in question. This, however, cannot be proved beyond doubt: it will for instance always be open to question whether Savitr is really an aspect of the sun, or whether he is god of stimulation who by reason of similarity of nature has been made like to the sun. In other cases there can be less doubt: the god Visnu cannot really be explained as a god of wide stepping: he is a sun god, who happens to have a special sphere of activity…”

The most important of the gods whose names denote an agent in “-tṛ” class, is Savitr. Apart from Savitr, other such deities are of rare occurrence in the Rig Veda. Dhatr, found in a few passages as an appellative designating priests as establishes of the sacrifice, occurs as the name of a deity about a dozen times and, with the exception of one indefinite mention in company with a number of other gods, only in the tenth book. In one of these passages the name is an epithet of Indra and in another of Visvakarman. The frequent ascription of the action of establishing (Ydha) the phenomena of the world to different gods, gradually led to the conception of a separate deity exercising this particular activity.

According to Yaska, Sanskrit scholar of the 5th century BCE, who made various attempts to interpret difficult Vedic mythologies in his work Nirukta (Etymology) (12,12), the time of Savitrâ€™s appearance is when darkness has been removed. Sayanacharya (on Rig Veda) remarks that before his rising the sun is called Savitr, but from his rising to his setting, Surya. But Savitr is also sometimes spoken of as "sending to sleep," and must therefore be connected with evening as well as morning. He is, indeed, extolled as the setting sun in one hymn (2, 38); and there are indications that most of the hymns addressed to him are meant for either a morning or an evening sacrifice. He brings all two-footed and four-footed beings to rest and awakens them. He unyokes his steeds, brings the wanderer to rest; at his command night comes; the weaver rolls up her web and the skilful man lays down his unfinished work. Later the west was wont to be assigned to him as the east to Agni and the south to Soma.

The epithet “sūrya-raśmi” has been used in the Rig Veda only once and, it has been applied to Savitr:

“Radiating with the Beams of the Sun, golden-haired, Savitr raises up His effulgence continually from the east.”

Like Surya, Savitr is implored to remove evil nightmares and to render men sinless. Savitr drives away antagonistic vibes and sorcerers. He observes fixed laws. The waters and the wind are subject to his ordinance. He leads the waters and by his propulsion they flow broadly. The other gods follow his lead. No being, not even Indra, Varuna, Mitra, Aryaman, Rudra, can resist his will and independent dominion. His praises are celebrated by the Vasus, Aditi, Varuna, Mitra and Aryaman. He is lord of all things worthy, and bestows blessings pervading heaven, air, earth.

At p. 65 of “The Religion and Philosophy of the Veda and Upanishads: Vol. 1”, author Arthur Berriedale Keith has maintained that:

[T]he connection of Savitr with the sun is fairly close. It is at least possible, therefore, that in its origin Savitr was not an independent creation, but was an epithet of Surya, but that question is of little importance: the essential feature of the god is not his original basis, but his function as the inspirer or impeller to holy sacrifice: the ritual act is repeatedly said in the Yajurveda to be done ‘on the instigation of the god Savitr’.”

In several passages of the Rig Veda, Savitr and Surya appear simultaneously. It may even appear based on Arthur Berriedale Keith's opinion that the terms Savitar and Surya are used interchangeably in certain hymns of the Rig Veda. However it is worth noting that several other deities are directly associated with the epithet of Savitar in the Family Books. They include Indra who is paired alongside Savitar in the first line of the thirtieth hymn of Mandala 2, and Tvastr who is compounded with Savitar in the nineteenth line of the fifty fifth hymn of Mandala 3. Furthermore, Savitar is unambiguously identified with Bhaga in the third line of the eighty second hymn of the fifth Mandala of the Rig Veda. Savitar is also unambiguously called Pusan and Mitra in the last lines of the eighty first hymn of the fifth Mandala of the Rig Veda. While Savitar certainly has directly been charged with using Surya's rays, Savitar has a much more direct congruence with other deities. The Vedic poet observes:

“[G]od Savitr has raised aloft his brilliance, making light for the whole world; Surya shining brightly has filled heaven and earth and air with his rays.”

In another hymn Surya is spoken of in terms prasavitá¹› (Vivifier)[citation needed], an adjective usually applied to Savitr, and in the third verse[citation needed] Savitr is apparently mentioned as the same god as Surya. In other hymns also, it is hardly possible to keep the two deities apart.[citation needed] In certain passages, Savitr combines with the rays of the sun or shines with the rays of the sun.

Savitr has a major role in creation. The relevant hymn mentions that: "Indra measured six broad spaces, from which no existing thing is excluded: he it is who made the wide expanse of earth and the lofty dome of the sky, even he". Savitr assisted Indra in shaping the universe. In “Indian myth and Legend”, renowned Indologist Donald A.Mackenzie has harboured such a view.

In Vedic Mythology, A. A. MacDonnel (p.Â 13) has asserted that:

[T]here are in the last book of the Rig Veda some hymns which treat the origin of the world philosophically rather than mythologically. Various passages show that in the cosmological speculation of the Rig Veda The sun was regarded as an important agent of generation. Thus he is called the soul (atma) of all that moves and stands. Statements such as that he is called by many names though one indicate that his nature was being tentatively abstracted to that of a supreme god, nearly approaching that of the later conception of Brahma. In this sense the sun is once glorified as a great power of the universe under the name of the golden embryo, hiranya-garbha, in Rig Veda. It is he who measures out space in the air and shines where the sun rises. In the last verse of this hymn, he is called Prajapati, lord of created beings, the name which became that of the chief god of the Brahmanas. It is significant that in the only older passage of the Rig veda in which it occurs, Prajapati is an epithet of the solar deity Savitr, who in the same hymn is said to rule over what moves and stands."

Arthur Berriedale Keith in “The Religion and Philosophy of the Veda and Upanishads, Vol 2” has noted that Savitr is never mentioned as having part in the Soma sacrifice, "a fact which is doubtless fair evidence that the Rig veda did not know him as having a place in the rite, and that he was later brought in, perhaps because of his growing importance, perhaps as an Aditya."[page needed]

Apam napat (Born of the Waters): Savitr is at least once.[4] called “apam napat” (Child of Waters), an epithet applied to Agni and Soma as well.

God of the Middle Region: Commentator Yaska commenting on the verse where Savitr is attributed with causing rain, regards Savitr as belonging to the mesial region (or atmosphere) for possessing this ability, adding that the Adityas, who are in heaven, are also called Savitr. It is probably owing to this epithet and because Savitrâ€™s paths are said to be in the atmosphere, that this deity occurs among the gods of the mesial expanse among those of outer space in the Naighantuka.

Prajapati: Savitr is once depicted as the Prajapati of the world. In the Satapatha Brahmana (v. 12, 3, 5), Savitr has been identified with Prajapati and in the Taittiriya Brahmana (v. 1, 6, 4), it has been stated that Prajapati becoming Savitr created living beings.

Damunas (Domestic): In the Rig Veda, Savitr has been twice spoken of as domestic (“damunas”), an epithet otherwise almost entirely limited to Agni.

Asura: Like many other gods, Savitr is mentioned as ‘asura’ in many hymns of the Rig Veda.

Pusan: Savitr alone is the lord of vivifying power and on account of his movements (yamabhih), he becomes Pusan. In two consecutive verses, Pusan and Savitr are described as connected. In the first the favour of Pusan who sees all beings is invoked, and in the second, Savitr is besought to stimulate the thoughts of worshipers who desire to think of the excellent brilliance of the Deva. The latter verse is the celebrated Savitri, now termed as the Gayatri mantra, with which Savitr was in later times invoked at the beginning of Vedic study.

Mitra: Savitr is also said to become Mitra by reason of his laws.

Bhaga: Savitr seems sometimes to be identified with Bhaga also, unless the latter word is here only an epithet of Savitr. The name of Bhaga, the good god bestowing benefits is indeed often added to that of Savitr so as to form the single expression Savitr Bhaga or Bhaga Savitr, with the term Bhaga simply acting as a qualitative and attributive adjective.

The Vedas do not specifically identify the Ādityas as there is no classification of the thirty-three gods, except for in the Yajurveda (7.19), which says that there are eleven gods in heaven (light space), eleven gods in the atmosphere (intermediate space), and eleven gods on earth (observer space). In some passages of the Satapatha Brahmana, the number of Ādityas is eight, and in other passages twelve Ādityas are mentioned.

Savitr disappears in post-Vedic literature and is absent from the corpus of Pauranic Hinduism.[5][6]

Some modern Hindu spiritual thinkers like Sri Aurobindo assign symbolism to the Vedic deities like Savitr. The Vedic deities are not only forces of nature, but also forces that exist within the human intellect and psyche and help the individual in spiritual progress. Sri Aurobindo has enumerated the symbolic significance of the Vedic Gods in his book "The Secret of the Vedas".

According to Sri Aurobindo, the vedic imagery are deeper than mere imagery. The gods, goddesses and the evil forces mentioned in the Vedas represent various cosmic powers. They play a significant role in the drama of creation, preservation and destruction in the inner world of a human being.

Once the senses are controlled and the mind is stabilized through slaying of all the dark powers, comes the awakening, the goddess Ushas, who brings along with her Ashvins into the world of inner consciousness. After Ushas appear Aditi, the Primal Sun, the God of Light, first as Savitr, who represents the Divine grace essential for all spiritual success, and then as Mitra, who as the Divine love is considered as a friend of the illumined mind (Indra) and his associates (the other gods). The Sun is of Truth, after which appear Rta, Truth in Action and Rtachit, Truth consciousness.

In DC's The Flash comics and CW's The Flash TV series, the speedster Savitar was an enemy of the Flash who named himself after the Hindu god.


what major city is beverly hills florida near

Beverly Hills is located in north-central Citrus County at 28°55′03″N 82°27′22″W / 28.917466°N 82.456167°W / 28.917466; -82.456167.[4] It is nearly surrounded by the community of Pine Ridge, except for a small area on the west where it is bordered by Black Diamond. County Road 491 (North Lecanto Highway) forms the northwestern edge of the Beverly Hills CDP, leading northeast 4 miles (6 km) to U.S. Route 41 and southwest 5 miles (8 km) to State Road 44 in Lecanto.

Beverly Hills, Florida

Beverly Hills is an unincorporated community and census-designated place in Citrus County, Florida, United States. The population was 8,445 at the 2010 census.[3]

According to the United States Census Bureau, the CDP has a total area of 3.0 square miles (7.7Â km2), all land.[3]

As of the census[1] of 2000, there were 8,317 people, 4,401 households, and 2,583 families residing in the CDP. The population density was 2,922.0 people per square mile (1,126.7/km²). There were 4,925 housing units at an average density of 1,730.3/sq mi (667.2/km²). The racial makeup of the CDP was 95.90% White, 1.71% African American, 0.19% Native American, 0.60% Asian, 0.01% Pacific Islander, 0.38% from other races, and 1.20% from two or more races. Hispanic or Latino of any race were 3.97% of the population.

There were 4,401 households out of which 10.9% had children under the age of 18 living with them, 50.4% were married couples living together, 6.5% had a female householder with no husband present, and 41.3% were non-families. 36.9% of all households were made up of individuals and 28.5% had someone living alone who was 65 years of age or older. The average household size was 1.87 and the average family size was 2.35.

In the CDP, the population was spread out with 10.8% under the age of 18, 3.4% from 18 to 24, 13.2% from 25 to 44, 17.6% from 45 to 64, and 54.9% who were 65 years of age or older. The median age was 68 years. For every 100 females, there were 80.6 males. For every 100 females age 18 and over, there were 78.2 males.

The median income for a household in the CDP was $24,875, and the median income for a family was $31,505. Males had a median income of $27,500 versus $16,857 for females. The per capita income for the CDP was $17,014. About 8.4% of families and 12.4% of the population were below the poverty line, including 20.3% of those under age 18 and 9.0% of those age 65 or over.

Citrus County Transit's Orange route serves Beverly Hills.[5]

The CDP is served by Citrus County Schools.[6] Residents are divided between Forest Ridge Elementary School and Central Ridge Elementary School.[7] Residents are divided between Citrus Springs Middle and Lecanto Middle.[8] All residents are zoned to Lecanto High School.[9]

The Central Ridge Library of Citrus Libraries is in Beverly Hills.[10]