text:
Hearst Tower (Manhattan)

The Hearst Tower is a building at the southwest corner of 57th Street and Eighth Avenue, near Columbus Circle, in the Midtown Manhattan neighborhood of New York City, United States. It is the world headquarters of media conglomerate Hearst Communications, housing many of the firm's publications and communications companies. The Hearst Tower consists of two sections, with a total height of 597 ft and 46 stories. The six lowest stories form the Hearst Magazine Building (also known as the International Magazine Building), designed by Joseph Urban and George B. Post & Sons, which was completed in 1928. Above it is the Hearst Tower addition, designed by Norman Foster and finished in 2006.

The building's main entrance is on Eighth Avenue. The original structure is clad with stone, and contains six pylons with sculptural groups. The tower proper has a glass-and-metal facade arranged as a diagrid, or diagonal grid, which doubles as its structural system. The original office space in the Hearst Magazine Building was replaced with an atrium during the Hearst Tower's construction. The tower is certified as a green building as part of the Leadership in Energy and Environmental Design (LEED) program.

Hearst Magazine Building developer William Randolph Hearst acquired the site for a theater in the mid-1920s, in the belief that the area would become the city's next large entertainment district, but changed his plans to construct a magazine headquarters there. The original building was developed as the base for a larger tower, which was postponed because of the Great Depression. A subsequent expansion proposal, during the 1940s, also failed. The New York City Landmarks Preservation Commission designated the facade of the original building as a city landmark in 1988. After Hearst Communications considered expanding the structure again during the 1980s, the tower stories were developed in the first decade of the 21st century.

Site
The Hearst Tower is on the border of the Hell's Kitchen and Midtown Manhattan neighborhoods of New York City, two blocks south of Columbus Circle. It is bounded by 56th Street on the south, Eighth Avenue on the east, and 57th Street on the north. The building faces Central Park Place on the north, 3 Columbus Circle on the northeast, and Random House Tower on the east. It is one block south of Deutsche Bank Center (formerly Time Warner Center) and 2 Columbus Circle. The base of the Hearst Tower has three street addresses: 951–969 Eighth Avenue, 301–313 West 56th Street, and 302–312 West 57th Street. The site is a nearly-square lot covering 40166 ft2 and measuring 200 by. Entrances to the New York City Subway's 59th Street–Columbus Circle station are in the base of the tower.

The Hearst Tower, and the Hearst Magazine Building at its base, are near a former artistic hub around a two-block section of West 57th Street between Sixth Avenue and Broadway. The hub had been developed during the late 19th and early 20th centuries, after the opening of Carnegie Hall on Seventh Avenue in 1891. The area contained the headquarters of several organizations, such as the American Fine Arts Society, the Lotos Club, and the ASCE Society House. Although the original Hearst Magazine Building was just outside the artistic hub, its proximity to these institutions was a factor in the choice of its location. By the 21st century, the arts hub had largely been replaced with Billionaires' Row, a series of luxury skyscrapers around the southern end of Central Park.

Immediately prior to the construction of the Hearst Magazine Building in the 1920s, the site was referred to as the Hegeman site. Sixteen people had owned the land, which was largely vacant except for an open-air movie theater and some stores.

Architecture
The original six-story structure, known as the Hearst Magazine Building or the International Magazine Building, was designed by architect Joseph Urban and the architectural firm George B. Post & Sons. Completed in 1928 and intended as the base of a future tower, the Hearst Magazine Building was designed in early Art Deco style. Henry Kreis designed six sculpture groups at the third story. The Hearst Magazine Building is the only survivor of an unbuilt entertainment complex which its developer, Hearst Communications founder William Randolph Hearst, envisioned for Columbus Circle in the early 20th century. The tower, designed by Norman Foster, was completed in 2006—almost eight decades after the base was built. The Hearst Corporation and Tishman Speyer developed the tower; WSP Global was the structural engineer, and Turner Construction was the main contractor.

The two sections have a combined height of 597 ft, with forty-six stories above ground. Its base occupies nearly the whole lot and originally contained floors, arranged in a "U" shape, flanking a courtyard on the west. Along much of the base, the third through sixth stories are slightly set back from the lowest two floors. The original building's roof was 70 ft above ground. The upper stories are more deeply set back from the lowest six floors on the north, east, and south sides Each of the upper stories has a footprint of 160 by, with the longer dimension extending from east to west. The setbacks above the sixth floor contain a skylight 40 ft wide.

The Hearst Tower has 856000 ft2 of office space. According to the New York City Department of City Planning, the building has a gross floor area of 703,796 ft2. The tower received a zoning bonus which enabled its maximum floor area to be expanded by six floors or 120,000 ft2, a twenty-percent increase from the previous maximum allowed floor area of 600,000 ft2. The Hearst Corporation agreed to improve access to the subway station underneath in return, adding three elevators and reconfiguring the station's circulation areas. Without the zoning amendment, the Hearst Corporation might have had to pay up to $10 million for additional air rights, as the company had already used up all the air rights above the Hearst Magazine Building.

Base
The cast-limestone facade of the Hearst Magazine Building, now the base, is a New York City designated landmark with 450,000 ft2 of surface area. It is divided horizontally into the two lowest stories, three intermediate stories, and a sixth-story attic. The base's northeastern and southeastern corners are chamfered (angled). A balustrade is in front of the third-story windows, supported by a shelf with notches and interrupted by the chamfered corners. A parapet is above the fifth story, except in the bays above the entrance arches on Eighth Avenue and 57th Street and at the chamfered corners. With the construction of the Hearst Tower, the base's facade was retrofitted to meet updated city seismic codes. Because the original office space was replaced with an atrium in the Hearst Tower's construction, the windows on the third through sixth stories of the facade now illuminate the atrium.

The main entrance, at the center of the Eighth Avenue elevation, contains a large archway flanked by a pair of smaller, rectangular doorways. The archway has gray granite panels at its base and voussoirs and a beveled keystone at its top, overlapping with a balcony. The barrel-vaulted vestibule inside the archway contains embossed octagonal coffers. The far western end of the vestibule has an entrance with a bronze frame and four glass doors beneath a bronze-and-glass transom. There is a subway entrance on the right (north) side of the Eighth Avenue entrance vestibule. On either side of the entrance arch, the Eighth Avenue elevation contains glass and metal storefronts at ground level and seven sash windows on the second story. On 57th Street, a former secondary entrance was altered to create a storefront topped by a window. There is another subway entrance on the left of the original doorway. The remainder of the ground-story facades at 57th and 56th Streets also contain glass and metal storefronts, with loading docks on the far western section of the 56th Street facade.

The base contains six pylons, which are supported by stone pedestals with sculptural groupings on the third story and topped by sculpted urns above the sixth story. The pylons indicate that the building was originally planned as a theater. The centers of the Eighth Avenue and 57th Street facades are identical, with two pylons each. The left pylon on both entrances contains sculpture groups depicting comedy and tragedy, and the right pylon contains sculptures representing music and art. Similar pylons rise in front of the northeast and southeast corners of the base. The northeast-corner pylon contains a group representing printing and the sciences, and the southeast-corner pylon has a group representing sports and industry.

Between the pairs of pylons on Eighth Avenue and on 57th Street, on each of the third through sixth stories, is a tripartite window with fluted stone spandrels. The Eighth Avenue and 57th Street elevations contain seven bays, on either side of the vertical bay, which are set back above the second story. The third through fifth stories of these elevations have sash windows, slightly recessed behind the main facade, and the sixth-story windows are flush with the cast-stone facade. The setback and window arrangement are carried around to the eight eastern bays on 56th Street. The two westernmost bays on 57th Street and the twelve westernmost bays on 56th Street are not set back above the second story, and do not contain third-story balustrades. The third-through-fifth story bays on the western section of the 56th Street facade are grouped into six pairs, separated by pilasters which were designed to emphasize the upper, never-built stories.

Tower

A clerestory wraps around the seventh through tenth floors atop the base, structurally separating the tower from the base. The tower facade has a triangular framing pattern known as a diagrid (short for "diagonal grid") above the tenth floor, which is the tower's structural support system. The diagrid divides the tower's sides horizontally into four-story segments and diagonally into alternating upright and inverted triangles, which intersect at "nodes" along points of the facade. The arrangement of the diagrid creates chamfered "birds' mouths" at the tower's corners at the 14th, 22nd, 30th, and 38th floors. The New York Times wrote that the beams and "birds' mouths" run at a 75-degree angle to the horizontal floor slabs; another author cites the beams as running at a 65-degree angle. The structural system, similar to the Commerzbank Tower in Frankfurt and 30 St Mary Axe in London, was developed in conjunction with Ysrael Seinuk.

The triangles making up the diagrid are prefabricated panels manufactured by the Cives Steel Company at two plants, in New York and Virginia. Each of the triangles is 52 ft tall. The diagonal beams are typically 57 ft long by 40 ft wide. The columns are bolted, rather than welded, to each other at the nodes. The diagrid required 10480 ST of structural steel, twenty percent less than what would have normally been required for a building of similar size. More than ninety percent of the steel in the diagrid is recycled. The exterior curtain wall was constructed by Permasteelisa, which mounted 3,200 glass panels on the facade. The panels are typically 13.5 ft tall by 5 ft wide, although 625 of them were built to custom specifications.

Because of the facade's intricate design, the tower's window cleaning rig took three years and $3 million to plan. It incorporates "a rectangular steel box the size of a Smart car" on the roof, which hoists a 40 ft mast and a hydraulic boom arm. Sixty-seven sensors and switches are housed in the box. A window-cleaning deck hangs from the hydraulic boom arm, supported by six wire-rope strands. The rig, installed in April 2005 on 420 ft of elevated steel track circling the tower's roof, snapped in 2013 and trapped two window cleaners.

Structural features
The Hearst Magazine Building is supported by steel columns on its perimeter. The original framework was intended to support at least seven additional stories. Joseph Urban's original plans for the tower no longer exist but, by some accounts, it would have been up to 20 stories tall. The Hearst Magazine Building had six elevator shafts, double or triple the expected number of elevators for a building of its size. A white-brick penthouse was completed above the sixth story for future expansion of the elevators. The Hearst Magazine Building's original framework was removed when the Hearst Tower was built in the 2000s. Its structure was hollowed out for the atrium of the expanded building, and new columns were installed behind the facade. "Mega columns" extend down from the perimeter of the tower, and the existing frame and new columns are connected with beams at the third and seventh stories. Eight 90 ft "super-diagonals" slope from the third to the tenth floors.

The Hearst Tower has twenty-one elevators. Its stairways and elevators are in a service core along the west side, the only one that does not face a street. The original plan called for the service core to be at the center of the tower, but it was redesigned after the September 11 attacks in 2001 as a security precaution against possible attacks from the street. The offset core also enables the office floors to have an open plan, without interior columns. To compensate for the offset service core and lack of interior columns, the tower's weight is supported by the exterior diagrid (which is braced by the service core).

Since the layer of bedrock under the Hearst Tower varies in depth, the tower's foundation was built with two methods. Bedrock is only a few feet under half of the basement, and spread footings were used. Under the other half of the basement, where bedrock is a maximum of 30 ft down, twenty-one caissons were installed.

Interior

The Hearst Magazine Building initially contained office space with 11 ft ceilings. The original building's office space was replaced with a 95 ft atrium when the tower was built. The atrium has a volume of 1700000 ft3. The lobby, accessed by escalators from the Eighth Avenue entrance, is on the third story of the original building. The escalators run through a 27 by waterfall, which uses recycled water from the building's green roof. The waterfall is complemented by Riverlines, a 70 ft fresco by Richard Long. The atrium has two mezzanines; one contains a 380-seat cafeteria, and the other houses an exhibition area. The cafeteria, Cafe 57, is used by Hearst employees and visitors. The north side of the atrium has a screening room. Two storefronts are at ground level under the atrium: an anchor space with about 12000 ft2, and another space with about 2500 ft2.

The tower begins with the tenth story, which is 110 ft high and slightly above the roof of the atrium. Each tower story covers 22000 ft2, and has 13.5 ft ceilings. The floors were designed to house many Hearst publications and communications companies, including Cosmopolitan, Esquire, Marie Claire, Harper's Bazaar, Good Housekeeping, and Seventeen. In addition to Hearst offices, the tower has a staff fitness center on the 14th floor. Executive rooms are on the 44th floor.

The tower has several design features intended to meet green building standards as part of the Leadership in Energy and Environmental Design (LEED) program. The limestone-clad floor slabs of the atrium and office floors contain polyethylene tubes for heated (or cooled) water to regulate temperature and humidity. A 14000 gal tank in the basement collects rainwater from the building's roof, some of which is pumped through the lobby's waterfall. The furniture and lights were designed to be energy-efficient. Two executive stories have daylight dimming systems, which dim when there is sunlight; the other office stories have daylight switching systems, which turn off when there is sunlight. About 85 percent of the material from the old building's interior was recycled for use in the tower's construction.

History
William Randolph Hearst moved to New York City in 1895, and became a successful magazine magnate over the following three decades. Almost immediately after moving to the city, Hearst envisioned the creation of a large Midtown headquarters around Columbus Circle in the belief that the area would become the city's next large entertainment district. From 1895 to the mid-1920s, Hearst bought several large plots around the circle for his headquarters. Hearst also believed that Manhattan's Theater District would extend to Columbus Circle and became interested in theater partially because of his mistress, actress Marion Davies. Hearst hired Joseph Urban for several early-20th-century theater projects, and the men became close friends.

Original development
By early 1924, Hearst had obtained an option to acquire a 200-by-200-foot site along Eighth Avenue from 56th to 57th Street, near the 57th Street artistic hub. That April, he acquired the property title for the site. Hearst gradually acquired large areas of land around the intersection of Eighth Avenue and 57th Street, though none of the other sites were developed. Metropolitan Opera director Otto Hermann Kahn had begun planning a new opera house to replace an existing building at 39th Street and Broadway at the same time, spending $3 million in late 1925 to acquire the site west of Hearst's lot. Plans for the 57th Street opera house were made public in January 1926, but the Met abandoned the plans two years later.

In conjunction with the canceled opera house, Hearst originally planned to construct a two-story office and retail building with a 2,500-seat theater designed by Michael Bernstein. This was subsequently changed to a six-story office and theater building, designed by Thomas W. Lamb. Hearst's magazines were slated to be published three blocks west, on a block bounded by 11th and 12th Avenues between 54th and 55th Streets. The 11th Avenue site was abandoned by August 1926 and Hearst had replaced Lamb, hiring Urban to design a magazine headquarters for the Eighth Avenue site. The proposed magazine headquarters was a skyscraper and Hearst hired George B. Post & Sons, who had experience building skyscrapers.

Excavation of the Hearst Magazine Building had begun by June 1927. The section of Eighth Avenue between 42nd and 59th Streets was experiencing rapid development, with surrounding real-estate values increasing 200 percent since the beginning of the 1920s. This was, in part, due to the development of the Independent Subway System's Eighth Avenue Line and zoning regulations which permitted skyscrapers along that section of Eighth Avenue. By January 1928, the Hearst Magazine Building was nearly completed, having cost $2 million (equivalent to $ million in ).

Hearst Magazine Building
Urban and Post drew up plans for a street-level 1,000-seat concert hall shortly after the Hearst Magazine Building was finished, with a 600-seat secondary auditorium in the basement and a planned 1929 completion date. The Hearst Corporation acquired the land under the building in 1930 for $2.25 million or $2.5 million. With the onset of the Great Depression shortly after the Hearst Magazine Building's completion, planning for its upper stories stalled for over a decade. The New York Evening Journal, one of Hearst's newspapers, transferred ownership of the building to Hearst Magazines in 1937 as part of a reorganization of Hearst Corporation properties. At the time, the building was valued at $3.253 million (equivalent to $ million in ); Hearst owed $126 million (equivalent to $ billion in ) and was selling his holdings. He considered borrowing an additional $35.5 million, part of which was to repurchase the Hearst Magazine Building, but ultimately reconsidered.

In 1945, George B. Post & Sons prepared plans for nine additional stories. The plans were filed with the New York City Department of Buildings the following year, when the tower was estimated to cost $1.3 million. The additional stories were never completed; a New York City Landmarks Preservation Commission (LPC) report about the building did not specify a reason for this. The Hearst Magazine Building retained most of its original architecture throughout the 20th century, though the ground-level storefronts were replaced in 1970.

The Hearst Corporation again began planning a tower atop the Hearst Magazine Building in the early 1980s. A restoration of the building had then been recently completed. During much of that decade, the Hearst Corporation rapidly acquired media companies such as magazines, publishers, and television stations. In 1982, the LPC began considering city-landmark designation for the Hearst Magazine Building. Further discussions of landmark status took place in 1987,  and the LPC granted landmark status to the building's facade on February 16, 1988. The designation meant that the LPC had to approve any proposed changes to the Hearst Magazine Building exterior. Beyer Blinder Belle proposed a 34-story green-glass tower during the late 1980s, which did not come to fruition.

Tower addition
The Hearst Magazine Building was too small to house all the Hearst Corporation divisions, although it was the company's headquarters. By the beginning of the 21st century, the building contained the Good Housekeeping offices, corporate offices, and Hearst's media division; the corporation's other magazines were published in several nearby buildings. In 2000, the Hearst Corporation announced plans to consolidate all its divisions by completing its long-delayed tower. Planning for the tower had been fueled in part by the development of other media headquarters nearby, such as the planned New York Times Building and the Condé Nast Building at 4 Times Square. Hearst reportedly met with Polshek Partnership early in the planning process.

In February 2001, the Hearst Corporation announced that it had hired Norman Foster to design a tower addition. Foster's selection, which followed his failed bid to design the New York Times Building, led one architect to say: "My guess is Hearst wanted to outdo the Times." Despite the September 11 attacks later that year, the Hearst Corporation decided to proceed with the project. Foster said that the board felt that "If we don't do anything, [the terrorists] have won". Following the attacks, Foster and Hearst decided to restrict visitor access to part of the atrium and relocate the tower's core away from the street. Other parts of the design were also reviewed, but the tower's glass facade was retained. Foster's team designed over one hundred plans for the tower. He filed plans for the construction of the Hearst Tower that October, and the LPC approved the tower one month later. Hearst had consulted with the community to allay any concerns, and the approval took less than three hours. The only major opponent was the Historic Districts Council, whose executive director said that the tower "does not respond to, respect, or even speak to its landmark base".

The Hearst Tower was the first major skyscraper in Manhattan built after the September 11 attacks. Before the start of construction, Good Housekeeping moved to another Hearst Corporation building, and two thousand employees were relocated. Work on the Hearst Tower began on April 30, 2003, and the Hearst Magazine Building's interior was demolished in the middle of that year. The original framework was left intact until new steel beams were installed, and the landmark facade was preserved and cleaned for $6 million. Steel construction began in March 2004. The floor slabs were installed at an average rate of one floor every four days, and the curtain wall was installed at a rate of one floor every six days. The Hearst Tower was topped out on February 10, 2005. The first employees moved into the tower during the last week of June 2006, but it was not officially completed until that October. The Hearst Tower cost a total of $500 million.

Shortly after completion, it was the first New York City building to receive a LEED Gold certification for its overall design. Because of the building's environmental features, its operating costs were 25 percent lower than those of a typical similar-sized skyscraper. The LEED certification was upgraded to Platinum in 2012. Although the upper floors were quickly occupied, the ground-floor retail space remained vacant for several years; any retail lease had to be approved by several Hearst Corporation officials, and the space's asking price was 400 $/ft2 per month. The space was not occupied until 2011, when cookware retailer Sur La Table opened a store. Panera Bread leased a ground-level storefront in 2022, intending to open a flagship store.

Impact
Before the tower's construction, the Hearst Magazine Building was considered an indication of unexecuted plans. One observer, writing to the LPC in 1982, said that the structure was designed in "an unusual style, by an unusual [and unusually talented] designer". Architectural writer Eric Nash wrote in 1999 that the Hearst Magazine Building was a vestige of the original tower that had been planned on the site. Two years later, Herbert Muschamp of The New York Times wrote that, despite Urban's experience with both theatrical design and architecture, the Hearst Magazine Building was little more than a standard Art Deco building. Christopher Gray, another Times reporter, described the structure as having a funereal quality. William Randolph Hearst left little indication of what he thought the Hearst Magazine Building represented.

Critics noted the tower's contrast with the older base. The architectural critics Justin Davidson and Edwin Heathcote both described the tower as floating above the base due to the sharply differing architectural styles. Nicolai Ouroussoff of The New York Times wrote that the tower "may be the most muscular symbol of corporate self-confidence to rise in New York since the 1960s", even as its design clashed with that of the Hearst Magazine Building. The architectural writer Paul Goldberger regarded the Hearst Tower as the city's best-looking skyscraper since 140 Broadway was completed in 1967. Not all analysis was positive; an Architectural Record writer likened the tower to a misplaced military structure, while Herbert Muschamp called it a "glass square peg in a solid square hole".

The Hearst Tower addition received the 2006 Emporis Skyscraper Award as the best skyscraper in the world completed that year. The American Institute of Architects' 2007 List of America's Favorite Architecture ranked the Hearst Tower among the top 150 buildings in the United States. The tower received a British Construction Industry Award in 2007, and was a runner-up for the Royal Institute of British Architects' Lubetkin Prize. The Hearst Tower received the 10-Year Award from the Council on Tall Buildings and Urban Habitat in 2016, which cited the tower's "structural complexity" as a consideration in its value and performance. Since 2018, Hearst Television stations have used on-screen graphics based on the diagrid of the tower's facade.

title: Hearst Tower (Manhattan)


text:
Edithburgh

Edithburgh is a small town on the south-east corner of Yorke Peninsula situated on the coastline of Salt Creek Bay, in the state of South Australia. Edithburgh is about 50 km west of Adelaide across Gulf St Vincent, but 226 km away by road.

Edithburgh is in the Yorke Peninsula Council, the South Australian House of Assembly electoral district of Narungga and the Australian House of Representatives Division of Grey.

History
In the Narangga language of the Indigenous Narungga people, Edithburgh was known by the place name Pararmarati. Some sources give the pronunciation "Barram-marrat-tee".

The first European pioneers arrived in the 1840s and were sheep graziers and pastoralists. With closer settlement, in 1869 the Marine Board fixed a site for a jetty to service the developing farming district. An adjacent town was then surveyed, the layout closely emulating (on a smaller scale) that of Adelaide, with a belt of parklands. Edithburgh was named by Governor Sir James Fergusson after his wife Edith, who died in 1871. The new jetty opened in 1873.

2019 November Fires
From 20 to 21 November 2019, at least 11 homes were destroyed or damaged by fires burning across the Yorke Peninsula. On 21 November, a stubble fire threatened Edithburgh, Coobowie and Wool Bay as it burnt towards the coast, fanned by strong south-westerly winds. At the height of the emergency, many residents of the area took shelter overnight in the Edithburgh Town Hall. There were no deaths, and it was found to have been caused by a power network fault.

Industries
Edithburgh originally developed as a port for servicing the pastoralist pioneers. In the 1870s grain farming became a mainstay of the local economy, which it still is. At the turn of the 20th Century additional industries were established in the form of gypsum mining and salt refining. There are vast salt lakes in the area, from which salt was scraped and exported as far as Russia. Among those refineries was the Standard Salt Company, operated by C. T. McGlew. The jetty became a busy hub for exporting these commodities, as well as unloading supplies.

Nowadays the jetty is used mostly for recreational fishing and is a popular scuba diving site. There is also a small fishing and prawning fleet based there. The town is now overshadowed by the 55 wind turbines of the Wattle Point Wind Farm, located southwest of the town and opened in April 2005.

Tourism
Occupying a commanding position on the coastline at semi-circular Salt Creek Bay, Edithburgh is noted for its magnificent seascapes which include steep rocky cliffs and sandy beaches. Troubridge Island can be seen offshore. As a result, tourism is now a growth industry. It is a popular holiday destination with a variety of accommodation types available including a caravan park. The Troubridge Hotel and the Edithburgh Hotel sit diagonally opposite each other at the intersection of Blanche and Edith Streets, both named after Governor Fergusson's daughters.

For those who prefer not to swim in the open sea, the town has a unique seawater swimming pool constructed at the shoreline. Its sheltered waters are refreshed with each rising tide.

Diving and snorkelling
Edithburgh jetty is regarded as one of South Australia's best scuba diving sites. Access is easy thanks to steps on northern and southern sides of the structure.

The jetty extends eastwards into Gulf St Vincent and is 170 m in length. The jetty is supported by pylons in groups of four. Divers and snorkellers can safely and closely observe dense, multi-coloured colonies of temperate corals and sponges on the jetty pylons. The pylons also provide refuges for various fish, crustacea, nudibranchs and other marine invertebrates.

Several of the state's iconic marine species can be seen beneath or near the jetty, including the Leafy sea dragon and the Striped pyjama squid.

The maximum dive depth is 10–12 m and site is rewarding for visitors of all experience levels.

Jetty maintenance and habitat loss
Edithburgh_Jetty_pylons.JPG and marine life, upsetting many members of the scuba diving and marine conservation community.
 * 275x275px]]

Jetty pylons had been assessed some years prior by the State Government's Department of Transport, Energy and Infrastructure (now known as the Department of Planning, Transport and Infrastructure) and identified as a public liability risk. Impacts to the marine environment or the site's iconic status as a dive tourism hotspot do not appear to have been considered by DPTI or the local council.

Recreational divers from M.E. Dive Club witnessed the early works and arranged a group of divers to informally assess the damage the following weekend. The pylon removal works were not publicly advertised nor was the dive or tourism community consulted on the works. The Scuba Divers Federation of South Australia and the Marine Life Society of South Australia both responded to the issue by drafting letters to responsible Government bodies.

People

 * Jamie Tape - AFL footballer

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

title: Edithburgh


text:
User talk:Maaya

Elisabeth of Bavaria
hallo Mayaa, danke für Deine Mail. also was ich da lese ich ja wirklich sehr verwunderlich und komisch. es gibt zwei Dinge auf die Du achten solltest:

1) Wikipedia soll eine Enzyklopedie sein. also alles was Point-of-view ist, gehört eigentlich weg. dieser Artikel scheint mir zu sehr belastet mit point-of-views. 2) second I would say who exactly is the author? David Kunzle? Wikipedia ist nicht dazu gedacht, eine Ansammlung von verschiedenen Zeitungs/Magazinartikeln zu werden. Das andere Problem ist, daß der User anonym ist, normalerweise sollte ein User registriert sein, wenn er soviel zu einem Artikel dazuschreibt.

my proposals? I would delete the whole section that the anonymous user contributed. Maybe parts of it can be added to the main article. oder Du kannst den ganzen Artikel, der dazu gefügt wurde, in die "Discussion" page hineinschieben. Dazu darfst du eine copy+paste move machen, also den Text kopieren, in die Discussion einfügen, und den vom Artikel streichen.

you can of course also try to contact the user and ask him what the idea was, where is the information from, why was it just added like that at the bottom and not integrated, etc..? Aber so einfach einen ganz neuen Aufsatz dazuzuschreiben geht nicht. er sollte integriert werden und nicht parallel laufen.

hoffe ich konnte Dir helfen, falls du noch Fragen hast nur zu... lg

Gryffindor 12:14, August 23, 2005 (UTC)

 * super, saubere Arbeit. viel Glück noch weiterhin... Gryffindor [[Image:Flag of Austria (state).svg|20px]]

Re: Leimen
Original message: User talk:GrafZahl

You're welcome. To complicate matters, there is a third town called Leimen, in Rhineland-Palatinate (German wikipedia has an article: de:Leimen (Pfalz)). Therefore I made Leimen a disambiguation page. --GrafZahl 10:29, 23 October 2005 (UTC)

Query
Hello, would you mind having a look at Babel Barnstar for Translation, as you have been quite active in this section recently. Cheers. Lectonar 12:24, 29 November 2005 (UTC)

Deine Hilfe
thanks for always helping out with the translations and proofreadings, really appreciate it. Gryffindor 01:24, 2 December 2005 (UTC)

Translations
Hi !

I see that you have done quite a bit of work on translation, so I'd like to ask for some help: I am currently translating Stadtmauer into the equivalent defensive walls. The German version is well-written, quite technical, and rather longish so I'd appreciate if (at some point) you could give me a second opinion on what I've written. I am especially unsure of military terms such as "embrasures". ACH 23:27, 7 December 2005 (UTC)

Talk:United States of Greater Austria
hi Maaya,

I have a question regarding how to properly translate "Groß-Österreich" into english, "Great-" or "Greater-"? I believe it is probably "Greater-" but I'm really not sure. Maybe if you could take a look into the page, that would be greatly appreciated. cheers Gryffindor  10:23, 16 December 2005 (UTC)
 * hallo Maaya, yes it is confusing I agree. Lectonar was pointing out to me as well, how do you translate "Großdeutsches Reich" as well? na ja, in any case it seems that now it's been decided to keep it a "Greater Austria", since you seem to agree with it as well, I guess we'll just keep it that way until someone else can convince us otherwise. thanks again for your help as usual :-) Gryffindor  22:19, 16 December 2005 (UTC)

Hanashi
Hi, Maaya. I think Hanashi can be taken to AfD now. It probably would have been safe to do it before, but I was still learning back then. There are instructions on how to nominate it at the bottom of Articles for deletion. Thanks, Kjkolb 03:52, 23 December 2005 (UTC)

Frohes Neujahr
hallo Maaya,

danke für Deine Nachricht. Ja sorry, bin noch immer im Urlaub, deshalb die verspätete Antwort, komme nur selten zum Internet. Das leidige Thema der Sisi ist mir durchaus bekannt, ich finde den jetzigen Namen "Elisabeth of Bavaria" absurd, weil einem Ottonormalverbraucher überhaupt nicht bewußt ist, dass diese Elisabeth of Bavaria (oder "in Bavaria" was auch immer) die berühmte Kaiserin ist. Ich finde man sollte den Namen verwenden, unter dem die Person am meisten bekannt war, also sprich "Empress Elisabeth of Austria" oder sowas ähnliches. Ausnahmen zu der Wikipedia Regel von Gemahlinnen gibt es, z. B. Marie Antoinette, die laut Wikipedia Regeln doch eigentlich anders genannt werden müßte. Na ja, ist ein schwieriges Thema hier, zugegeben. Ich verstehe einerseits die Regel, finde aber dass es auch Ausnahmen geben sollte und würde für mehr Flexibilität plädieren. Aber da scheint es im Augenblick keine Mehrheit zu geben, da kann man nix machen. Viel Glück mit Deiner Prüfung, alles Gute. Gryffindor 12:12, 5 January 2006 (UTC)

Image help
Hello there! I see that you're somewhat of an expert on images here on Wikipedia. I'm fairly new when it comes to uploading images and I want to make sure I'm doing everything 'by the book'. I've uploaded Image:SupernaturalTitleCard.jpg and Image:DieRheintöchter.jpg. If you get time, do you think maybe you could look them over to make sure everything was done correctly? Or maybe point me to someone who can? I'd hate to not get 'caught' at this point and upload a bunch more, thinking I'm doing things right only to have everything deleted a couple months later. Thanks so much for your help! -Maaya 01:55, 9 January 2006 (UTC)
 * Image:SupernaturalTitleCard.jpg looks good. Image:DieRheintöchter.jpg needs an explanation as to why it's in the public domain: in this case, it appears that it's because the image was published before 1923.  The image description page could also use some more details, such as what it's a picture of, and when it was published. --Carnildo 22:04, 9 January 2006 (UTC)

Ludwig II
Please do not keep undoing other people's edits without discussing them first. This is considered impolite and unproductive. If you continue, you may be blocked from editing Wikipedia under the three-revert rule, which states that nobody may revert an article to a previous version more than three times in 24 hours. (Note: this also means editing the page to reinsert an old edit. If the effect of your actions is to revert back, it qualifies as a revert.) Thank you. Tom Harrison Talk 15:27, 20 January 2006 (UTC)
 * I was too hasty in giving you this warning; I see you have not been reverting too much, and have been using the talk page. Please excuse my excessive zeal. Tom Harrison Talk 15:30, 20 January 2006 (UTC)

Mediation Cabal Request
Hello. I have reviewed your MedCab request and taken a look at the article. It seems, other than some pure vandals, this article has stabilized. Would that be correct or do you need help still? Please let me know, you can use the case page or leave me a message on my talk page. Best regards. --Wgfinley 02:50, 28 January 2006 (UTC)

モリス・ローゼンフェルド
こんにちは. ja:モリス・ローゼンフェルドにハヌカーの歌の歌詞を書いたのですが、「ドイツ語風の翻字」の部分をイディッシュ語から正確な語源を辿って直していただけないでしょうか?

 * dertseylt < erzählt
 * haynt / Heute < *Heunt, heint

という風にです. --Sheynhertzגעשׁ״ך 04:49, 2 February 2006 (UTC)

 * ありがとうございました. --Sheynhertzגעשׁ״ך

こんにちは
こんにちは. よろしければ、ja:Wikipedia:ウィキポータル/ユダヤ教/執筆依頼の赤リンクの執筆に参加しませんか. ぜひja:Wikipedia:ウィキプロジェクト/ユダヤ教に まあや とサインしてください. --Sheynhertzגעשׁ״ך 02:10, 4 March 2006 (UTC)

Portal:Germany
Hi, I saw you translated a new article when I posted my latest one as a proofreading candidate. Just wanted to let you know I also listed it on the Portal under the new articles announcements. We've taken to listing new articles and finally completed stubs there - new stubs don't count :). Not sure if you knew about that.  If you don't want your new article listed there please feel free to remove it and of course, going forward, posting them there will be up to you.  But please check it out.  We also keep Germany DYKs, anniversaries and News there, so if you come across something that might be a nice bit of trivia, it would be great if you could update the DYKs.  Same for the News.  If I've forgotten anything there was quite a bit of discussing going on on the talk page.  Please also check out the WP:GSWN... there's a LOT of communicating going on there.  Happy Wiki-ing!  --Mmounties ( Talk )    05:48, 2 March 2006 (UTC)
 * You're very welcome. Glad to have you back. I'm just reading over your article trying to find a nice new bit of DYK.  I'll check your towns and districts while I'm at it.  :)   --Mmounties ( Talk )  [[Image:Flag of the United States.svg|25px]] [[Image:Flag of Germany.svg|25px]] 05:56, 2 March 2006 (UTC)

Fettes Brot
I have finished the tranlsation of Fettes Brot. You might want to give it a look over. - Rainwarrior 17:23, 30 July 2006 (UTC)

Image:52704.jpg
I tagged this image as "no license" since you claim it's public domain based on it's tagging on the German Wikipedia, but the image have since then beem deleted from the German wiki because the license info was "unglaubwürdig" (see links to German deletion process I posted on the image page itself). --Sherool (talk) 09:33, 17 November 2006 (UTC)

Orphaned fair use image (Image:DerSpiegel170905.jpg)
Thanks for uploading Image:DerSpiegel170905.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable under fair use (see our fair use policy).

If you have uploaded other unlicensed media, please check whether they're used in any articles or not. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any fair use images not used in any articles will be deleted after seven days, as described on criteria for speedy deletion. Thank you. This is an automated message from BJBot 13:47, 28 January 2007 (UTC)

Muddled English tenses
I'm afraid a sentence that you added to Augustusburg and Falkenlust Palaces, Brühl a long time ago doesn't make sense in English, and it isn't possible to tell what you meant. It must have been either: Could you be so kind as to revise the article as appropriate. Thank you. Jamie Mercer 14:04, 4 April 2007 (UTC)
 * Until 1994, Augustusburg was used as a reception hall for guests of state by the German President. [If this use stopped in 1994]
 * Since 1994, Augustusburg has been used as a reception hall for guests of state by the German President. [If this use started in 1994]

Image:FettesBrotEmanuelaCover.jpg
Hello, Maaya. An automated process has found and removed an image or media file tagged as nonfree media, and thus is being used under fair use that was in your userspace. The image (Image:FettesBrotEmanuelaCover.jpg) was found at the following location: User:Maaya/Fettes Brot translation. This image or media was attempted to be removed per criterion number 9 of our non-free content policy. The image or media was replaced with Image:NonFreeImageRemoved.svg, so your formatting of your userpage should be fine. Please find a free image or    media to replace it with, and or remove the image from your userspace. User:Gnome (Bot)-talk 03:48, 16 May 2007 (UTC)

Orphaned non-free image (File:FettesBrotEmanuelaCover.jpg)
 Thanks for uploading File:FettesBrotEmanuelaCover.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently orphaned, meaning that it is not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

If you have uploaded other unlicensed media, please check whether they're used in any articles or not. You can find a list of "file" pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "File" from the dropdown box. Note that any non-free images not used in any articles will be deleted after seven days, as described on criteria for speedy deletion. Thank you. Aspects (talk) 23:55, 24 November 2009 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:06, 23 November 2015 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:32, 23 November 2015 (UTC)

title: User talk:Maaya


text:
Green Park (disambiguation)

Green Park or Greenpark can refer to:

Commercial and estate properties

 * Aston Clinton House, previously known as Green Park, the historic site of a former mansion
 * Green Park Business Park, a business park in Reading, England
 * Green Park Village, a residential development in Reading, England

Places

 * Green Park, Delhi, a locality in South Delhi district, India
 * Green Park, London, one of the Royal Parks of London, England
 * Green Park, Missouri, a city in the US
 * Green Park, Pennsylvania, an incorporated village in the US
 * Green Park, Reading, a suburb of Reading, England

Sports venues

 * Green Park Stadium, a cricket ground in Kanpur, India
 * Greenpark Racecourse, Limerick, Ireland, a former racecourse

Transportation

 * Bath Green Park railway station, a closed Midland Railway station in the city of Bath, England
 * Green Park metro station, a station on the Delhi Metro in Delhi, India
 * Green Park tube station, a station on the London Underground in London. England
 * Reading Green Park railway station, a railway station in Reading, England

title: Green Park (disambiguation)


text:
Scandlines

Scandlines is a ferry company that operates the Rødby–Puttgarden and Gedser–Rostock ferry routes between Denmark and Germany.

Scandlines owns 7 ferries, 6 of which are hybrid ferries, making Scandlines the owner of the world's largest fleet of hybrid ferries.

In a normal year, Scandlines has over 41,500 departures, 7 million passengers, 1.7 million passenger cars and approx. 700,000 freight units on its two routes.

Scandlines has two subsidiaries, Scandlines Danmark ApS and Scandlines Deutschland GmbH, which operate in the two main countries.

Scandlines expects to continue operating on the Rødby–Puttgarden route despite the planned completion of the Fehmarn Belt tunnel in 2029.

History
In 1903, the first railway ferry sailed between Gedser in Denmark and Warnemünde in Germany, where De Danske Statsbaner, DSB, operated the route from the Danish side in partnership with a state-owned German shipping company.

A second service, the 'bird's flight line' (die Vogelfluglinie in German) between Rødby and Puttgarden was added in 1963, creating a direct route between Copenhagen and Hamburg.

The company was separated from DSB in 1995, and transformed into an independent limited company called DSB Rederi, which was, in turn, rebranded Scandlines in 1997. (The Scandlines brand had already been in use since 1991 on the Helsingør–Helsingborg ferry route ) In 1998, the two shipping company partners, Danish Scandlines and German DFO, merged into the company Scandlines, owned by the Danish Ministry of Transport and Deutsche Bahn.

Scandlines was privatized in 2007, and sold to the British infrastructure fund 3i, the German investment company Allianz Capital and the shipping company Deutsche Seereederei.

Between 1999 and 2015, part of Scandlines' ferry routes were sold, including Aarhus-Kalundborg to Molslinjen, and Helsingør-Helsingborg to ForSea Ferries.

Today, Scandlines is owned by a consortium consisting of the three infrastructure funds, First Sentier Investors, 3i and Federated Hermes.

The main focus is on the two routes Gedser-Rostock and Rødby-Puttgarden.

Management
The top management consists of CEO and COO Michael Guldmann Petersen and CFO Jesper Mikkelsen Heilbuth

The German part of the organization also has two directors: Heiko Kähler and Gerald Lefold, who are responsible for the day-to-day management of Scandlines' German companies.

Crossings
Scandlines operates two ferry routes between Denmark and Germany.

Rødby – Puttgarden

Gedser – Rostock

Ferries
Scandlines has six hybrid ferries and one freight ferry. In 2022, two ferries had a rotor sail mounted.

Scandlines' ferries on Rødby-Puttgarden:

Scandlines' ferries on Gedser-Rostock:

Freight ferry

In November 2021, it was announced that the company has ordered a battery-electric ferry for the Puttgarden-Rødby route from Cemre Shipyard. The new vessel is due to enter service in 2024 and will have two-deck loading alongside a freight capacity of 66 HGVs, or some 1200 lane metres.

Harbours
Scandlines owns the harbours areas in Rødby, Gedser and Puttgarden and rents an area in the harbour of Rostock.

title: Scandlines


text:
Micrandropsis

Micrandropsis is a plant genus of the family Euphorbiaceae first described as a genus in 1973. It contains only one known species, Micrandropsis scleroxylon, endemic to the State of Amazonas in northwestern Brazil.

title: Micrandropsis


text:
User:Rafjeg

My Wikipedia Links

 * Browsing Wikipedia Categories
 * Cookbook

My Intrests in Links
More Coming soon
 * Law
 * Psychology

Other Links

 * CV coming soon

title: User:Rafjeg


text:
Talk:Fagerstrand

Well, I see that this article is not fully written, but I like it.

title: Talk:Fagerstrand


text:
Smarta tradition

The Smarta tradition (स्मार्त, ), also called Smartism, is a movement in Hinduism that developed and expanded with the Puranas genre of literature. It reflects a synthesis of four philosophical strands, namely Uttara Mīmāṃsā, Advaita, Yoga, and theism. The Smarta tradition rejects theistic sectarianism, and is notable for the domestic worship of five shrines with five deities, all treated as equal – Ganesha, Shiva, Shakti, Vishnu and Surya. The Smarta tradition contrasted with the older Shrauta tradition, which was based on elaborate rituals and rites. There has been a considerable overlap in the ideas and practices of the Smarta tradition with other significant historic movements within Hinduism, namely Shaivism, Brahmanism, Vaishnavism, and Shaktism.

The Smarta tradition developed during (early) Classical Period of Hinduism around the beginning of the Common Era, when Hinduism emerged from the interaction between Brahmanism and local traditions. The Smarta tradition is aligned with Advaita Vedanta, and regards Adi Shankara as its founder or reformer. Shankara championed the thesis that ultimate reality is impersonal and Nirguna (attributeless) and any symbolic god serves the same equivalent purpose. Inspired by this belief, the Smarta tradition followers, along with the five Hindu gods, include a sixth impersonal god in their practice. The tradition has been called by William Jackson as "advaitin, monistic in its outlook".

The term Smarta also refers to Brahmins who specialise in the Smriti corpus of texts named the Grihya Sutras, in contrast to Shrauta Sutras. Smarta Brahmins, with their focus on the Smriti corpus, are contrasted from Srauta Brahmins, who specialise in the Sruti Corpus, that is, rituals and ceremonies that follow the Vedas.

Etymology
Smārta (स्मार्त) is an adjective derived from Smriti. The smriti are a specific body of Hindu texts usually attributed to an author, traditionally written down but constantly revised, in contrast to Srutis (The Vedic Literature) considered authorless, that were transmitted verbally across the generations and fixed.

Smarta has several meanings:
 * Relating to memory
 * Recorded in or based on the Smriti
 * Based on tradition, prescribed or sanctioned by traditional law
 * Orthodox Brahmin versed in or guided by traditional law and Vedanta doctrine

In Smarta tradition context, the term Smarta means "Follower Of Smriti". Smarta is especially associated with a "Sect Founded By Shankaracharya", according to Monier Williams. Some families in South India follow Srauta strictly and do not accept any Vedanta systems. They even have a custom of the sacred thread being worn by women.

History
Both Alf Hiltebeitel and Gavin Flood locate the origins of the Smarta Tradition in the (early) Classical Period of Hinduism, particularly with the nondualist (Advaita) interpretation of Vedanta, when Hinduism emerged from the interaction between Brahmanism and local traditions.

The "Hindu Synthesis"
Hiltebeitel situates the origins of the Smarta tradition in the ongoing interaction between the Vedic-Brahmanic tradition and non-Vedic traditions. According to him, a period of consolidation in the development of Hinduism took place between the time of the late Vedic Upanishad (c. 500 BCE) and the period of the rise of the Guptas (c. 320-467), which he calls the "Hindus synthesis", "Brahmanic synthesis", or "orthodox synthesis". It develops in interaction with other religions and peoples: "The emerging self-definitions of Hinduism were forged in the context of continuous interaction with heterodox religions (Buddhists, Jains, Ajivikas) throughout this whole period, and with foreign people (Yavanas, or Greeks; Sakas, or Scythians; Pahlavas, or Parthians; and Kusanas, or Kushans) from the third phase on [between the Mauryan empire and the rise of the Guptas]."

The smriti texts of the period between 200 BCE- 100 CE proclaim the authority of the Vedas, and "nonrejection of the Vedas comes to be one of the most important touchstones for defining Hinduism over and against the heterodoxies, which rejected the Vedas." The Smriti texts interpret the Vedas in a number of ways, which gave rise to six darsanas (orthodox schools) of Hindu philosophy. Of the six Hindu darsanas, the Mimamsa and the Vedanta "are rooted primarily in the Vedic sruti tradition and are sometimes called smarta schools in the sense that they develop smarta orthodox current of thoughts that are based, like smriti, directly on sruti." They emphasize the Vedas with reason and other pramanas, in contrast to Haituka schools which emphasize hetu (cause, reason) independent of the Vedas while accepting the authority of the Vedas. Of the two Smarta traditions, Mimamsa focussed on Vedic ritual traditions, while Vedanta focussed on Upanishadic knowledge tradition.

Around the start of the common era, and thereafter, a syncretism of Haituka schools (Nyaya, Vaisheshika, Samkhya and Yoga), the Smarta schools (Mimamsa, Vedanta) with ancient theistic ideas (bhakti, tantric) gave rise to a growth in traditions such as Shaivism, Vaishnavism and Shaktism. The revived Smarta tradition attempted to integrate varied and conflicting devotional practices, with its ideas of nondual experience of Atman (self, soul) as Brahman. The rapprochement included the practice of pancayatana-puja (five shrine worship), wherein a Hindu could focus on any saguna deity of choice (istadevata) such as Vishnu, Shiva, Durga, Surya and Ganesha as an interim step towards realizing the nirguna Brahman. The growth of this Smarta Tradition began in the Gupta period (4th–5th century CE), and likely was dominated by Dvija classes, in particular the Brahmins, of the early medieval Indian society. This Smarta tradition competed with other major traditions of Hinduism such as Shaivism, Vaishnavism, and Shaktism. The ideas of Smarta were historically influential, creative with concepts such as of Harihara (half Shiva, half Vishnu deity) and Ardhanarishvara (half woman, half man deity), and many of the major scholars of Shaivism, Vaishnavism, Shaktism, and Bhakti movement came out of the Smarta tradition.

According to Hiltebeitel, "the consolidation of Hinduism takes place under the sign of bhakti." It is the Bhagavadgita that seals this achievement. The result is a universal achievement that may be called smarta. It views Shiva and Vishnu as "complementary in their functions but ontologically identical".

Puranic Hinduism
According to Flood, the Smarta tradition originated with the development of the Puranas. The Puranic corpus is a complex body of materials that advance the views of various competing cults. Flood connects the rise of the written Purana historically with the rise of devotional cults centring upon a particular deity in the Gupta era.

After the end of the Gupta Empire and the collapse of the Harsha Empire, power became decentralised in India. Several larger kingdoms emerged, with "countless vasal states". The kingdoms were ruled via a feudal system. Smaller kingdoms were dependent on the protection of the larger kingdoms. With the breakdown of the Gupta empire, gifts of virgin waste-land were heaped on brahmanas, to ensure profitable agrarian exploitation of land owned by the kings, but also to provide status to the new ruling classes. Brahmanas spread further over India, interacting with local clans with different religions and ideologies.

The early medieval Puranas were composed to disseminate religious mainstream ideology among the pre-literate tribal societies undergoing acculturation. The Brahmanas used the Puranas to incorporate those clans into the agrarian society and its accompanying religion and ideology. Local chiefs and peasants were absorbed into the castesystem, which was used to keep "control over the new kshatriyas and shudras.

The Brahmanism of the Dharmashastras and the smritis underwent a radical transformation at the hands of the Purana composers, resulting in the rise of Puranic Hinduism, "which like a colossus striding across the religious firmament soon came to overshadow all existing religions". Puranic Hinduism was a "multiplex belief-system which grew and expanded as it absorbed and synthesized polaristic ideas and cultic traditions". It was distinguished from its Vedic Smarta roots by its popular base, its theological and sectarian pluralism, its Tantric veneer, and the central place of bhakti.

Many local religions and traditions were assimilated into puranic Hinduism. Vishnu and Shiva emerged as the main deities, together with Sakti/Deva, subsuming local cults, popular totem symbols and creation myths. Rama and Krsna became the focus of a strong bhakti tradition, which found expression particularly in the Bhagavata Purana. The Krsna tradition subsumed numerous Naga, yaksa and hill and tree based cults. Siva absorbed local cults by the suffixing of Isa or Isvara to the name of the local deity, for example Bhutesvara, Hatakesvara, Chandesvara.

Shankara and Advaita Vedanta
Traditionally, Adi Shankara is regarded as the greatest teacher and reformer of the Smarta tradition. According to Hiltebeitel, Adi Shankara established the nondualist interpretation of the Upanishads as the touchstone of a revived smarta tradition: "Practically, Adi Shankara Acharya fostered a rapprochement between Advaita and smarta orthodoxy, which by his time had not only continued to defend the varnasramadharma theory as defining the path of karman, but had developed the practice of pancayatanapuja ("five-shrine worship") as a solution to varied and conflicting devotional practices. Thus one could worship any one of five deities (Vishnu, Siva, Durga, Surya, Ganesa) as one's istadevata ("deity of choice")."

The Sringeri Sharada monastery founded by Adi Shankara in Karnataka is still the centre of the Smarta sect.

Recognition of Smarta as a tradition
Medieval era scholars such as Vedanta Desika and Vallabhacharya recognized Smarta as competing with Vaishnavism and other traditions. According to Jeffrey Timm, for example, in verse 10 of the Tattvarthadipanibandha, Vallabhacharya states that, "Mutually contradictory conclusions are non-contradictory when they are considered from their respective contexts, like Vaishnava, Smarta, etc."

According to Murray Milner Jr., a professor of Sociology, the Smarta tradition refers to "Hindus who tend toward Brahmanical orthodoxy in both thought and behavior". Smartas are usually committed to a "relatively unified Hinduism" and they reject extreme forms of sectarian isolationism, reminiscent of the European discourse about the church and Christian sects. The tradition, states Milner, has roots that emerged sometime between 3rd century BCE and 3rd century CE, likely in response to the growth of Jainism and Buddhism. It reflected a Hindu synthesis of four philosophical strands: Mimamsa, Advaita, Yoga and theism.

Smarta tradition emerged initially as a synthesis movement to unify Hinduism into a nonsectarian form based on the Vedic heritage. It accepted varnasrama-dharma, states Bruce Sullivan, which reflected an acceptance of Varna (caste/class) and ashrama (four stages of human life) as a form of social and religious duty. In the later second half of the 1st millennium, Adi Shankara reformed and brought ideas to the movement in the form of the Advaita Vedanta philosophy. According to Upinder Singh, the Smarta tradition's religious practice emerged as a transformation of Brahmanism and can be described as Hinduism. Smarta as a tradition emphasized all gods as equal and different ways of perceiving the all-pervasive metaphysical impersonal Brahman.

Modern Hinduism
In recent times bhakti cults have increasingly become popular with the smartas.

Vaitheespara notes the adherence of the Smarta Brahmans to "the pan-Indian Sanskrit-brahmanical tradition": "The emerging pan-Indian nationalism was clearly founded upon a number of cultural movements that, for the most part, reimagined an 'Aryo-centric', neo-brahmanical vision of India, which provided the 'ideology' for this hegemonic project. In the Tamil region, such a vision and ideology was closely associated with the Tamil Brahmans and, especially, the Smarta Brahmans who were considered the strongest adherents of the pan-Indian Sanskrit-Brahmanical tradition."

Panchayatana Puja
The Smartas evolved a kind of worship which is known as Panchayatana puja. In this Puja, one or more of the five Hindu Deities (Surya, Shiva, Vishnu, Ganesha and Adi Shakti) are the objects of veneration. The five symbols of the major Gods are placed on a round open metal dish called Panchayatana, the symbol of the deity preferred by the worshiper being in the center. A similar arrangement is also seen in the medieval temples, in which the central shrine housing the principal Deity is surrounded by four smaller shrines containing the figures of the other deities. Some of the Smartas of South India add a sixth god Kartikeya (See Shanmata). According to Basham, any upper-class Hindus still prefer the way of the Smartas to Saiva and Vaisnava forms of worship".

Panchayatana puja is a practice that became popular in medieval India, and has been attributed to Adi Shankara. However, archaeological evidence suggests that this practice long predates the birth of Adi Shankara. Many Panchayatana mandalas and temples have been uncovered that are from the Gupta Empire period, and one Panchayatana set from the village of Nand (about 24 kilometers from Ajmer) has been dated to belong to the Kushan Empire era (pre-300 CE). The Kushan period set includes Shiva, Vishnu, Surya, Brahma and one deity whose identity is unclear. According to James Harle, major Hindu temples from 1st millennium CE embed the pancayatana architecture very commonly, from Odisha to Karnataka to Kashmir; and the temples containing fusion deities such as Harihara (half Shiva, half Vishnu) are set in Panchayatana worship style.

Saguna and Nirguna Brahman
According to Smartism, supreme reality, Brahman, transcends all of the various forms of personal deity. The Smartas follow an orthodox Hindu philosophy, which means they accept the Vedas, and the ontological concepts of Atman and Brahman therein.

The Smarta Tradition accepts two concepts of Brahman, which are the saguna Brahman – the Brahman with attributes, and nirguna Brahman – the Brahman without attributes. The nirguna Brahman is the unchanging Reality, however, the saguna Brahman is posited as a means to realizing this nirguna Brahman. The concept of the saguna Brahman is considered in this tradition to be a useful symbolism and means for those who are still on their spiritual journey, but the saguna concept is abandoned by the fully enlightened once he or she realizes the identity of their own soul with that of the nirguna Brahman. A Smarta may choose any saguna deity (istadevata) such as Vishnu, Shiva, Shakti, Surya, Ganesha or any other, and this is viewed in Smarta Tradition as an interim step towards realizing the nirguna Brahman and its equivalence to one's own Atman.

Texts
Smartas follow the Hindu scriptures. These include the shruti (Vedas), but most markedly the smriti literature, which incorporated shramanic and Buddhist influences of the period from about 200 BCE to about 300 CE and the emerging bhakti tradition into the Brahmanical fold. According to Larson, "[M]ost of the basic ideas and practices of classical Hinduism derive from the new smriti literature. In other words, Hindus for the most part pay little more than lip service to the Vedic scriptures. The most important dimensions of being Hindu derive, instead, from the smriti texts. The point can also be made in terms of the emerging social reality. Whereas the shruti is taken seriously by a small number of Brahmins, the smriti are taken seriously by the overwhelming majority of Hindus, regardless of class or caste identity."

The identity of Atman and Brahman, and their unchanging, eternal nature, are the basic truths in this tradition. The emphasis in Vedic texts here is the jnana-kanda (knowledge, philosophical speculations) in the Upanishadic part of the Vedas, not its karma-kanda (ritual injunctions). Along with the Upanishads, the Bhagavad Gita and Brahma Sutras are the central texts of the Advaita Vedanta tradition, providing the truths about the identity of Atman and Brahman and their changeless nature.

 * The major Smriti texts are:
 * The two epics Ramayana of Valmiki and the Mahabharata, which have been commented on by many Smarta philosophers and scholars. Harikathas, Pravachanams, Upanyasams, and Kalakshepams on these texts are still very popular. The Ramayana is the text of choice for daily devotional reading or Nitya Parayanam for many Smartas and it has pervaded and guided Hindu conscience for centuries.
 * The Bhagavad Gita, which is part of the Mahabharata, and commentaries on it by Adi Shankara, Madhusudhana Saraswati and Sridhara Swami. The Bhagavad Gita exemplifies the "Hindu synthesis" of Brahmanic orthodoxy with the emerging bhakti traditions and the use of the shramanic and Yogic terminology to spread the Brahmanic idea of living according to one's duty or dharma, in contrast to the yogic ideal of liberation from the workings of karma.
 * The Puranas, a collection of mythological stories of the various Hindu gods, especially Shiva and Vishnu. The Srimad Bhagavatham and Vishnu Purana are treated with the same reverence as the major epics, as also being the chosen texts for daily devotional reading (Parayana grantham). "Sridhariyam" on the Bhagavatham, and "Bhavartha-Dipika" on the Vishnu Purana are well-known commentaries, both by Sridhara Swami.
 * Common religious law books or dharma literature, namely the Manu Smriti, the Apastamba Smriti and the Bodhyayana Smriti.

The Brahmasutra is considered as the Nyaya Prasthana (canonical base for reasoning). The Bhagavad Gita is considered as the Smriti Prasthana. The text relies on other Smritis, such as the Vedangas, Itihasa, Dharmasastras, Puranas and others. Some of this smriti literature incorporated shramanic and Buddhist influences of the period from about 200 BC to about AD 300 and the emerging bhakti tradition into the Brahmanical fold.

Institutions

The Smarta Tradition includes temples and monasteries. More Smarta temples are found in West and South India, than in North India.

Adi Shankara is one of the leading scholars of the Smarta Tradition, and he founded some of the most famous monasteries in Hinduism. These have hosted the under four Maṭhas, at Dwarka in the West, Jagannatha Puri in the East, Sringeri in the South and Badrinath in the North. > He himself Ascended the Savagna peetam in Kanchi, known as Kanchi Kamakoti Peetam. Each math was headed by one of his disciples, called Shankaracharya, who each independently continued the Advaita Vedanta Sampradaya. The ten Shankara-linked Advaita monastic orders are distributed as follows: Indra Saraswati at Kanchi, Bharati, Puri and Saraswati at Sringeri, Aranya and Vana at Puri, Tirtha and Ashrama at Dwarka, and Giri, Parvata and Sagara at Badrinath.

The mathas which Shankara built exist until today, and continue the teachings and influence of Shankara.

The table below gives an overview of the four largest Advaita Mathas founded by Adi Shankara, and their details. However, evidence suggests that Shankara established more mathas locally for Vedanta studies and its propagation, states Hartmut Scharfe, such as the "four mathas in the city of Trichur alone, that were headed by Trotaka, Sureshvara, Hastamalaka and Padmapada".

The Sringeri Sharada monastery founded by Adi Shankara in Karnataka is the centre of the Smarta sect for its disciples. Puri, Kanchi and Dwaraka Peetams have records of lineage of Sankaracharya since 5th centruty BC.

Other Advaita Vedanta mathas following Smarta Tradition include:
 * Svarnavalli Matha at Swarnavalli near Sodhe, Sirsi, Karnataka
 * Ramachandrapura Math at Haniya, Hosanagara, Karnataka
 * Kanchi matha, at Kanchipuram, Tamil Nadu
 * Chitrapur Math, Shirali, Karnataka
 * Shri Gaudapadacharya Math, Kavale, Ponda, Goa
 * Sri Samsthan Dabholi Math, Dabholi, Goa

Smarta Brahmins

The adjective Smārta is also used to classify a Brahmin who adheres to the Smriti corpus of texts.

Smarta Brahmins specialize in the Smriti corpus of texts, are differentiated from Srauta Brahmins who specialize in the Sruti corpus of texts such as the Brahmanas layer embedded inside the Vedas. Smarta Brahmins are also differentiated from Brahmins who specialize in the Agamic (Tantra) literature such as the Adi Shaiva Brahmins, Sri Vaishnava Brahmins and Shaiva Kashmiri Pandits. However, these identities are not clearly defined, and active groups such as "Agamic Smarta Saiva Brahmins" have thrived.

In a more general sense, all Brahmins who do not come from small communities of orthodox Vedic sects are considered Smarta Brahmins. Many orthodox Vedic sects have also turned to temple worship and management, which is considered a Smarta and Agamic tradition. Sri Vaishnava Brahmins sought to combine the Smarta tradition, Alvar Bhakti, and the Pancharatra traditions. Kashmiri Pandits combine Smarta and Agamic tradition.

Smarta Visvakarmas
Visvakarmas are artisans found in South India, such as in the state of Karnataka. They are known for their traditional expertise and skills as blacksmiths, carpenters, coppersmiths, sculptors, and goldsmiths. Smarta Visvakarmas are vegetarian artisans who follow the Smarta tradition. They contrast with Vaishnava Visvakarmas who follow the Vaishnavism tradition of Hinduism and some of whom may consume non-vegetarian food. The re-marriage of widows is a tradition found among the Smarta Visvakarmas, but has been atypical among Vaishnava Visvakarma.

According to Brouwer, examples of Smarta Visvakarmas include Niligundapanta (traditionally blacksmiths and carpenters), Konnurpanta (all five artisan trades) and Madipattar (goldsmiths). The Smarta & Vaishnava Visvakarmas claim to be Brahmins but were never considered to be Brahmins by the mainstream smarta brahmins of Karnataka and other castes.

Influence
Vaitheespara notes the adherence of the Smarta Brahmans to "the pan-Indian Sanskrit-brahmanical tradition" and their influence on pan-Indian nationalism: "The emerging pan-Indian nationalism was clearly founded upon a number of cultural movements that, for the most part, reimagined an 'Aryo-centric', neo-brahmanical vision of India, which provided the 'ideology' for this hegemonic project. In the Tamil region, such a vision and ideology was closely associated with the Tamil Brahmans and, especially, the Smarta Brahmans who were considered the strongest adherents of the pan-Indian Sanskrit-Brahmanical tradition."

Advaita Vedanta

 * Adi Sankaracharya and Advaita Vedanta Library
 * Advaita Vedanta Homepage
 * Jagadguru Mahasamsthanam, Sringeri Sharada Peetam

Puranas

 * Oneness of God from Kanchi Kamakoti Peetham

title: Smarta tradition


text:
Talk:Borough of Dartford

Untitled
This article is a bit disappointing, especially since there have been so many changes to it. It is very much of a "cobbled-together" thing, without any headings or seemingly any flow. History is mixed up with today, for example: and seems not to follow a chronological order. There are some sweeping statements - such as the one where "Dartford has become a dormitory town for commuters to London". I cannot believe this to be other than sheer guesswork: knowledge of the area will show that there are a wide variety of occupations in the borough which will need local employment. As a start there is the huge area alongside the Dartford Crossing ("Crossways") and that is just one of such areas. Of course a lot of people DO go on the trains at rush hour - but do they all go to "London" (whatever that may mean!)?

I don't have time at the moment to make any changes, but I would suggest that the classic arrangement of the article ought to be: Peter Shearan 12:16, 23 August 2005 (UTC)
 * opening statement - where it is and a brief summary of any really important facts (eg transport links via the Thames)
 * history - bring together in chronological order all the info (and check that there isn't anything else vide the borough website)
 * communications - include the ferry service to the continent (Dart Ferries); and Farningham Road is missed from the stations. Ebbsfleet station will be in Gravesham, not Dartford, although the line will tunnel under the Thames in the borough
 * industry of yesterday and today (all those industrial estates must do something!!!) and - BLUEWATER
 * important buildings in the borough: churches (not just in Dartford town), Orchard Theatre, Manor Gatehouse (Tudor) etc
 * population figures; & other demographic facts
 * other info - Mick Jagger Centre and so on

 * What is the relationship between the information in this article and the information in Dartford. They seem clearly to need separate articles, but also there would clearly be much crossover and duplication. Dartford is currently under peer review, and I am about to start expanding it as much as I can, but first it would seem sensible to decide which types of information go in which articles? Or whether all information goes in both. Jdcooper 11:59, 18 May 2006 (UTC)

Dartford peer review
The Dartford article has recently had an overhaul, and as follow-up has been nominated for peer review. Since editors to this article are likely to know something about Dartford as well, any edits you can make to the Dartford article or comments on the the peer review itself would be very useful. Thanks in advance! Jdcooper 23:17, 17 May 2006 (UTC)

Assessment comment
Substituted at 10:05, 29 April 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 1 one external link on Borough of Dartford. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20090212152904/http://www.opsi.gov.uk:80/si/si2001/20013560.htm to http://www.opsi.gov.uk/si/si2001/20013560.htm

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.— InternetArchiveBot  (Report bug) 07:33, 6 November 2016 (UTC)

title: Talk:Borough of Dartford


text:
User talk:ShadowStaller

Welcome!

Hello,, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on talk pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, you can post to the help desk or ask me on my talk page. Again, welcome! Proto t c 12:17, 23 August 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

Paula P-Orridge
Excellent argument on the "Votes for Deletion" page; this as far as I'm concerned is what VfD is about. Someone operating from ignorance but in good faith proposes an article for deletion, someone like yourself comes along and offers good, verifiable reasons why the article should remain. As User:Uncle G said, it makes a nice change - too often the level of argument from new users defending a musician consists mainly of "Hey my bro saw this band iz bigg in Seatle yo betr keep itt". Wecome to Wikipedia! Tonywalton | Talk 21:18, 23 August 2005 (UTC)

title: User talk:ShadowStaller


text:
Wikipedia:Featured picture candidates/Australia Cairns Koala

Australia Cairns Koala

I found this picture when I was taking a look at the Koala article. At first glance, I found the picture very visual striking to the article, and decided to look more at the picture. Fully magnified, the picture shows great detail. The lighting looks great, and the picture is full of rich color. Definitely feature picture material.

TomStar81 04:42, 8 September 2005 (UTC)
 * Nominate and support. - ZeWrestler   Talk 12:17, 23 August 2005 (UTC)
 * support Gzuckier 16:16, 23 August 2005 (UTC)
 * Question for you ZeWrestler... what are those red lines? --  user:zanimum
 * I was guessing a flower. -- ZeWrestler  Talk 19:05, 23 August 2005 (UTC)
 * It's something tied on the enclosure with red rope by the look of it.--nixie 13:48, 24 August 2005 (UTC)
 * You know, if those red lines seem too distracting, I could probably edit them to a less distracting colour if anyone cares. --Elfer 22:23, 24 August 2005 (UTC)
 * I think they're phone wires. He seems to be listening to the telephone.Gzuckier 17:44, 25 August 2005 (UTC)
 * Support great pic! -- AlexR 21:48, 23 August 2005 (UTC)
 * Strong support. Really good pic. -- tomf688  06:05, August 24, 2005 (UTC)
 * Support, I didn't even notice the lines until they were mentioned because my attention was drawn to the Koala. I would support an edited version where the lines are edited away too. - Mgm|(talk) 12:24, August 25, 2005 (UTC)
 * Support. --ScottyBoy900Q ∞ 14:08, 25 August 2005 (UTC)
 * Support, stunning. Phoenix2 18:47, August 25, 2005 (UTC)
 * Support. Aww so cute. FPC is accumulating quite a lot of good-quality cute animal pics, and it's hard to say no! Enochlau 05:48, 26 August 2005 (UTC)
 * Support Very catchy -- and yes, very cute too :-) --Gutza 20:40, 27 August 2005 (UTC)
 * Support. Neutralitytalk 23:14, September 7, 2005 (UTC)


text: Talk:Hütteldorf

title: Talk:Hütteldorf


text:
Balneotherapy

Balneotherapy (balneum "bath") is a method of treating diseases by bathing, a traditional medicine technique usually practiced at spas. Since ancient times, humans have used hot springs, public baths and thermal medicine for therapeutic effects. While it is considered distinct from hydrotherapy, there are some overlaps in practice and in underlying principles. Balneotherapy may involve hot or cold water, massage through moving water, relaxation, or stimulation. Many mineral waters at spas are rich in particular minerals such as silica, sulfur, selenium, and radium. Medicinal clays are also widely used, a practice known as 'fangotherapy'.

Definition and characteristics

"Balneotherapy" is the practice of immersing a subject in mineral water or mineral-laden mud; it is part of the traditional medicine of many cultures and originated in hot springs, cold water springs, or other sources of such water, like the Dead Sea.

Presumed effect on diseases
Balneotherapy may be recommended for various illnesses, including arthritis, skin conditions and fibromyalgia. Balneotherapy should be discussed in advance with a physician before beginning treatment since several conditions, like heart disease and pregnancy, can result in a serious adverse effect.

Scientific studies into the effectiveness of balneotherapy do not show that balneotherapy is effective for treating rheumatoid arthritis. There is also no evidence indicating a more effective type of bath, or that bathing is more effective than exercise, relaxation therapy, or mudpacks. Most of the studies on balneotherapy have methodological flaws and are not reliable. A 2009 review of all published clinical evidence concluded that existing research is not sufficiently strong to draw firm conclusions about the efficacy of balneotherapy.

"Balneophototherapy" combines salt bathing (balneotherapy) and exposure to ultraviolet B-light (UVB) as a potential treatment for severe, chronic plaque psoriasis. A Cochrane review found low-quality evidence that salt bathing combined with UVB may relieve psoriasis severity compared to UVB treatment only.

A 2018 systematic review concluded that "balneotherapy and spa therapy may be considered useful interventions for managing stress conditions".

title: Balneotherapy


text: Category:Lil' Kim albums

title: Category:Lil' Kim albums


text:
Sakaryaspor

Sakaryaspor Kulübü Derneği is a Turkish professional football club playing in the TFF First League, which is the second level of Turkish football.

History
The club was formed in 1965 after the merger of Adapazarı Gençlerbirliği, Adapazarı İdman Yurdu, Güneşspor and Ada Gençlik. The club is better known as Sakaryaspor.

The football club is nicknamed the "Football Factory" by Turkish football scene because of the many national footballers born and raised in the city. Sakarya Province has also five national top scorers (Hakan Şükür, Aykut Kocaman, Bülent Uygun, Aykut Yiğit, Ogün Altıparmak) of all time and three of them did carry the Sakaryaspor shirt. Sakaryaspor became TFF First League champions in 1980–81 and 1986–87. They accomplished this feat again at the end of the 2005–06 season. Sakaryaspor subsequently won a place in the play–off matches. After eliminating İstanbulspor in the first play–off match, Sakaryaspor went on to defeat Altay 4–1 in the finals and were promoted to the Süper Lig. They were relegated from the Süper Lig the following season.

In 1988 the team won the Turkish Cup, with some of the Turkish football legends like Oğuz Çetin, Hakan Şükür, Engin İpekoğlu and Aykut Kocaman in the squad.

Supporters and rivalries
Sakaryaspor fans call themselves "Tatangalar", which was founded in 1990 and means "Bisons". The name Tatanga (Tatanka) comes from the movie Dances with Wolves. The word Tatanga (plural Tatangalar) became the nickname of the club over time. Kocaelispor is considered as the archrival and the supporters have friendly ties with Göztepe.

League participations

 * Turkish Super League: 1981–86, 1987–90, 1998–99, 2004–05, 2006–07
 * TFF First League: 1965–81, 1986–87, 1990–98, 1999–04, 2005–06, 2007–09, 2011–12, 2022–
 * TFF Second League: 2009–11, 2012–13, 2017–2022
 * TFF Third League: 2013–17

Achievements

 * Second League Category A:
 * Winners (2): 2004, 2006
 * Second League:
 * Winners (2): 1998, 2011
 * Third League:
 * Winners (1): 2017
 * Turkish Cup:
 * Winners (1): 1988

European participations
European Cup Winners' Cup:

title: Sakaryaspor


text:
Michelle Hurd

Michelle Hurd is an American actress best known for her work in television. She first received recognition for portraying Monique Jeffries in the police procedural series Law & Order: Special Victims Unit (1999–2001). She has since starred as Athena Barnes in the drama series Leap Years (2001), Colleen Manus in the crime drama series The Glades (2010–2013), Linda Bates Emery in the comedy-horror series Ash vs Evil Dead (2016), and Ellen "Shepherd" Briggs in the crime drama series Blindspot (2015–2018). She portrayed Raffi Musiker in the science fiction series Star Trek: Picard (2020–2023).

Early life
Michelle Hurd is the daughter of actor Hugh Hurd and Merlyn Hurd (Purdy), an actress and clinical psychologist. Her parents met when they appeared in the same Broadway show. Hurd has two sisters. She graduated from Saint Ann's School in 1984 and Boston University in 1988, and studied with the Alvin Ailey School. After her graduation from college, she studied at London's National Theatre.

Career
One of Hurd's early Off Broadway performances was in the play The Constant Couple in 1990. A review in The Nation predicted that this would be a stepping stone to Broadway roles. Hurd made her Broadway debut in the 1996 Stephen Sondheim–George Furth play Getting Away with Murder. Her other theatre credits include Othello, A.M.L., Hamlet and The Hunchback of Notre-Dame. Hurd acted in Looking for the Pony for Manhattan Theater Source with her sister Adrienne and in 900 Oneonta for Circle Repertory Company with Garret Dillahunt who would become her husband. She won the Robbie Award and the California Theatre Award for Best Supporting Actress in a Drama for the premiere of Richard Greenberg's The Violet Hour.

Michelle Hurd appeared as the comic book superhero B.B. DaCosta / Fire in the failed television pilot Justice League of America in 1997. Her other early television appearances include New York Undercover, The Practice and The Cosby Mysteries. Her experiences filming the latter series led her to come forward as a witness to a woman being drugged by Bill Cosby. Hurd's association with the Law & Order franchise began with her appearance in a 1997 episode of the titular series. Her performance as a corrupt FBI informant caught the attention of Law & Order producer Dick Wolf, who two years later cast her in the spin-off Law & Order: Special Victims Unit as Detective Monique Jeffries. She co-starred with Christopher Meloni and Mariska Hargitay for the first season before leaving the main cast in 2000. She appeared in the first, seventh and sixteenth episodes of season two.

After her time on SVU, Hurd had television roles in Charmed, The O.C., According to Jim, Shark, Bones, and Gossip Girl. She collaborated with her husband again in the 2001 Showtime original series Leap Years. From 2006 to 2007, she had a recurring role on ER as television news producer Courtney Brown, who becomes close to Dr. Kerry Weaver. She also returned to the stage, playing the lead role Diana in the Washington Shakespeare Theatre Company's February 10 – March 29, 2009 production of Lope de Vega's Dog in the Manger.

In 2010, Hurd began a starring role on the A&E Network drama The Glades, playing Colleen Manus. In March 2018, it was announced that Hurd would have a leading role in the CBS reboot of Cagney & Lacey, playing the character Mary Beth Lacey (originated by Tyne Daly in the original series), starring alongside Sarah Drew.

In 2014, she appeared as Constance "Connie" Irving in Season 1 of the very popular streaming series Bosch. She was then replaced by Erika Alexander in season 2.

In 2016, Hurd had a recurring role in the second season of Daredevil as Samantha Reyes, a corrupt district attorney overseeing the prosecution of Frank Castle. Hurd had debuted the role in the season 1 finale of Jessica Jones.

On April 26, 2018, Michelle Hurd spoke in a panel for World Intellectual Property Day with a theme of celebrating the creative output of women.

In 2019, Hurd took on the role of Raffi Musiker in the Paramount Plus series Star Trek: Picard. The series began streaming on the service in January 2020.

Since October 2021, Hurd has served as National Vice President of SAG-AFTRA Los Angeles Local, taking over for Clyde Kusatsu.

Personal life
In 2007, Hurd married actor Garret Dillahunt.

title: Michelle Hurd


text:
Weston Park, Canberra

Weston Park is a park located on a peninsula on the western side of Lake Burley Griffin in Canberra, Australia. In 1963 the park was named after Charles Weston, who had founded the nearby Yarralumla Nursery in 1914. On the western side of the peninsula is Yarramundi Reach and on the eastern side is Tarcoola Reach. The end of the peninsula is called Kurrajong Point.

With water on three sides, children's playgrounds, picnic areas and barbecue facilities, Weston Park has a very pleasant atmosphere and is very popular on weekends and holidays. The park also has a miniature railway.

title: Weston Park, Canberra


text:
Heredity (disambiguation)

Heredity may refer to:

 * Heredity: the transfer of characteristics from parent to offspring
 * Inheritance: the hereditary transfer of titles, property, or assets from parent to offspring (or other beneficiary)
 * A synonym for bloodline; for other uses of the term, see Bloodline (disambiguation)
 * Hereditary property, in mathematics, a property of objects inherited by all their subobjects
 * Heredity (journal), a scientific journal
 * "Heredity" (short story), a science fiction story by Isaac Asimov
 * Heredity (film), a 1912 film starring Harry Carey
 * Hereditary (film), a 2018 film starring Toni Collette
 * Heredity (album), a 1985 album by Rational Youth

title: Heredity (disambiguation)