View allAll Photos Tagged resume!
I'm keeping my resume on here because when I apply to jobs on craigslist I can't send it through pdf. I used Photoshop CS2 to create this.
I needed to make a downloadable resume for my web site. What was going to take a couple of hours ended up taking me all day. Not sure if it works that well as a resume but what the hell, I like it.
I found the ancient piece of paper here flic.kr/p/4Bcsmm
I'm working on updating my resume for my future job searches... and because I'm writing a paper about my current internship, and it requires an updated resume. I could just change the written details to updated details and leave the design the same... but that's just not me at all :-)
Here's my most recent "header" design(s). Which one do you like best? Do you like them at all? What would you suggest for someone "like me?"
I'd love to hear your input!
Hanuman was born to the humanoid creatures called the vanaras. His mother Anjana was an apsara who was born on earth as a female vanara due to a curse. She was redeemed from this curse on her giving birth to a son. The Valmiki Ramayana states that his father Kesari was the son of Brihaspati and that Kesari also fought on Rama's side in the war against Ravana.[10] Anjana and Kesari performed intense prayers to Shiva to get a child. Pleased with their devotion, Shiva granted them the boon they sought.[11] Hanuman, in another interpretation, is the incarnation or reflection of Shiva himself.
Hanuman is often called the son of the deity Vayu; several different traditions account for the Vayu's role in Hanuman's birth. One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Shiva, the King Dasharatha of Ayodhya was also performing the ritual of Putrakama yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata, and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it. Hanuman was born to her as a result.[10][12] Another tradition says that Anjana and her husband Kesari prayed Shiva for a child. By Shiva's direction, Vayu transferred his male energy to Anjana's womb. Accordingly, Hanuman is identified as the son of the Vayu.
Another story of Hanuman's origins is derived from the Vishnu Purana and Naradeya Purana. Narada, infatuated with a princess, went to his lord Vishnu, to make him look like Vishnu, so that the princess would garland him at swayamvara (husband-choosing ceremony). He asked for hari mukh (Hari is another name of Vishnu, and mukh means face). Vishnu instead bestowed him with the face of a vanara. Unaware of this, Narada went to the princess, who burst into laughter at the sight of his ape-like face before all the king's court. Narada, unable to bear the humiliation, cursed Vishnu, that Vishnu would one day be dependent upon a vanara. Vishnu replied that what he had done was for Narada's own good, as he would have undermined his own powers if he were to enter matrimony. Vishnu also noted that Hari has the dual Sanskrit meaning of vanara. Upon hearing this, Narada repented for cursing his idol. But Vishnu told him not repent as the curse would act as a boon, for it would lead to the birth of Hanuman, an avatar of Shiva, without whose help Rama (Vishnu's avatar) could not kill Ravana.
Birth place[edit]Multiple places in India are claimed as the birthplace of Hanuman.
According to one theory, Hanuman was born on 'Anjaneya Hill', in Hampi, Karnataka.[13] This is located near the Risyamukha mountain on the banks of the Pampa, where Sugreeva and Rama are said to have met in Valmiki Ramayana's Kishkinda Kanda. There is a temple that marks the spot. Kishkinda itself is identified with the modern Anekundi taluk (near Hampi) in Bellary district of Karnataka.[citation needed]
Anjan, a small village about 18 km away from Gumla, houses "Anjan Dham", which is said to be the birthplace of Hanuman.[14] The name of the village is derived from the name of the goddess Anjani, the mother of Hanuman. Aanjani Guha (cave), 4 km from the village, is believed to be the place where Anjani once lived. Many objects of archaeological importance obtained from this site are now held at the Patna Museum.
The Anjaneri (or Anjneri) mountain, located 7 km from Trimbakeshwar in the Nasik district, is also claimed as the birthplace of Hanuman.[15]
According to Anjan Dham, Hanuman was born on Lakshka Hill near Sujangarh in Churu district, Rajasthan.[16]
Childhood[edit]
Hanuman Mistakes the Sun for a Fruit by BSP PratinidhiAs a child, believing the sun to be a ripe mango, Hanuman pursued it in order to eat it. Rahu, a Vedic planet corresponding to an eclipse, was at that time seeking out the sun as well, and he clashed with Hanuman. Hanuman thrashed Rahu and went to take sun in his mouth.[17] Rahu approached Indra, king of devas, and complained that a monkey child stopped him from taking on Sun, preventing the scheduled eclipse. This enraged Indra, who responded by throwing the Vajra (thunderbolt) at Hanuman, which struck his jaw. He fell back down to the earth and became unconscious. A permanent mark was left on his chin (हनुः hanuḥ "jaw" in Sanskrit), due to impact of Vajra, explaining his name.[10][18] Upset over the attack, Hanuman's father figure Vayu deva (the deity of air) went into seclusion, withdrawing air along with him. As living beings began to asphyxiate, Indra withdrew the effect of his thunderbolt. The devas then revived Hanuman and blessed him with multiple boons to appease Vayu.[10]
Brahma gave Hanuman a boon that would protect him from the irrevocable Brahma's curse. Brahma also said: "Nobody will be able to kill you with any weapon in war." From Brahma he obtained the power of inducing fear in enemies, of destroying fear in friends, to be able to change his form at will and to be able to easily travel wherever he wished. From Shiva he obtained the boons of longevity, scriptural wisdom and ability to cross the ocean. Shiva assured safety of Hanuman with a band that would protect him for life. Indra blessed him that the Vajra weapon will no longer be effective on him and his body would become stronger than Vajra. Varuna blessed baby Hanuman with a boon that he would always be protected from water. Agni blessed him with immunity to burning by fire. Surya gave him two siddhis of yoga namely "laghima" and "garima", to be able to attain the smallest or to attain the biggest form. Yama, the God of Death blessed him healthy life and free from his weapon danda, thus death would not come to him. Kubera showered his blessings declaring that Hanuman would always remain happy and contented. Vishwakarma blessed him that Hanuman would be protected from all his creations in the form of objects or weapons. Vayu also blessed him with more speed than he himself had. Kamadeva also blessed him that the sex will not be effective on him.So his name is also Bala Bramhachari.[citation needed]
On ascertaining Surya to be an all-knowing teacher, Hanuman raised his body into an orbit around the sun and requested to Surya to accept him as a student. Surya refused and explained claiming that he always had to be on the move in his chariot, it would be impossible for Hanuman to learn well. Undeterred, Hanuman enlarged his form, with one leg on the eastern ranges and the other on the western ranges, and facing Surya again pleaded. Pleased by his persistence, Surya agreed. Hanuman then learned all of the latter's knowledge. When Hanuman then requested Surya to quote his "guru-dakshina" (teacher's fee), the latter refused, saying that the pleasure of teaching one as dedicated as him was the fee in itself. Hanuman insisted, whereupon Surya asked him to help his (Surya's) spiritual son Sugriva. Hanuman's choice of Surya as his teacher is said to signify Surya as a Karma Saakshi, an eternal witness of all deeds. Hanuman later became Sugriva's minister.[10][19]
Hanuman was mischievous in his childhood, and sometimes teased the meditating sages in the forests by snatching their personal belongings and by disturbing their well-arranged articles of worship. Finding his antics unbearable, but realizing that Hanuman was but a child, (albeit invincible), the sages placed a mild curse on him by which he became unable to remember his own ability unless reminded by another person. The curse is highlighted in Kishkindha Kanda and he was relieved from the curse by the end of Kishkindha Kanda when Jambavantha reminds Hanuman of his abilities and encourages him to go and find Sita and in Sundara Kanda he used his supernatural powers at his best.[10]
Adventures in Ramayana[edit]The Sundara Kanda, the fifth book in the Ramayana, focuses on the adventures of Hanuman.
Meeting with Rama[edit]
Rāma and Lakṣmaṇa meeting Hanumān at RishyamukhaHanuman meets Rama during the Rama's 14-year exile.[20] With his brother Lakshmana, Rama is searching for his wife Sita who had been abducted by Ravana. Their search brings them to the vicinity of the mountain Rishyamukha, where Sugriva, along with his followers and friends, are in hiding from his older brother Vali.
Having seen Rama and Lakshmana, Sugriva sends Hanuman to ascertain their identities. Hanuman approaches the two brothers in the guise of a brahmin. His first words to them are such that Rama says to Lakshmana that none could speak the way the brahmin did unless he or she had mastered the Vedas. He notes that there is no defect in the brahmin's countenance, eyes, forehead, brows, or any limb. He points out to Lakshmana that his accent is captivating, adding that even an enemy with sword drawn would be moved. He praises the disguised Hanuman further, saying that sure success awaited the king whose emissaries were as accomplished as he was.[20]
When Rama introduces himself, the brahman identitifies himself as Hanuman and falls prostrate before Rama, who embraces him warmly. Thereafter, Hanuman's life becomes interwoven with that of Rama. Hanuman then brings about friendship and alliance between Rama and Sugriva; Rama helps Sugriva regain his honour and makes him king of Kishkindha. Sugriva and his vanaras, most notably Hanuman, help Rama defeat Raavana and reunite with Sita.
In their search for Sita, a group of Vanaras reaches the southern seashore. Upon encountering the vast ocean, every vanara begins to lament his inability to jump across the water. Hanuman too is saddened at the possible failure of his mission, until the other vanaras and the wise bear Jambavantha begin to extol his virtues. Hanuman then recollects his own powers, enlarges his body, and flies across the ocean. On his way, he encounters a mountain that rises from the sea, proclaims that it owed his father a debt, and asks him to rest a while before proceeding. Not wanting to waste any time, Hanuman thanks the mountain and carries on. He then encounters a sea-monster, Surasa, who challenges him to enter her mouth. When Hanuman outwits her, she admits that her challenge was merely a test of his courage. After killing Simhika, a rakshasa, he reaches Lanka.
Finding Sita[edit]
Hanuman finds Sita in the ashoka grove, and shows her Rama's ringHanuman reaches Lanka and marvels at its beauty. After he finds Sita in captivity in a garden, Hanuman reveals his identity to her, reassures her that Rama has been looking for her, and uplifts her spirits. He offers to carry her back to Rama, but she refuses his offer, saying it would be an insult to Rama as his honour is at stake. After meeting Sita, Hanuman begins to wreak havoc, gradually destroying the palaces and properties of Lanka. He kills many rakshasas, including Jambumali and Aksha Kumar. To subdue him, Ravana's son Indrajit uses the Brahmastra. Though immune to the effects of this weapon Hanuman, out of respect to Brahma, allows himself be bound. Deciding to use the opportunity to meet Ravana, and to assess the strength of Ravana's hordes, Hanuman allows the rakshasa warriors to parade him through the streets. He conveys Rama's message of warning and demands the safe return of Sita. He also informs Ravana that Rama would be willing to forgive him if he returns Sita honourably.
Enraged, Ravana orders Hanuman's execution, whereupon Ravana's brother Vibhishana intervenes, pointing out that it is against the rules of engagement to kill a messenger. Ravana then orders Hanuman's tail be lit afire. As Ravana's forces attempted to wrap cloth around his tail, Hanuman begins to lengthen it. After frustrating them for a while, he allows it to burn, then escapes from his captors, and with his tail on fire he burns down large parts of Lanka. After extinguishing his flaming tail in the sea, he returns to Rama.
Shapeshifting[edit]In the Ramayana Hanuman changes shape several times. For example, while he searches for the kidnapped Sita in Ravana's palaces on Lanka, he contracts himself to the size of a cat, so that he will not be detected by the enemy. Later on, he takes on the size of a mountain, blazing with radiance, to show his true power to Sita.[21]
Also he enlarges & immediately afterwards contracts his body to out-wit Sirsa, the she-demon, who blocked his path while crossing the sea to reach Lanka. Again, he turns his body microscopically small to enter Lanka before killing Lankini, the she-demon guarding the gates of Lanka.
He achieved this shape-shifting by the powers of two siddhis; Anima and Garima bestowed upon him in his childhood by Sun-God, Surya.
Mountain Lifting[edit]
Hanuman fetches the herb-bearing mountain, in a print from the Ravi Varma Press, 1910sWhen Lakshmana is severely wounded during the battle against Ravana, Hanuman is sent to fetch the Sanjivani, a powerful life-restoring herb, from Dronagiri mountain in the Himalayas, to revive him. Ravana realises that if Lakshmana dies, a distraught Rama would probably give up, and so he dispatches the sorcerer Kalanemi to intercept Hanuman.[22] Kalanemi, in the guise of a sage, deceives Hanuman, but Hanuman uncovers his plot with the help of an apsara, whom he rescues from her accursed state as a crocodile.[22]
Ravana, upon learning that Kalanemi has been slain by Hanuman, summons Surya to rise before its appointed time because the physician Sushena had said that Lakshmana would perish if untreated by daybreak. Hanuman realizes the danger, however, and, becoming many times his normal size, detains the Sun God to prevent the break of day. He then resumes his search for the precious herb, but, when he finds himself unable to identify which herb it is, he lifts the entire mountain and delivers it to the battlefield in Lanka. Sushena then identifies and administers the herb, and Lakshmana is saved. Rama embraces Hanuman, declaring him as dear to him as his own brother. Hanuman releases Surya from his grip, and asks forgiveness, as the Sun was also his Guru.
Hanuman was also called "langra veer"; langra in Hindi means limping and veer means "brave". The story behind Hanuman being called langra is as follows. He was injured when he was crossing the Ayodhya with the mountain in his hands. As he was crossing over Ayodhya, Bharat, Rama's young brother, saw him and assumed that some Rakshasa was taking this mountain to attack Ayodhya. Bharat then shot Hanuman with an arrow, which was engraved with Rama's name. Hanuman did not stop this arrow as it had Rama's name written on it, and it injured his leg. Hanuman landed and explained to Bharat that he was moving the mountain to save his own brother, Lakshmana. Bharat, very sorry, offered to fire an arrow to Lanka, which Hanuman could ride in order to reach his destination more easily. But Hanuman declined the offer, preferring to fly on his own, and he continued his journey with his injured leg.
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Patala incident[edit]In another incident during the war, Rama and Lakshmana are captured by the rakshasa Mahiravana (or Ahiravan), brother of Ravana, who held them captive in their palace in Patala (or Patalpuri) --the netherworld. Mahiravana keeps them as offerings to his deity. Searching for them, Hanuman reaches Patala, the gates of which are guarded by a young creature called Makardhwaja (known also as Makar-Dhwaja or Magar Dhwaja), who is part reptile and part Vanara.
The story of Makardhwaja's birth is said to be that when Hanuman extinguished his burning tail in the ocean, a drop of his sweat fell into the waters, eventually becoming Makardhwaja, who perceives Hanuman as his father. When Hanuman introduces himself to Makardhwaja, the latter asks his blessings, but fights him to fulfill the task of guarding the gate. Hanuman defeats and imprisons him to gain entry.
Upon entering Patala, Hanuman discovers that to kill Mahiravana, he must simultaneously extinguish five lamps burning in different directions. Hanuman assumes the Panchamukha or five-faced form of Sri Varaha facing north, Sri Narasimha facing south, Sri Garuda facing west, Sri Hayagriva facing the sky and his own facing the east, and blows out the lamps. Hanuman then rescues Rama and Lakshmana. Afterwards, Rama asks Hanuman to crown Makardhwaja king of Patala. Hanuman then instructs Makardhwaja to rule Patala with justice and wisdom.
To date Chandraloak Devpuri mandir is located at Dugana a small village 17 km from Laharpur,Sitapur district,Uttar Pradesh. A divine place where Chakleswar Mahadev situated.
Honours[edit]
Hanuman showing Rama in His heartShortly after he is crowned Emperor upon his return to Ayodhya, Rama decides to ceremoniously reward all his well-wishers. At a grand ceremony in his court, all his friends and allies take turns being honoured at the throne. Hanuman approaches without desiring a reward. Seeing Hanuman come up to him, an emotionally overwhelmed Rama embraces him warmly, declaring that he could never adequately honour or repay Hanuman for the help and services he received from the noble Vanara. Sita, however, insists that Hanuman deserved honour more than anyone else, and Sita gives him a necklace of precious stones adorning her neck.
When he receives it, Hanuman immediately takes it apart, and peers into each stone. Taken aback, many of those present demand to know why he is destroying the precious gift. Hanuman answers that he was looking into the stones to make sure that Rama and Sita are in them, because if they are not, the necklace is of no value to him. At this, a few mock Hanuman, saying his reverence and love for Rama and Sita could not possibly be as deep as he implies. In response, Hanuman tears his chest open, and everyone is stunned to see Rama and Sita literally in his heart.
Hanuman Ramayana[edit]
Hanuman beheads Trisiras-from The Freer RamayanaAfter the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of the Lord Rama. There he scripted a version of the Ramayana on the Himalayan mountains using his nails, recording every detail of Rama's deeds. When Maharishi Valmiki visited him to show him his own version of the Ramayana, he saw Hanuman's version and became very disappointed.
When Hanuman asked Valmiki the cause of his sorrow, the sage said that his version, which he had created very laboriously, was no match for the splendour of Hanuman's, and would therefore go ignored. At this, Hanuman discarded his own version, which is called the Hanumad Ramayana. Maharishi Valmiki was so taken aback that he said he would take another birth to sing the glory of Hanuman which he had understated in his version.
Later, one tablet is said to have floated ashore during the period of Mahakavi Kalidasa, and hung at a public place to be deciphered by scholars. Kalidasa is said to have deciphered it and recognised that it was from the Hanumad Ramayana recorded by Hanuman in an extinct script, and considered himself very fortunate to see at least one pada of the stanza.
After the Ramayana war[edit]After the war, and after reigning for several years, the time arrived for Rama to depart to his supreme abode Vaikuntha. Many of Rama's entourage, including Sugriva, decided to depart with him. Hanuman, however, requested from Rama that he will remain on earth as long as Rama's name was venerated by people. Sita accorded Hanuman that desire, and granted that his image would be installed at various public places, so he could listen to people chanting Rama's name. He is one of the immortals (Chiranjivi) of Hinduism.[23]
Mahabharata[edit]Hanuman is also considered to be the brother of Bhima, on the basis of their having the same father, Vayu. During the Pandavas' exile, he appears disguised as a weak and aged monkey to Bhima in order to subdue his arrogance. Bhima enters a field where Hanuman is lying with his tail blocking the way. Bhima, unaware of his identity, tells him to move it out of the way. Hanuman, incognito, refuses. Bhima then tries to move the tail himself but he is unable, despite his great strength. Realising he is no ordinary monkey, he inquires as to Hanuman's identity, which is then revealed. At Bhima's request, Hanuman is also said to have enlarged himself to demonstrate the proportions he had assumed in his crossing of the sea as he journeyed to Lanka and also said that when the war came, he would be there to protect the Pandavas. This place is located at Sariska National Park in the Alwar District of the State of Rajasthan and named as Pandupole(Temple of Hanuman ji).Pandupole is very famous tourist spot of Alwar.
During the great battle of Kurukshetra, Arjuna entered the battlefield with a flag displaying Hanuman on his chariot.[23] The incident that led to this was an earlier encounter between Hanuman and Arjuna, wherein Hanuman appeared as a small talking monkey before Arjuna at Rameshwaram, where Rama had built the great bridge to cross over to Lanka to rescue Sita. Upon Arjuna's wondering aloud at Rama's taking the help of monkeys rather than building a bridge of arrows, Hanuman challenged him to build a bridge capable of bearing him alone; Arjuna, unaware of the vanara's true identity, accepted. Hanuman then proceeded to repeatedly destroy the bridges made by Arjuna, who decided to take his own life. Vishnu then appeared before them both after originally coming in the form of a tortoise, chiding Arjuna for his vanity and Hanuman for making Arjuna feel incompetent. As an act of penitence, Hanuman decided to help Arjuna by stabilizing and strengthening his chariot during the imminent great battle. After, the battle of Kurukshetra was over, Krishna asked Arjuna, that today you step down the chariot before me. After Arjuna got down, Krishna followed him and thanked Hanuman for staying with them during the whole fight in the form of a flag on the chariot. Hanuman came in his original form, bowed to Krishna and left the flag, flying away into the sky. As soon as he left the flag, the chariot began to burn and turned into ashes. Arjuna was shocked to see this, then Krishna told Arjuna, that the only reason his chariot was still standing was because of the presence of Himself and Hanuman, otherwise, it would have burnt many days ago due to effects of celestial weapons thrown at it in the war.
According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha.
Blondie is an American rock band, founded by singer Debbie Harry and guitarist Chris Stein. The band was a pioneer in the early American new wave and punk scenes of the mid-1970s. Their first two albums contained strong elements of these genres, and although successful in the United Kingdom and Australia, Blondie was regarded as an underground band in the United States until the release of Parallel Lines in 1978. Over the next three years, the band achieved several hit singles and became noted for its eclectic mix of musical styles incorporating elements of disco, pop, rap, and reggae, while retaining a basic style as a new wave band.
Blondie broke up after the release of their sixth studio album The Hunter in 1982. Debbie Harry continued to pursue a solo career with varied results after taking a few years off to care for partner Chris Stein, who was diagnosed with pemphigus, a rare autoimmune disease of the skin.
The band reformed in 1997, achieving renewed success and a number one single in the United Kingdom with "Maria" in 1999. The group toured and performed throughout the world[5] during the following years, and was inducted into the Rock and Roll Hall of Fame in 2006.[6] Blondie has sold 40 million records worldwide[7] and is still active today, with a new album, Panic of Girls, planned for release in 2010.
Early career (1975–1978) In the early 1970s, Chris Stein moved from Brooklyn to Manhattan.Inspired by the burgeoning new music scene at the Mercer Arts Center, he sought to join a similar band. He joined The Stilettos in 1973 as their guitarist and formed a romantic relationship with one of the band's vocalists, Debbie Harry, a former waitress and Playboy Bunny, Harry had been a member of the folk-rock band, The Wind in the Willows, in the late 1960s. In 1974, Stein parted ways with The Stilettos and Elda Gentile, the band's originator. Stein and Harry formed a new band with drummer Billy O'Connor and bassist Fred Smith. By 1975, after some personnel turnover (including sisters Tish and Snooky Bellomo on backing vocals), Stein and Harry were joined by drummer Clem Burke, keyboard player Jimmy Destri and bass player Gary Valentine. Originally billed as Angel and the Snakes,they renamed themselves Blondie in late 1975. The name derived from comments made by truck drivers who catcalled "Hey, Blondie" to Harry as they drove by.Later, band members were amused to learn that the name was shared by Adolf Hitler's dog Blondie, a fact acknowledged in parody when, in 1997, they semi-anonymously contributed a cover of "Ordinary Bummer" to the Iggy Pop tribute album We Will Fall under the pseudonym 'Adolph's Dog'. Blondie became regulars at Max's Kansas City and CBGB.They got their first record deal with Private Stock Records in early 1976 and released their debut single "X-Offender" on June 17, 1976.Their debut album Blondie (AUS #14, UK #75) was issued in December 1976. In September 1977, Blondie bought back its contract with Private Stock and then signed with Chrysalis Records.The first album was re-released on the new label in October 1977. Rolling Stone's review of the debut album observed the eclectic nature of the group's music, comparing it to Phil Spector and The Who, and commented that the album's two strengths were Richard Gottehrer's production and the persona of Deborah Harry, saying she performed with "utter aplomb and involvement throughout: even when she's portraying a character consummately obnoxious and spaced-out, there is a wink of awareness that is comforting and amusing yet never condescending." It also noted that Harry was the "possessor of a bombshell zombie's voice that can sound dreamily seductive and woodenly Mansonite within the same song".
The band's first commercial success occurred in Australia in 1977, when the music television program Countdown mistakenly played their video "In the Flesh", which was the B-side of their current single "X-Offender".[6] Jimmy Destri later credited the show's Molly Meldrum for their initial success, commenting that "we still thank him to this day" for playing the wrong song.[16] In a 1998 interview, drummer Clem Burke recalled seeing the episode in which the wrong song was played, but he and Chris Stein suggested that it may have been a deliberate subterfuge on the part of Meldrum. Stein asserted that "X-Offender" was "too crazy and aggressive [to become a hit]", while "In the Flesh" was "not representative of any punk sensibility. Over the years, I've thought they probably played both things but liked one better. That's all." In retrospect, Burke described "In the Flesh" as "a forerunner to the power ballad".
Both the single and album reached the Australian top five in October 1977, and a subsequent double-A release of "X-Offender" and "Rip Her to Shreds" was also popular. A successful Australian tour followed in December, though it was marred by an incident in Brisbane when disappointed fans almost rioted after Harry canceled a performance, due to illness.
In February 1978, Blondie released their second album, Plastic Letters (UK #10, US #78). The album was recorded as a four-piece band because Gary Valentine left the band.Plastic Letters was promoted extensively throughout Europe and Asia by Chrysalis Records.[6] The album's first single, "Denis", was a cover version of Randy and the Rainbows' 1963 hit. It reached number two on the British singles charts, while both the album and its second single, "(I'm Always Touched by Your) Presence, Dear", reached the British top ten. Chart success, along with a successful 1978 UK tour, including a gig at London's Roundhouse, made Blondie one of the first American new wave bands to achieve mainstream success in the United Kingdom.[6] By this time, Gary Valentine had been replaced by Frank Infante (guitar, bass guitar), and shortly after that Nigel Harrison (bass guitar) joined, expanding the band to a six-piece for the first time.
"Heart of Glass" was their first U.S. hit. The disco-infused track topped the U.S. charts in April 1979. It was a reworking of a rock and reggae-infused song that the group had performed since its formation, updated with strong elements of disco music. Clem Burke later said the revamped version was inspired partly by Kraftwerk and partly by the Bee Gees' "Stayin' Alive", whose drum beat Burke tried to emulate. He and Stein gave Jimmy Destri much of the credit for the final result, noting that Destri's appreciation of technology had led him to introduce synthesizers and to rework the keyboard sections.[21] Although some members of the British music press condemned Blondie for "selling out", the song became a success, worldwide. Selling more than a million copies and garnering major airplay, the single reached number one in many countries including the U.S., where Blondie had previously been considered an "underground" band. The song was accompanied by a music video that showcased Debbie Harry's hard-edged and playfully sexual persona, and she began to attain a celebrity status that set her apart from the other band members, who were largely ignored by the media.
Blondie's next single in the U.S. was a more aggressive rock song, "One Way or Another" (US #24), which became their second hit single in the United States. Meanwhile, in the UK, an alternate single choice, "Sunday Girl", became a #1 hit. Parallel Lines is ranked #140 on Rolling Stone's list of 500 greatest albums of all time.[22] In June 1979, Blondie, photographed by Annie Leibovitz, was featured on the cover of Rolling Stone magazine.
Their fourth album, Eat to the Beat (UK #1, US #17), released in October 1979, was well-received by critics as a suitable follow-up to Parallel Lines, but in the U.S., its singles failed to achieve the same level of success as in the UK, where "Atomic" (UK #1, US #39) reached number one, "Dreaming" (UK #2, US #27) reached number two, and "Union City Blue" (UK #13) charted in the top 20.
Blondie's next single, the Grammy-nominated "Call Me" was the result of Debbie Harry's collaboration with the Italian songwriter and producer Giorgio Moroder, who had been responsible for Donna Summer's biggest hits. This track was not included on any Blondie studio album; rather, it was the title theme of the soundtrack for the film American Gigolo. Released in February 1980, "Call Me" spent six weeks at #1 in the U.S. and Canada, reached #1 in the U.K. and became a hit throughout the world. The song is the band's biggest selling single in the U.S. (over a million copies sold - gold status) and was Billboard magazine's #1 single of 1980.
In November 1980, Blondie's fifth studio album, Autoamerican (UK #3, US #7) was released and contained two more #1 US hits: the reggae-styled "The Tide Is High", a cover version of a 1967 song by The Paragons, and the rap-flavored "Rapture", which was one of the earliest songs containing elements of rap vocals to reach number one in the U.S.,sweeping the world by storm. "Rapture" would be the band's only single to achieve a higher chart position on the U.S. charts than in the UK, where it peaked at #5. Autoamerican was a departure from previous Blondie records, featuring less new wave and rock in favor of stylistic experiments, including acoustic jazz: "Faces", and from an early Broadway show, "Camelot", came "Follow Me".
Hiatus, The Hunter, and breakup (1981–1982)
Following their success of 1978-80, Blondie took a brief break in 1981. That year, Debbie Harry and Jimmy Destri both released solo albums; Stein helped out with Harry's album Koo Koo (UK #6, US #28) and Burke with Destri's Heart on a Wall. Frank Infante sued the band regarding a lack of involvement during the Autoamerican sessions; it was settled out of court, and Infante remained in the band (though Harry has subsequently said Infante was not on the next LP).
The band reconvened in 1981 to record and release (in 1982) The Hunter (UK #9, US #33). In contrast to their earlier commercial and critical successes, The Hunter was poorly received and failed to hit the top 20 in the U.S. The album did have two moderate hit singles: "Island of Lost Souls" (#11 UK, #37 US) and "War Child" (#39 UK).
The Hunter also included a song entitled "For Your Eyes Only" which shares its title with a 1981 James Bond film. This song was originally written on spec to be the film's opening-title theme. However, the producers chose another song by the same name, composed by Bill Conti and Michael Leeson. Blondie was offered the chance to perform Conti and Leeson's song, but they turned the offer down. Sheena Easton's rendition of Conti and Leeson's theme song became a top-ten single worldwide.
With tensions within the band on the rise due to the commercial decline and the constant press focus on Harry to the exclusion of the other band members, events reached a breaking point when Stein was diagnosed with the life-threatening illness pemphigus.Blondie band members received a letter to tell them not to rely on any more money from the bank, as there was only $25,000 left in their account. Their managers had completely wiped them out, and as a result of this and of drug use, mismanagement, tension in the band, slow ticket sales, and Chris Stein's worsening illness, Blondie canceled their tour plans early in August 1982. Shortly thereafter, the band splintered, with at least one (unspecified) member quitting and instigating lawsuits against the other group members; the group formally announced their break up in November, 1982.
Stein and Harry, still a couple at the time, stayed together and retreated from the public spotlight for a few years, with the exception of the minor single releases "Rush Rush" (1983, from the film Scarface) and 1985's dance track "Feel the Spin". Harry was forced to sell the couple's five-story mansion to pay off debts that the band had run up, Stein owed in excess of $1 million, and drug use was becoming an increasing concern for them. Harry decided to call off her intimate relationship to Stein and moved downtown. She stated in a 2006 interview that she felt she was having a sort of breakdown due to all the stress. After Stein recovered from his illness, Harry resumed her solo career with a new album (Rockbird) in 1986, with active participation from Stein. Meanwhile, Burke became a much-in-demand session drummer, playing for a time with the Eurythmics, and Destri maintained an active career as a producer and session musician.
Palma Vecchio, autour de 1480-1528,
actif à Venise et Bergame
Les Nymphes se baignants, environ 1525-1528
Le thème de la femme nue gisant dans la nature sauvage est depuis Giorgione et le début du Titien à Venise familière. Jamais, cependant, l'accent a été mis tellement sur l'élaboration plastique, sur le contour linéaire des figures féminines, associés les une les autres d'une façon compliquée. Palma ici reprit animation organique des sculptures antiques et il s'appuya sur répertoire de ses contemporains maniéristes tels que Giulio Romano. La sensuelle texture de surface, à Venise habituelle, avait fait place à une fraîcheur porcelaine.
Palma Vecchio, um 1480-1528,
tätig in Venedig und Bergamo
Badende Nymphen, um 1525/28
Das Thema der in freier Natur gelagerten nackten Frau ist seit Giorgione und dem frühen Tizian in Venedig heimisch. Nie lag jedoch der Akzent so deutlich auf dem plastischen Herausarbeiten, auf der linearen Kontur der kompliziert einander zugeordneten weiblichen Figuren. Palma übernahm hier Bewegungsmotive antiker Skulpturen und schöpfte aus dem Repertoire seiner manieristischen Zeitgenossen wie Giulio Romano. Die in Venedig übliche sinnliche Oberflächentextur ist porzellanhafter Kühle gewichen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
I need to make some extra dough.
If this doesn't at least get me some job busing fucking tables then I give up on design.
The Burgtheater on the Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.
Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler). Director of the House since 2009, Matthias Hartmann.
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of ancient theater in Taormina in Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor), the London Globe Theatre and the final scene from William Shakespeare's " Romeo and Juliet" . Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. 8th May 1925 was the Burgtheater in Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza .
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-Semitic represented. The same director staged after the war Lessing 's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused out of fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned on 12th April 1945 it burned completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to bring Vienna 's cultural life as soon as possible again. The council called for 23 April (a state government did not yet exist), a meeting of all Viennese cultural workers into the town hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This Venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.
The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations of the 175th anniversary of the theater took place.
1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative, but also cost effective. The character of the lodges theater was largely taken into account and maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater, was appointed Director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel in the then politically separated East and took more account of the public taste .
Directorate Claus Peymann 1986-1999
Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals with the past and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard raised after the premiere to a challenge on the stage to applause and boos .
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann , to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his pieces precisely in his home not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the Schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.
In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.
Directorate Klaus Bachler 1999-2009
On Peymann followed in 1999 as director Klaus Bachler. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the Directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available only to visit )
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of it under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat ( December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg ) received the Nestroy Theatre Award for Best Actor for his role in this piece. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."
The Burgtheater to the Mozart Year 2006
Also the Mozart Year 2006 was thought at the Burgtheater. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over ", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the castle, the New York group Nature Theater of Oklahoma show their great episode drama live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
www.mariachiproductions.org/basel2012/index.php/tournamen...
Bangkok (English pronunciation: /ˈbæŋkɒk/) is the capital and most populous city of Thailand. It is known in Thai as Krung Thep Maha Nakhon (กรุงเทพมหานคร, pronounced [krūŋ tʰêːp mahǎː nákʰɔ̄ːn] or simply Krung Thep. The city occupies 1,568.7 square kilometres (605.7 sq mi) in the Chao Phraya River delta in Central Thailand, and has a population of over 8 million, or 12.6 percent of the country's population. Over 14 million people (22.2 percent) live within the surrounding Bangkok Metropolitan Region, making Bangkok an extreme primate city, significantly dwarfing Thailand's other urban centres in terms of importance.
Bangkok traces its roots to a small trading post during the Ayutthaya Kingdom in the 15th century, which eventually grew and became the site of two capital cities: Thonburi in 1768 and Rattanakosin in 1782. Bangkok was at the heart of the modernization of Siam - later renamed Thailand - during the late 19th century, as the country faced pressures from the West. The city was at the centre of Thailand's political struggles throughout the 20th century, as the country abolished absolute monarchy, adopted constitutional rule and underwent numerous coups and several uprisings. The city grew rapidly during the 1960s through the 1980s and now exerts a significant impact on Thailand's politics, economy, education, media and modern society.
The Asian investment boom in the 1980s and 1990s led many multinational corporations to locate their regional headquarters in Bangkok. The city is now a major regional force in finance and business. It is an international hub for transport and health care, and has emerged as a regional centre for the arts, fashion and entertainment. The city is well known for its vibrant street life and cultural landmarks, as well as its notorious red-light districts. The historic Grand Palace and Buddhist temples including Wat Arun and Wat Pho stand in contrast with other tourist attractions such as the nightlife scenes of Khaosan Road and Patpong. Bangkok is among the world's top tourist destinations. It is named the most visited city in MasterCard's Global Destination Cities Index, and was named "World's Best City" for four consecutive years by Travel + Leisure magazine.
Bangkok's rapid growth amidst little urban planning and regulation has resulted in a haphazard cityscape and inadequate infrastructure systems. Limited roads, despite an extensive expressway network, together with substantial private car usage, have led to chronic and crippling traffic congestion, which caused severe air pollution in the 1990s. The city has since turned to public transport in an attempt to solve this major problem. Five rapid transit lines are now in operation, with more systems under construction or planned by the national government and the Bangkok Metropolitan Administration.
HISTORY
The history of Bangkok dates at least back to the early 15th century, when it was a village on the west bank of the Chao Phraya River, under the rule of Ayutthaya. Because of its strategic location near the mouth of the river, the town gradually increased in importance. Bangkok initially served as a customs outpost with forts on both sides of the river, and became the site of a siege in 1688 in which the French were expelled from Siam. After the fall of Ayutthaya to the Burmese Empire in 1767, the newly declared King Taksin established his capital at the town, which became the base of the Thonburi Kingdom. In 1782, King Phutthayotfa Chulalok (Rama I) succeeded Taksin, moved the capital to the eastern bank's Rattanakosin Island, thus founding the Rattanakosin Kingdom. The City Pillar was erected on 21 April, which is regarded as the date of foundation of the present city.
Bangkok's economy gradually expanded through busy international trade, first with China, then with Western merchants returning in the early-to-mid 19th century. As the capital, Bangkok was the centre of Siam's modernization as it faced pressure from Western powers in the late 19th century. The reigns of Kings Mongkut (Rama IV, 1851–68) and Chulalongkorn (Rama V, 1868–1910) saw the introduction of the steam engine, printing press, rail transport and utilities infrastructure in the city, as well as formal education and healthcare. Bangkok became the centre stage for power struggles between the military and political elite as the country abolished absolute monarchy in 1932. It was subject to Japanese occupation and Allied bombing during World War II, but rapidly grew in the post-war period as a result of United States developmental aid and government-sponsored investment. Bangkok's role as an American military R&R destination boosted its tourism industry as well as firmly establishing it as a sex tourism destination. Disproportionate urban development led to increasing income inequalities and unprecedented migration from rural areas into Bangkok; its population surged from 1.8 to 3 million in the 1960s. Following the United States' withdrawal from Vietnam in 1973, Japanese businesses took over as leaders in investment, and the expansion of export-oriented manufacturing led to growth of the financial market in Bangkok. Rapid growth of the city continued through the 1980s and early 1990s, until it was stalled by the 1997 Asian financial crisis. By then, many public and social issues had emerged, among them the strain on infrastructure reflected in the city's notorious traffic jams. Bangkok's role as the nation's political stage continues to be seen in strings of popular protests, from the student uprisings in 1973 and 1976, anti-military demonstrations in 1992, and successive anti-government demonstrations by the "Yellow Shirt", "Red Shirt" and "Light blue Shirt" movements from 2008 onwards.
Administration of the city was first formalized by King Chulalongkorn in 1906, with the establishment of Monthon Krung Thep Phra Maha Nakhon (มณฑลกรุงเทพพระมหานคร) as a national subdivision. In 1915 the monthon was split into several provinces, the administrative boundaries of which have since further changed. The city in its current form was created in 1972 with the formation of the Bangkok Metropolitan Administration (BMA), following the merger of Phra Nakhon Province on the eastern bank of the Chao Phraya and Thonburi Province on the west during the previous year.
NAME
The etymology of the name Bangkok (บางกอก, pronounced in Thai as [bāːŋ kɔ̀ːk] is not absolutely clear. Bang is a Thai word meaning "a village situated on a stream", and the name might have been derived from Bang Ko (บางเกาะ), ko meaning "island", a reference to the area's landscape which was carved by rivers and canals. Another theory suggests that it is shortened from Bang Makok (บางมะกอก), makok being the name of Elaeocarpus hygrophilus, a plant bearing olive-like fruit.[a] This is supported by the fact that Wat Arun, a historic temple in the area, used to be named Wat Makok. Officially, however, the town was known as Thonburi Si Mahasamut (ธนบุรีศรีมหาสมุทร, from Pali and Sanskrit, literally "city of treasures gracing the ocean") or Thonburi, according to Ayutthaya chronicles. Bangkok was likely a colloquial name, albeit one widely adopted by foreign visitors, whose continued use of the name finally resulted in it being officially adopted with the creation of the Bangkok Metropolitan Administration.
When King Rama I established his new capital on the river's eastern bank, the city inherited Ayutthaya's ceremonial name, of which there were many variants, including Krung Thep Thawarawadi Si Ayutthaya (กรุงเทพทวารวดีศรีอยุธยา) and Krung Thep Maha Nakhon Si Ayutthaya (กรุงเทพมหานครศรีอยุธยา). Edmund Roberts, visiting the city as envoy of the United States in 1833, noted that the city, since becoming capital, was known as Sia-Yut'hia, and this is the name used in international treaties of the period. Today, the city is known in Thai as Krung Thep Maha Nakhon (กรุงเทพมหานคร) or simply as Krung Thep (กรุงเทพฯ). Its full ceremonial name, which came into use during the reign of King Mongkut, reads as follows:
Krungthepmahanakhon Amonrattanakosin Mahintharayutthaya Mahadilokphop Noppharatratchathaniburirom Udomratchaniwetmahasathan Amonphimanawatansathit Sakkathattiyawitsanukamprasit
กรุงเทพมหานคร อมรรัตนโกสินทร์ มหินทรายุธยา มหาดิลกภพ นพรัตนราชธานีบูรีรมย์ อุดมราชนิเวศน์มหาสถาน อมรพิมานอวตารสถิต สักกะทัตติยวิษณุกรรมประสิทธิ์
The name, composed of Pali and Sanskrit root words, translates as:
City of angels, great city of immortals, magnificent city of the nine gems, seat of the king, city of royal palaces, home of gods incarnate, erected by Vishvakarman at Indra's behest.
The name is listed in Guinness World Records as the world's longest place name, at 168 letters. Thai school children are taught the full name, although few can explain its meaning as many of the words are archaic, and known to few. Most Thais who recall the full name do so because of its use in a popular song, "Krung Thep Maha Nakhon" (1989) by Asanee–Wasan and will often recount it by singing it, much as an English speaker might sing the alphabet song to recite the alphabet. The entirety of the lyrics is just the name of the city repeated over and over.
GOVERNMENT
The city of Bangkok is locally governed by the Bangkok Metropolitan Administration (BMA). Although its boundaries are at the provincial (changwat) level, unlike the other 76 provinces Bangkok is a special administrative area whose governor is directly elected to serve a four-year term. The governor, together with four appointed deputies, form the executive body, who implement policies through the BMA civil service headed by the Permanent Secretary for the BMA. In separate elections, each district elects one or more city councillors, who form the Bangkok Metropolitan Council. The council is the BMA's legislative body, and has power over municipal ordinances and the city's budget. However, after the coup of 2014 all local elections have been cancelled and the council has been appointed by government on September 15 2014. The current Bangkok Governor is Police General Aswin Kwanmuang, who was appointed by the military government on October 26 following the suspension of the last elected governor M.R. Sukhumbhand Paribatra.
Bangkok is subdivided into fifty districts (khet, equivalent to amphoe in the other provinces), which are further subdivided into 169 subdistricts (khwaeng, equivalent to tambon). Each district is managed by a district director appointed by the governor. District councils, elected to four-year terms, serve as advisory bodies to their respective district directors.
The BMA is divided into sixteen departments, each overseeing different aspects of the administration's responsibilities. Most of these responsibilities concern the city's infrastructure, and include city planning, building control, transportation, drainage, waste management and city beautification, as well as education, medical and rescue services. Many of these services are provided jointly with other agencies. The BMA has the authority to implement local ordinances, although civil law enforcement falls under the jurisdiction of the Metropolitan Police Bureau.
The seal of the city shows Hindu god Indra riding in the clouds on Airavata, a divine white elephant known in Thai as Erawan. In his hand Indra holds his weapon, the vajra.[19] The seal is based on a painting done by Prince Naris. The tree symbol of Bangkok is Ficus benjamina. The official city slogan, adopted in 2012, reads:
As built by deities, the administrative center, dazzling palaces and temples, the capital of Thailand
กรุงเทพฯ ดุจเทพสร้าง เมืองศูนย์กลางการปกครอง วัดวังงามเรืองรอง เมืองหลวงของประเทศไทย
As the capital of Thailand, Bangkok is the seat of all branches of the national government. The Government House, Parliament House and Supreme, Administrative and Constitutional Courts are all located within the city. Bangkok is the site of the Grand Palace and Chitralada Villa, respectively the official and de facto residence of the king. Most government ministries also have headquarters and offices in the capital.
GEOGRAPHY
The Bangkok city proper covers an area of 1,568.737 square kilometres, ranking 69th among the other 76 provinces of Thailand. Of this, about 700 square kilometres form the built-up urban area. It is ranked 73rd in the world in terms of land area by City Mayors. The city's urban sprawl reaches into parts of the six other provinces it borders, namely, in clockwise order from northwest: Nonthaburi, Pathum Thani, Chachoengsao, Samut Prakan, Samut Sakhon and Nakhon Pathom. With the exception of Chachoengsao, these provinces, together with Bangkok, form the greater Bangkok Metropolitan Region.
PARKS AND GREEN ZONES
Bangkok has several parks, although these amount to a per-capita total park area of only 1.82 square metres in the city proper. Total green space for the entire city is moderate, at 11.8 square metres per person; however, in the more densely built-up areas of the city these numbers are as low as 1.73 and 0.72 square metres per person. More recent numbers claim that there is only 3.3 m2 of green space per person, compared to an average of 39 m2 in other cities across Asia. Bangkokians thus have 10 times less green space than is standard in the region's urban areas. Green belt areas include about 700 square kilometres of rice paddies and orchards in the eastern and western edges of the city proper, although their primary purpose is to serve as flood detention basins rather than to limit urban expansion. Bang Kachao, a 20-square-kilometre conservation area in an oxbow of the Chao Phraya, lies just across the southern riverbank districts, in Samut Prakan Province. A master development plan has been proposed to increase total park area to 4 square metres per person.
Bangkok's largest parks include the centrally located Lumphini Park near the Si Lom – Sathon business district with an area of 57.6 hectares, the 80-hectare Suanluang Rama IX in the east of the city, and the Chatuchak–Queen Sirikit–Wachirabenchathat park complex in northern Bangkok, which has a combined area of 92 hectares.
DEMOGRAPHY
The city of Bangkok has a population of 8,280,925 according to the 2010 census, or 12.6 percent of the national population. However, there are only 5,692,284 registered residents, belonging to 2,672,423 households. A large number of Bangkok's daytime population commutes from surrounding provinces in the Bangkok Metropolitan Region, the total population of which is 14,565,547. Bangkok is a cosmopolitan city; the census showed that it is home to 81,570 Japanese and 55,893 Chinese nationals, as well as 117,071 expatriates from other Asian countries, 48,341 from Europe, 23,418 from the Americas, 5,289 from Australia and 3,022 from Africa. Immigrants from neighbouring countries include 303,595 Burmese, 63,438 Cambodians and 18,126 Lao.
Although it has been Thailand's largest population centre since its establishment as capital city in 1782, Bangkok grew only slightly throughout the 18th and early 19th centuries. British diplomat John Crawfurd, visiting in 1822, estimated its population at no more than 50,000. As a result of Western medicine brought by missionaries as well as increased immigration from both within Siam and overseas, Bangkok's population gradually increased as the city modernized in the late 19th century. This growth became even more pronounced in the 1930s, following the discovery of antibiotics. Although family planning and birth control was introduced in the 1960s, the lowered birth rate was more than offset by increased migration from the provinces as economic expansion accelerated. Only in the 1990s have Bangkok's population growth rates decreased, following the national rate. Thailand had long since become highly centralized around the capital. In 1980, Bangkok's population was fifty-one times that of Hat Yai and Songkhla, the second-largest urban centre, making it the world's most prominent primate city.
The majority of Bangkok's population are of Thai ethnicity,[d] although details on the city's ethnic make-up are unavailable, as the national census does not document race.[e] Bangkok's cultural pluralism dates back to the early days of its foundation; several ethnic communities were formed by immigrants and forced settlers including the Khmer, Northern Thai, Lao, Vietnamese, Tavoyan, Mon and Malay. Most prominent were the Chinese, who played major roles in the city's trade and became the majority of Bangkok's population - estimates include up to three-fourths in 1828 and almost half in the 1950s. However, Chinese immigration was restricted from the 1930s and effectively ceased after the Chinese Revolution in 1949. Their prominence subsequently declined as most of younger generations of Thai Chinese have integrated and adopted a Thai identity. Bangkok is still nevertheless home to a large Chinese community, with the greatest concentration in Yaowarat, Bangkok's Chinatown. The majority (91 percent) of the city's population is Buddhist. Other religions include Islam (4.7%), Christianity (2.0%), Hinduism (0.5%), Sikhism (0.1%) and Confucianism (0.1%).
Apart from Yaowarat, Bangkok also has several other distinct ethnic neighbourhoods. The Indian community is centred in Phahurat, where the Gurdwara Siri Guru Singh Sabha, founded in 1933, is located. Ban Khrua on Saen Saep Canal is home to descendants of the Cham who settled in the late 18th century. Although the Portuguese who settled during the Thonburi period have ceased to exist as a distinct community, their past is reflected in Santa Kruz Church, on the west bank of the river. Likewise, the Assumption Cathedral on Charoen Krung Road is among many European-style buildings in the Old Farang Quarter, where European diplomats and merchants lived during the late 19th to early 20th centuries. Nearby, the Haroon Mosque is the centre of a Muslim community. Newer expatriate communities exist along Sukhumvit Road, including the Japanese community near Soi Phrom Phong and Soi Thong Lo, and the Arab and North African neighbourhood along Soi Nana. Sukhumvit Plaza, a mall on Soi Sukhumvit 12, is popularly known as Korea Town.
ECONOMY
Bangkok is the economic centre of Thailand, and the heart of the country's investment and development. In 2010, the city had an economic output of 3.142 trillion baht (98.34 billion US dollars), contributing 29.1 percent of the gross domestic product (GDP). This amounted to a per-capita GDP value of ฿456,911 ($14,301), almost three times the national average of ฿160,556 ($5,025). The Bangkok Metropolitan Region had a combined output of ฿4.773tn ($149.39bn), or 44.2 percent of GDP. Bangkok's economy ranks as the sixth among Asian cities in terms of per-capita GDP, after Singapore, Hong Kong, Tokyo, Osaka–Kobe and Seoul.
Wholesale and retail trade is the largest sector in the city's economy, contributing 24.0 percent of Bangkok's gross provincial product. It is followed by manufacturing (14.3%); real estate, renting and business activities (12.4%); transport and communications (11.6%); and financial intermediation (11.1%). Bangkok alone accounts for 48.4 percent of Thailand's service sector, which in turn constitutes 49.0 percent of GDP. When the Bangkok Metropolitan Region is considered, manufacturing is the most significant contributor at 28.2 percent of the gross regional product, reflecting the density of industry in the Bangkok's neighbouring provinces. The automotive industry based around Greater Bangkok is the largest production hub in Southeast Asia. Tourism is also a significant contributor to Bangkok's economy, generating ฿427.5bn ($13.38bn) in revenue in 2010.
The Stock Exchange of Thailand (SET) is located on Ratchadaphisek Road in inner Bangkok. The SET, together with the Market for Alternative Investment (mai) has 648 listed companies as of the end of 2011, with a combined market capitalization of 8.485 trillion baht ($267.64bn). Due to the large amount of foreign representation, Thailand has for several years been a mainstay of the Southeast Asian economy and a centre of Asian business. The Globalization and World Cities Research Network ranks Bangkok as an "Alpha−" world city, and it is ranked 59th in Z/Yen's Global Financial Centres Index 11.
Bangkok is home to the headquarters of all of Thailand's major commercial banks and financial institutions, as well as the country's largest companies. A large number of multinational corporations base their regional headquarters in Bangkok due to the lower cost of the workforce and firm operations relative to other major Asian business centres. Seventeen Thai companies are listed on the Forbes 2000, all of which are based in the capital, including PTT, the only Fortune Global 500 company in Thailand.
Income inequality is a major issue in Bangkok, especially between relatively unskilled lower-income immigrants from rural provinces and neighbouring countries, and middle-class professionals and business elites. Although absolute poverty rates are low - only 0.64 percent of Bangkok's registered residents were living under the poverty line in 2010, compared to a national average of 7.75 - economic disparity is still substantial. The city has a Gini coefficient of 0.48, indicating a high level of inequality.
CULTURE
The culture of Bangkok reflects its position as Thailand's centre of wealth and modernisation. The city has long been the portal of entry of Western concepts and material goods, which have been adopted and blended with Thai values to various degrees by its residents. This is most evident in the lifestyles of the expanding middle class. Conspicuous consumption serves as a display of economic and social status, and shopping centres are popular weekend hangouts. Ownership of electronics and consumer products such as mobile phones is ubiquitous. This has been accompanied by a degree of secularism, as religion's role in everyday life has rather diminished. Although such trends have spread to other urban centres, and, to a degree, the countryside, Bangkok remains at the forefront of social change.
A distinct feature of Bangkok is the ubiquity of street vendors selling goods ranging from food items to clothing and accessories. It has been estimated that the city may have over 100,000 hawkers. While the BMA has authorised the practice in 287 sites, the majority of activity in another 407 sites takes place illegally. Although they take up pavement space and block pedestrian traffic, many of the city's residents depend on these vendors for their meals, and the BMA's efforts to curb their numbers have largely been unsuccessful.
In 2015, however, the BMA, with support from the National Council for Peace and Order (Thailand's ruling military junta), began cracking down on street vendors in a bid to reclaim public space. Many famous market neighbourhoods were affected, including Khlong Thom, Saphan Lek, and the flower market at Pak Khlong Talat. Nearly 15,000 vendors were evicted from 39 public areas in 2016. While some applauded the efforts to focus on pedestrian rights, others have expressed concern that gentrification would lead to the loss of the city's character and adverse changes to people's way of life.
FESTIVALS AND EVENTS
The residents of Bangkok celebrate many of Thailand's annual festivals. During Songkran on 13–15 April, traditional rituals as well as water fights take place throughout the city. Loi Krathong, usually in November, is accompanied by the Golden Mount Fair. New Year celebrations take place at many venues, the most prominent being the plaza in front of CentralWorld. Observances related to the royal family are held primarily in Bangkok. Wreaths are laid at King Chulalongkorn's equestrian statue in the Royal Plaza on 23 October, which is King Chulalongkorn Memorial Day. The present king's and queen's birthdays, respectively on 5 December and 12 August, are marked as Thailand's national Father's Day and national Mother's Day. These national holidays are celebrated by royal audiences on the day's eve, in which the king or queen gives a speech, and public gatherings on the day of the observance. The king's birthday is also marked by the Royal Guards' parade.
Sanam Luang is the site of the Thai Kite, Sport and Music Festival, usually held in March, and the Royal Ploughing Ceremony which takes place in May. The Red Cross Fair at the beginning of April is held at Suan Amporn and the Royal Plaza, and features numerous booths offering goods, games and exhibits. The Chinese New Year (January–February) and Vegetarian Festival (September–October) are celebrated widely by the Chinese community, especially in Yaowarat.
TRANSPORT
Although Bangkok's canals historically served as a major mode of transport, they have long since been surpassed in importance by land traffic. Charoen Krung Road, the first to be built by Western techniques, was completed in 1864. Since then, the road network has vastly expanded to accommodate the sprawling city. A complex elevated expressway network helps bring traffic into and out of the city centre, but Bangkok's rapid growth has put a large strain on infrastructure, and traffic jams have plagued the city since the 1990s. Although rail transport was introduced in 1893 and electric trams served the city from 1894 to 1968, it was only in 1999 that Bangkok's first rapid transit system began operation. Older public transport systems include an extensive bus network and boat services which still operate on the Chao Phraya and two canals. Taxis appear in the form of cars, motorcycles, and "tuk-tuk" auto rickshaws.
Bangkok is connected to the rest of the country through the national highway and rail networks, as well as by domestic flights to and from the city's two international airports. Its centuries-old maritime transport of goods is still conducted through Khlong Toei Port.
The BMA is largely responsible for overseeing the construction and maintenance of the road network and transport systems through its Public Works Department and Traffic and Transportation Department. However, many separate government agencies are also in charge of the individual systems, and much of transport-related policy planning and funding is contributed to by the national government.
ROADS
Road-based transport is the primary mode of travel in Bangkok. Due to the city's organic development, its streets do not follow an organized grid structure. Forty-eight major roads link the different areas of the city, branching into smaller streets and lanes (soi) which serve local neighbourhoods. Eleven bridges over the Chao Phraya link the two sides of the city, while several expressway and motorway routes bring traffic into and out of the city centre and link with nearby provinces.
Bangkok's rapid growth in the 1980s resulted in sharp increases in vehicle ownership and traffic demand, which have since continued - in 2006 there were 3,943,211 in-use vehicles in Bangkok, of which 37.6 percent were private cars and 32.9 percent were motorcycles. These increases, in the face of limited carrying capacity, caused severe traffic congestion evident by the early 1990s. The extent of the problem is such that the Thai Traffic Police has a unit of officers trained in basic midwifery in order to assist deliveries which do not reach hospital in time. While Bangkok's limited road surface area (8 percent, compared to 20–30 percent in most Western cities) is often cited as a major cause of its traffic jams, other factors, including high vehicle ownership rate relative to income level, inadequate public transport systems, and lack of transportation demand management, also play a role. Efforts to alleviate the problem have included the construction of intersection bypasses and an extensive system of elevated highways, as well as the creation of several new rapid transit systems. The city's overall traffic conditions, however, remain bad.
Traffic has been the main source of air pollution in Bangkok, which reached serious levels in the 1990s. However, efforts to improve air quality by improving fuel quality and enforcing emission standards, among others, have been largely successful. Atmospheric particulate matter levels dropped from 81 micrograms per cubic metre in 1997 to 43 in 2007.
Although the BMA has created thirty signed bicycle routes along several roads totalling 230 kilometres, cycling is still largely impractical, especially in the city centre. Most of these bicycle lanes share the pavement with pedestrians. Poor surface maintenance, encroachment by hawkers and street vendors, and a hostile environment for cyclists and pedestrians, make cycling and walking unpopular methods of getting around in Bangkok.
BUSES AND TAXIS
Bangkok has an extensive bus network providing local transit services within the Greater Bangkok area. The Bangkok Mass Transit Authority (BMTA) operates a monopoly on bus services, with substantial concessions granted to private operators. Buses, minibus vans, and song thaeo operate on a total of 470 routes throughout the region. A separate bus rapid transit system owned by the BMA has been in operation since 2010. Known simply as the BRT, the system currently consists of a single line running from the business district at Sathon to Ratchaphruek on the western side of the city. The Transport Co., Ltd. is the BMTA's long-distance counterpart, with services to all provinces operating out of Bangkok.
Taxis are ubiquitous in Bangkok, and are a popular form of transport. As of August 2012, there are 106,050 cars, 58,276 motorcycles and 8,996 tuk-tuk motorized tricycles cumulatively registered for use as taxis. Meters have been required for car taxis since 1992, while tuk-tuk fares are usually negotiated. Motorcycle taxis operate from regulated ranks, with either fixed or negotiable fares, and are usually employed for relatively short journeys.
Despite their popularity, taxis have gained a bad reputation for often refusing passengers when the requested route is not to the driver's convenience. Motorcycle taxis were previously unregulated, and subject to extortion by organized crime gangs. Since 2003, registration has been required for motorcycle taxi ranks, and drivers now wear distinctive numbered vests designating their district of registration and where they are allowed to accept passengers.
RAIL SYSTEMS
Bangkok is the location of Hua Lamphong Railway Station, the main terminus of the national rail network operated by the State Railway of Thailand (SRT). In addition to long-distance services, the SRT also operates a few daily commuter trains running from and to the outskirts of the city during the rush hour.
Bangkok is currently served by three rapid transit systems: the BTS Skytrain, the underground MRT and the elevated Airport Rail Link. Although proposals for the development of rapid transit in Bangkok had been made since 1975, it was only in 1999 that the BTS finally began operation.
The BTS consists of two lines, Sukhumvit and Silom, with thirty stations along 30.95 kilometres. The MRT opened for use in July 2004, and currently consists of two line, the Blue Line and Purple Line. The Airport Rail Link, opened in August 2010, connects the city centre to Suvarnabhumi Airport to the east. Its eight stations span a distance of 28 kilometres.
Although initial passenger numbers were low and their service area remains limited to the inner city, these systems have become indispensable to many commuters. The BTS reported an average of 600,000 daily trips in 2012, while the MRT had 240,000 passenger trips per day.
As of 2016, construction work is ongoing to extend BTS and MRT, as well as several additional transit lines, including the Light Red grade-separated commuter rail line. The entire Mass Rapid Transit Master Plan in Bangkok Metropolitan Region consists of eight main lines and four feeder lines totalling 508 kilometres to be completed by 2029. In addition to rapid transit and heavy rail lines, there have been proposals for several monorail systems.
WATER TRANSPORT
Although much diminished from its past prominence, water-based transport still plays an important role in Bangkok and the immediate upstream and downstream provinces. Several water buses serve commuters daily. The Chao Phraya Express Boat serves thirty-four stops along the river, carrying an average of 35,586 passengers per day in 2010, while the smaller Khlong Saen Saep boat service serves twenty-seven stops on Saen Saep Canal with 57,557 daily passengers. Long-tail boats operate on fifteen regular routes on the Chao Phraya, and passenger ferries at thirty-two river crossings served an average of 136,927 daily passengers in 2010.
Bangkok Port, popularly known by its location as Khlong Toei Port, was Thailand's main international port from its opening in 1947 until it was superseded by the deep-sea Laem Chabang Port in 1991. It is primarily a cargo port, though its inland location limits access to ships of 12,000 deadweight tonnes or less. The port handled 11,936,855 tonnes of cargo in the first eight months of the 2010 fiscal year, about 22 percent the total of the country's international ports.
AIRPORTS
Bangkok is one of Asia's busiest air transport hubs. Two commercial airports serve the city, the older Don Mueang International Airport and the new Bangkok International Airport, commonly known as Suvarnabhumi. Suvarnabhumi, which replaced Don Mueang as Bangkok's main airport at its opening in 2006, served 52,808,013 passengers in 2015, making it the world's 20th busiest airport by passenger volume. This amount of traffic is already over its designed capacity of 45 million passengers. Don Mueang reopened for domestic flights in 2007, and resumed international services focusing on low-cost carriers in October 2012. Suvarnabhumi is undergoing expansion to increase its capacity to 60 million, which is expected to be completed by 2016.
HEALTH AND EDUCATION
EDUCATION
Bangkok has long been the centre of modern education in Thailand. The first schools in the country were established here in the later 19th century, and there are now 1,351 schools in the city. The city is home to the country's five oldest universities, Chulalongkorn, Thammasat, Kasetsart, Mahidol and Silpakorn, founded between 1917 and 1943. The city has since continued its dominance, especially in higher education; the majority of the country's universities, both public and private, are located in Bangkok or the Metropolitan Region. Chulalongkorn and Mahidol are the only Thai universities to appear in the top 500 of the QS World University Rankings. King Mongkut's University of Technology Thonburi, also located in Bangkok, is the only Thai university in the top 400 of the 2012–13 Times Higher Education World University Rankings.
Over the past few decades the general trend of pursuing a university degree has prompted the founding of new universities to meet the needs of Thai students. Bangkok became not only a place where immigrants and provincial Thais go for job opportunities, but also for a chance to receive a university degree. Ramkhamhaeng University emerged in 1971 as Thailand's first open university; it now has the highest enrolment in the country. The demand for higher education has led to the founding of many other universities and colleges, both public and private. While many universities have been established in major provinces, the Greater Bangkok region remains home to the greater majority of institutions, and the city's tertiary education scene remains over-populated with non-Bangkokians. The situation is not limited to higher education, either. In the 1960s, 60 to 70 percent of 10- to 19-year-olds who were in school had migrated to Bangkok for secondary education. This was due to both a lack of secondary schools in the provinces and perceived higher standards of education in the capital. Although this discrepancy has since largely abated, tens of thousands of students still compete for places in Bangkok's leading schools. Education has long been a prime factor in the centralization of Bangkok and will play a vital role in the government's efforts to decentralize the country.
HEALTHCARE
Much of Thailand's medical resources are disproportionately concentrated in the capital. In 2000, Bangkok had 39.6 percent of the country's doctors and a physician-to-population ratio of 1:794, compared to a median of 1:5,667 among all provinces. The city is home to 42 public hospitals, five of which are university hospitals, as well as 98 private hospitals and 4,063 registered clinics. The BMA operates nine public hospitals through its Medical Service Department, and its Health Department provides primary care through sixty-eight community health centres. Thailand's universal healthcare system is implemented through public hospitals and health centres as well as participating private providers.
Research-oriented medical school affiliates such as Siriraj, King Chulalongkorn Memorial and Ramathibodi Hospitals are among the largest in the country, and act as tertiary care centres, receiving referrals from distant parts of the country. Lately, especially in the private sector, there has been much growth in medical tourism, with hospitals such as Bumrungrad and Bangkok Hospital, among others, providing services specifically catering to foreigners. An estimated 200,000 medical tourists visited Thailand in 2011, making Bangkok the most popular global destination for medical tourism.
CRIME AND SAFETY
Bangkok has a relatively moderate crime rate when compared to urban counterparts around the world.[119] Traffic accidents are a major hazard, while natural disasters are rare. Intermittent episodes of political unrest and occasional terrorist attacks have resulted in losses of life.
Although the crime threat in Bangkok is relatively low, non-confrontational crimes of opportunity such as pick-pocketing, purse-snatching, and credit card fraud occur with frequency. Bangkok's growth since the 1960s has been followed by increasing crime rates partly driven by urbanisation, migration, unemployment and poverty. By the late 1980s, Bangkok's crime rates were about four times that of the rest of the country. The police have long been preoccupied with street crimes ranging from housebreaking to assault and murder. The 1990s saw the emergence of vehicle theft and organized crime, particularly by foreign gangs. Drug trafficking, especially that of ya ba methamphetamine pills, is also chronic.
According to police statistics, the most common complaint received by the Metropolitan Police Bureau in 2010 was housebreaking, with 12,347 cases. This was followed by 5,504 cases of motorcycle thefts, 3,694 cases of assault and 2,836 cases of embezzlement. Serious offences included 183 murders, 81 gang robberies, 265 robberies, 1 kidnapping and 9 arson cases. Offences against the state were by far more common, and included 54,068 drug-related cases, 17,239 cases involving prostitution and 8,634 related to gambling. The Thailand Crime Victim Survey conducted by the Office of Justice Affairs of the Ministry of Justice found that 2.7 percent of surveyed households reported a member being victim of a crime in 2007. Of these, 96.1 percent were crimes against property, 2.6 percent were crimes against life and body, and 1.4 percent were information-related crimes.
Political demonstrations and protests are common in Bangkok. While most events since 1992 had been peaceful, the series of protests alternately staged by the Yellow Shirts and Red Shirts since 2006 have often turned violent. Red Shirt demonstrations during March–May 2010 ended in a crackdown in which 92 were killed, including armed and unarmed protesters, security forces, civilians and journalists. Terrorist incidents have also occurred in Bangkok, most notably the 2015 Bangkok bombing at the Erawan shrine, and also a series of bombings on the 2006–07 New Year's Eve.
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