Silesian architecture

Jump to: navigation, search

Silesian architecture is the name given to the constructions made in Silesia throughout time, and those by Silesian architects worldwide. The name is also applied to buildings made within its geographical limits before the constitution of Silesia as a duchy (than 1172) or before this name was given to those territories, and largely depends on the historical moment. Due to historic, geographic and generational diversity, Silesian architecture has known a host of influences.

Contents 1 Romanesque (late 10th – early 13th century) 2 Gothic (early 13th – early 16th century) 3 Renaissance and Mannerism (early 16th – 17th century) 4 Baroque (middle 17th – second half 18th century) 5 Neo-Classicism and Historism 6 Castles, palaces 6.1 See also 7 References

Romanesque (late 10th – early 13th century)

Romanesque rotunda in Cieszyn

The Romanesque art in Silesia appeard with the Christianization of the region. The first known structure, relics of a church on Ostrow Tumski in Wroc?aw (Breslau), was built in the mid-10th century. Around 1000 Boleslaw I of Poland founded a three-nave cathedral on the same place, styled after the cathedral in Gniezno. Few other buildings of that time are known. The rotunda in Cieszyn (Teschen), of Moravian- Bohemian origin, dates back to 1050.

The 12th century was a time of great advancement. The first monasteries and minsters, in Wroc?aw and Lubiaz (Leubus), were built, and the quality of work improved significant, as the builders adopted architectural styles from Southern Germany and Meuse. Outstanding achievements of this era were the cathedral and the abbey church of the Benedictine order in Wroc?aw, the latter being the most magnificent romanesque building in Silesia. It was planned after its mother church in Tyniec near Krakow, whereas its Westwork was influenced by Thuringian traditions. The church of the first Cistercian monastery in Lubiaz, built by monks from Pforta in Thuringia, was the first of many building made of brick in Silesia.

The beginning of the 13th century was marked by a big increase in building activity, caused by the large influx of German settlers (Ostsiedlung). Most of the municipal churches in Silesia, built of stone or brick, emerged at that time. Examples were Glogow (Glogau), Nysa (Neisse), Jelenia Gora (Hirschberg) or Ziebice (Münsterberg). These late- romanesque Silesian churches were a mix of local, Saxon-Thuringian and Bohemian traditions. Interestingly there are only 7 known examples of that in time Upper Silesia, but 67 in Lower Silesia, including secular buildings.

Gothic (early 13th – early 16th century)

Cathedral in Wroc?aw (German: Breslau). Porticus built by H. Berthold and P. Franzke between 1465 and 1468

The heralds of Gothic architecture were connected with the building activities of the Cistercians and the patronage of Henry I the Bearded. Two monasteries, in Trzebnica (Trebnitz) and in Henryków (Heinrichau), as well as two residences, in Wroc?aw and Legnica (Liegnitz), were early examples and referred to architectonical standards in Southern Germany and along the Rhine. They probably indicate to the dynastic connection between Henry I. and the House of Andechs. Characteristic attributes of all these buildings were the combination of brick constructions and details made of stone, which were most likely brought in via Altzella in Saxony.

Cathedral in ?widnica (German: Schweidnitz) by Lucas Schleierweber

The Tatar invasions of 1241 led to the decentralization of Silesia. Baronial patronage decreased whereas episcopal and later municipal patronage increased. The most important construction project of that time was the cathedral of Wroc?aw, which became the first pure Gothic building in Silesia. The chapel St. Hedwig in Trzebnica was another important structure of that era. Both building cited early French traditions, imported via Saxony, Bohemia and Austria. Most mendicant orders built their monasteries in the second half of the 13th century, most notably in Wroc?aw, Glogow, Brzeg) and Strzelin. At the same time the first hall churches appeared. The most original were in Ziebice and Goldberg (Z?otoryja).

The city hall in Wroc?aw (Breslau) represents Saxon and Lusatian influences

Silesias towns needed approximately 50 years after foundation to get their independence. In the 14th century many of these towns began to built their own big parish churches, and with the assistance of the new Bohemian sovereign a dynamic sacral development program began. Dominant were now Bohemian, Moravian, Southern German and Lower Austrian architectural traditions, but mixed with local traditions which preferred more simple forms. The most characteristic creation of the entire 14th century remained the basilical municipal church with a long nave and no transept. This style was most probably derived from the Cistercian abbey in Zlata Koruna (Goldenkron) in Bohemia. Although Silesia was now a part of Bohemia, a state of the Holy Roman Empire, the Parler Gothic had almost no influence. Architectural embellishments can only be found in three churches, probably all built by master builder Claus Brynner.

This dynamic sacral development program lasted the entire 14th century, and starting at around 1370 many bigger cities added guild and family chapels to their parish churches. At the end of the century all monastery construction projects ended, and with the spreading of the Hussite wars to Silesia most building activities were greatly reduced.

The expansion of the town hall in Breslau after 1480 marked a big change in the architectural history of Silesia. As it was obvious that local workshops, represented by Hans Berthold, could not meet the expectations, the city decided to invite experts from Saxony and Lusatia around master builder Paul Preusse. At the beginning of the new century this influence from Saxony and Lusatia was most notably in western parts of Silesia, where Conrad Pflüger and Wendel Roskopf from Görlitz built city halls and churches in Löwenberg (Lwówek ?l?ski), Bunzlau (Boles?awiec), Sagan (Zagan) or Gröditzberg (Grodziec), all in the tradition of Benedikt Ried from Prague. Later Lucas Schleierweber from Schweidnitz (?widnica) continued this Görlitz style and constructed buildings in other parts of Middle Silesia.

Renaissance and Mannerism (early 16th – 17th century)

Castle in Brzeg (German: Brieg), one of the finest examples of Italian influenced Renaissance architecture in Silesia

The Renaissance era began with the accession of Johann V. Thurzo as bishop of Breslau. As a great patron of the arts he introduced the new style in Silesia as he commissioned two foundations plates (1505, 1509) at his residence in Jauernig (Javornik, today in the Czech Republic) and the sacristy portal (1517) on the cathedral in Breslau. The latter was probably made by a local artist, whereas most other early Renaissance projects were carried out by Italians from Ticino, the so called “Comasks“. The most successful were members of the Parr family (Pahr, Bahr or Pario), which built the fortifications in Bolkenhain (Bolków) in 1539 and later worked in Brieg.

The oldest preserved Renaissance buildings today are house “To the golden crown” (1521–28) in Breslau and the castle of Duke Karl I. von Münsterberg-Oels in Frankenstein (Z?bkowice ?l?skie), built after 1524 by Benedikt Ried. Many buildings of that time still showed the transition from Gothic to Renaissance, for instance the castle in Wohnwitz (Wojnowice) or the city halls in Bunzlau, Löwenberg and Gröditzberg. Most of these buildings were probably built by Wendel Roskopf, a pupil of Benedikt Ried and author of a collection of exceptional Renaissance houses in Görlitz. He probably also was the constructor of Palais Rybisch in Breslau, which was completed by an unnamed Italian artist after 1526.

Gate of Plakowice (German: Plagwitz) castle by Fr. Parr, showing Ramphold von Talkenberg, his wife and crests of several Silesian families

The high building activity in the Middle Ages resulted in cities which were saturated with churches. Only in exceptional cases new churches were planned, for instance St. Blasius (today St. Maria) in Ohlau (O?awa), carried out by Bernhard Niuron in 1587. At that time most Silesian churches became Protestant and the interest shifted to small alterations of church interiors. A great exception was the conversion of the medieval church in Rothsürben (?órawina) by Hans Schneider, which resulted in one of the best examples of Protestant ecclesiastical architecture in Middle Europe.

Much more coherent was the development of secular buildings. The first homogeneous Renaissance building was the gate of Liegnitz castle, built 1533 by Georg von Amberg. The highlight of Silesian architecture of that time however represented Brieg castle and his castle gate, which is deemed to be the symbol of Silesian Renaissance. It was built between 1544–70 by Franziskus Parr, the figurative architectural sculptures, the biggest ensemble in Silesia, were carried out by Saxon master Andreas Walther d.Ä.. It depicts Georg II. von Liegnitz-Brieg-Wohlau, his wife Barbara von Brandenburg and his line of ancestors. It was most probably modeled after Dresdens Georgenhof, which Parr visited in 1530, and Italian designs.

Carolath (Polish: Siedlisko) castle, built by M. Duckhardt and V.v.Säbisch, the most important structure from the late Renaissance era, fell into ruin after 1945

Similar buildings soon followed in Falkenberg (Niemodlin), Kreppelhof in Landeshut (Kamienna Góra), Sorau (?ary) and Plagwitz (Plakowice). Sgraffito appeared first in 1563 in Proskau (Proszków), altogether 300 examples are preserved to this day.

Stylisticly the early buildings were connected to Bohemian and Lusatian traditions, represented by Wendel Roskopf, Benedikt Ried and Hans Lindener and were still influenced by Gothic ideas. Soon afterwards the buildings of the Comasks from Italy replaced their work. After 1560 Dutch Renaissance styles, imported by pattern-books and master builders like Hans Vredeman de Vries, replaced Italian elements. These Dutch forms were first visible at Oels (Ole?nica) castle in 1542. Notable representatives of this era were Gaspare Cuneo, Gerhardt von Amsterdam and Hans Lucas. Buildings influenced by this style were the castles in Alt Warthau (Warta Boles?awiecka) or Gießmanndorf (Go?ciszów) and the majority of the civic architecture of that time. Sporadicly other tradition emerged too, for example Saxon portals in Liegnitz or Bohemian roofs in Grafenort (Gorzanów) castle.

The only new development of sacred architecture in Silesia which fully adopted Mannerism was the palace chapel of Carolath (Siedlisko), commissioned by Valentin von Säbisch. His son Albrecht created the famous Protestant churches of peace, which were constrained by political conditions. Without tower, timber framed and built in minimal time they appeared more like commercial construction, a sparse look which was intended. In their simplicity they resembled on northern European Manierism, however they already were a creation of the baroque era.

Baroque (middle 17th – second half 18th century)

University in Wroc?aw (German: Breslau)

The beginning and the end of the Barogue were marked by two wars, the Thirty Years’ War and the Seven Years’ War. The triumph of the Baroque architecture in Silesia was closely connected to the rise of the house of Habsburg and the counter-reformation, whereas its decline was marked by the import of Classicism by Prussia, the new owner of Silesia after the Seven Years’ War. The religious antagonism of Protestantism and Catholicism led to a sharp contrast of a conservative Protestant Baroque which was in the defence and a vanguard and rousing Catholic Baroque which was in the offensive. The ban to built Protestant churches and the saturation of the region with secular architecture resulted in a decline of building projects. As a consequence most Baroque palaces of the 17th and 18th century were alterations of existing structures.

The destruction of the secular courtly culture by the new Polish owners after 1945 led to a widespread deterioration of palaces in Silesia, and today’s remaining palaces and holdovers in museums give only a distorted impression of the Baroque era in Silesia.

St. Hedwig’s church in Legnickie Pole (German: Wahlstatt), 1727–31 by K.I. Dientzenhofer

Important patrons of the Baroque architecture were two bishops from Breslau; Karl Friedrich von Hessen-Darmstadt and Franz Ludwig von Pfalz-Neuburg. During their 50 year incumbency both initiated numerous artistic projects and supported a large array of artists. Cistercian monasteries with their large possession acted as important intellectual and artistic centers, and Cistercian abbots used the arts as an instrument to manifest their prince-like status. They created the conditions for a collaboration of the two workshops of Michael Willmann and Matthias Steinl, which was of pan-European importance. The Jesuits as the main supporters of the imperial counter-reformation enriched mainly the civic centers with their buildings, much to the aversion of the Protestant society. They were responsible for the spread of basilicas modeled after Il Gisu, stylistic vocabulary of the Bohemian Dientzenhofer family and the baroque theatricalism found for instance at Leopoldina university in Breslau. Artistically very active were also the Premonstratensians, Augustinians, Franciscans and the Benedictines, the latter being responsible for the church at Wahlstatt (Legnickie Pole) near Liegnitz, an outstanding architectural monument and one of the most famous symbols of the triumph of the church against nonbelievers.

The privileged higher Catholic nobility, often immigrated, at that time laid the base for large possessions, whereas the Protestant bourgeoisie lost its role as a patron of the architecure and compensated this loss with outstanding achievents in literature, music and science.

University of Wroc?aw (German: Breslau), glorification of the Habsburg dynasty, emperor Leopold I., sculptures by Fr.J. Mangoldt, paintings Joh.Chr. Handke, 1731–33

Characteristic for the baroque era in Silesia was the glorification of the died out Silesian Piasts and its successors, the Habsburgs. The mother of the last ruling duke of the Silesian Piasts, princess Luise von Anhalt-Dessau, built a Piast mausoleum in Liegnitz commemorating the extinct dynasty, which shows a unique program by poet Daniel Casper von Lohenstein. The Cistercians regarded themselves as keepers of the Piastic legacy and erected commemorating programs in Leubus and Grüssau, but also rendered homage to the Habsburgs at the university of Breslau, in Leubus and in Lobris.

The early period of the baroque era (1640-80) was marked by the activity of Italian masters, which after the Thirty Years’ War filled the gaps in the entire Holy Roman Empire. St. Matthias in Breslau (1654) and Cistercian churches like Grüssau (1670) were first altered, later it affected all churches. The first remodeled palaces (all around 1640) were the residences in Zülz (Bia?a Prudnicka), Zyrowa, Oberglogau (G?ogówek), Palais Heberstein in Grafenort (Gorzanow) by Carlo Lurago (1653-57) and the palace in Proskau (Prószków) by G. Seregni between 1677-83. The palace in Sagan, started by Albrecht von Wallenstein and later in possession of the family von Lobkowicz, was modeled after Bohemian standards. The Jesuit seminar in Neisse (1656-58) was built by Melchior Werner, who represented the first generation of Silesian architects after the war.

Inside church of Peace in Jauer (Polish: Jawor), plans A.v. Säbisch, built by carpenter A. Gamper, painting probably G. Flegel, 1654–56

Important for the Protestant European architecture were the three Churches of Peace in Glogau, Jauer and Schweidnitz. Its constructor, military engineer Albrecht von Säbisch from Breslau, had to deal with a number of political constraints defined at the Peace of Westphalia. The churches should be built outside of the city walls, without stones and without a tower. The result were churches designed after Dutch and French examples, but with local traditions. A second variant of Protestant churches were so called border churches, simple buildings made of cheap materials, located outside of the borders of Silesia in the surrounding countries and used as refuges for the suppressed Silesian Protestants.

Palace in Kotzenau (Polish: Chocianow), 1728-32 by M. Frantz for Melchior Gottlob von Redern

Between 1680 and 1740 the Silesian baroque entered a period of prosperity. The palace in Suhlau (Su?ów), built in 1680, was the first building made with all representative stylistic elements of the baroque era. The Althans family constructed several palace ensembles in Wölfelsdorf (Wilkanów) and Mittelwalde, Konrad Ernst Maximilian von Hochberg expanded castle Fürstenstein (1718-25, carried out by F.A. Hammerschmidt and F.A. Scheffler), 10 years later Martin Frantz enlarged Kotzenau palace (Chocianów) and created one of the finest baroque garden in Silesia, and even some Palais entre cour et jardin emerged in Gröditzberg and Briese (by Johann Blasius Peintner from Austria). Entire landscape gardens however are rarely preserved and only known thanks to illustrations by Friedrich Bernhard Werner.

Leubus (Polish: Lubiaz), princes hall, paintings by Ph.Chr. Bentum, sculptures by Fr.J. Mangoldt and plastering by I.A. Provisore, 1735-37

After 1680 all great Silesian monasteries were altered. Of special importance here is the abbey of Leubus with its famous representation rooms by Michael Willmann, F.A. Scheffler, Ph. Chr. Bentum and Franz Joseph Mangoldt. St. Elisabeth chapel at the cathedral of Breslau was the most significant import of Italian inspired baroque and the last major work carried out by Italians. 30 years later Johann Bernhard Fischer von Erlach created the pendant, the electors chapel, which already anticipated neo-classical ideas.

The ideas of the Bohemian Baroque were spread by members of the Dientzenhofer family and its students. The first church of this type was the Jesuit church in Liegnitz, built by Christoph and Kilian Ignaz Dientzenhofer between 1714 and 1727. Later works can be found in Neisse, Liebenthal (Lubomierz), Leubus or Brieg. They were mostly propagated by Silesian Christoph Hackner from Jauer, Martin Frantz from Reval/Tallinn and his students Karl Martin Frantz and Johann Innocenz Töpper.

Gnadenkirche (church of peace) in Jelenia Gora (German: Hirschberg), 1707-18 by M. Frantz

A reason for the intensified construction activity in the first half of the 18th century was the implementation of the Treaty of Altranstädt, which demanded the restitution of 104 and the erection of 6 new Protestant churches, the so called Gnadenkirchen (churches of mercy). The abolishment of building regulation except for the erection outside of the townwalls caused the heterogeneity of this group. The churches in Sagan, Freystadt (Ko?uchów) and Militsch (Milicz) were timber-framed, the churches in Hirschberg and Landeshut by Martin Frantz modeled after Katarina Church in Stockholm, whereas the Protestant church in Teschen (Cieszyn, ?eský T?šín), modeled after Catholic Jesuit churches, was a exception.

The biggest metropolitan ensembles were carried out in Neisse, Breslau and Liegnitz. Important palaces, which combined residential and professional requirements, in Breslau were built by the family von Hatzfeld, von Spätgen, Hornes and von Schreyvogel, the latter being designed by Johann Lucas von Hildebrandt. The biggest secular urban developments of that time were theRitterakademie (knights academy) in Liegnitz, built for aristocratic children of both religious conviction, and the destroyed episcopalian spital in Neisse. Almost no city hall was constructed during the baroque era, and few saved their baroque rebuildings.

The annexation by Prussia marked the beginning of the end of the Baroque era in Silesia. The orientation towards the new political and artistical center in Berlin brought changes in the organization of building activities along. New artists from Prussia took the place of dying Silesian artists ( Tausch †1731, Peintner †1732, Hackner †1741, Frantz †1742, Frisch †1745), for instance G.L. Schirmeister in Oels (Ole?nica), J.M. Pohlmann in Oppeln (Opole) or Chr.Fr. Schultze in Breslau. The newly-created building inspection department limited the importance of Silesian guilds and adjusted construction plans.

Modest Protestant church in Primkenau (Polish: Przemkow), drawn by Friedrich Bernhard Werner, church not preserved

Between the First and Second Silesian War almost only magazines, barracks, fortification and Protestant churches were built. Towns like Cosel (Ko?le), Brieg, Breslau, Glogau, Neisse and Schweidnitz were converted to fortresses. Carlsruhe O.S. (Pokój) was the first of a number of frederician urban foundations, modeled after Karlsruhe. The liberated Protestant population built large quantities of modest churches in the first years of Prussian rule, which were portrayed by Friedrich Bernhard Werner. The most prestigious project of that time was the construction of the castle church in Breslau, which was remodeled by Carl Gotthard Langhans and became the prototype of all later classical Protestant churches. The final say of the Catholics in Silesia was the monastery complex of the Cistercians in Grüssau (1774-90).

The symbol of the changes and the first palace construction after the second half of the 18th century became the royal residence in Breslau (1750-53 by Joh. Boumann d.Ä.), which integrated the palace of the family von Spätgen and was a mix of frederician rococo and classical components. Friedrich Wilhelm von Seydlitz, commander of Fredericks army, erected a Maison de plaisance in Minkowsky (Minkowskie) which was akin to Sanssouci, and the palace of family von Maltzan in Militsch was modeled after the New Palace (Potsdam) in Potsdam.

Neo-Classicism and Historism

Neo-Classical church in Groß Wartenberg (Polish: Sycow), 1785 by K.G. Langhans

After the Treaty of Hubertusburg, a long-lasting phase of political and economical stabilization led to building activities which lasted until the defeat of Prussia in 1806. The destroyed cities were rebuilt, Upper Silesia became industrialized and many defensive fortification were put up. In 1775 Silesia was split into two separate construction departments, Breslau and Glogau, which were headed by fully independent construction managers (Oberbaudirektoren). The most important of these managers, Karl Gotthard Langhans, developed its own unique neo-classical style, which was of European importance.

The sacral architecture was now dominated by the Protestant church. After 1763 the small modest churches of the past were gradually abandoned and large monumental churches were built. Groundbreaking for the development of these churches were the churches in Cosel by Joh.M. Pohlmann and K.G. Langhans and in Groß Wartenberg (Syców) by K.G. Langhans in 1785. The new standards of these neo-classical churches were soon adopted by the churches in Waldenburg (Wa?brzych), Reichenbach (Dzier?oniów) and Münsterberg (Zi?bice). The building activities of the Catholic Church stagnated until the mid 19th century.

Theater in Wroc?aw (German: Breslau) by Carl Ferdinand Langhans, 1839-41

The residence architecture between 1740 and 1806 was marked by dynamic changes regarding styles and types. New town palaces however were rarely built. The most important one was Palais Hatzfeldt in Breslau, one of the first neo-classical buildings in Europe, designed 1764 by I. Ganevale and K.G. Langhans. Other palaces adopted the new style after 1770. The public initiatives affected mainly military buildings: monumental fortifications in Silberberg, Neisse and Glatz (K?odzko) as well as new barracks in Breslau and Brieg. According to the welfare policy of Frederick II of Prussia new hospitals and workhouses were erected (Kreuzburg, Breslau), and with the beginning industrialization of Upper Silesia entire residential developments were planned.

New administration structures were adopted after the Prussian ministry for Silesia was closed in 1808 and the reforms by Heinrich Friedrich Karl vom und zum Stein and Karl August von Hardenberg were implemented. From now on every building project had to be accepted by the building inspection department, which itself was under the control of the royal police headquarters. Every town appointed its municipal architect and local building deputation controlled the technical aspects of every project. These principles were in effect until 1900.

After 1820 positive results of these reforms became visible as a new period of building activity began. Most of these activities were now carried out in the cities, which became dominant in the shaping of Silesia’s architectural landscape. Dozens of theaters, houses for different associations, schools, hospitals or asylums were built. The most important artistical center was Breslau, and the most important Silesian architect until 1840 was Carl Ferdinand Langhans, son of Carl Gotthard and creator of the exchange, the theater, the loge “Friedrich zum goldenen Zepter” in Breslau and the theater in Liegnitz. A new type of apartment buildings began to evolve and the rich bourgeoisie began to live in large villas at the outskirts of the cities.

Hoym mausoleum, Dyhernfurth (Polish: Brzeg Dolny), by Gr. Gilly, 1800-03

The architecture of that time was marked by a broad mix of several neo-classical styles, from Palladianism, revolutionary Neo-Classizism (Hoym mausoleum by Friedrich Gilly in Dyhernfurt (Brzeg Dolny) or Palais Hohenlohe with the construction of the palace in Kamenz by Karl Friedrich Schinkel. Summer residences for the king of Prussia and his court in Hirschberg valley were the most important phenomenon in the palace architecture, where more than 30 palaces, castles and manors formed a cultural landscape of outstanding importance. In the cities the town walls were razed (first 1807 in Breslau) and replaced by greens, among them the first public parks.

The fourth decade of the 19th century was a turning point in the history of the Silesian architecture. Frederick William IV of Prussia ascended the throne in 1840, Karl Friedrich Schinkel died in 1841 and Karl Ferdinand Langhans finally moved to Berlin. Neo-Classizism was slowly replaced by Historism, the Silesian architecture linked more and more with Berlin and with the rise of the Wilhelmine empire the local architecture became fully dominated by German art movements. Neo-Renaissance was soon adoped in two varieties, Italian and Northern- German, the latter being promoted as the “national style”. This German Renaissance was mainly used at state-run building projects, for instance post offices. Palaces and self-governments were often built in neo- Baroque forms, whereas neo- Romanic didn’t became popular in Silesia.

Synagogue “Am Anger” in Wroc?aw (German: Brelsau) by Edwin Oppler, 1872

The departure of Karl Ferdinand Langhans left a gap which was soon filled by architects from Berlin. The time until 1914 was now marked by a peculiar rivalry between the architects from Silesia and Berlin. Communal and private building projects carried out by Silesian architects clearly cited local traditions, whereas governmental building projects dominated by architects from Berlin showed stylistic concepts without Silesian characteristics. The state (king, emperor) became the client with the most prestige, on his initiative many administrational buildings (regional councils, archives), prisons, courts of justice, police buildings and academies were constructed. As the leader of the Protestant church the king also founded many churches. The Catholic Church was still one of the biggest principals, especially in Upper Silesia. In 1883 a bishopric building officer was created, the first one being Josef Ebers. Not only churches were erected, but also hospitals, schools and many other buildings; approximately 2.000 Protestant and Catholic institutions in the entire 19th century. After 1850 the Jews became the third important ecclesiastic client and built large and representative synagogues which rivaled the churches of the other denominations. The most spectacular example was the synagogue “Am Anger” in Breslau, constructed by Edwin Oppler in 1872. They also built many hospitals and care homes. The religious equalization of Protestants, Catholics and Jews, which was typical für the second half of the 19th century in Prussia, was now mirrored by the architectural landscape of Silesia.

Gieschewald (Polish: Giszowiec), workers colony, by Georg and Emil Zillmann

Thanks to the Prussian reforms in the beginning of the 19th century the bourgeoisie became the dominant group and replaced the patriciate, which partially left their town palaces and concentrated on big industrial investments in Upper Silesia. The bourgeoisie also became the foremost patrons and consumers of the arts and initiated the construction of many theaters, museums or galleries, in addition they also gave an impetus to the beautification of the cities with parks and promenades. Their biggest achievement however was the construction of countless apartment buildings, which led to a rapid growth of the cities and the transition of Breslau to a metropolis. At the same time the division of the suburbs into living spaces for workmen, craftsmen, industry and rich middle classes took place. This however occurred only in Lower Silesia. Most towns in Upper Silesia didn’t have an old town center but often only one street, and they also did not have suburbs but chaoticly scattered small apartment buildings for workers (so called familoki), which were closely connected to the local coal mines. A exception was the workers colony in Nickischschacht and especially Gieschewald, built by Berlin architects Georg and Emil Zillmann for Gesellschaft Georg v. Giesche’s Erben.

The opposite to the Upper Silesian industrial small towns represented the Lower Silesian spas in the Sudetes mountain range. Silesia was without a doubt scenically the most beautiful part of Prussia, which was the reason for the speedy development of several railway lines to the spas at the foothill of the mountains in the second half of the 19th century. These villages and towns, with its exclusive sanatoriums and hotels, were a prestigious field of work for architects from Breslau, but some of them, like Görbersdorf (the Silesian Davos), were also carried out by non- Silesians like Edwin Oppler from Hannover (although he was born in Silesia). After the royal court left Hirschberg valley (which is also a part of the Sudetes) the region became attractive for a number of famous people from the German intelligentsia, among them Nobel price winner Gerhart Hauptmann, whose villa in Agnetendorf (Jagni?tków ) was designed by one of the best architects from Berlin, Hans Grisebach, or political economist Werner Sombart, who resided in a villa in Schreiberhau by Fritz Schumacher from Hamburg.

Castles, palaces

• Castle in Gliwice (pl:Zamek w Gliwicach)
• Castle in Pszczyna (pl:Zamek Pszczy?ski)
• Sielecki Castle (pl:Zamek Sielecki)
• Ksi?? Castle (pl:Ksi??, de:Schloss Fürstenstein, tr:Ksi??)
• Goldstein Palace (pl:Pa?ac Goldsteinów)
• Schöen Palace in Sosnowiec (pl:Pa?ac Schöena w Sosnowcu)

See also

Wikimedia Commons has media related to: Silesian architecture

• Gliwice Radio Tower
• Reichenbacher Tower (de:Reichenbacher Turm)
• Dicker Tower (de:Dicker Turm)

References

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (July 2009)

• Dehio - Handbuch der Kunstdenkmäler in Polen: Schlesien, Herder-Institut Marburg and Krajowy Osrodek Badan i Dokumentacji Zabytkow Warszawa, Deutscher Kunstverlag 2005, ISBN 342203109X*

Retrieved from “http://en.wikipedia.org/wiki/Silesian_architecture”
Categories: Holy Roman Empire | Silesia | PrussiaHidden categories: Articles lacking in-text citations from July 2009 | All articles lacking in-text citations

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

Languages

• ?esky
• ?l?nski

• This page was last modified on 23 October 2009 at 19:16.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

mob blades rims

Jørn Didriksen

Jump to: navigation, search

Olympic medal record
Competitor for  Norway
Men’s speed skating
Silver	1976 Innsbruck	1,000 m

Jørn Didriksen (born 27 August 1953) is a former speed skater from Norway.

Representing Oslo Idrettslag, Didriksen specialised in the sprint and participated in the World Sprint Championships three times. His best result there was a fourth place in 1975. That same year, he also became Norwegian Sprint Champion. At the 1976 Winter Olympics of Innsbruck, he won a silver medal on the 1,000 m behind Peter Mueller.

Personal records

To put these personal records in perspective, the WR column lists the official world records on the dates that Didriksen skated his personal records.

Event	Result	Date	Venue	WR
500 m	38.7?	11 January 1977	Hamar	37.00
1,000 m	1:17.34	20 March 1977	Medeo	1:15.33
1,500 m	2:05.8?	4 February 1977	Oslo	1:55.61
3,000 m	4:37.1?	31 January 1971	Inzell	4:12.6?
5,000 m	8:11.0?	11 February 1973	Elverum	7:09.8?

External links

• Jørn Didriksen at SkateResults.com
• Jørn Didriksen. Deutsche Eisschnelllauf Gemeinschaft e.V. (German Skating Association).
• Personal records from Jakub Majerski’s Speedskating Database
• Historical World Records. International Skating Union.
• National Championships results. Norges Skøyteforbund (Norwegian Skating Association).

This biographical article on a Norwegian speed skater is a stub. You can help Wikipedia by expanding it. v • d • e

Retrieved from “http://en.wikipedia.org/wiki/J%C3%B8rn_Didriksen”
Categories: 1953 births | Living people | Norwegian speed skaters | Speed skaters at the 1976 Winter Olympics | Olympic speed skaters of Norway | Olympic silver medalists for Norway | Winter Olympics medalists | Norwegian speed skating biography stubs

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

page with this exact name if one exists” /> 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

Languages

• ?Norsk (bokmål)?

• This page was last modified on 17 January 2010 at 17:19.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

christian audigier stiletto tank

Pacific Middle School

Jump to: navigation, search

This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2007)

This article is an orphan, as few or no other articles link to it. Please introduce links to this page from related articles; suggestions are available. (February 2009)

Pacific Middle School is a public middle school located in Vancouver, Washington. The school is a part of the Evergreen School District. Prior to the 1999-2000 school year the school was known as Pacific Junior High. The current principal is Kathleen Stellfox.

The school is located on the same property as Harmony Elementary School, also a part of the Evergreen School District. A track, known as “the trail”, goes around both schools and is used by the physical education classes for students to run a mile. Pacific’s mascot is the Viking and their school colors are green and gold.

Pacific’s instrumental music program is considered to be one of the stronger programs in southwest Washington. The Band program is headed by Christopher Sigman and Jean Kent. Orchestra is Headed by Lori Brosius.

Pacific has also been home to one of the strongest programs for talented and gifted students within the Vancouver area.

This Washington school-related article is a stub. You can help Wikipedia by expanding it. v • d • e

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

• This page was last modified on 3 November 2009 at 11:49.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

lexus is250 sport pedals

PUBLIC “-//W3C//DTD XHTML 1.0 Transitional//EN” “http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd”>

University Mall (South Burlington, Vermont)

Jump to: navigation, search

The University Mall is an enclosed shopping mall located in South Burlington, Vermont. The largest mall in the state, University Mall features over 70 stores and a food court. Finard Properties, LLC of Burlington, Massachusetts manages the mall. It is often referred to as U-Mall.

Contents 1 Tenants 1.1 Notable stores 1.2 Former anchors 2 References 3 External links

Tenants

The University Mall has an array of stores and areas to eat. In 2009, Vermont’s first IHOP opened here.

Notable stores

• Bon-Ton (60,000 square feet (5,600 m²))
• JCPenney (85,526 ft.²)
• Kohl’s (86,605 ft.²)
• Sears (126,560 ft.², moved from former standalone location on Shelburne Road)
• Hot Topic
• Pac Sun
• Spencer’s Gifts

Former anchors

• Almy’s
• Ames (opened 1989 in former Zayre, closed 2002 with demise of Ames chain; location now Kohl’s)
• Steinbach (closed 1999 with demise of Steinbach chain; location now Bon-Ton)
• Zayre (original tenant, chain acquired 1989 by Ames)

References

1. ^ UNIVERSITY MALL: Vermont’s largest enclosed shopping center including mall gift certificates, Vermont department stores, Vermont specialty gifts, and more
2. ^ The University Mall South Burlington Vermont - Vermont Shopping Malls University Mall VT Living VT Shopping Guide
3. ^ http://www.umallvt.com/store_directory.htm
4. ^ retrieved August 8, 2009
5. ^ Development Digest

External links

• University Mall website

This article about a building or structure in Vermont is a stub. You can help Wikipedia by expanding it. v • d • e

This article about a United States shopping mall is a stub. You can help Wikipedia by expanding it. v • d • e

Retrieved from “http://en.wikipedia.org/wiki/University_Mall_(South_Burlington,_Vermont)”
Categories: South Burlington, Vermont | Shopping malls in Vermont | Northeastern United States building and structure stubs | Vermont stubs | United States shopping mall stubsHidden categories: Vermont articles missing geocoordinate data | All articles needing coordinates

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

• This page was last modified on 30 December 2009 at 15:42.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

ford gem module

Telly Savalas

Jump to: navigation, search

Telly Savalas
Telly Savalas, 1969
Born	Aristotelis Savalas January 21, 1924(1924-01-21) Garden City, New York, U.S.
Died	January 22, 1994 (aged 70) Universal City, California, U.S.
Occupation	Actor
Years active	1959–1994
Spouse(s)	Katherine Nicolaides (1948–1957) Marilyn Gardner (1960–1974) Julie Hovland (1984–1994)

Aristotelis “Telly” Savalas (January 21, 1924 – January 22, 1994) was an American film and television actor and singer, whose career spanned four decades. Best known for playing the title role in the 1970s crime drama Kojak, Savalas was nominated for an Academy Award for Best Supporting Actor for his performance in Birdman of Alcatraz (1962). His other movie credits include The Young Savages (1961), The Greatest Story Ever Told (1965), Battle of the Bulge (1965), The Dirty Dozen (1967), The Scalphunters (1968), supervillain Ernst Stavro Blofeld in the James Bond film On Her Majesty’s Secret Service (1969), Kelly’s Heroes (1970), Pretty Maids All in a Row (1971), Inside Out (1975) and Escape to Athena (1979). He was easily recognizable with his shaved head and strong, masculine features.

Contents 1 Early life 2 Early television and movie career 3 Kojak 4 Other career achievements 5 Personal life 6 Deaths of relatives and his own last days 7 Death 8 Movie roles 9 References 10 External links

Early life

Savalas, the second of five children, was born as Aristotelis Savalas in Garden City, Long Island, New York to Greek American parents Christina (née Kapsalis), a New York City artist who was a native of Sparta, and Nick Savalas, a Greek restaurant owner. When he entered Sewanhaka High School in Floral Park, New York, he initially only spoke Greek, yet learned English and graduated in 1940. After graduation, he worked as a lifeguard, but on one occasion, was unsuccessful at rescuing a man from drowning, an event which would haunt Savalas for the remainder of his life. When he entered Columbia University School of General Studies, Savalas took a variety of courses, such as English, radio and psychology, graduating in 1948. At that time, he fell in love with radio and television, which led to his interest in acting. Savalas also gained life experience with a three-year stint (1943–1946) in the Army during World War II, working for the State Department as host of the “Your Voice of America” series, then at ABC News, before beginning an acting career in his late thirties. In 1950, Savalas hosted a popular radio show called The Coffeehouse in New York City.

Early television and movie career

Savalas started out as an executive director and then senior director of the news special events at ABC. He then became an executive producer for the Gillette Cavalcade of Sports where he gave Howard Cosell his first job..

Prior to his movie career, Savalas was a character actor on TV shows during the late 1950s and the 1960s. His first acting role was on And Bring Home a Baby, an episode of Armstrong Circle Theater in January 1959. He appeared on two more episodes of this series, in 1959 and 1960. Between 1959 and 1967, he made more than fifty guest appearances in various television programs, including Naked City, The Eleventh Hour, King of Diamonds, The Aquanauts, The Untouchables, Diagnosis: Unknown, Burke’s Law, Channing, Combat!, The Fugitive, Breaking Point, Bonanza, The Man from U.N.C.L.E., The F.B.I. and the classic The Twilight Zone episode Living Doll. He also had a recurring role as Brother Hendricksen on the popular crime drama series, 77 Sunset Strip.

While playing Lucky Luciano on the TV series The Witness, actor Burt Lancaster “discovered” him. He appeared with Lancaster in three movies — the first of these was the crime drama The Young Savages (1961). After playing a police officer in this movie, he moved on to play a string of heavies. Once again opposite Lancaster, he won acclaim and an Oscar nomination for Best Supporting Actor for his performance as the sadistic Feto Gomez in Birdman of Alcatraz (1962).

Savalas shaved his head for his role as Pontius Pilate in The Greatest Story Ever Told (1965), thus becoming the first modern day actor to play the Roman Governor of Judea bald. After completing work on the movie, he chose to remain bald.

Savalas was memorable as the weirdly religious and very sadistic convict Archer Maggott in The Dirty Dozen (1967), the seminal ensemble action film by director Robert Aldrich. He later returned to play a different character in two of the movie’s TV sequels - The Dirty Dozen: The Deadly Mission (1987) and The Dirty Dozen: The Fatal Mission (1988). He co-starred with Burt Lancaster for the third time in The Scalphunters (1968), a comedy western that revealed the absurdity of racism during the Civil Rights movement. Two more appearances in comedies for Savalas were as Herbie Haseler in Crooks and Coronets (1969) and opposite Clint Eastwood in Kelly’s Heroes (1970).

His career was transformed with the lead role in the celebrated TV-movie The Marcus Nelson Murders (CBS, 1973), which was based on the real-life Career Girls Murder case, and pop culture icon Theo Kojak was born.

Kojak

Savalas’ most famous role was as the star of the television series Kojak. Lt. Theo Kojak was a bald New York City detective with a fondness for lollipops and whose trademark line was “Who loves ya, baby?” and “Everybody should have a little Greek in them.” Reportedly the lollipop gimmick was added in lieu of having the character smoke, although in addition to indulging his sweet tooth he also smoked heavily onscreen — cigarettes, cigarillos and cigars — throughout the first season episodes. “Telly Savalas can make bad slang sound like good slang and good slang sound like lyric poetry. It isn’t what he is, so much as the way he talks, that gets you tuning in ,” wrote the critic Clive James trying to explain some of the great popularity of the show.

He was nominated for a Emmy Award for Outstanding Lead Actor in a Drama Series two years in a row, winning the Emmy in 1974. He was also nominated for the Golden Globe for Best Actor in a TV Drama Series from 1975 to 1978, winning twice, in 1975 and 1976.

His brother George played the regular role of Detective Stavros — a sensitive, wild-haired, quiet, comedic foil to Kojak’s street-wise humor in an otherwise dark dramatic TV series.

Kevin Dobson played the role of Kojak’s trusted young partner, Det. Bobby Crocker. The on-screen chemistry of Savalas and Dobson was a success story of 1970s television. After the show’s cancellation, Dobson kept in touch with Savalas and they maintained a close, personal friendship until Savalas’ death. The death of Savalas’ mother Christina in 1989 drew Savalas and Dobson closer.

Dobson went on to gain greater fame in the popular prime-time 1980s soap opera, Knots Landing. As a result, he did not appear in the majority of the Kojak TV movies. However, Savalas and Dobson were reunited on-screen for one last time when they appeared together in the 1990 TV movie Kojak: It’s Always Something, where Kevin’s character was a lawyer — similar to his role on Knots Landing - instead of a police officer.

While working on Knots Landing with Savalas’ stepdaughter Nicollette Sheridan, Dobson said of his first meeting with Savalas: “The moment I met Telly Savalas, we shook hands and our eyes met and locked and the chemistry was there. It was just there and it proved, once we got him filmed.”

On filming Savalas’ lollipops, Kevin said: “The lollipops scene took place in the fifth show, when we’re in the office and we’re about to do the scene, he said, ‘I need something, you know?’ And here’s a guy standing over there with the Tootsie Pop sticking out of his shirt. Give me a Tootsie Pop, huh? Telly, they flipped it to him, doing it like this, unwrapped it, stuck it to him and his head, his mouth and became a lollipop cop.”

In 1978, after 5 seasons and 118 episodes, CBS cancelled the show due to low ratings. Savalas was unhappy about the show’s demise, but he got the chance to reprise the Kojak persona in several TV movies.

Savalas portrayed Kojak in the following shows:

• The Marcus-Nelson Murders (1973) (TV) The pilot for the Kojak TV series.
• Kojak (1973 – 78) TV Series
• Kojak: The Belarus File (1985) (TV)
• Kojak: The Price of Justice (1987) (TV)
• Kojak: Ariana (1989) (TV)
• Kojak: Fatal Flaw (1989) (TV)
• Kojak: None So Blind (1990) (TV)
• Kojak: It’s Always Something (1990) (TV)
• Kojak: Flowers for Matty (1990) (TV)

Other career achievements

As a singer, Savalas had some chart success. His spoken (i.e. not sung) version of Bread’s If produced by Snuff Garrett was #1 in Europe for 10 weeks in 1975 and his sung version of Don Williams’ Some Broken Hearts Never Mend topped the charts in 1980. He worked with composer and producer John Cacavas on many albums, including Telly (1974) and Who Loves Ya, Baby (1976).

In the late 1970s, Savalas narrated three UK travelogues titled Telly Savalas Looks at Portsmouth, Telly Savalas Looks at Aberdeen and Telly Savalas Looks at Birmingham. These were produced by Harold Baim and were examples of quota quickies which were then part of a requirement that cinemas in the United Kingdom showed a set percentage of British produced films. He also hosted the 1989 video UFOs and Channeling.

Savalas wrote, directed and starred in the film Beyond Reason (1977).

In the 1980s and early 1990s, Savalas appeared in commercials for the Players’ Club Gold Card. These commercials were parodied by Phil Hartman on Saturday Night Live as “The Player With Yourself Club”. The line from the parody was “If you’re a player, you need to be where the action is, and when there’s no action you have to create it yourself. That’s why I’m telling you about the Player With Yourself Club.” Savalas’ commercials also inspired a skit on In Living Color, where Jim Carrey played Savalas, who wields a literal “player’s club” and knocks successful gamblers unconscious, taking their winnings, though tossing them a chip or two out of generosity.

Savalas also appeared on the Australian supernatural television show The Extraordinary where he told a personal ghost story similar to The Vanishing Hitchhiker.

Personal life

The Savalas brothers (l-r): Teddy, Telly, Gus & George

Savalas was married three times. In 1948 after his father’s death from bladder cancer, Savalas married his college sweetheart, Katherine Nicolaides. Daughter Christina, named after his mother, was born in 1950. In 1957, Katherine filed for divorce after she found out from Telly that he was running away to flee his creditors. She urged him to move back to his mother’s house during that same year. While Savalas was going broke, he founded the Garden City Theater Center in his native Garden City. While working there, he met Marilyn Gardner, a theater teacher, and they fell in love. They married in 1960. Marilyn gave birth to daughter Penelope in 1961. A second daughter Candace was born in 1963.

In 1969, while working on the movie On Her Majesty’s Secret Service, Savalas met Sally Adams. Sally gave birth to their son Nicholas Savalas on February 24, 1973. Gardner filed for divorce from Savalas in 1974. Although he and Sally never married, he was stepfather to Adams’ daughter, actress Nicollette Sheridan of Knots Landing and Desperate Housewives fame.

In 1977 during the last season of Kojak, he met and fell in love with Julie Hovland, a travel agent from Minnesota. They were married in 1984 and had two children together, Christian and Ariana. Julie and Telly remained married until his death. Christian Savalas is a actor, singer and songwriter. Ariana Savalas is an actress and singer/songwriter. Julie Savalas is an inventor and artist.

Savalas was the best friend of fellow Greek-American actor, John Aniston, and he served as godfather to John’s daughter, Friends actress Jennifer Aniston.

He held a degree in psychology and was a world-class poker player who finished 21st at the main event in the 1992 World Series of Poker, as well as a motorcycle racer and lifeguard. His other hobbies and interests included golfing, swimming, reading romantic books, watching football, traveling, collecting luxury cars and gambling. He loved horse racing and bought a racehorse with movie director and producer Howard W. Koch. Naming the horse Telly’s Pop, it won several races in 1975 including the Norfolk Stakes and Del Mar Futurity.

In his capacity as producer for Kojak, he gave many stars their first break, as Burt Lancaster did for him. He was considered by those who knew him to be a generous, graceful, compassionate man. He was also a strong contributor to his Greek Orthodox roots through the Saint Sophia and Saint Nicholas cathedrals in Los Angeles and was the sponsor of bringing electricity in the 1970s to his ancestral home, Yeraka, Greece.

Savalas had a minor physical handicap in that he was missing part of his left index finger. This missing digit was rarely indicated on screen; one exception was the first season Kojak episode “Requiem for a Cop” in which a close-up of Savalas holding his chin in his hand clearly shows the incomplete finger.

Deaths of relatives and his own last days

After Savalas came back to reprise his role on Kojak in the 1980s, he began to lose close relatives.

George Savalas, his brother who played Detective Stavros on the original Kojak series, died in 1985 of leukemia at age 60. His mother Christina, who had always been his best friend, supporter and devoted parent, died in 1989. Later that year, Savalas was diagnosed with transitional cell cancer of the bladder. He refused to see a doctor until 1993, but by then he did not have much time to live. While fighting for his life, he continued to star in many roles, including a recurring role on The Commish.

Death

Savalas died on January 22, 1994, the day after his 70th birthday, of complications of cancer of the bladder and prostate at the Sheraton-Universal Hotel in Universal City, California. He was interred at the George Washington section of Forest Lawn - Hollywood Hills Cemetery. The funeral, held in a Greek Orthodox Church, was attended by his third wife Julie and his brother Gus. His first two wives, Katherine and Marilyn, also attended with their own children. Some of the many other mourners present included Angie Dickinson, Nicollette Sheridan, Jennifer Aniston, Kevin Sorbo, Sally Adams, Frank Sinatra, Don Rickles, and several of Telly’s Kojak co-stars - Kevin Dobson, Dan Frazer and Vince Conti.

Movie roles

His silver screen career usually involved him being cast as the villain in such films as:

• Mad Dog Coll (1961)
• The Man from the Diner’s Club (1963)
• The Greatest Story Ever Told (1965) as Pontius Pilate
• The Slender Thread (1965)
• Beau Geste (1966) as Sergeant Dagineau
• The Dirty Dozen (1967) as Archer Maggott
• The Karate Killers (1967) as Count Valeriano De Fanzini
• The Scalphunters (1968) as Jim Howie
• The Assassination Bureau (1969)
• On Her Majesty’s Secret Service (1969) as Ernst Stavro Blofeld
• Land Raiders (1969)
• Crooks and Coronets (1969) as Herbie Haseler
• Mackenna’s Gold (1969) as Cavalry Sergeant Tibbs
• Violent City (1970)
• A Town Called Bastard (1971)
• Pancho Villa (1972)
• Redneck (1972)
• Crime Boss (1972)
• Scenes from a Murder (1972)
• Horror Express (1973)
• Lisa and the Devil (1973)
• A Reason to Live, A Reason to Die (1973)
• Redneck (1973)
• Inside Out (1975)
• Killer Force (1976)
• Beyond the Poseidon Adventure (1979) as Doctor Stefan Svevo
• Cannonball Run II (1984) as Hymie Kaplan
• Gobots: Battle of the Rock Lords (voice) (1986)

Other movie roles where Savalas didn’t play the villain were:

• Birdman of Alcatraz (1962) as Feto Gomez
• Cape Fear (1962)
• Love Is a Ball (1963) as P.I. Charles Sievers
• The New Interns (1964)
• Genghis Khan (1965) as Shan
• The Slender Thread (1965)
• Battle of the Bulge (1965) as Tank Sgt. Guffy
• Sol Madrid (1968)
• Buona Sera, Mrs. Campbell (1968)
• Kelly’s Heroes (1970) as Master Sergeant “big” Joe
• Pretty Maids All in a Row (1971)
• Inside Out (1975) as Harry Morgan
• Capricorn One (1978) as Albain, the bi-plane pilot
• Escape to Athena (1979) as Zino
• Border Cop (1979) as Frank Cooper
• Dirty Dozen: Fatal Mission (1988) as Major Wright

References

1. ^ “`Kojak’ Star Telly Savalas Dies at 70″. Pqasb.pqarchiver.com. 1994-01-23. http://pqasb.pqarchiver.com/latimes/access/59293447.html?dids=59293447:59293447&FMT=ABS&FMTS=ABS:FT&date=Jan+23%2C+1994&author=LISA+RICHARDSON&pub=Los+Angeles+Times+(pre-1997+Fulltext)&desc=%60Kojak’+Star+Telly+Savalas+Dies+at+70&pqatl=google. Retrieved 2009-12-10. 
2. ^
3. ^ “Thomas J. Cavanagh Jr., 82, Who Inspired ‘Kojak,’ Dies” published by the New York Times on Sunday, August 4, 1996
4. ^ Clive James Visions Before Midnight ISBN 0-330-26464-8
5. ^ “Discography Telly Savalas”. http://swisscharts.com/showinterpret.asp?interpret=Telly+Savalas. 
6. ^ “Telly Savalas Looks At Birmingham | Birmingham: It’s Not Shit”. Birminghamitsnotshit.co.uk. 2007-09-11. http://www.birminghamitsnotshit.co.uk/videos/kojak. Retrieved 2009-12-10. 
7. ^ Kojak’s kinda town (2008-04-29). “Birmingham - Features - Kojak’s kinda town”. BBC. http://www.bbc.co.uk/birmingham/content/articles/2006/09/28/telly_savalas_inside_out_feature.shtml. Retrieved 2009-12-10. 
8. ^ Savalas appearance on The Extraordinary
9. ^ Monday, Feb. 23, 1976 (1976-02-23). “Bot generated title ->”. TIME<!. http://www.time.com/time/magazine/article/0,9171,918073-3,00.html. Retrieved 2009-12-10. 
10. ^ “Owner Koch dead at 84 - Thoroughbred Times”. Thoroughbred Times<!. 2001-02-17. http://www.thoroughbredtimes.com/national-news/2001/February/17/Owner-Koch-dead-at-84.aspx. Retrieved 2009-12-10. 
11. ^ Who2: Celebs Missing Fingers, accessed January 15, 2010
12. ^ Death Certificate of Telly Savalas from findadeath.com
13. ^ Henkel, John (December 1994). “Prostate Cancer: New Tests Create Treatment Dilemmas”. FDA Consumer. BNET. http://findarticles.com/p/articles/mi_m1370/is_n10_v28/ai_15955600/. Retrieved 2009-06-16. 

External links

Wikiquote has a collection of quotations related to: Telly Savalas

• Savalas.TV - Who loves ya, baby?
• TellySavalas.de - German Infoside
• TellySavalas.com
• Telly Savalas at the Internet Movie Database
• Telly Savalas at TV.com
• Telly Savalas at Find a Grave

v • d • e Primetime Emmy Award for Outstanding Lead Actor – Drama Series Robert Young (1956) · Robert Young (1957) · Raymond Burr (1959) · Robert Stack (1960) · Raymond Burr (1961) · E. G. Marshall (1962) · E. G. Marshall (1963) · Bill Cosby (1966) · Bill Cosby (1967) · Bill Cosby (1968) · Carl Betz (1969) · Robert Young (1970) · Hal Holbrook (1971) · Peter Falk (1972) · Richard Thomas (1973) · Telly Savalas (1974) · Robert Blake (1975) Complete list: (1956–1975) · (1976–2000) · (2001–present)

v • d • e Golden Globe Award for Best Actor – Television Series Drama Mike Connors (1969) · Peter Graves (1970) · Robert Young (1971) · Peter Falk (1972) · James Stewart (1973) · Telly Savalas (1974) · Robert Blake/Telly Savalas (1975) · Richard Jordan (1976) · Edward Asner (1977) · Michael Moriarty (1978) · Edward Asner (1979) · Richard Chamberlain (1980) · Daniel J. Travanti (1981) · John Forsythe (1982) · John Forsythe (1983) · Tom Selleck (1984) · Don Johnson (1985) · Edward Woodward (1986) · Richard Kiley (1987) · Ron Perlman (1988) · Ken Wahl (1989) Complete List · (1969-1989) · (1990–present)

Persondata
NAME	Savalas, Telly
ALTERNATIVE NAMES	Savalas, Aristotelis
SHORT DESCRIPTION	Actor
DATE OF BIRTH	January 21, 1922
PLACE OF BIRTH	Garden City, New York, U.S.
DATE OF DEATH	January 22, 1994
PLACE OF DEATH	Universal City, California, U.S.

Retrieved from “http://en.wikipedia.org/wiki/Telly_Savalas”
Categories: Eastern Orthodox Christians from the United States | American film actors | American male singers | American military personnel of World War II | American radio personalities | American stage actors | American television actors | American television directors | American television personalities | Best Drama Actor Golden Globe (television) winners | California Democrats | Deaths from bladder cancer | Burials at Forest Lawn Memorial Park (Hollywood Hills) | Emmy Award winners | Greek Americans | People from Garden City, New York | Spaghetti Western actors | United States Army soldiers | Cancer deaths in California | 1922 births | 1994 deathsHidden categories: All articles with unsourced statements | Articles with unsourced statements from February 2008

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

Languages

• Aragonés
• ?????
• ?esky
• Dansk
• Deutsch
• ????????
• Español
• Esperanto
• Français
• Bahasa Indonesia
• Italiano
• ?????
• Latina
• Magyar
• Nederlands
• ???
• ?Norsk (bokmål)?
• Polski
• Português
• Român?
• ???????
• ?????? / Srpski
• Srpskohrvatski / ??????????????
• Suomi
• Svenska
• Türkçe
• ??

• This page was last modified on 5 February 2010 at 04:46.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

waldmann tango fountain pen

1984 Alpine Skiing World Cup – Men’s Slalom

  (Redirected from 1984 Alpine Skiing World Cup - Men’s Slalom)
Jump to: navigation, search

1984 Men’s Slalom World Cup
Previous: 1983	Next: 1985

This is a list of statistics for the Men’s Slalom in the World Cup 1983/1984.

Main article: 1984 Alpine Skiing World Cup

Calendar

Round	Race No	Place	Country	Date	Winner	Second	Third
1	1	Kranjska Gora	Yugoslavia	December 2, 1983	Andreas Wenzel	Petar Popangelov	Paul Frommelt
2	7	Courmayeur	Italy	December 13, 1983	Ingemar Stenmark	Bojan Križaj	Steve Mahre
3	10	Madonna di Campiglio	Italy	December 20, 1983	Ingemar Stenmark	Robert Zoller	Petar Popangelov
4	15	Parpan	Switzerland	January 16, 1984	Marc Girardelli	Paolo De Chiesa	Andreas Wenzel
5	16	Parpan	Switzerland	January 17, 1984	Ingemar Stenmark	Marc Girardelli	Franz Gruber
6	19	Kitzbühel	Austria	January 22, 1984	Marc Girardelli	Franz Gruber	Bojan Križaj
7	27	Borovets	Bulgaria	February 5, 1984	Marc Girardelli	Ingemar Stenmark	Franz Gruber
8	30	Vail	United States	March 6, 1984	Robert Zoller	Petar Popangelov	Phil Mahre Lars-Göran Halvarsson
9	34	Åre	Sweden	March 18, 1984	Marc Girardelli	Franz Gruber	Lars-Göran Halvarsson
10	37	Oslo	Norway	March 24, 1984	Marc Girardelli	Ingemar Stenmark	Paolo De Chiesa

Final point standings

In Men’s Slalom World Cup 1983/84 the best 5 results count. Deduction are given in ().

Place	Name	Country	Total Points	Deduction	1	7	10	15	16	19	27	30	34	37
1	Marc Girardelli	Luxembourg	125	(20)	-	-	-	25	(20)	25	25	-	25	25
2	Ingemar Stenmark	Sweden	115	(29)	-	25	25	-	25	(11)	20	(6)	(12)	20
3	Franz Gruber	Austria	82	(30)	(11)	(11)	(8)	12	15	20	15	-	20	-
4	Petar Popangelov	Bulgaria	77	(17)	20	-	15	-	10	(6)	(5)	20	(6)	12
5	Bojan Križaj	Yugoslavia	66	(23)	-	20	10	9	12	15	(7)	-	(8)	(8)
6	Andreas Wenzel	Liechtenstein	60		25	-	7	15	5	-	8	-	-	-
7	Paolo De Chiesa	Italy	57		-	-	-	20	-	-	12	-	10	15
8	Robert Zoller	Austria	55		-	-	20	-	-	-	-	25	-	10
9	Phil Mahre	United States	44		7	-	-	-	-	12	10	15	-	-
	Lars-Göran Halvarsson	Sweden	44		-	-	-	-	11	-	3	15	15	-
11	Alex Giorgi	Italy	43		-	5	12	-	6	-	-	-	9	11
12	Stig Strand	Sweden	39		-	-	11	7	-	10	11	-	-	-
13	Klaus Heidegger	Austria	36		-	-	-	-	-	-	9	10	11	6
14	Jonas Nilsson	Sweden	33		10	-	-	6	-	9	-	8	-	-
15	Paul Frommelt	Liechtenstein	32		15	-	-	10	-	7	-	-	-	-
16	Max Julen	Switzerland	31		-	-	9	11	-	4	-	-	7	-
17	Didier Bouvet	France	27	(2)	4	-	-	8	4	-	(2)	-	4	7
18	Bengt Fjällberg	Sweden	25		12	-	-	-	-	-	4	-	-	9
19	Roberto Grigis	Italy	23		5	10	-	-	8	-	-	-	-	-
	Anton Steiner	Austria	23		9	9	-	-	-	2	-	-	-	3
21	Joël Gaspoz	Switzerland	22		-	7	2	1	3	-	-	9	-	-
22	Steve Mahre	United States	21		-	15	-	-	-	-	6	-	-	-
	Gunnar Neuriesser	Sweden	21		-	-	-	5	-	-	-	11	-	5
24	Pirmin Zurbriggen	Switzerland	17		-	12	-	-	-	-	-	2	3	-
25	Vladimir Andreev	Soviet Union	16		-	6	-	-	9	1	-	-	-	-
26	Jože Kuralt	Yugoslavia	15		-	8	-	4	-	-	-	-	2	1
27	Florian Beck	West Germany	13		-	-	5	-	7	-	1	-	-	-
28	Christian Orlainsky	Austria	12		8	-	-	-	-	-	-	-	-	4
29	Osama Kodama	Japan	11		-	-	6	-	-	-	-	-	5	-
30	Michel Vion	France	8		-	-	-	-	-	8	-	-	-	-
31	Tomaž Cerkovnik	Yugoslavia	7		-	-	4	-	-	3	-	-	-	-
	Mark Tache	United States	7		-	-	-	-	-	-	-	7	-	-
	Hubert Strolz	Austria	7		3	-	-	-	-	-	-	4	-	-
34	Ivano Edalini	Italy	6		6	-	-	-	-	-	-	-	-	-
	Yves Tavernier	France	6		-	4	-	-	2	-	-	-	-	-
36	Jure Franko	Yugoslavia	5		2	3	-	-	-	-	-	-	-	-
	Martin Hangl	Switzerland	5		-	-	-	-	-	5	-	-	-	-
	John Buxman	United States	5		-	-	-	-	-	-	-	5	-	-
	Odd Sørli	Norway	5		2	-	-	-	-	-	-	3	-	-
40	Günther Mader	Austria	3		-	-	3	-	-	-	-	-	-	-
	Michel Canac	France	3		-	-	-	3	-	-	-	-	-	-
	Jacques Lüthy	Switzerland	3		-	2	-	-	1	-	-	-	-	-
43	Thomas Bürgler	Switzerland	2		-	-	-	2	-	-	-	-	-	-
	Tiger Shaw	United States	2		-	-	-	-	-	-	-	2	-	-
	Joakim Wallner	Sweden	2		-	-	-	-	-	-	-	-	-	2
46	Egon Hirt	West Germany	1		-	1	-	-	-	-	-	-	-	-
	Toshihiro Kaiwa	Japan	1		-	-	1	-	-	-	-	-	-	-
	Oswald Tötsch	Italy	1		-	-	-	-	-	-	-	-	1	-

Alpine skiing World Cup

Men

Overall | Downhill | Giant/Super G | Slalom | Combined

1984

External links

• FIS-ski.com - World Cup standings - Slalom 1984

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

one exists” /> 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

• This page was last modified on 31 December 2009 at 02:28.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

eyes of ruth handbag

Bill Yeoman

Jump to: navigation, search

This biography of a living person does not cite any references or sources. Please help by adding reliable sources. Contentious material about living people that is unsourced or poorly sourced must be removed immediately. (August 2009)

Bill Yeoman
Born	December 26, 1927 (1927-12-26) (age 82)
Place of birth	Elnora, IN
Career highlights
Overall	160-108-8
Bowls	6-4-1
Coaching stats
College Football DataWarehouse
Playing career
1945 1946-1948	Texas A&M Army
Position	C
Coaching career (HC unless noted)
1954-1961 1962-1986	Michigan State (assistant) Houston
College Football Hall of Fame, 2001 (Bio)

Bill Yeoman (born December 26, 1927 in Elnora, Indiana) was the head football coach at the University of Houston from 1962 to 1986. During his 25-year tenure, he became the winningest coach in school history, compiling an overall record of 160-108-8. Yeoman revolutionized offensive football in 1964 by developing the Veer option offense. Yeoman also played a prominent role in the racial integration of collegiate athletics in the South by being the first coach in the State of Texas to sign a black player. Yeoman’s Cougars finished the season ranked in the AP Top 10 four times and finished 10 times in the Top 20.

Contents 1 Playing Career and Early Coaching Career 2 Head Coaching Career 2.1 Head coaching record 3 Post-coaching career

Playing Career and Early Coaching Career

Yeoman played center for Army from 1946 to 1948 under legendary head coach Earl Blaik. The 1946 team was 9-0-1 with a backfield of two Heisman Trophy winners: Glenn Davis and Doc Blanchard. Yeoman was a team captain in 1948 and chosen as a second team All-American. The Army football teams in which he played compiled a combined 22-2-4 record. Bill Yeoman is still the only underclassman to ever captain an Army team.

Yeoman served in the United States Army from 1950 to 1953. He then returned to civilian life and became an assistant coach under Duffy Daugherty at Michigan State from 1954 to 1961.

Head Coaching Career

Yeoman as coach of the Houston Cougars

After serving as an assistant coach for eight seasons at Michigan State, Yeoman was hired to become the head coach of the University of Houston Cougars in 1962. The Cougars had only begun playing football in 1946 and had enjoyed little success or prominence in the program’s short history. Yeoman established a winning tradition in his very first year at Houston, guiding the team to a 7-4 record and a victory in the Tangerine Bowl. After a losing season in 1963, Yeoman began experimenting with a new offense he named the Veer after its split-back alignment. The Veer option offense would revolutionize college football and help the Cougars to become a perennial power.

On July 11, 1964, Yeoman helped to break the color barrier for major Texas football programs when the University of Houston signed San Antonio’s Warren McVea to a scholarship. The recruitment of McVea was part of an overall move by the University of Houston athletic department in 1964 to integrate their athletic programs. The other prominent black athletes signed by UH that year were basketball players Elvin Hayes and Don Chaney.

Running the Veer offense, Houston led the nation in total offense for three consecutive years in the late ‘60s, averaging 437 yards a game in 1966, 427 in 1967, and 562 in 1968. The 1968 offensive total set an NCAA record. Houston also led the nation in scoring that year, tallying 42.5 points per game. This average was aided in part by the Cougars’ 100-6 victory over Tulsa that marked the last time that a team scored 100 points in a top-division college football game.

In 1976, Houston’s first year as a member of the Southwest Conference, the Cougars posted a 10-2 record that included a 30-0 win at rival Texas and a victory over Maryland in the Cotton Bowl Classic. Yeoman was named Texas Coach of the Year and was runner-up for National Coach of the Year honors. Yeoman guided the Cougars to four Southwest Conference Championships (1976, 1978, 1979, 1984) during his career, and he earned a 6-4-1 record in bowl games including a Cotton Bowl Classic win over Nebraska in 1980.

Yeoman’s tenure at UH was not without controversy. In 1986 allegations surfaced that illegal recruiting inducements and extra benefits had been tendered to UH football players. Yeoman was alleged to have handed out cash to players and provided them with illegal transportation and lodging. Subsequent to its investigation, the NCAA levied sanctions and placed the program on probation in 1988.

Yeoman retired from coaching in late 1986 after a 1-10 campaign. He had coached 46 All-America players and 69 future NFL players during his career. In his 25 years as the headman at UH he had taken the program from obscure upstart to regional power. In the process, his offensive innovations had helped to revolutionize college football. When Yeoman arrived on campus, UH was an independent program that had been to only one bowl game. When Yeoman retired, UH was a member and four-time champion of a major athletic conference.

Head coaching record

Year	Team	Overall	Conference	Standing	Bowl	Coaches#	AP°
Houston Cougars (Independent) (1962–1975)
1962	Houston	7-4	N/A	N/A	W Tangerine Bowl
1963	Houston	2-8	N/A	N/A
1964	Houston	2-6-1	N/A	N/A
1965	Houston	4-5-1	N/A	N/A
1966	Houston	8-2	N/A	N/A			17
1967	Houston	7-3	N/A	N/A			19
1968	Houston	6-2-2	N/A	N/A		20	18
1969	Houston	9-2	N/A	N/A	W Bluebonnet Bowl	16	12
1970	Houston	8-3	N/A	N/A		13	19
1971	Houston	9-3	N/A	N/A	L Bluebonnet Bowl	14	17
1972	Houston	6-4-1	N/A	N/A
1973	Houston	11-1	N/A	N/A	W Bluebonnet Bowl	13	9
1974	Houston	8-3-1	N/A	N/A	W Bluebonnet Bowl	11	19
1975	Houston	2-8	N/A	N/A
Houston:		89-54-6	N/A
Houston Cougars (Southwest Conference) (1976–1986)
1976	Houston	10-2	7-1	T-1st	W Cotton Bowl Classic	4	4
1977	Houston	6-5	4-4	T-4th
1978	Houston	9-3	7-1	1st	L Cotton Bowl Classic	11	10
1979	Houston	11-1	7-1	T-1st	W Cotton Bowl Classic	5	5
1980	Houston	7-5	5-3	T-2nd	W Garden State Bowl
1981	Houston	7-4-1	5-2-1	3rd	L Sun Bowl
1982	Houston	5-5-1	4-3-1	4th
1983	Houston	4-7	3-5	7th
1984	Houston	7-5	6-2	T-1st	L Cotton Bowl Classic
1985	Houston	4-7	3-5	5th
1986	Houston	1-10	0-8	9th
Houston:		71-54-2	51-35-2
Total:		160-108-8
National Championship         Conference Title         Conference Division Title

Post-coaching career

Bill Yeoman was inducted into the University of Houston Hall of Honor in 1998. He was elected to the College Football Hall of Fame in 2001 and the Texas Sports Hall of Fame in 2003. Also in 2002, Yeoman received the Paul “Bear” Bryant Award Lifetime Achievement Award.Yeoman currently works as a fundraiser and Development Officer in the athletic department of the University of Houston.

v • d • e Houston Cougars head football coaches Wallace • Lee • Meek • Lahar • Yeoman • Pardee • Jenkins • Helton • Dimel • Briles • Sumlin

v • d • e Paul “Bear” Bryant Award Lifetime Achievement Award winners 2000 - Darrell Royal | 2001 - Charles McClendon | 2002 - Bill Yeoman | 2003 - Frank Broyles | 2004 - Gene Stallings | 2005 - Lou Holtz | 2006 - Jack Pardee | 2007 - Bo Schembechler | 2008 - Tom Osborne | 2009 - Barry Switzer | 2010 - Vince Dooley

Persondata
NAME	Yeoman, Bill
ALTERNATIVE NAMES
SHORT DESCRIPTION	American football player
DATE OF BIRTH
PLACE OF BIRTH
DATE OF DEATH
PLACE OF DEATH

Retrieved from “http://en.wikipedia.org/wiki/Bill_Yeoman”
Categories: Houston Cougars football head coaches | 1927 births | Living people | People from Daviess County, Indiana | American football centers | Texas A&M Aggies football players | Army Black Knights football players | United States Army officers | Michigan State Spartans football coaches | College Football Hall of Fame inductees | College football head coachesHidden categories: Unreferenced BLPs from August 2009 | All unreferenced BLPs

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

• This page was last modified on 4 February 2010 at 10:34.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

samsung black jack2 unlocked

PUBLIC “-//W3C//DTD XHTML 1.0 Transitional//EN” “http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd”>

genre b.goode

Jump to: navigation, search

Retrieved from “http://en.wikipedia.org/wiki/Genre_b.goode”
Categories: Australian record labels | TISM | Record labels established in 1995 | Vanity record labels | Alternative rock record labels | Australian record label stubsHidden categories: Articles lacking sources from December 2009 | All articles lacking sources

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

one exists” /> 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

• This page was last modified on 16 December 2009 at 12:09.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

samsung black jack2 unlocked

Stephen Mirrione

Jump to: navigation, search

Stephen Mirrione
Born	February 17, 1969(1969-02-17) Santa Clara County, California
Occupation	film editor

Stephen Mirrione (born February 17, 1969 in Santa Clara County, California) is an American film editor. He won an Academy Award for his editing of the film Traffic (2000).

Mirrione attended Bellarmine College Preparatory and then the University of California, Santa Cruz, from which he received his bachelor’s degree in 1991. He moved to Los Angeles, and began a collaboration with Doug Liman, who was then a graduate student at the University of Southern California School of Cinematic Arts. Mirrione edited Liman’s first feature films Getting In (1994), Swingers (1996), and Go (1999), which was an homage to Akira Kurosawa’s 1950 film Rashomon.

Mirrione has had a notable collaboration with director Steven Soderbergh. The two met when Soderbergh attended the opening of Go. About one year later he asked Mirrione to edit Traffic (2000), which earned Mirrione an Oscar. Todd McCarthy characterized the effects of the camerawork and editing, “Soderbergh has given the film tremendous texture as well as a vibrant immediacy through constant handheld operating, mostly using available light, and manipulating the look both in shooting and in the lab. Stephen Mirrione’s editing, which gives Traffic a beautifully modulated overall shape, is characterized on a moment-to-moment basis by jump cuts and jagged rhythms. Overall result is far too stylized to call the approach verite, but pic looks far more caught-on-the-run, and therefore far less staged, than all but a few other American films.”

Mirrione subsequently edited all three of the Ocean’s films directed by Soderbergh and starring George Clooney (Ocean’s Eleven (2001), Ocean’s Twelve (2004), and Ocean’s Thirteen (2007)), as well as Soderbergh’s 2009 film The Informant!.

Mirrione won an American Cinema Editors “Eddie” Award in 2006 for his editing of Alejandro Gonzalez Inarritu’s film Babel, for which he was also nominated for an Academy Award. He has been nominated four times for BAFTA Awards for editing Traffic, 21 grams (also directed by Inarritu - 2003), Good Night, and Good Luck (directed by George Clooney-2006), and for Babel.

Mirrione has been selected for membership in the American Cinema Editors.

Contents 1 Selected filmography (by director) 2 Academy Awards and Nominations 3 Other Awards and Nominations 4 References 5 External links

Selected filmography (by director)

	Doug Liman	Jill Sprecher	Steven Soderbergh	George Clooney	Alejandro González Iñárritu
1994	Getting In
1995
1996	Swingers
1997		Clockwatchers
1998
1999	Go
2000			Traffic
2001		Thirteen Conversations About One Thing	Ocean’s Eleven
2002				Confessions of a Dangerous Mind
2003					21 Grams
2004			Ocean’s Twelve
2005				Good Night, and Good Luck
2006					Babel
2007			Ocean’s Thirteen
2008				Leatherheads
2009			The Informant!
2010					Biutiful

Academy Awards and Nominations

• 2000 – Traffic (won) Academy Award Film Editing
• 2006 – Babel (nominated) Academy Award Film Editing

see: Academy Award for Film Editing

Other Awards and Nominations

• 2000 – Traffic (nominated) BAFTA Film Award Best Editing
• 2000 – Traffic (nominated) American Cinema Editors ACE Eddie Best Edited Feature Film - Dramatic
• 2002 – Thirteen Conversations About One Thing (won) San Diego Film Critics Society SDFCS Award Best Editing
• 2003 – 21 Grams (nominated) BAFTA Film Award Best Editing
• 2005 – Good Night, and Good Luck (nominated) BAFTA Film Award Best Editing
• 2005 – Good Night, and Good Luck (nominated) American Cinema Editors ACE Eddie Best Edited Feature Film - Dramatic
• 2006 – Babel (won) Cannes Film Festival Vulcain Prize - Awarded to a technical artist by the C.S.T.
• 2006 – Babel (nominated) BAFTA Film Award Best Editing
• 2006 – Babel (won) American Cinema Editors ACE Eddie Best Edited Feature Film - Dramatic

References

1. ^ Bellarmine College Preparatory Connections, Fall 2005 issue. Online version retrieved Jan. 8, 2008.
2. ^ ^{a b} Newman, John (2001). “Academy Award winner and former UCSC student Stephen Mirrione returns to campus,” UC Santa Cruz Currents, May 28, 2001. Online version retrieved Jan. 7, 2008.
3. ^ McCarthy, Todd (2000). “Traffic”, Variety Dec. 12, 2000; online version retrieved 2008-07-13
4. ^ “American Cinema Editors - Members”. American Cinema Editors. Archived from the original on 2008-08-15. http://web.archive.org/web/20080115025340/http://www.ace-filmeditors.org/newace/dir_Mem.html. 
5. ^ “Festival de Cannes: Babel”. festival-cannes.com. http://www.cannes-2006.com/en/archives/ficheFilm/id/4352770/year/2006.html. Retrieved 2009-12-13. 

External links

• Stephen Mirrione at the Internet Movie Database

v • d • e Academy Award for Best Editing 2000-2009 Stephen Mirrione (2000) · Pietro Scalia (2001) · Martin Walsh (2002) · Jamie Selkirk (2003) · Thelma Schoonmaker (2004) · Hughes Winborne (2005) · Thelma Schoonmaker (2006) · Christopher Rouse (2007) · Chris Dickens (2008)

Retrieved from “http://en.wikipedia.org/wiki/Stephen_Mirrione”
Categories: American film editors | 1969 births | Living people | University of California, Santa Cruz alumni | Best Film Editing Academy Award winners | American Cinema Editors

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

Languages

• Deutsch

• This page was last modified on 13 January 2010 at 00:19.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

chesapeake bay retriever breeders

Eduard Hanslick

Jump to: navigation, search

Portrait of Eduard Hanslick, 40 years old

Eduard Hanslick (September 11, 1825–August 6, 1904) was a Bohemian-Austrian music critic.

Contents 1 Biography 2 Views on music 3 See also 4 Works (German editions) 5 References 6 Notes

Biography

Hanslick was born in Prague, the son of Joseph Adolph Hanslick, a bibliographer and music teacher from a German-speaking family, and one of his piano pupils, the daughter of a Jewish merchant from Vienna. At the age of 18 Hanslick went to study music with Václav Tomášek, one of Prague’s renowned musicians. He also studied law at Prague University and obtained a degree in that field, but his amateur study of music eventually led to writing music reviews for small town newspapers, then the Wiener Musik-Zeitung and eventually the Neue Freie Presse, where he was music critic until retirement. Whilst still a student, in 1845, he met with Richard Wagner in Marienbad; the composer, noting the young man’s enthusiasm, invited him to Dresden to hear his opera Tannhäuser; here Hanslick also met with Robert Schumann.

In 1854 he published his influential book On the Beautiful in Music. By this time his interest in Wagner had begun to cool; he had written a disparaging review of the first Vienna production of Lohengrin. From this point on, Hanslick found his sympathies moving away from the so-called ‘music of the Future’ associated with Wagner and Liszt, and more towards music he conceived as directly descending from the traditions of Mozart, Beethoven and Schumann — in particular the music of Johannes Brahms (who dedicated to him his set of waltzes opus 39 for piano duet). In 1869, in a revised edition of his essay Jewishness in Music, Wagner attacked Hanslick as ‘of gracefully concealed Jewish origin’, and asserted that his Jewish style of criticism was anti-German. It is sometimes claimed that Wagner caricatured Hanslick in his opera Die Meistersinger von Nürnberg as the carping critic Beckmesser.

Hanslick’s unpaid lectureship at the University of Vienna led in 1870 to a full professorship for history and aesthetic of music and later to a doctorate in honoris causa. Hanslick often served on juries for musical competitions and held a post at the Austrian Ministry of Culture and fulfilled other administrative roles. He retired after writing his memoirs, but still wrote articles on the most important premières of the day, up to his death in 1904 in Baden.

Views on music

Hanslick’s tastes were conservative; in his memoirs he said that for him musical history really began with Mozart and culminated in Beethoven, Schumann and Brahms. He is best remembered today for his critical advocacy of Brahms as against the school of Wagner, an episode in 19th century music history sometimes called the War of the Romantics. The critic Richard Pohl, of the Neue Zeitschrift für Musik, represented the progressive composers of the “Music of the Future”.

Being a close friend of Brahms from 1862, Hanslick possibly had some influence on Brahms’s music, often getting to hear new music before it was publicly premièred. Hanslick saw Wagner’s reliance on dramatics and word-painting as inimical to the nature of music, which he thought to be expressive solely by virtue of its form, and not through any extra-musical associations. The theoretical framework of Hanslick’s criticism is expounded in his book of 1854, Vom Musikalisch-Schönen (On the Musically Beautiful), which started as an attack on the Wagnerian aesthetic and established itself as an influential text, subsequently going through many editions and translations in several languages. Other targets for Hanslick’s heavy criticism were Anton Bruckner and Hugo Wolf. Of Tchaikovsky’s Violin Concerto, he accused composer and soloist Adolph Brodsky of putting the audience “through hell” with music “which stinks to the ear”; he was also luke-warm towards the same composer’s Sixth Symphony.

Wikiquote has a collection of quotations related to: Eduard Hanslick

See also

• Aesthetics of music

Works (German editions)

• Eduard Hanslick, “Vom Musikalisch-Schönen”. Leipzig 1854 (online version)
• Eduard Hanslick, “Geschichte des Konzertwesens in Wien”, 2 vol. Vienna 1869-70
• Eduard Hanslick, “Die moderne Oper”, 9 vol. Berlin 1875-1900
• Eduard Hanslick, “Aus meinem Leben”, 2 vol. Berlin 1894
• Eduard Hanslick, “Suite. Aufsätze über Musik und Musiker”. Vienna 1884

References

• Eduard Hanslick, ed. and int. Henry Pleasants, Music Criticism 1846-99, Harmondsworth 1963.
• Ambros Wilhelmer, “Der junge Hanslick. Sein ‘Intermezzo’ in Klagenfurt 1850-1852″. Klagenfurt 1959
• Ludvová, Jitka. Dokonalý antiwagnerián Eduard Hanslick. Pam?ti/Fejetony/Kritiky (Praha 1992).

Notes

1. ^ Hanslick (1963), p. 11
2. ^ Hanslick (1963), p. 13
3. ^ Hanslick disingenuously replied to this attack that ‘my father and all his ancestors were of Catholic peasant stock and came, moreover, from a region where Jews were known only as pedlars.’ Hanslick (1963, p. 12)
4. ^ Hanslick (1963), pp. 302-3

Retrieved from “http://en.wikipedia.org/wiki/Eduard_Hanslick”
Categories: Austrian music critics | Austrian musicologists | Wagner studies | Charles University alumni | People from Prague | Bohemian Germans | Czech Jews | Austrians of Bohemian German descent | Czech-Austrian Jews | 1825 births | 1904 deathsHidden categories: All articles with unsourced statements | Articles with unsourced statements from January 2010

Views

• Article
• Discussion
• Edit this page
• History

Personal tools

• Try Beta
• Log in / create account

the main page”>

Navigation

• Main page
• Contents
• Featured content
• Current events
• Random article

Search

 

Interaction

• About Wikipedia
• Community portal
• Recent changes
• Contact Wikipedia
• Donate to Wikipedia
• Help

Toolbox

• What links here
• Related changes
• Upload file
• Special pages
• Printable version
• Permanent link
• Cite this page

Languages

• Català
• Dansk
• Deutsch
• Español
• Esperanto
• Français
• Italiano
• ?????
• Latina
• Nederlands
• ???
• ?Norsk (bokmål)?
• Polski
• Português
• Simple English
• ??

• This page was last modified on 28 January 2010 at 20:35.
• Text is available under the Creative Commons Attribution-ShareAlike License;
  additional terms may apply.
  See Terms of Use for details.
  
  Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
• Contact us
• Privacy policy
• About Wikipedia
• Disclaimers

breitling avenger skyland blacksteel