What's My Line? is a panel game show that originally ran in the United States on the CBS Television Network from 1950 to 1967, starting in black and white and later in color, with subsequent U.S. revivals. The game uses celebrity panelists to question contestants in order to determine their occupation (i.e., their "line" of work). The majority of the contestants were from the general public. However, there was one weekly celebrity "mystery guest" for which the panelists were blindfolded. It is on the list of longest-running U.S. primetime network television game-shows. Originally moderated by John Charles Daly and most frequently with regular panelists Dorothy Kilgallen, Arlene Francis, and Bennett Cerf, What's My Line? won three Emmy Awards for "Best Quiz or Audience Participation Show" in 1952, 1953, and 1958 and the Golden Globe Awards for Best TV Show in 1962.

More than 700 episodes exist as kinescope recordings (filming a television screen in 16mm), which was the only way moving pictures and sound from spontaneous, unscripted television shows could be preserved on a long-term basis before the widespread use of videotape. Many early episodes were lost because of economic decisions made by CBS executives between 1950 and 1952. Every episode between July 1952 and September 1967 existed for a long time in the archive of producers Mark Goodson and Bill Todman, but some of these were lost in 1975.

After the Sunday night series' cancellation by CBS in 1967, it returned in a syndication package for local television stations that committed to airing it five days a week. This version originally was hosted by Wally Bruner and later by Larry Blyden. It was seen by viewers from 1968 to 1975. There have been a dozen international versions, radio versions, and a live stage version. Revivals in the U.S. were proposed several times, but all of them failed to go past the planning stages. New episodes have not been created for American television since December 12, 1974.

TV Guide ranked it #9 in its list of the 60 greatest game shows ever  and Time Magazine ranked it as one of the 100 "All-Time" TV shows ever.

Original CBS series (1950–1967)
Produced by Mark Goodson and Bill Todman for CBS, the show was initially called Occupation Unknown before deciding on the name What's My Line? The original series, which was usually broadcast live, debuted on Thursday, February 2, 1950, at 8:00 p.m. ET. After airing alternate Wednesdays, then alternate Thursdays, finally on October 1, 1950, it had settled into its weekly Sunday 10:30 p.m. ET slot where it would remain until the end of its network run on September 3, 1967.

Starting in July 1959 and continuing for 8 straight years, until July 1967, the show would occasionally record episodes onto quadruplex videotape for playback at a future date. In July 1959, this was state-of-the-art technology. At that time, the immediate concern of Mark Goodson and Bill Todman was that John Daly, anchor of the ABC network's nightly newscasts, would be allowed to visit Moscow to cover, in that capacity, a breaking news story. While Daly moderated the first live episode after his return from Moscow, he praised his employers' use of videotape. In such instances, cast and crew worked on two episodes consecutively during the same Sunday night: the "taped" one, followed immediately by the "live" one. The cast and crew began taking "Summer breaks" from the show in July 1961, through July 1967. The closing credits of each prerecorded episode included an acknowledgment of the prerecorded status by the offscreen announcer.

Hosts and panelists

The host, then called the moderator, was veteran radio and television newsman John Charles Daly. Clifton Fadiman, Eamonn Andrews, and Random House co-founding publisher and panelist Bennett Cerf substituted on the four occasions when Daly was unavailable.

The show featured a panel of four celebrities who questioned the contestants. On the initial program of February 2, 1950, the panel comprised former New Jersey governor Harold Hoffman, columnist Dorothy Kilgallen, poet Louis Untermeyer, and psychiatrist Richard Hoffmann.  The panel varied somewhat in the following weeks, but after the first few broadcasts, during the show's earliest period the panel generally consisted of Kilgallen, actress Arlene Francis, Untermeyer and comedy writer Hal Block. Publisher Bennett Cerf replaced Untermeyer as a regular panelist in 1951, and comedian Steve Allen replaced Block in 1953.  Allen left in 1954 to launch The Tonight Show, and he was replaced by comedian Fred Allen (no relation), who remained on the panel until his death in 1956.

Fred Allen was not replaced on a permanent basis, and for the majority of the show's network run, between 1956 and 1965, the panel consisted of Kilgallen, Cerf, Francis and a fourth guest panelist. After Kilgallen's death in 1965, she was similarly not replaced with a permanent panelist, and for the show's final two years, the panel consisted of Cerf, Francis and two guests.

At various times, a regular panelist might take a vacation or be absent from an episode due to outside commitments. On these occasions, a guest panelist would take their spot. The most frequent guest panelist was Arlene Francis's husband Martin Gabel, who appeared 112 times over the years. Other frequent guest panelists include Tony Randall, Robert Q. Lewis and Phyllis Newman. Dick Cavett, in an early television appearance in Fred Allen's vacated chair in 1966, noted that the mystery guest was probably wondering who Cavett was.

Regular announcers included Lee Vines, who served from 1950 to 1955; Hal Simms, from 1955 to 1961; Ralph Paul, whose tenure was confined to 1961; and Johnny Olson, perhaps the best known of Goodson-Todman's television announcers, whose tenure began in 1961 and ran until the show's cancellation in 1967.

Timeline of regular panelists

Gameplay
What's My Line? was a guessing game in which the four panelists attempted to determine the occupation (i.e., "line [of work]") of a guest. In the case of the famous mystery guest each week, the panel sought to determine the identity of the celebrity. Panelists were required to probe by asking only yes–no questions. A typical episode featured two standard rounds (sometimes a third, and very rarely a rushed fourth) plus one mystery guest round. On the occasions on which there were two mystery guests, the first would usually appear as the first contestant.

Standard rounds
For the first few seasons, contestants would "sign in" by writing their name on a chalkboard, and meet the panel up close for a casual inspection, and the panel was allowed one initial "wild" guess. The first contestant on What's My Line? was Pat Finch, a hat check girl at the Stork Club. Finch appeared again on the fifth anniversary show (with the "line" of "chorus girl" appearing in the musical Fanny) and on the final broadcast in 1967 as a guest.

Beginning in 1955 Daly simply greeted and seated the contestant, who later met the panel at the end of the game. Additionally, starting April 17, 1955, the panel stopped taking initial guesses. The contestant's line was then revealed to the studio and home audiences, and Daly would tell the panel whether the contestant was salaried or self-employed, and from 1960 on, whether they dealt in a product or a service.

A panelist chosen by Daly would begin the game. If their question elicited a yes answer, they continued questioning. When a question was answered no, questioning passed to the next panelist and $5 was added to the prize. The amount of the prize was tallied by Daly who flipped up to ten cards on his desk. A contestant won the top prize of $50 by giving ten no answers, or if time ran out, with Daly flipping all the cards. As Daly occasionally noted, "Ten flips and they (the panel) are a flop!" Daly later explained, after the show had finished its run on CBS, the maximum payout of $50 was to ensure the game was played only for enjoyment, and that there could never be even the appearance of impropriety. Later in the series, Daly would throw all the cards over with increasing frequency and arbitrariness (frequently to give a particularly interesting or worthy panelist the maximum available prize money), evidence the prize was secondary to game play.

Panelists had the option of passing to the next panelist—or even disqualifying themselves entirely if they somehow knew the contestant's occupation or identity, in the case of a mystery challenger, before the round. They could also request a conference, in which they had a short time for open discussion of ideas about occupations or lines of questioning.

Panelists adopted some basic binary search strategies, beginning with broad questions, such as whether the contestant worked for a for-profit corporation or non-profit organization or whether a product was alive, worn, or ingested. To increase the probability of affirmative answers, panelists would often phrase questions in the negative starting with "Is it something other than..." or "Can I rule out..."

The show popularized the phrase, "Is it bigger than a breadbox?" Steve Allen first posed this on January 18, 1953, and it was then refined over subsequent episodes. Soon, other panelists were asking this question as well. On one occasion the guest was a man who made breadboxes. Allen correctly guessed the guest's occupation when Daly could not restrain his laughter in response to Kilgallen asking, "Is it bigger than a breadbox?"

The mystery guest round

The ultimate or penultimate round of an episode involved blindfolding the panel for a celebrity guest appearance (originally called "mystery challengers" by Daly) whom the panel had to identify by name, rather than occupation. (In the first episode, the mystery guest was New York Yankees shortstop Phil Rizzuto.) In the early years of the show, the questioning was the same as it was for regular contestants, but starting with the April 17, 1955 edition, panelists were only allowed one question at a time. Mystery guests usually came from the entertainment world, either stage, screen, television or sports. When mystery guests came from other walks of life or were non-famous individuals whom the panel but not the studio audience might know, they were usually played as standard rounds. However, the panel might be blindfolded, or the contestant might sign in simply as "X," depending on whether they would be known by name or sight.

Mystery guests would usually attempt to conceal their identities with disguised voices, much to the amusement of the studio audience. According to Cerf, the panel could often determine the identities of the mystery guests early, as they knew which celebrities were in town, or which major movies or plays were about to open. On those occasions, to provide the audience an opportunity to see the guest play the game, the panelists and host would typically allow questioning to pass around at least once before coming up with the correct guess.  As Cerf admitted in the episode broadcast on November 27, 1966, his wife, Phyllis, was frequently told the name of the mystery guest beforehand.

Sometimes, two mystery guest rounds were played in an episode, with the additional round usually as the first round of the episode.

Most notably, the mystery guests ran the gamut of show business' most legendary icons, including Jack Benny, John Wayne, Gary Cooper, Elizabeth Taylor, Ava Gardner, Joan Crawford, James Cagney, Julie Andrews, Jack Lemmon, Jackie Gleason, Steve McQueen, Alfred Hitchcock, Doris Day, James Garner, Ronald Reagan, Jane Russell, Rosalind Russell, Fred Astaire, George Raft, Edward G. Robinson, Gene Autry, Lena Horne, Paul Newman and Joanne Woodward, Andy Griffith, Harry Belafonte, Ginger Rogers, Roy Rogers, Lucille Ball, Desi Arnaz, Bob Hope, Frank Sinatra, Dean Martin and Jerry Lewis, Sammy Davis Jr., Peter Lawford, Sean Connery, James Stewart, Henry Fonda, Salvador Dalí, Aretha Franklin, and many more.

Style
What's My Line? is known for its attention to manners and class. In its early years, business suits and street dresses were worn by the host and panelists, but by 1953, the men normally wore black suits with bow tie (a few guests in fact wore black tie) while female panelists donned formal gown and often gloves. Exceptions to this dress code were on the broadcasts immediately following the deaths of Fred Allen and Dorothy Kilgallen, in which the male cast members wore straight neckties and the women wore simpler dresses.

The game followed a line of formality and adherence to rules. Although using first names at other points, Daly usually addressed using surnames when passing the questioning to a particular panelist. He would also amiably chide the panel if they began a conference without first asking him.

However, even with such formality, Daly was not above trading bon mots with the panelists during the game, and Cerf would often attempt to make a pun of his name. Occasionally Daly would amiably one-up Cerf if he felt the pun was of lesser quality. Cerf also played a myriad of games with Daly's full name, John Charles Patrick Croghan Daly, reciting it correctly only a handful of times over the course of the series.

Often Daly would need to clarify a potentially confusing question, but he had a penchant for amusingly wordy, long-winded replies that often left panelists more confused than before, which Danny Kaye once parodied as a panelist. On more than one occasion, Daly "led the panel down the garden path" – a favorite phrase used when an answer had proven misleading to the panelists.

Broadcast format
From 1950 to 1966, the game show was broadcast in black and white, as was typical of most game shows at the time. In September 1966, all three networks began broadcasting their prime-time schedules entirely in color television, including What's My Line? The new color episodes were preserved only with black-and-white kinescopes, however, and even several of those from 1967 were lost. The color composition of the What's My Line? soundstage has been lost to posterity.

The show began as a live broadcast but during the last eight years many episodes were videotaped weeks or months in advance of their telecasts. The show's announcer acknowledged this fact during the closing credits of every "prerecorded" episode.

Radio
In addition to the television version, What's My Line? was also broadcast on network radio for a short time. From May 20 to August 27, 1952, an NBC Radio Network version was produced on Tuesday nights with the same cast as the TV version. After August 27, the program was then broadcast live on CBS Radio on Wednesday nights at 8:00 PM for 10 months, concluding July 1, 1953. The radio version is notable for the only appearances of Marlene Dietrich, Constance Bennett, and Marlon Brando.

1953 Community Chest Special
A Community Chest Special, completely separate from the regular production of episodes, was broadcast live on all the major networks (CBS, ABC, NBC, and DuMont) on the afternoon of Sunday, September 27, 1953.

Production practices

On-camera
The program began with Daly and panel entering from off-stage as they were introduced. Prior to 1954, both panelists and host began the program in their seats, but this was changed, responding to letters asking what panelists looked like away from their seats. The first panelist would be introduced by the announcer following the show's introduction, and each panelist would introduce the next in turn, with the last introducing Daly. During his tenure, Hal Block sat in the final seat and began the practice of introducing Daly with a pun. Upon his departure, Bennett Cerf took over this position.  Cerf's introductions of Daly were generally straightforward in his earliest years on the show, but as time went by Cerf expanded these introductions, often telling long jokes which he tied to Daly in some way.

To begin a round, Daly would invite the contestant to "come in and sign in, please," which, by 1960, had evolved to the more familiar "enter and sign in, please." The contestant entered by writing his or her name on a small sign-in board.  (For the first few telecasts, the contestants signed their names on an artist's sketch pad; but when the brightness of the studio lights made it difficult for the signatures to be seen clearly by the viewers, the white sketchpad was replaced by a black chalkboard.)  Daly would then usually ask where the guest lived and, with a woman, if she should be addressed as "Miss" or "Mrs." Early in the show's run, the panel was allowed to inspect contestants, studying their hands, or label on their suit or asking them to make a muscle.

While ostensibly a game show, if there was time, it also was an opportunity to conduct interviews. Line's sister show, I've Got a Secret, and later, the syndicated version of WML engaged in the practice of contestants demonstrating their talents. However, despite frequent requests by the panel, particularly Arlene Francis, such demonstrations rarely occurred as according to executive producer Gil Fates, Daly was not fond of this practice.

Sponsors
After the first four episodes, the show gained its initial sponsor when Jules Montenier paid to have his product, Stopette spray deodorant, featured in advertising on the program. This involved featuring the product in the show's opening, on the front of the panel's desk, above the sign-in board, and on Daly's scorecards. In his last years, Cerf explained to interviewer Robbin Hawkins that Montenier was ultimately ruined by his refusal to abandon or share sponsorship as the show entered new markets and became too expensive. After Montenier sold Stopette to Helene Curtis, the series was sponsored by a variety of companies which were either regular or rotating. Sponsors were accorded the same exposure on the set as Stopette. One of the first rotating sponsors, which actually came before Montenier's sale of Stopette to Helene Curtis (who continued to sponsor the program after the purchase and still promoted Stopette in their advertising), was the Remington Rand Corporation, who used their time to promote their line of electric shaver and computers such as the UNIVAC.

Near the end of its run, sponsors would be introduced in the opening title and given commercials during the show, but would not be displayed on the set. Frequent sponsors in the 1960s were Kellogg's cereals, Allstate Insurance, and Geritol.

Behind the scenes
Unknown to the public, mystery guests were paid $500 (equal to $ in ) as an appearance fee, whether they won or lost the game. This was in addition to the maximum $50 (equal to $ in ) game winnings, which guests sometimes donated to charity. Guest panelists were paid $750 (equal to $ in ) as an appearance fee. The regular panelists were under contract and were paid "much more," according to Fates. Bennett Cerf explained that when he became a permanent member of the program, he was paid $300 (equal to $ in ) per week, and he told Robbin Hawkins in their interview that by the end of the series, the panelists were being paid "scandalous amounts of money."

Studio locations
The first four episodes (#001 – #004;  February – March 16, 1950) were broadcast live from a converted loft at the former CBS Studio 41 Grand Central Studios at Grand Central Terminal (15 Vanderbilt Ave., NY).

Beginning with the first Wednesday episode (#005; April 12, 1950, and continuing until around 1951), the show was broadcast from the now demolished CBS Studio 51 (Maxine Elliott's Theatre, aka Maxine Elliott Theatre, 109 W. 39th St., NY).

At least by episode #034 (January 21, 1951), the show moved to CBS Studio 59 (Mansfield Theatre, later renamed the Brooks Atkinson Theatre in 1960, 256 W. 47th St., NY), and stayed there until Episode #516, June 5, 1960. Meanwhile, the concurrent 1952–1953 Radio edition, at least during the CBS run, was heard live from CBS Studio Building 22 (49 E. 52nd St., NY).

Episode #225 (September 19, 1954) was a color edition of the show, broadcast live from CBS Studio 72 (on Manhattan's Upper West Side, Broadway at 81st St., NY). This predated the show's eventual move to color by 12 years.

Episode #323 (August 12, 1956), in conjunction with the 1956 Democratic National Convention, was a special Chicago episode broadcast from the studios of CBS owned-and-operated WBBM-TV (630 N. McClurg Ct., Chicago, IL).

Episode #397 (January 12, 1958) was a special Hollywood episode broadcast from CBS Television City (7800 Beverly Blvd, Los Angeles, CA). The moderator and panel's desks were not brought over, as they had been for the Chicago special.

Beginning with episode #517 through episode #829 (June 12, 1960 – September 4, 1966), the show used CBS Studio 52 (254 W. 54th St., NY; the future Studio 54). The last episode aired in black & white was taped on July 17, 1966, and the last episode to be produced there in black & white aired live on July 24.

For the final season, from episode #830 to episode #876 (September 11, 1966 – September 3, 1967), in conjunction with the program's permanent move to color, the show used CBS Studio 50 (later renamed the Ed Sullivan Theater, 1697 Broadway at 53rd St., NY).

The final CBS network show
CBS announced in early 1967 that a number of game shows, including What's My Line?, were to be canceled at the end of the season. Bennett Cerf wrote that the network had decided that game shows were no longer suitable for prime time, and that the news was broken by The New York Times on February 14 before anyone involved with the show was notified. The primary reason for the cancellation, along with that of the other panel shows CBS aired in prime time, was that the programs' low overall viewership—the key metric of success during Michael Dann's time with the network—could no longer justify their presence even as the shows continued to turn a profit with their low production costs.

The 876th and final CBS telecast of What's My Line? aired on September 3, 1967; it was highlighted by clips from past telecasts, a visit by the show's first contestants, a challenger from the New York unemployment office, and the final mystery guest, who was John Daly himself. Daly had always been the emergency mystery guest in case the scheduled guest was unable to appear on the live broadcast, but this had never occurred. Mark Goodson, Bill Todman and (briefly) Johnny Olson appeared on-camera as well.

Broadcast history and Nielsen ratings

Syndicated revival (1968–1975)

Premiere
Once the original What's My Line? had ended, Goodson-Todman struck a deal with CBS's syndication arm, which in time became the present-day Viacom (now CBS Media Ventures), to syndicate a new weekday videotaped edition, beginning one year after the network version's cancellation. This version became a staple of local stations' afternoon and early evening schedules, especially from the 1971–72 season onward, when the FCC forced networks to cede one half-hour to their affiliates. The Prime Time Access Rule was intended to permit local stations to produce news and public affairs programming, but instead many of them turned to programs like WML, as practically all stations outside the largest markets found it unprofitable to produce their own shows locally.

The first three seasons (1968–1971) originated from Studio 50, the home of the final year of the original series, but with a new, modern-design set. In 1971, production of What's My Line? moved from the Broadway studio to Studio 6-A at NBC in Rockefeller Center, and the series remained there for the rest of its run, with a set redesign in 1974 for the final season. As they had with the original series, Goodson-Todman went to ABC News to seek out a host, whose title had ceased to be that of "moderator," and hired Wally Bruner to take over for John Charles Daly. Bruner left the series at the conclusion of its fourth season in 1972, and Broadway actor Larry Blyden, who had already helmed several other gameshows and served as both a Line panelist and mystery guest in the past, stepped in at the beginning of the 1972–1973 season to host the remaining three seasons.

Panelists
The syndicated edition had two regular panelists for its entire run, with comedian Soupy Sales joining the returning Arlene Francis. Bennett Cerf appeared as a guest on an irregular basis until he died during production of the fourth season in 1971. Other panelists included Alan Alda, his father Robert Alda, Joanna Barnes, Joyce Brothers, Jack Cassidy, Bert Convy, Joel Grey, Elaine Joyce, Ruta Lee, Sam Levene, Meredith MacRae, Henry Morgan, Jerry Orbach, Gene Rayburn, Nipsey Russell, Gene Shalit, Dana Valery, and Anita Gillette.

Look and style
Unlike its predecessor, the syndicated What's My Line? did not emphasize formality as the panelists did not dress in formal wear. In addition, the panelists were simply referred to by name and only their first names were displayed in front of them. The show did manage to keep some elements of the original series intact, as the cartoon introduction used during the final two seasons on CBS was reused with new music added. The panelists also entered in the same manner as they had before with Soupy Sales (or the panelist occupying the seat farthest left when he was absent) coming out first and introducing the person sitting next to them, and continuing down the line to Arlene Francis (or whoever occupied her seat while she was absent), who would then introduce the host. That practice continued until the beginning of the final season in 1974, when announcer Chet Gould began introducing the panelists and host Blyden at once, in a conventional fashion.

Who's Who? segment
In the 1960s and 1970s syndicated run, whenever there was extra time, a special game was instituted called "Who's Who." Four members of the studio audience were lined up on stage, and their occupations were printed on cards. Each panelist had 20 seconds to take those occupation cards to the appropriate contestant (the ones who they thought had that occupation). Each time one panelist failed, the audience team won $25 and another panelist took a turn. If all four panelists failed, each member of the team won an additional bonus prize. The game ended when the panel was stumped or if a panelist placed the occupations with the right contestants.  If the panelists got it correct on the first try, the audience members received $5 and a year's supply of Turtle Wax.

The producers considered the revival a merger of What's My Line? and its 1950s spinoff, I've Got a Secret, which resulted in noticeable changes from the original. As with Secret, contestants frequently demonstrated their skill or product after the game. Bruner, and later Blyden, would preface the demonstrations by asking Lloyd Gross, who directed most of the editions, "Lloyd, would you open the curtains, please?" Dollar signs for "no" answers were replaced by sequential numbers. Mystery guest rounds were no longer scored and simply ended with a correct guess or when time ran out.

The set, designed by veteran Goodson-Todman art director Theodore Cooper, was predominantly blue and featured walls behind the panel and host areas tiled with illustrations representing various occupations. This set debuted when the show premiered, made the move from Broadway to Rockefeller Center in 1971, and was used until the end of the 1973–74 season.

Fates' Law
From 1973 to 1975 the name of producer Gil Fates was invoked by host Larry Blyden on every episode of What's My Line? As Blyden explained before introducing mystery guest Paul Lynde: "It's time to tell the audience and the members of the panel, especially those watching the program over the last 22 years, about a new development known as Fates' Law. Fates' Law is that any member who guesses who the mystery guest is and is wrong is then out. That's Fates' Law." Fates himself explained that the rule was named by Blyden but actually inspired by panelist Soupy Sales: "Soupy knows everybody in show business. He could identify even the most obscure comic or nightclub singer despite the most bizarre vocal disguise... [the new rule] cut down a bit on the number of instant solutions, not only from Soupy but also from other panelists who had a tendency to guess."

Later introductions
For the 1974–75 season, the show's set was changed. The tiles were done away with in favor of having blue walls with question marks painted on them, and the rest of the set adopted a red and yellow color palette. Also, the animated intro was done away with in favor of the show's announcer (usually Gould) offering a brief preview of one of the contestants' games.

A bright, contemporary music package was composed by Charles Fox. According to Fox's book, Killing Me Softly: My Life in Music, Bob Israel of Score Productions paid him a buyout fee of $1,000 (equal to $ today) for the work. The music was performed and recorded at CTS Studios in Wembley, England, with Fox, Israel and producer Mark Goodson in attendance.

Announcers
Johnny Olson continued as announcer until a short time into the 1972–73 season, when he departed for California to begin his tenures as announcer of the revivals of The Price Is Right (which he continued to do until his passing in 1985) and I've Got a Secret (1972–73).

Following Olson's departure, a succession of guest announcers were used, including Wayne Howell, Dennis Wholey, Bob Williams, Jack Haskell and Chet Gould, with Gould eventually taking over full-time in early 1973. Gene Wood also sub-announced an episode in 1970.

After the death of Bennett Cerf
After Bennett Cerf's death in 1971, stations continued to air shows where he was a panelist resulting in confusion among some fans, who were seeing "new" episodes with Cerf long after hearing about his death. At the time, syndication involved videotape-sharing among stations that aired a series, a practice referred to as "bicycling." As such, while What's My Line? aired daily on weekdays, each station airing the show did not air the same episode on a particular day. This prompted producer Gil Fates, who recalled the situation in his book, What's My Line?: TV's Most Famous Panel Show, to send a form letter response to fans who had written complaining about the late Bennett Cerf's failure to disappear, some saying the television stations were using poor taste.

Fates explained that Cerf indeed had died, but television was practicing a time-honored tradition of celebrating one's work long after his death. As he wrote in his book, Fates knew, but did not tell viewers, about the production costs that would have gone to waste had his company acceded to the demands, some coming from station managers, to scrap the Cerf videotapes.

Revival's end and Blyden's death
The syndicated series ran for 1,320 episodes over seven seasons. An attempt at an eighth season did not get off the ground as not enough stations were willing to pick up the series for an additional year. With this in mind, Goodson-Todman offered host Blyden the hosting position on Showoffs, a charades-based game show that the company was developing for ABC's daytime lineup. He accepted and shot a pilot shortly after What's My Line? ended production. However, Blyden never got to host the series as he was killed in an automobile accident while traveling in Morocco just before taping was to begin. At the time of Blyden's death, a handful of new episodes of What's My Line? had yet to air in certain markets; by the fall of 1975, the last of these episodes had aired across the United States. Comedian Bobby Van ended up hosting Showoffs.

Later revival attempts
New versions of WML were planned as early as 1981, then in 1996, the show was going to be revived by a joint venture between All-American Television and Miramax Films (which also would have been Miramax's first foray into television game shows) as it was being described as "a new model" that would have blended the original features such as having a celebrity panel question contestants in an effort to guess their occupation and also having the panel blindfolded to guess the identity of a famous person, with contemporary "special effects" and "interactive twists." CBS reportedly committed to air six episodes for its fall 1999 schedule. However, according to Miramax TV president Billy Campbell, the deal crumbled because the network decided the show was too costly and ambitious.

In 2000, a pilot was shot with host Harry Anderson for CBS, but was later turned down in favor of the reality show Survivor. This pilot started with three panelists playing the Mystery Guest round; the guest would then be the fourth panelist for the remainder of the episode.

In 2008, another revival of the show with David Hasselhoff was planned in cooperation with FremantleMedia, which had taken over ownership of all Goodson-Todman and Mark Goodson Productions programming, that never got off the ground. In 2014, another pilot for a revival was shot to offer to stations in 2015, but it also failed to sell.

Woody Allen parody
It was during the run of the syndicated version that Woody Allen parodied What's My Line? in his 1972 film Everything You Always Wanted to Know About Sex, with the segment "What Are Sex Perverts?" featuring a game show called What's My Perversion? Appearing as panelists were Robert Q. Lewis, who had been a panelist on the original What's My Line?, and Pamela Mason, who had been a mystery guest. Jack Barry, partner of Dan Enright, both of whom had taken falls in the quiz-show scandals of the 1950s, hosted the What's My Perversion? game show, shortly before both finally returned to television in triumph with The Joker's Wild.

After What's My Line?

25th anniversary special
In early 1975, with production on break, it became clear to staff that the seventh season of the syndicated What's My Line? would be the last. This was the time of year when production companies and syndicators would try to sell new and continuing series to local stations. Viacom and Goodson-Todman found themselves unable to secure contracts with enough stations to justify continuing to produce the program beyond the episodes that had been videotaped on or prior to December 12, 1974. Just days after disbanding their technical crew, Mark Goodson and Bill Todman pitched the idea of a retrospective network special to celebrate the 25th anniversary of the program's CBS debut, called What's My Line at 25. The programming department at CBS turned down the idea, but ABC bought it. The special eventually was broadcast by ABC on May 28, 1975, on the late-night series ABC's Wide World of Entertainment, and is currently available for viewing at The Paley Center for Media. It made a return twice on basic-cable television as a one-time rerun on GSN (Game Show Network) on December 25, 2014, at 1:00 A.M. EST and as part of Buzzr "Lost & Found" week on September 29, 2018, at 6:30 P.M. EST.

In producing the special, the only existing master 16 millimeter prints of the original series kinescope films were removed from storage and brought to a Manhattan editing facility that Goodson-Todman Productions rented. There, company employees Gil Fates, Bob Bach, Pamela Usdan and Bill Egan worked round-the-clock for three days to compile the 90-minute special under deadline pressure from ABC network official Bob Shanks. In the process of viewing and editing the films for the special, they accidentally damaged or destroyed several kinescope films that spanned the entire run of the original series, including a few that did not make the final cut of the retrospective. In addition, some unspooled film remained on the floor after the group's rented time at the facility ran out. An April 1967 episode featuring Candice Bergen as the mystery guest was lost in its entirety, as was a June 1967 episode featuring both Betty Grable and F. Lee Bailey. Other episodes sustained only partial damage, such as a 1965 episode that is mainly damaged during the mystery guest appearance of Marian Anderson.

Mark Goodson, Arlene Francis and John Charles Daly appeared on-camera in 1975 having a conversation that introduced the old kinescope clips.  Hosts of the syndicated version, Wally Bruner and Larry Blyden, were alive at the time but did not participate.  With the exception of Bruner's 1969 appearance with mystery guest Gerald Ford (presented in black and white), the 25th anniversary special consisted entirely of highlights from the CBS Sunday night version of the series, that viewers likely remembered more fondly than the syndicated version.

That's My Line
In 1980, Mark Goodson began production of That's My Line which also highlighted the unusual occupations of ordinary people. However, the show was developed as a reality show and had no panel or game elements. What's My Line? announcer Johnny Olson was the announcer, and Bob Barker was the host for the show which ran for two seasons on CBS.

Live stage version (2004–present)
From November 2004 to July 2006, Jim Newman and J. Keith van Straaten produced one-hour live stage versions of the show at the ACME Comedy Theatre in Los Angeles, California, titled What's My Line? — Live On Stage. The Los Angeles version of the live show went on hiatus when van Straaten relocated to New York, then resumed in June 2007.

The production debuted in New York at the Barrow Street Theatre on March 24, 2008, for an announced run of six shows. The show is now an authorized production as it is licensed by FremantleMedia, the owners of What's My Line?. As of April 12, 2008 the New York mystery guests have been George Wendt, Moby, Natalia Paruz and Tony Roberts. Panelists have included Jonathan Ames, Joy Browne, Stephanie D'Abruzzo, Frank DeCaro, Michael Riedel, and original TV version veterans Betsy Palmer and Julia Meade. The first guest on the New York show (#75 in the production overall) was Pat Finch, who was the first guest on the first CBS episode.

In Los Angeles, panelists have included Carlos Alazraqui, Alison Arngrim, E. G. Daily, Andy Dick, Paul Goebel, Danny Goldman, Annabelle Gurwitch, Mariette Hartley, Elaine Hendrix, Marty Ingels, Cathy Ladman, David Lander, Kate Linder, Ann Magnuson, Jayne Meadows, Lee Meriwether, Patt Morrison, Rick Overton, Jimmy Pardo, Lisa Jane Persky, Nancy Pimental, Greg Proops, Mink Stole, Nicole Sullivan, Marcia Wallace, Matt Walsh, Len Wein, Wil Wheaton, Gary Anthony Williams, Debra Wilson, April Winchell, and Andy Zax.

Mystery guests have included Ed Begley Jr., Stephen Bishop, Mr. Blackwell, LeVar Burton, Brett Butler, José Canseco, Drew Carey, Andy Dick, Michael and Kitty Dukakis, Hector Elizondo, Nanette Fabray, Peter Falk, Bruce Jenner, Larry King, Kathy Kinney, Bruno Kirby, Tara Lipinski, Lisa Loeb, Shelley Long, Leonard Maltin, Rose Marie, Wink Martindale, Sally Struthers, Rip Taylor, Judy Tenuta, Alan Thicke, Dick Van Patten, Lindsay Wagner, Wil Wheaton, Noah Wyle, and Sean Young.

Panelists and guests who appeared on the original TV versions and on the stage version include Shelley Berman, Lee Meriwether, radio commentator Michael Jackson, Jayne Meadows, Nanette Fabray, Joanna Barnes, Julie Newmar, Margaret O'Brien, and Marty Ingels. Usually when such a veteran appears, there is a pristine-quality DVD screening of the original kinescope on a plasma screen. Non-celebrities include the lifelong Los Angeles-area resident who challenged the panel with her line, afterward reminiscing how 43 years earlier she had traveled to New York, where Arlene Francis identified her as a meter maid. A clip from the kinescope was played.

In addition, the show has featured relatives of the original cast: Jill Kollmar (daughter of Dorothy Kilgallen and Richard Kollmar), Nina Daly (daughter of John Charles Daly), and Vint Cerf (co-inventor of the Internet and distant cousin of Bennett Cerf). It also included a segment in which Vint Cerf's son Bennett (named after the panelist) appeared as a guest.

Episode availability
All original series shows were recorded via kinescope onto motion picture film, but networks in the early 1950s sometimes destroyed such recordings to recover the silver content from the film. CBS regularly recycled What's My Line? kinescopes until July 1952, when Mark Goodson and Bill Todman, having realized it was occurring, offered to pay the network for a film of every broadcast. As a result, only about ten episodes exist from the first two years of the series, including the first three broadcasts.

Episode #048 from April 29, 1951, exists at the University of Wisconsin Center For Film and Theater Research.

Episode #013 (August 2, 1950), episode #084 (January 6, 1952), and episode #855 (March 26, 1967) exist at The Paley Center for Media.

An audio-only portion of episode #079 from December 2, 1951 (only has part of Game 1 with Mrs. Virginia Hendershot as the Steam Shovel Operator from Bound Brook, NJ) exists.

A portion of episode #097 (April 6, 1952), the full episode #533 (October 2, 1960), and the full milestone 800th episode (January 23, 1966) exist at the UCLA Film and Television Archive.

Only a portion of episode #191 (January 24, 1954) w/Dean Martin & Jerry Lewis as mystery guests exists, and was shown in What's My Line? at 25.

Episode #195 (February 21, 1954) only exists among collectors as a second-hand kinescope, as the official kinescope is missing from the Goodson-Todman archive.

In 2016, episode #018, aired live on October 1, 1950, was discovered by a film archivist. It was preserved and digitally converted for release.

An audio-only excerpt from the otherwise lost episode #866 (June 18, 1967) can be heard in an LP called The Age of Television. This album, which was released by RCA Records in 1971, featured interviews with TV personalities about the medium's first 25 years. One of these interviews concerned What's My Line? and included audio from the mystery guest segment featuring Betty Grable from that now-lost episode. Lost segments include one in which panelists tried to determine that a contestant was a lawyer. He was F. Lee Bailey.

The existing kinescope films (now digitized) have subsequently been rerun on television. The series has been seen on Game Show Network at various times. The series has also been shown on Buzzr, a digital broadcast television network which is owned and operated by Fremantle.

Some episodes of the CBS radio version of the 1950s are available to visitors to the Paley Center for Media in New York City and Beverly Hills, CA. Others are at the Library of Congress in Washington, D.C., where procedures to access them are more complicated.

Alpha Video released a DVD containing four episodes on February 26, 2008. This is an unofficial release of public domain episodes, and it is unclear if an official release will occur.

A YouTube channel features all surviving 757 episodes of the CBS run of What's My Line?, plus extras featuring WML regulars, various compilations of clips, and several "lost" episodes that were never included in reruns. Some are off-the-air home recordings of rebroadcasts.

Many, but not all, episodes of the 1968–75 syndicated run were preserved and have been rebroadcast, since the 1990s, on several cable and broadcast networks, notably GSN and Buzzr.

Merchandise

Board Games

Lowell (1955)
The original What's My Line?, based on the Daly era, was released by Lowell in 1955.

Whitman (1969)
The second version, based on the Bruner/Blyden era, was released by Whitman in 1969.

Endless Games (2001)
In order to commemorate the show's 50th Anniversary at the time, this version was released by Endless Games in 2001.

Record Album
Released by Dot in 1955, audio recordings of eight "mystery guest" segments from the original Daly era can only be heard.

Book
Released by Prentice Hall in 1978, Gil Fates, the executive producer of the show, looks back over the quarter-century run of the series. The cover of the book features the photos of panelists Arlene Francis, Bennett Cerf, Dorothy Kilgallen and host John Daly.

International versions

See also
Figure It Out
Front Page Challenge

References

External links

 What's My Line? — Live On Stage

1950 American television series debuts
1967 American television series endings
1968 American television series debuts
1975 American television series endings
1950s American game shows
1960s American game shows
1970s American game shows
American panel games
1950s Australian game shows
Black-and-white American television shows
Black-and-white Australian television shows
CBS original programming
Nine Network original programming
Emmy Award-winning programs
English-language television shows
American live television series
First-run syndicated television programs in the United States
Panel games
Television series by Mark Goodson-Bill Todman Productions
Television series by CBS Studios
Television shows filmed in New York (state)
1956 Australian television series debuts
1958 Australian television series endings
Guessing games

What's My Line?


අණුක වලා () යනු Interstellar cloud විශේෂයකි.

Giant molecular cloud

ආශ්‍රිත
 Sagittarius B2
 ක්‍ෂීරපථය

අණුක වලා

අණුක වලා


Albert Oswald Kunze (* 2. Dezember 1877 in Frankenhausen bei Crimmitschau; † 14. Februar 1949 in Sebnitz) war ein deutscher Maler.

Nach dem Besuch der Kunstgewerbeschule und der Kunstakademie Leipzig von 1894 bis 1899 arbeitete er als Lithograf in einer Leipziger Kunstdruckerei, bevor er in Intra (Italien) die "G. More & Co" Kunstdruckerei leitete.

1902 kehrte er nach Deutschland zurück und arbeitete zunächst als freischaffender Grafiker. Ab 1904 war er freischaffender Maler in Sebnitz und in Hertigswalde.

Auf verschiedenen Reisen, besonders in die Alpen, schuf er zahlreiche Gemälde, Studien und Zeichnungen. Diese Werke entsprachen dem Kunstkanon der Zeit des Nationalsozialismus, und Kunze war von 1938 bis 1943 auf allen Großen Deutschen Kunstausstellungen in München, mit je einem Ölgemälde vertreten, von denen der Naziführer Wilhelm Brückner 1940 Blühende Wiese am Chiemsee erwarb.

Einige Werke befinden sich im Besitz des Sebnitzer Kunstblumen- und Heimatmuseums.

Kunze war zweimal verheiratet und hatte einen Sohn aus der zweiten Ehe.

Literatur
 H. Kunze, Der Lebensweg des Malers Albert Kunze, 3 Bde., Sebnitz 1956 [MS]
 M. Petraschk, Gedenken an den Maler Albert Kunze, in: Kulturspiegel Kreis Sebnitz 12/1957, S. 2–5
 B. Strunz, Der Maler Albert Kunze, in: Hertigswalde, hrsg. von der Großen Kreisstadt Sebnitz, Sebnitz 2001, S. 127–130

Weblinks

Einzelnachweise

Person (Sebnitz)
Maler (Deutschland)
Deutscher
Geboren 1877
Gestorben 1949
Mann

Albert Kunze (Maler)


Metasepia pfefferi es una especie de cefalópodo de la familia Sepiidae, también conocidas como sepias.

Características
Es un cefalópodo mayormente de color rojo, aunque puede variar de colores, que es venenoso, y su potente veneno causa un fuerte daño al
corazón humano, que puede causar la muerte.

Distribución geográfica
Habita en las aguas alrededor de Australia, Nueva Guinea, islas Filipinas e islas de la Sonda.
Y en Mabul (Borneo, Malasia)

Referencias

 Ross, R. 2010. Aquarium Invertebrates: Metasepia pfefferi – the aptly named Flamboyant Cuttlefish . Advanced Aquarist's Online Magazine.

Enlaces externos

Richard Ross video and blog of flamboyant cuttlefish en TONMO
Video de YouTube de un flamboyant cuttlefish
Fotos de habitat del flamboyant cuttlefish

Sepiidae
Moluscos del océano Pacífico
Moluscos descritos en 1885
Animales venenosos

Metasepia pfefferi


Pavle Vranjican (1888. — 1946.), hrvatski hrvatski pripadnik pokreta otpora u Drugome svjetskom ratu i revolucionar.

Po njemu je nosila ime osnovna škola u Starom Gradu na otoku Hvaru. Prigodom 150. obljetnice osnivanja osnovne škole, društveno-političke organizacije i osnovna škola dale su postaviti 1. svibnja 1979. spomen-poprsje Vranjicanu ispred škole. Autor je akademska kiparica Neda Grdinić. Spomenik je na postamentu od bijelog kamena, a poprsje je izliveno u bronci.

Izvori

Životopisi, Stari Grad
Pripadnici pokreta otpora u Drugome svjetskom ratu

Pavle Vranjican (revolucionar)


Anthony Wilford Brimley (født 27. september 1934, død 1. august 2020) var en amerikansk skuespiller.

Filmografi (i udvalg)
 Kinasyndromet (1979)
 Det grusomme udefra (1982)
 Den bedste (1984)
 Cocoon (1985)
 Firmaets mand (original titel:The firm) (1993)

Eksterne henvisninger

Skuespillere fra Utah
Personer fra Salt Lake City

Wilford Brimley


Danilo Luiz da Silva (født 15. juli 1991), kendt som Danilo, er en brasiliansk fodboldspiller, der spiller i den italienske Seria A for Juventus. Hans primære position på banen er højre back. Han begyndte sin karriere i América Mineiro, før han skiftede til Santos, hvor han scorede det afgørende mål i 2011 Copa Libertadores. I januar 2012 skiftede han til Porto, som han vandt den portugisiske liga med to sæsoner i træk. Han flyttede i 2015 til Real Madrid i Spanien for en sum på 31,5 millioner euro. I sommeren 2017 skiftede han til Manchester City. Her blev han engelsk mester i 2018 og 2019. Sommeren 2019 skiftede han til Juventus, som han vandt det italienske mesterskab med i 2020.

Referencer

Eksterne henvisninger

Fodboldspillere fra Brasilien
Deltagere ved verdensmesterskabet i fodbold 2018
Deltagere ved verdensmesterskabet i fodbold 2022
Fodboldspillere fra Santos FC
Fodboldspillere fra FC Porto
Fodboldspillere fra Real Madrid CF
Fodboldspillere fra Manchester City F.C.
Fodboldspillere fra Juventus F.C.

Danilo Luiz da Silva


محفوظ عبد الرحمن (11 يونيو 1941 - 19 أغسطس 2017)، كاتب وباحث ومؤلف مصري، كتب للمسرح والإذاعة والتلفزيون والسينما. من أشهر ما كتب للسينما فيلم حليم عام 2005 من إخراج شريف عرفة وفيلم ناصر 56 عام 1996 وفيلم القادسية وللتلفزيون مسلسلات أم كلثوم، بوابة الحلواني وسليمان الحلبي وعنترة وليلة سقوط غرناطة والمسلسلات الثلاثة الأخيرة من إخراج عباس أرناؤوط.

بدايته
تخرج من جامعة القاهرة عام 1960 وكان قد بدأ الكتابة قبل تخرجه بأعوام..

عمل في عدة أماكن صحفية ثم بعد تخرجه عمل في دار الهلال واستقال عام 1963 ليعمل في وزارة الثقافة.

كتب القصة القصيرة والنقد الأدبي والمقالة في مجلات: الآداب – الثقافة الوطنية- الهدف- الشهر- المساء- الكاتب- الرسالة الجديدة- الجمهورية- وفيما بعد في الأهرام- البيان الإماراتية- الهلال- كاريكاتير- العربي- الأهالي.

عمل منذ عام 1963 في وزارة الثقافة..في البداية في دار الوثائق التاريخية ثم شارك كسكرتير تحرير في إصدار ثلاث مجلات متوالية: مجلة السينما - مجلة المسرح والسينما- مجلة الفنون.

محموعته القصصية الأولى البحث عن المجهول" 1967و الثانية " أربعة فصول شتاء" 1984، وروايته الأولى "اليوم الثامن" نشرت 1972 بمجلة الإذاعة والتليفزيون و "نداء المعصومة" نشرت عام 2000 بجريدة الجمهورية.

كتب سهرة للتليفزيون «ليس غدا» عام 1966، وقدم أول مسلسل تليفزيوني «العودة ألى المنفى» عن قصة أبو المعاطي أبو النجا 1971، ليعمل من 1974~ 1978 في تليفزيون الكويت قدم فيها العديد من الأعمال القيمة.

و يستقيل عام 1982 من وزارة الثقافة ويتفرغ للكتابة.

من كتبه

مسلسلاته
كتب أكثر من عشرين مسلسلا للتليفزيون منها:

كتب للسينما
إضافة للعديد من الأفلام التسجيلية والقصيرة.
 حليم:2006- مؤلف
 كوكب الشرق:1999- قصة وسيناريو وحوار
 ناصر 56:1996- قصة وسيناريو وحوار
 القادسية:1981- قصة وسيناريو وحوار
 الشبكة: قصة وسيناريو وحوار

من مسرحياته

أخرى
 ايزيس:2010 - مسلسل اذاعي- مؤلف
 الرجل الذي رحل:1977 - سهرة تليفزيونية- مؤلف
 ذات يوم ذات شهر ذات سنة: سهرة تليفزيونية- مؤلف

الجوائز التي حصل عليها
 جائزة الدولة التشجيعية 1972
 أحسن مؤلف مسرحي 1983 من الثقافة الجماهيرية
 الجائزة الذهبية من مهرجان الإذاعة والتليفزيون عن مسلسل أم كلثوم
 جائزة الدولة التقديرية في الفنون2002
 جائزة العقد لأفضل مبدع خلال 10 سنوات من مهرجان الإذاعة والتليفزيون.

 كما كتب للمسرح الكويتي، ومن أشهر ما كتب مسرحيتي حفلة على الخازوق وعريس لبنت السلطان.

حياته الشخصية
متزوج من الفنانة القديرة سميرة عبد العزيز.

وفاته
توفي في يوم 19 أغسطس 2017 بعد صراع مع المرض، عن عمر ناهز الـ76 عاما، داخل العناية المركزة بأحد المستشفيات الخاصة في مصر وكان محفوظ عبد الرحمن قد تعرض لجلطة دماغية مفاجئة، منذ أسبوعين، نقل على إثرها لأحد مستشفيات الشيخ زايد في 6 أكتوبر 2016.

المراجع

 «بعض من عرفت»، محمد عزت صالح.
 محفوظ عبد الرحمن - تأليف - فيلموجرافيا، صور، فيديو - السينما

خريجو جامعة القاهرة
كتاب وكاتبات مصريون
مصريون حائزون على جائزة الدولة التشجيعية
مصريون حائزون على جائزة الدولة التقديرية
مواليد 1360 هـ
مواليد 1941
وفيات 1438 هـ
وفيات 2017
وفيات في القاهرة
مصريون حائزون على جائزة النيل

محفوظ عبد الرحمن


Arend Jan van der Horst (* 1943 in Barneveld, Veluwe) ist ein niederländischer Landschaftsgärtner.

Leben

Kindheit
Seine Eltern waren Anhänger des Arts and Crafts Movements, ihr Haus in Barneveld war von dem Architekten Hamdorf in diesem Stil entworfen. Der Garten ging auf den Entwurf von Mien Ruys zurück. Die Eltern waren Leser der von Ruys herausgegebenen Zeitschrift "Onze Eigen Tuin", bezogen Pflanzen aus der Moerheimer Gärtnerei von Bonne Ruys und besichtigten auch die dortigen Gärten von Mien Ruys.
Van der Horst wuchs in Barneveld auf und arbeitete schon als kleines Kind im elterlichen Garten. Er besserte sein Taschengeld auf, indem er Kränze und Trockenpflanzen aus "seinem" Garten verkaufte. Van der Horst besuchte zunächst die Juliana-Grundschule in Barneveld, als seine Mutter beobachten musste, dass er den Veluwer Dialekt seiner Klassenkameraden übernahm, schickte sie ihn auf eine Privatschule in Amersfoort. Danach besuchte er die Mittelschule in Amersfoort. Als er im Alter von 14 Jahren mit der Familie Erdmann, denen das Gut Terra Nova in der Nähe von Utrecht gehörte, eine Auktion von Gartenverzierungen besuchte, beschloss er, Gärtner zu werden. Später zog er jedoch auch eine Karriere als Kunstmaler in Betracht und arbeitete kurzzeitig als Innenarchitekt.

Berufsausbildung
Van der Horst studierte Gartenarchitektur in Leiden und konzentrierte sich zunächst auf Baumschulen. Er vermisste jedoch eine historische Perspektive, ökonomische Fragen und Mathematik langweilten ihn. Er schwänzte daher Vorlesungen, um das Oudheidkundig Museum zu besuchen. In dieser Zeit besuchte er auch das Stadtmuseum in Amsterdam und die Ausstellung der Boijmans van Beuningen. 1968–1971 studierte er in Boskoop. Er bewarb sich um ein Praktikum bei Roberto Burle Marx in Rio de Janeiro, wurde aber abgewiesen. Er machte schließlich 1970 ein Praktikum in dem ornamentalen Gemüsegarten von Versailles.

Berufliches Wirken
1971–1986 arbeitete er im Gestaltungsbüro von Mien Ruys in Amsterdam, wo er in der Spiegelstraat ansässig wurde. Er gestaltete einen Grachtengarten, der während der Ausstellungen der örtlichen Antiquitätengeschäfte der Öffentlichkeit zugänglich war. Er wurde Mitbegründer der Stiftung "De Amsterdamse Grachtentuinen". Van Horst publiziert Artikel in Mien Ruys Zeitschrift Onze Eigen Tuin. Sein 1979 erschienenes Buch Een tuin voor jezelf wurde von seinen Kollegen jedoch als Angriff auf die Schule von Ruys mit ihren klaren Linien und rechten Winkeln verstanden. 1980 gründete van Horst sein eigenes Büro, das "Arend Jan van der Horst Landschafts-Architekturbüro" in Amsterdam. Seine Partner waren die Landschaftsarchitekten Marjanka Rijk und Rik Koppejan. Zusammen mit seinem Lebensgefährten Gerard Rakers organisierte er Gartenreisen in alle Welt, zuerst für die Zeitschrift Onze Eigen Tuin, dann für den KNAC Pullmanclub in Den Haag.
Er kaufte die Hofstede Heuvelhof in Zeeland (heute im Besitz der Künstler-Familie De Nooijer), die auf dem Gelände eines aufgelassenen Klosters lag, und gestaltete einen Garten, der viele Elemente eines Klostergartens aufnahm. Danach zog er nach Trouville-sur-Mer in der Normandie und nach Deauville ebenda.

Mitgliedschaft und Organisationen
Van Horst gründete die Stiftung "De tuinen van Mien Ruys", die sich für den Erhalt der Gärten von Mien Ruys in Moershof einsetzt und war an der Gründung der Nederlandse Tuinstichting beteiligt, die das Werk niederländischer Gartengestalter bewahren will und ein Photo-Archiv unterhält. Die Stiftung "De Amsterdamse Grachtentuinen" macht Gärten in Amsterdam der Öffentlichkeit zugänglich.

Gärten
Van Horst gestaltete Gärten in den Niederlanden, Belgien, Deutschland und Frankreich. Er ist stark von Mien Ruys beeinflusst, verfolgt jedoch eine naturnahe Bepflanzung. Er nahm auch Anregungen von japanischen Gärten auf. Generell bevorzugt er formale, symmetrisch angelegte Gärten, denen beschnittene Hecken Struktur geben, wie er es etwa in seinem Buch "Art of the formal Garden" (1995) beschrieb. Er ist im Auftrag der "Nederlandse Tuinstichting" für die Pflege des Gartens der Burg Walenburg verantwortlich.

Werke
 Een tuin voor jezelf, 1979 (Illustrationen von Henk Gerritsen)
 Inspirierende Tuinen. Ideen en voorbeelden uit Nederland en Belgie
 Hortus Spiritualis
 Tuinen van Vlaanderen.
 Beete und Rabatten, Tips und Ideen für Einfassungen
 Art of the formal Garden. London, Cassell & Co., 1995 (Niederländische Originalausgabe 1994)
 Movements in Green. Conceptual Landscape Gardening/Conceptuele tuinarchitectuur. Terra, Lanoo 2008.

Literatur
 Arend Jan van der Horst: Movements in Green. Conceptual Landscape Gardening/Conceptuele tuinarchitectuur. Terra, Lanoo 2008.

Weblinks
 Webseite des Büros

Einzelnachweise

Landschaftsarchitekt (Niederlande)
Sachbuchautor (Gartenbau)
Niederländer
Geboren 1943
Mann

Arend Jan van der Horst


Livets eliksir (ordet eliksir er fra  - al-'iksīr) eller livseliksir, også kendt som udødelighedens eliksir og undertiden sidestillet med de vises sten, er en mytisk trylledrik der ved indtagelse fra et bestemt bæger og på et bestemt tidspunkt, efter sigende skænker drikkeren evigt liv og/eller evig ungdom. Denne eliksir siges også at være i stand til at skabe liv.

Beslægtet med myterne om Thoth og Hermes Trismegistos, hvoraf begge i adskillige fortællinger siges at have drukket af "de hvide dråber" (flydende guld) og dermed have opnået udødelighed, hvilket er nævnt i Nag Hammadi-teksterne.

Alkymisterne og forskellige kulturer har igennem tiderne søgt efter forskellige metoder på at skabe denne eliksir.

Historie

Europa

Greven af St. Germain, en 1800-tals adelig af usikker herkomst og mystiske evner, havde angiveligt eliksiren og skulle være adskillige hundreder af år gammel. Mange europæiske opskrifter krævede at eliksiren skulle lagres i ure, for at forstærke effekten af udødelig på brugeren. Franskmanden Nicolas Flamel skulle angiveligt også have skabt eliksiren.

I populærkultur
Livets eliksir har været en inspiration, plotpunkt, eller emne i kunstneriske værker inklusiv animation, tegneserier, film, musicals, bøger og spil. Som eksempler herpå er Doctor Who samt Harry Potter og de Vises Sten.

Kilder

Alkymi
Videnskab i middelalderen
Arabiske ord og vendinger

Livets eliksir


U.S. Route 5 (US 5) is a north–south United States Numbered Highway running through the New England states of Connecticut, Massachusetts, and Vermont. Significant cities along the route include New Haven, Connecticut; Hartford, Connecticut; and Springfield, Massachusetts. From Hartford northward to St. Johnsbury, Vermont, the road closely follows the route of the Connecticut River.

The entire route of US 5 is closely paralleled by Interstate 91 (I-91). US 5 now serves as the local business route and alternate route for the Interstate Highway. The northern terminus of US 5 is in Derby Line, Vermont, at the Canada–United States border, where it continues past the Derby Line–Stanstead Border Crossing into Quebec as Route 143, which was Route 5 until renumbered in the mid-1970s. Its southern terminus is in New Haven, Connecticut, at an intersection with I-91.

Route description

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US 5 runs through three states: Connecticut, Massachusetts, and Vermont, with the latter containing over half of US 5's total distance. Throughout nearly all of US 5's entire length, it remains its own road entirely separate from I-91, which has largely replaced it as a through route (and now carries most of the traffic). It is only cosigned onto I-91 for less than half of a mile () in Springfield, Massachusetts, before splitting off alone again.

Connecticut

US 5 begins in the city of New Haven, heading north through Hartford to Massachusetts. It generally parallels I-91. From Meriden northward through Wethersfield, it runs concurrent with Route 15 and is known locally as the Berlin Turnpike. Much commerce is located there resulting in high traffic. The Berlin Turnpike leaves the roadway south of the Hartford city line.

After an interchange in Hartford with I-91, US 5/Route 15 travels over the Charter Oak Bridge, which spans the Connecticut River, into East Hartford. US 5 then splits off to head toward downtown East Hartford. It then has a short overlap with US 44, which joins it from the west as Connecticut Boulevard. US 44 continues to the east along Burnside Avenue as US 5 continues northward into South Windsor, East Windsor, and Enfield. It leaves the state soon after a junction with I-91, heading into Longmeadow, Massachusetts (a part of the Springfield metropolitan area).

Massachusetts

US 5 stays very close to the Connecticut River. It enters the state at the town of Longmeadow on the east bank of the river going up to Springfield. In Springfield, US 5 then overlaps with I-91 for about , then separates as its own freeway crossing the Connecticut River on the South End Bridge into Agawam. The freeway portion runs for about  up to West Springfield. From the town of Northampton up to Bernardston, US 5 overlaps Route 10 (for ). US 5 also passes through Holyoke, Hatfield, Whately, Deerfield, and Greenfield. As in Connecticut, US 5 has many interchanges with the parallel I-91.

Vermont

US 5 follows the Connecticut River valley from the southern border of Vermont, traveling along the west bank of that river until it reaches St. Johnsbury.

US 5 enters the state at the town of Guilford. It passes through the counties of (from south to north) Windham, Windsor, Orange, Caledonia, and Orleans. Near the town of St. Johnsbury, US 5 continues northward, following the Passumpsic River valley until it reaches Sheffield Heights. After crossing the heights, it follows the Barton River valley until it reaches Orleans. It then turns north-northwest and crosses the divide near the Airport Road in Irasburg and follows the Black River valley into Newport. US 5 ends at the Canada–United States border in the village of Derby Line, where the roadway continues into Canada as Route 143.

As in Connecticut and Massachusetts, US 5 has many interchanges with I-91, with a total of 22 junctions over its  length in the state.

History

Prior to the U.S. Numbered Highway System, the route was designated as Route 2 of the New England road marking system that existed between 1922 and 1927. When US 5 was first commissioned, it took over the entirety of Route 2. In 1927, US 5 had still not been paved in Vermont. Paving in Vermont was completed by 1933.

Connecticut

Originally, the route began at the New Haven Green in downtown New Haven (at US 1). Between New Haven and North Haven, it originally ran east of the Quinnipiac River along modern-day Middletown Avenue (part of Route 17) and Route 103 (the modern alignment was then designated as US 5A).

In Hartford, US 5 passed by Central Row in the downtown area, entering the city via Maple Avenue and exiting on the Bulkeley Bridge with US 6.

The southern terminus of US 5 has been realigned several times. By 1938, US 5 bypassed downtown New Haven via the Prospect Hill, Dixwell, and West River neighborhoods, ending at Davenport and Columbus avenues. In the mid-1950s, US 5 was instead routed through the Mill River neighborhood ending at East Street and Forbes Avenue. The modern New Haven to North Haven designation was also in place around this time. When I-91 opened in 1967, the alignment was truncated to its current terminus at exit 5 of I-91.

Massachusetts

The Massachusetts Highway Commission noted in 1912 that between Longmeadow and Agawam, the traffic between the Pioneer Valley and Connecticut was heavier on the east side.

The western route from Hartford to West Springfield, via what is now River Road in Agawam and Route 159 in Connecticut, was designated US 5 Alternate.

The main route, US 5, was originally designated to run on the east side of the river from Hartford into downtown Springfield, over the Memorial Bridge, along Memorial Avenue, up a four-lane Main Street, and then to Park Street (and Park Avenue going in the opposite direction), and up what is now Elm Street, to Riverdale Street. Riverdale Street at that time followed the northern part of the current Elm Street and ended at Witch Path.

In 1938, due to congestion in the West Springfield town center, US 5 was moved to a newly constructed bypass from the North End Bridge to East Elm Street, where it continued north along the modern Elm Street and Riverdale Road.

In 1941–1942, a four-lane highway was built from East Elm Street to the current Elm Street fork just south of Morgan Road. The designations of both Riverdale Road and US 5 were moved to the new more easterly route.

In 1952–1953, construction was started on the modern four-lane highway from the new South End Bridge in Agawam to the existing bypass at the North End Bridge. Tunnels were built under the rotaries at the Memorial and North End bridges so US 5 traffic and local traffic would not intersect. In 1971, the Riverdale Road portion of US 5 was upgraded to a divided highway, with the installation of a steel median, and in 1987–1988, a new lane was added to accommodate the new Riverdale Shops at Daggett Drive.

The 1953 Massachusetts Department of Public Works Master Plan would have relocated US 5 between Morgan Road in West Springfield and Mount Tom in Holyoke to a right-of-way similar to the current path of I-91, but this was never implemented.

Vermont

US 5 in Vermont mostly followed the Route 2 alignment when it was first designated. Minor deviations from the current route are found in the urban compacts of White River Junction, Burke, Coventry, and Derby Center.

From 1927 to 1929, US 5 was temporarily routed into New Hampshire along part of what is now New Hampshire Route 12 between North Walpole and Charlestown. The US 5 designation was removed when the road opposite the Connecticut River in Vermont had been improved. In 1931, US 5 in Vermont was taken over by the state, which began paving the road. Over the years a few minor reroutings within populated centers have taken place. The current alignment was in place by 1975.

Major intersections
Connecticut
 in New Haven
 in North Haven
 in North Haven
 in Meriden
 in Hartford
 in East Hartford
 in East Hartford. The highways travel concurrently through the city.
 in South Windsor
 in East Windsor
 in Enfield
 in Enfield
Massachusetts
 in Springfield. The highways travel concurrently through the city.
 in West Springfield
 in West Springfield
 in West Springfield
 in Holyoke
 in Northampton
 in Northampton
 in Northampton
 in Hatfield
 in Whately
 in Whately
Vermont
 in Brattleboro
 in Dummerston
 southeast of Springfield
 in Hartland
 in Hartford
 in White River Junction. The highways travel concurrently through the city.
 in Norwich
 in Newbury. The highways travel concurrently through the city.
 in St. Johnsbury
 in St. Johnsbury. The highways travel concurrently for one block.
 in Lyndon
 in Orleans
 in Derby
 at the Canada–United States border in Derby Line

Special routes

 U.S. Route 5 Alternate (St. Johnsbury, Vermont)
 U.S. Route 5 Alternate (Derby Line, Vermont)
 U.S. Route 5 Alternate (Newport, Vermont)

See also
 Connecticut Route 103
 Route 159 (Connecticut–Massachusetts)
 Berlin Turnpike
 Vermont Route 5A
 New England road marking system

References

External links

 Endpoints of U.S. Highway 5

05
05

U.S. Route 5


යනු අකිරා කුරොසවා විසින් සම-රචනය, සංස්කරණය, සහ අධ්‍යක්ෂණය සිදුකරන ලද 1954 ජපාන වික්‍රමාන්විත නාටක චිත්‍රපටයකි. මෙම චිත්‍රපටය දිගහැරෙන්නේ  ජපානයේ ප්‍රාන්තාන්තර යුධ ගැටුම් පැවැති යුගයෙහිදී වර්ෂ 1587 දීය. අස්වැන්න නෙලීමෙන් පසුව තම බෝග සොරා ගැනුමට නිතිපතා පැමිණෙන දාමරිකයන් කණ්ඩායමක් හා සටන් වැදීමට ස්වාමීන් විරහිත සමුරායි වරුන් (රෝනින්) සත් දෙනෙකු කුලියට ගන්නා ගොවියන්ගේ ගමක් පිළිබඳ කතාවක් එයින් දැක්වෙයි.

සෙවන් සමුරායි යන්න  මෙතෙක් ගැනුනු විශිෂ්ටතම හා මහත් ආභාසාත්මක චිත්‍රපට අතුරින් එකක් බවද, දිගු කාල පරිච්ඡේදයක් පුරාවට බටහිර ලෝකයේ ප්‍රචලිතව පවතින ජපන් චිත්‍රපට අතුරින් එකක් බවද සැලකෙයි. ජනප්‍රිය මෙන්ම විවේචනාත්මක පිළිගැනීම් වලට මෙය ලක්විය; සියළු කල් විශිෂ්ටතම චිත්‍රපට දැක්වුනු 1982 වසරේ  සයිට් ඇන්ඩ් සවුන්ඩ් විවේචකයන්ගේ ලැයිස්තුවෙහි ඉහළම ස්ථාන තුන වෙත මෙය තේරුණු අතර, 1992 සහ 2002 දී අධ්‍යක්ෂක වරුන්ගේ ඉහළම චිත්‍රපට දහය අතරට තේරුණි.

කතා වස්තුව
කොල්ලකෑමේ යෙදුනු දාමරිකයන් රැලක් කඳු පෙදෙසක පිහිටි ගොවි ගම්මානයක් වෙත පිවිසුනු මුත්, මෙම ගම්මානය මෑතදී කොල්ලකෑ බව ඔවුන්ගේ නායකයා හඳුනාගන්නා බැවින්, ඔහු තීරණය කරන්නේ තවද මාස කිහිපයකින් පැමිණෙන අස්වනු නෙලීමෙන් පසු වන තුරු එය කොල්ලකෑමෙන් වැලකීම සුදුසු බවයි. මෙම සංවාදය ගම්වැසියෙකුගේ කණවැකෙයි. ගොවින් එකතුවී ගමේ වෘද්ධයා කරා යන අතර, ඔහු විසින් තීරණය කොට ප්‍රකාශ කරනුයේ, ගම ආරක්ෂා කිරීම සඳහා ඔවුන් විසින්  සමුරායි වරුන් කුළියට ගත යුතු බවයි. පිරිනැමිය හැකි වෙනයම් වේතනයක් ඔවුන් වෙත නොමැති හෙයින්, වෘද්ධයා ඔවුන්ට පවසන්නේ "කුසගින්නෙහි සිටින සමුරායි වරුන් සොයන ලෙසයි."

මිනිසුන් කිහිපදෙනෙකු නගරයට ගොස් වෘද්ධයාගේ උපදෙස් ප්‍රකාර ක්‍රියා කල මුත්, ඔවුන් කතාබහ කල සෑම සමුරායි වරයෙක්ම කාර්යය භාරගැනීම ප්‍රතික්ෂේප කරති. සොරකු විසින් ප්‍රාණ ඇපයට ගත් කුඩා පිරිමි දරුවකු,  පළපුරුදු සමුරායිවරයෙකු වන කැම්බයි විසින් දක්ෂ ලෙසින් මුදා ගන්නා අයුරු ඔවුහූ දැක බලා ගනිති. කට්සුෂිරෝ නම් තරුණ සමුරායිවරයෙක් මෙයින් චිත්ත ප්‍රමෝදයට පත්ව ඔහුගේ අනුගාමිකයෙක් බවට පත්වීමට අවසර ඉල්ලා සිටියි.

ආශ්‍රිත

සෙවන් සමුරායි


Ludwig August Freiherr von Fallon (* 27. November 1776 in Namur; † 4. September 1828 in Wien) war ein österreichischer Generalmajor und Kartograph.

Leben
Fallon machte sich um die Landvermessung und das Kartenwesen in Österreich sehr verdient. Er kam schon früh aus den österreichischen Niederlanden nach Wien und trat nach dem Studium an der Ingenieurakademie 1796 in das Ingenieurcorps ein. 1804 begleitete er Erzherzog Johann auf einer Reise zum Zweck der Landesverteidigung durch Tirol und Venetien. 1805 als Hauptmann im Generalquartiermeisterstab tätig, Er arbeitete an der Vermessung Tirols und führte bei einer Besteigung des Ortlers eine Höhenmessung durch. 1806/07 wirkte er an der großen Triangulierung mit. 1809 war er im Hauptquartier von Erzherzog Karl mit Befestigungsaufgaben betraut. 1813–15 war er im Hauptquartier des Feldmarschall Fürsten Schwarzenberg. Unter seiner Leitung wurde die militärische Vermessung großer Teile Österreichs durchgeführt. Auch um die 1817 begonnene Erstellung der Grundsteuer-Katasterkarten erwarb er sich Verdienste.

Er war Inhaber des russischen St. Wladimir Ordens 3. Klasse und des preußischen Militär-Verdienstordens.

Werke
 Hypsometrie von Oesterreich: 1. Band Die Höhenbesteigungen in Tirol, Istrien und im Golfe von Garnavo (1831),  Digitalisat
 Disposition zu den Blickfeuern, welche zum Behufe der astronomischen Längenbestimmung zwischen München und Ofen gegeben werden, Digitalisat

Literatur
 Kayserlicher Und Königlicher Wie auch Ertzhertzoglicher Dann Dero Haupt- und Residentz-Stadt Wien Staats- und Standes-Calender, Auf das Gnaden-reiche Jahr 1826, S. 315.

Einzelnachweise

Kartograf (19. Jahrhundert)
Generalmajor (Kaisertum Österreich)
Träger des Ordens des Heiligen Wladimir
Träger des Pour le Mérite (Militärorden)
Freiherr
Geboren 1776
Gestorben 1828
Mann

Ludwig August Fallon


Marselisborg Dyrehave er en dyrehave, der dækker 22 ha. i den nordlige del af Marselisborg Skov. Træerne står mere spredt og terrænet er meget bakket i forhold til den omgivende skov.

Marselisborg Dyrehave er ikke en traditionel dyrepark i den oprindelige forstand, da den aldrig har været anlagt til jagt på hjortevildt. Ved etableringen i 1932 blev den oprettet som en lille safaripark, hvor den havde nogle få almindelige dyr og ingen eksotiske dyr. Oprindeligt blev sikahjorte introduceret til at græsse i det åbne græsområde, og siden er der også blevet udsat dådyr og vildsvin. Selve parken er også blev udvidet i flere omgange siden den blev anlagt. Den ejes og drives af Aarhus Kommune.

Galleri

Referencer

Eksterne henvisninger

Parker i Aarhus
Etableret i 1932

Marselisborg Dyrehave


Worobjowo () ist ein russischer Ortsname
 in der Oblast Kaliningrad:
 Worobjowo (Kaliningrad), Siedlung im Rajon Gurjewsk (Groß Hohenrade, Kreis Königsberg/Samland, Ostpreußen)
 [Worobjowo], nicht mehr existenter Ort im Rajon Nesterow (Grünwiese, Kreis Stallupönen/Ebenrode, Ostpreußen)
 in der Oblast Moskau:
 Worobjowo (Moskau, Lotoschino), Dorf im Rajon Lotoschin
 Worobjowo (Moskau, Rusa), Dorf im Rajon Rusa
 Worobjowo (Moskau, Solnetschnogorsk), Dorf im Rajon Solnetschnogorsk
 in der Oblast Nischni Nowgorod:
 Worobjowo (Nischni Nowgorod), Dorf in der Oblast Nischni Nowgorod
 in der Oblast Smolensk:
 Worobjowo (Smolensk, Gagarin), Stadt im Rajon Gagarin
 Worobjowo (Smolensk, Tjomkino), Dorf im Rajon Tjomkino

Worobjowo


دي-بس  هو نظام بسيط لتبادل البيانات بين العمليات Inter-process communication للبرمجيات التطبيقية لتتبادل البيانات فيما بينها. دي-بس تأثر بشكل كبير بنظام DCOP الموجود في كدي 2 و3 والذي تم استبداله في كدي 4 بدي-بس.

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دي-بس


Das Glasmosaik Sport des bildenden Künstlers Eduard Bargheer wurde von 1962 bis 1963 in den Werkstätten August Wagner in Berlin gefertigt, an der Nordwand einer kleinen, zum damaligen Niedersachsenstadion in Hannover gehörenden Turnhalle in einem Mörtelbett auf der Gasbetonmauer angebracht und dort am 25. Juni 1963 eingeweiht. Pläne für den Abriss der Turnhalle anlässlich des Umbaus des Stadions stellten seit 1998 den Fortbestand des Glasmosaiks in Frage. Nachdem das Glasmosaik 2003 unter Denkmalschutz gestellt worden war, wurde es in den Jahren 2005 bis 2006 vor dem Abriss der Turnhalle abgetragen und bekam einen neuen Platz auf dem Stadionvorplatz am Südeingang (Ferdinand-Wilhelm-Fricke-Weg) an einer neu geschaffenen Winkelstützwand. Am 27. April 2006 nahm der Oberbürgermeister von Hannover Herbert Schmalstieg rechtzeitig vor der in Deutschland stattfindenden Fußball-Weltmeisterschaft 2006 die feierliche Einweihung des Glasmosaiks Sport an seinem neuen Standort vor. Das Glasmosaik hat eine Glasfläche von knapp 200 m² und zählt zu den bedeutendsten Werken baugebundener Kunst in Deutschland.

Vorgeschichte
Am 26. September 1954 wurde in Hannover das Niedersachsenstadion eingeweiht, das damals mit maximal 86.656 Plätzen nach dem Olympiastadion Berlin das zweitgrößte Stadion in Deutschland war. Außerhalb der Osttribüne stand eine von 2,80 m hohen Säulen getragene Turnhalle, unter der sich die Einfahrt und der Hauptzugang zum Stadium befanden. Die Herankommenden blickten auf die beinahe 30 × 7 Meter große Außenwand der Turnhalle, die für ein Kunstwerk vorgesehen war, das der sportlichen Betätigung im olympischen Geist gewidmet sein sollte.

Als Künstler war Fernand Léger vorgesehen, der sein Lebenswerk in den Jahren 1949 und 1954 in zwei Ausstellungen in der Kestnergesellschaft Hannover gezeigt hatte. Anfang März 1955 kam Fernand Léger mit seinem Assistenten Bauquier nach Hannover, um die örtlichen Gegebenheiten kennenzulernen. Nach seiner Rückkehr nach Paris legte er verschiedene Entwürfe für ein Keramikmosaik vor, das eine Kombination aus Mosaikhintergrund und eingefügten Keramikteilen enthalten sollte. In Hannover fanden diese Entwürfe keine einhellige Zustimmung. Als Fernand Léger am 17. August 1955 plötzlich starb, befürchteten die Entscheidungsträger in Hannover, dass das Projekt nicht mehr realisierbar sei.

Am 28. Dezember 1955 schrieb der Assistent Bauquier dem verantwortlichen Hannoverschen Architekten Heinz Goesmann im Namen von Nadia Léger, der Witwe und Erbin von Fernand Léger, es sei möglich, das Keramikmosaik auch posthum auszuführen. Die Entscheidungsträger in Hannover nahmen dieses Angebot aber nicht an, da sie Bedenken hatten, einen so großen Auftrag zu erteilen, über den der entwerfende Künstler selbst die Kontrolle nicht mehr übernehmen konnte. Daraufhin entschied sich Nadia Léger, das für Hannover entworfene Keramikmosaik beim Bau des Musée national Fernand-Léger in Biot zu verwenden. Der verantwortliche Architekt glich sogar die äußeren Abmessungen und die Fassadenstruktur des Museumsgebäudes dem Aussehen der Turnhalle am Niedersachsenstadion in Hannover an. Seit der Einweihung im Mai 1960 erstrahlt nun auf der Schauseite des Museums das von Fernand Léger ursprünglich für Hannover konzipierte Keramikmosaik.

Im Sommer 1960 besuchte Hannovers Oberstadtdirektor Karl Wiechert das Musée national Fernand-Léger und nahm das Keramikmosaik in Augenschein. Entgegen seinen früheren Bedenken war er nun überzeugt, dass kein besserer Vorschlag für die Turnhallenwand gemacht werden könne als das von Fernand Léger vorgeschlagene Keramikmosaik. Nun war die Stadt Hannover daran interessiert, einen der noch nicht verwendeten Entwürfe von Fernand Léger zu realisieren. Da der Marktwert der Werke von Fernand Léger inzwischen beträchtlich angestiegen war, verlangte die Witwe Nadia Léger für die Fertigstellung des Keramikmosaiks in Frankreich eine Million neue Francs, was etwa 813.000 D-Mark entsprach. Die Stadt Hannover war nur bereit, für die Entwurfsrechte und die Ausführung des Keramikmosaiks 300.000 DM bis maximal 350.000 DM zu zahlen, da eine Herstellung des Keramikmosaiks in Deutschland 600.000 DM weniger gekostet hätte als in Frankreich. Nadia Léger lehnte dieses Angebot ab.

Entstehung des Glasmosaiks Sport
Der Hannoversche Schokoladenfabrikant und Kunstmäzen Bernhard Sprengel besaß in seiner Kunstsammlung Werke des Hamburger Künstlers Eduard Bargheer und wertschätzte ihn als einen eigenständigen Vertreter der deutschen Gegenwartskunst, der den Bezug zur Figürlichkeit nicht aufgegeben hatte. Bernhard Sprengel wusste auch, dass Eduard Bargheer seit 1956 verschiedene große Glasmosaiken geschaffen hatte, die seine Befähigung zeigten, das in Hannover benötigte großformatige Glasmosaik Sport fertigzustellen. Er reiste im Januar 1962 nach Hamburg, um das Projekt mit Eduard Bargheer zu besprechen und ihn dafür zu gewinnen. Nach Bargheers Zusage trug Bernhard Sprengel seinen Vorschlag den Hannoverschen Entscheidungsträgern vor und erhielt deren Zustimmung.

Eduard Bargheer arbeitete daraufhin an den Entwürfen für sein Glasmosaik in Hannover, das der sportlichen Betätigung im olympischen Geist gewidmet sein sollte. Bargheers Grundidee bestand in einer bogenförmigen Anordnung von drei Sportlergruppen: im linken Drittel ein Ballspieler, ein Radfahrer und zwei Ringer, im mittleren Drittel Fußballspieler mit einem perspektivisch verkleinerten Torwart links oben und mit dem zweiten Torwart rechts unten, im rechten Drittel verschiedene Läufer. Bei der Bildgestaltung orientierte sich Bargheer an antiken Sportdarstellungen auf griechischen Vasen und Reliefs und auf etruskischen Fresken in Tarquinia, um die charakteristischen Körperhaltungen der Sportler auf seinem Glasmosaik herauszuarbeiten. Bei dem Glasmosaik bestand er auf einer unregelmäßigen Verlegung der Steine mit unterschiedlich breit ausgebildeter Verfugung, um ein Höchstmaß an Lebendigkeit zu erreichen. Die Figuren sind nicht in Lebensgröße gesetzt, sondern ein Drittel größer, damit sie dem entfernt stehenden Betrachter in Lebensgröße erscheinen.

Nachdem Eduard Bargheer seinen Entwurfskarton im Maßstab 1:5 fertiggestellt hatte, wurde der Entwurf für den Arbeitskarton im Maßstab 1:1 vergrößert. Von September 1962 bis Mitte März 1963 waren die Werkstätten August Wagner in Berlin gemeinsam mit Eduard Bargheer damit beschäftigt, die Mosaiken aus farbigen Glassteinen zusammenzusetzen und für die Montage vorzubereiten. Die 22 Kisten mit etwa sechshundert auf Papier geklebten Mosaikabschnitten trafen am 23. April 1963 in Hannover ein. Für das Glasmosaik war die sieben Meter hohe und 30 Meter lange Nordwand der Turnhalle neben dem Niedersachsenstadion vorgesehen, die von 2,80 m hohen Säulen getragen wurde. Am linken Rand der Nordwand blieb ein Streifen von zwei Metern Breite für den Blick auf das orangerote Verblendmauerwerk aus Backstein frei, daneben wurde das 7 Meter hohe Glasmosaik in der Breite von 28 Metern angebracht. Ein zusätzlicher 40 cm breiter senkrechter Streifen des Glasmosaiks wurde um die rechte Gebäudekante herumgeführt und an der zum Niedersachsenstadion gewendeten Seitenwand der Turnhalle angebracht. Die Montage begann am 2. Mai 1963 von dem aufgebauten Arbeitsgerüst aus und dauerte bis zum 20. Juni 1963. Die in der Werkstatt vorbereiteten Segmente wurden dabei von drei Mitarbeitern der Firma Wagner in den feuchten Mörtel der Wand eingesetzt. Danach konnten die vorderen Trägerpapierschichten aller Mosaikabschnitte abgezogen und die Verfugung sowie die Endreinigung der Mosaikteile vorgenommen werden. Die feierliche Einweihung des Glasmosaiks fand am Nachmittag des 25. Juni 1963 statt.

Am 4. Juli 1963 übersandten die August Wagner Vereinigte Werkstätten in Berlin die Schlussrechnung, die sich einschließlich Transportkosten und Steuern auf 157.832 DM belief. Nach einer internen Kalkulation entfielen dabei rund 16.000 DM auf das Material und etwa 115.000 DM auf die Lohnkosten für insgesamt 7150 Arbeitsstunden. Eduard Bargheer erhielt ein zusätzliches Arbeitshonorar in Höhe von 39.958 DM.

Eduard Bargheer schenkte der Städtischen Galerie KUBUS in Hannover das 1962 entstandene Glasmosaik Sportler. Das von einem Eisenprofil eingefasste Mosaik zeigt einen Ausschnitt aus dem Glasmosaik Sport und ist eine Teillegung in den Maßen 160,5 × 71,5 cm. Es kam im Rahmen einer ab 1979 durchgeführten Reorganisation der Hannoverschen Kunstbestände in das Sprengel Museum Hannover, wo es sich im Depot befindet. Eine zweite Teillegung aus dem Glasmosaik Sport befand sich an der Außenwand der August Wagner Vereinigte Werkstätten in Berlin. Beim Abbruch der Werksgebäude wurde es 1972 zerstört.

Denkmalschutz für das Glasmosaik Sport
Bei den Planungen für den Umbau des Niedersachsenstadions zur modernen AWD-Arena gab es Überlegungen, die Turnhalle am Niedersachsenstadion abzureißen. Diese Pläne stellten seit 1998 den Fortbestand des Glasmosaiks an der Wand der Turnhalle in Frage. Der Leiter der Denkmalpflege der Stadt Hannover, Jörg Maaß, setzte sich daraufhin bei dem Niedersächsischen Landesamt für Denkmalpflege dafür ein, das Glasmosaik Sport unter Denkmalschutz zu stellen. Am 19. November 2002 legte daraufhin das Niedersächsische Landesamt für Denkmalpflege ein Gutachten vor, das es möglich machte, das Glasmosaik unter Denkmalschutz zu stellen. Der Eigentümer der AWD-Arena, die Hannover 96 Arena GmbH & Co. KG, und die Denkmalpflege der Stadt Hannover einigten sich darauf, das Mosaik von seinem ursprünglichen Standort an der Wand der Turnhalle abzutragen und am Eingang Süd der AWD-Arena aufzustellen.

Umsetzung des Glasmosaiks Sport an den Eingang Süd der AWD-Arena
Die Planung und Umsetzung der Translozierung übernahm das Hannoversche Architekturbüro Schulze & Partner. Es sorgte dafür, dass an dem neu angelegten Platz am Südeingang der AWD-Arena eine Winkelstützwand aus armiertem Sichtbeton als Träger für das Mosaik errichtet wurde. Die Translozierung und die Restaurierung des Mosaiks waren Teil der Baumaßnahme Neubau des Sport- und Businessparks Hannover 96 unter der Regie der Unternehmensgruppe Baum, die die Finanzierung übernahm. Die technische Konzeption der Translozierung und Standsicherheit der Stahlbetonscheibe übernahm Hans-Jürgen Vogel vom Ingenieurbüro Eilers & Vogel in Hannover. Er gewann für die Translozierung des Glasmosaiks die Spezialfirma Restauratorenteam GmbH Böddeker & Schlichting, Paderborn und Hamburg, die sich auf die Durchführung denkmalpflegerischer und baurestauratorischer Maßnahmen spezialisiert hat.

Im Juli 2005 wurde ein Arbeitsgerüst an der Nordseite der Turnhalle aufgebaut. Das Restauratorenteam untersuchte, wie das Glasmosaik beschaffen war, vermaß es und fotografierte es für die Dokumentation. Die ganze Ansichtsfläche des Glasmosaiks erhielt dann eine gewebeverstärkte Vorderseitensicherung, damit die einzelnen Glassteine bei den folgenden Arbeiten ihren festen Halt behielten und auf der Sichtfläche unbeschädigt blieben.

Glücklicherweise war das Mörtelbett des Glasmosaiks an der äußeren Gasbetonmauer der Turnhallenwand nur mit Eisenankern verbunden, so dass sich zwischen Wand und Mosaik ein Luftraum befand, der die Entfernung des Glasmosaiks erleichterte. Andererseits war die Trägerschicht des Glasmosaiks, die aus einem mit Kunstharz vergüteten Mörtelbett bestand, im Mörtelgrund mit einem Drahtgeflecht versehen, das das Auseinanderschneiden des Glasmosaiks zusammen mit seiner Trägerschicht in Mosaikabschnitte erschwerte. Hinzu kam, dass sich die Glasmosaiksteine so fest mit dem Mörtelbett verbunden hatten, dass sie sich nicht unbeschädigt aus dem kunstharzvergüteten Mörtelbett herauslösen ließen. Deshalb war es nur möglich, mit einer starken Trennscheibe die einzelnen Mosaikabschnitte zusammen mit ihrem Mörtelbett herauszuschneiden. Dabei wurden über 600 Mosaikabschnitte herausgetrennt, gekennzeichnet, zwischengelagert und für die spätere Montage vorbereitet. Nach der Abtragung des Glasmosaiks erfolgte dann der Abriss der Turnhalle.

Nach der Fertigstellung der Winkelstützwand aus armiertem Sichtbeton wurde sie mit einem wetterfest verplanten Arbeitsgerüst versehen. Danach erfolgte das Ansetzen und das genaue Ausrichten und Festsetzen aller Mosaikabschnitte mit einem frostbeständigen Betonkleber. Für die lotgerechte und auf der Gesamtfläche plane Anbringen sorgte die verwendete Lasertechnik. Dann konnte das Sicherungsgewebe auf der Vorderseite der Mosaikabschnitte entfernt werden. Anschließend wurden die Trennfugen ebenso wie das alte Fugennetz des Glasmosaiks mit einer neuen Ausmörtelung versehen. Nach der Entfernung von Mörtelresten wurde das Glasmosaik mit der Heißdampftechnik gereinigt. Den Abschluss der Arbeiten bildeten das Retuschieren und Glasieren der durch die Ausmörtelung verschlossenen Trennschnitte. Dabei wurden die durch das Zerschneiden des Glasmosaiks halbierten Glassteine durch gemalte Farbretuschen optisch wieder zusammengefügt.

Am 27. April 2006 nahm der Oberbürgermeister von Hannover Herbert Schmalstieg rechtzeitig vor der in Deutschland stattfindenden und u. a. in Hannover ausgetragenen Fußball-Weltmeisterschaft 2006 die feierliche Einweihung des Glasmosaiks Sport an seinem neuen Standort vor.

Später zeigte sich, dass das Glasmosaik Sport nicht vor Graffiti geschützt ist. Der rechte untere Rand des Glasmosaiks war im Jahr 2013 von Graffiti bedeckt, die den ganzen Sockel ausfüllte. Rechtzeitig zum fünfzigjährigen Jubiläum entfernte Hannover 96 die Graffiti für seine Jubiläumsfeierlichkeiten.

Zitate
Der Essener Architekt Gerd Lichtenhahn urteilte im August 1963:
 Für mich strahlt das Mosaik eine ernste Heiterkeit der Bewegung aus, so froh und ernst, wie der wahrhafte Sport verstanden sein möchte. ... Nur wahrhaftes Künstlertum kann so amorphe Mosaikteilchen zu so ausdrucksvollen Gliedern und Gesichtern zusammenfügen. Hier ist das Abstrakte zum Gegenständlichen geworden und das Gegenständliche zum Abstrakten.
Roland Jaeger schrieb 2007 in seiner Monografie über das Mosaikschaffen von Eduard Bargheer:
 Künstlerisch ... ist das Werk eher den fünfziger als den sechziger Jahren zugehörig. Dies gilt auch innerhalb des Schaffens von Bargheer, denn die neueren Erfahrungen seiner zwischen 1960-62 durchgeführten Künstlerreisen nach Nordafrika haben hier keinen Eingang gefunden. Vielmehr brachte Bargheer in diesem Mosaik noch einmal in großem Maßstab jene Gestaltungsweise zum Ausdruck, die er im Verlauf der fünfziger Jahre herausgebildet hatte. Er blieb figürlich ohne naturalistisch zu sein, zugleich stilisierte er, ohne sich in formaler Beliebigkeit zu verlieren. Die von ihm vertretene Balance von Gegenständlichkeit und Abstraktion hat sich dabei als zeitloser, oder, besser ausgedrückt, als zeitüberdauernder erwiesen als manches damals moderner erscheinende nicht-figurale Werk, das in der Rückschau vergleichsweise beliebig wirkt. Ungeachtet seiner inzwischen kunsthistorisch gewordenen Position strahlt Bargheers Mosaik daher heute eine erstaunliche Frische der künstlerischen Auffassung aus, die nicht nur von den Farben ausgeht. Denn es formuliert nicht zuletzt eine idealistische Unbekümmertheit hinsichtlich der Funktion des Sports, die angesichts einer zunehmenden Trivialisierung und Kommerzialisierung aller Lebensbereiche, einschließlich des Sports, schon wieder inspirierend und geradezu fortschrittlich wirkt.

Siehe auch
 Liste von Denkmälern in Hannover

Archive
Stadtarchiv Hannover
 Kulturamt: Akte Nr. 170031 (Stadionwand)
 Sport- und Bäderamt: Akten Nr. 198 und 216
 Städtisches Gebäudemanagement: Ordner 521-00-001:  1953–54, 1955–60, 1961–64
 Handakten Hillebrecht: 92g-92h
 Sportpark Masch-Ohe II 1. Januar 1961 – 29. Oktober 1968
 Fotomappe: 347/1 Niedersachsenstadion
 div. Planmaterial
Niedersächsisches Hauptstaatsarchiv Hannover
 Dep. 100 Nr. 77 I: Korrespondenz Kestner-Gesellschaft
 Dep. 105 Acc. 2/80 Nr. 182: Nachlass Bernhard Sprengel, Korrespondenz  u. a. mit Stadtbaurat Rudolf Hillebrecht
 Dep. 105 Acc. 2/80 Nr. 165: Nachlass Bernhard Sprengel, Korrespondenz über "ein abgelehntes bzw. ein durchgeführtes Projekt einer Mosaikwand vor dem Niedersachsenstadion von Fernand Léger bzw. Eduard Bargheer"
Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, Berlin "Das Puhl & Wagner-Archiv"
 Unterlagen zu Mosaiken von Eduard Bargheer: Bestand Eduard Bargheer 249.1.1-8.21, 6/B5/III/1/1-8/21 und Ordner Nr. 103 und zugehörigen Photomappen
 Unterlagen zum Glasmosaik "Sport" finden sich vor allem im Bestand 249.8.1 bis 8.21

Literatur
 Roland Jaeger: Malerei in Glas und Stein – Das Mosaikschaffen von Eduard Bargheer. ConferencePoint Verlag, Hamburg 2007. Seite 85 bis 146.
 Bernd Wedemeyer-Kolwe: 50 Jahre alt. Das Sportmosaik von Eduard Bargheer an der AWD-Arena. In: Christian Becker/Bernd Wedemeyer-Kolwe (Red.): Jahrbuch 2011/2012 vom Niedersächsischen Institut für Sportgeschichte e.V. (NISH). Eigenverlag, Hoya 2012, Seite 239–250. ISBN 978-3-932423-37-6

Weblinks
 Eduard-Bargheer-Haus in Hamburg, Biographie, Bibliographie
 www.hannover-kunst.de vom 27. April 2006: Mosaik von Eduard Bargheer: "Sport" Mosaik von Eduard Bargheer am neuen Standort, dem Eingang Süd der AWD-Arena, aufgebaut.

Einzelnachweise

Mosaik
Calenberger Neustadt
Sport (Hannover)
Kunstwerk im öffentlichen Raum in Hannover
Denkmal in Hannover
Sportlerdarstellung (Bildende Kunst)
Fußball (Bildende Kunst)

Sport (Eduard Bargheer)


Vişnu (Devanagari विष्णु, onursal Şri Vişnu ile beraber; श्रीविष्णु), Hinduizm'de tanrının bir şekli. Vaişnavalara göre o Nihai Gerçek veya Tanrı'dır; Şiva'nın Şaivitlere olduğu gibi. Trimurti kavramında (bazen Hint Teslisi olarak anılır) o Tanrının ikinci görünüşüdür (diğerleri Brahma ve Şiva'dır).Ve onun en yüksek durumu Hindu kutsal metinlerinden olan Ayurveda, Rigveda ve Bhagavadgita da bildirilir.

Koruyucu olarak tanınan Vişnu özellikle ünlü avatarları, veya enkarnasyonları (vücut buluşları), ile tanımlanmıştır. Bu avatarlardan en ünlü ve önemlileri Krişna ve Rama'dır. Ayrıca, sıklıkla Narayana olarak da geçer.

Vaişnavizme inananlara göre O Nihai Gerçek'tir ve Tanrı'nın sadece bir görünüşü, biçimi olmaktan ötedir. Advaita felsefesini izleyen Smartaara göre Vişnu veya Şiva gibi tanrılar, nihai üstün bir gücün, tanrının ("Brahman") çeşitli yüzleri, şekilleridirler. Onlara göre bu nihai tanrının özel bir şekli, yüzü, adı veya özellikleri yoktur.

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