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Lucky Socks And Unlucky Frocks: The Strange History Of Skating Superstitions

Photo courtesy New York Public Library

"If you allow yourself to become the victim of superstition, every single thing is a sign indicating a positive or negative result." - Toller Cranston, "Toronto Star", Friday, February 13, 1987

A black cat crossing your path, spilling salt, walking under a ladder, opening an umbrella indoors and breaking a mirror are are all sure signs of bad luck to the superstitious among us. Those in search of good luck rarely walk down the aisle without something old, new, borrowed and blue. They have lucky rabbit's foots, horseshoes and pennies, break bottles over the bows of new ships as they are launched and cut the hair from a dog that bit them.


Not all superstitions are as 'simple' as the signs of good and bad luck. There are those who make the trek to Ireland to kiss the Blarney Stone, in hopes of earning the gift of eloquence. There are shopkeepers that refuse to sweep the sidewalk in front of their stores before the end of the day, lest they sweep away the day's trade. Centuries ago in Ireland, many believed that if you didn't make the sign of the cross and close your baby's mouth before they yawned, the Devil could rush into their body. According to old English lore, stirring your tea 'widdershins' (from right to left) foretold a fight, and if two women drank tea from the same pot, one of them would become pregnant.


Many actors refuse to use real flowers on stage or peek through the curtain at an audience before a play. They say "break a leg!" instead of good luck and never mention the exact number of lines they have, for fear they'll forget some. They never refer to the play "Macbeth" by its name, opting to call it "The Scottish Play" instead... for fear of death. Though actors have historically earned a reputation for being some of the most superstitious folks out there, they really have nothing on figure skaters!


Long before figure skating competitions were 'a thing', residents of Utah always placed their skates on top of something solid after carving out fancy figures on a pond. They feared that if their skates were hung from a hook, they would fall through the ice and drown the next time they skated. Not long after skaters began competing, the superstitions really began. Tropes like "a poor practice means a good competition to come" and "it's bad luck to draw first in the starting order" have been around since the days of Ulrich Salchow and Gillis Grafström.

Sonja Henie

Three time Olympic Gold Medallist Sonja Henie once claimed a paper cutter, with a blade as sharp as her skates - brought her the good luck to win her first World title in Oslo, Norway in 1928. During her competitive career, the media went bananas with stories about how - although she brought many pairs with her - she just had to wear her 'lucky skates'. In reality, they were simply the pair she was using at the time. In her autobiography "Wings On My Feet", she lamented, "Much more was said about the fact that father took special care of them for me than was mentioned about my technique or skating background." Later, during her professional career, she refused to wear new laces in her skates when she started working on a new film. She once quipped, "Superstitions give your courage such a nice fake boost."

Cecilia Colledge and her 'lucky zoo'

One of Sonja Henie's rivals, Cecilia Colledge, wanted to wear a green satin dress for her free skating performance at the 1936 Winter Olympics in Garmisch-Partenkirchen. Though she always felt she skated best in the green dress, her mother insisted she wear silver. Not even her 'lucky zoo' of stuff animals saved her from finishing the event in second place. One of Cecilia's successors, Daphne Walker, started wearing a green elephant talisman at the age of eight for good luck and collected over three hundred elephant ornaments. Like Cecilia, she often wore green dresses in competition, flying in the face of the superstition that green was an unlucky colour.

Jack Dunn and Sonja Henie. Photo courtesy Minneapolis Historical Society.

Interestingly, two of Great Britain's top men's skaters during the thirties tragically passed away in their twenties... their deaths both linked to 'cursed' objects. Freddie Tomlins was killed over the English Channel while serving with the Royal Air Force in 1943. In 1937, he had been presented with an eighteen carat gold watch by Adolf Hitler. It was inscribed with the words, "To our dear Freddie Tomlins in remembrance of his skating in the Berliner Sports Palast, March 29 to April 4, 1937". Jackie Dunn, a 1936 Olympian who had gone to America in hopes of finding success on the silver screen, contracted tularemia, a rare disease spread by rabbits, and passed away after wearing a supposedly cursed ring once owned by Rudolph Valentino. He had been set to play Valentino in a film.

The professional skating boom during World War II wasn't without its superstitious skaters. Canadian Champion Norah McCarthy, who toured with the Ice Follies, wouldn't take the ice unless she was wearing her lucky yellow anklets. Backstage at the Center Theatre, coffee was nowhere to be found. Freddie Trenkler, one of the ice clowns who starred in the show, recalled drinking coffee the first time he took a nasty spill and insisted that only tea was drank by the cast. Joan Hyldoft, who skated with Freddie at the Center Theatre, had a bad habit of whistling in the dressing room. Her Irish dresser, Kitty, would send her outside and make her say two curse words before she would let her back in... to drive away the bad luck.

In 1946, Patricia Molony, the first Australian woman to compete at the World Championships, wouldn't take the ice unless she was wearing a bracelet of Australian charms and a New Zealand tiki. She always wore the same red socks (inside out) in her boots and - like Cecilia Colledge and Daphne Walker nearly a decade prior - considered green her lucky colour, wearing it for both figures and free skating when she competed.

Barbara Ann Scott and Sheldon Galbraith. Photo courtesy Library And Archives Canada.

Some believed that Barbara Ann Scott's appearance on the cover of "Time" magazine on February 2, 1948 would 'jinx' the young skater's chances at the Winter Olympics in St. Moritz, but the Canadian darling proved them wrong when she won Canada's first Olympic gold medal in figure skating. Barbara Ann was one of the most superstitious skaters in history. She thought it was bad luck to whistle in the dressing room and to place skates anywhere but on the floor when they were not in use. She had a lucky stuffed koala bear named Junior and some ivory elephant figurines she took everywhere with her. Her mother also bought her a good luck gnome in Stockholm, which she described as a "little carved wooden man, the ugliest little man I've ever seen, with a great long nose and a funny little hat on." She too considered green her lucky colour. In her book "Skate With Me", she recalled, "I have, I think some reason for being superstitious about the number five, because several times when I was growing up I came in fifth in a competition the first year I entered and then, the next time the competition was held, went back and came in first. And I like to draw the number thirteen, because I think that is lucky for me. My armband at the Olympic Games was Number 13 and I skated on Friday the 13th in the World Championships in '48."

Two time Olympic Gold Medallist Dick Button had a miniature gold skate pin that he wore in every competition. It was given to him after he won the U.S. novice title in 1944 and every time he achieved a new milestone in his career, his father had a diamond added. Olympic Silver Medallists Karol and Peter Kennedy became superstitious after a black cat crossed their path on the way to their rink when they won the 1951 World Championships. Olympic Gold Medallist Barbara Wagner was superstitious about the number thirteen. An article that appeared in "Imperial Oil" magazine in October 1957 noted, "When she started school, she came home with a 13 for her mother to sew inside her coat and she graduated from St. Clement's girls' school last June 13. In most competitions she manages to find a 13 either on a hotel room or a street number. Always on the watch for her lucky number, Barbara was happy when she found out she had been assigned no. 58 in the World Championships in Colorado Springs. 'After all,' she points out, 'eight and five make 13, don't they?'"

Maribel Vinson Owen's daughter 'Little Maribel' won the U.S. pairs title in 1961 with Dudley Richards and perished in the Sabena Crash shortly thereafter. She carried a silver four leaf clover with her wherever she went.

Peggy Fleming and Dorothy Hamill

Olympic Gold Medallists Peggy Fleming and Dorothy Hamill had more than the same coach in common. They both tied their left skate first. One of Dorothy's competition rituals involved setting up a collection of stuffed animals on the boards when she competed in school figures - a koala, a troll and a monkey. After the figures at 1976 World Championships, her good luck charms disappeared. She took it as a sign her childhood was over.

Toller Cranston. Photo courtesy Toronto Public Library.

During his competitive career, Toller Cranston was obsessed with numbers, believing for instance that if the went through a ticket wicket at an airport numbered five, he'd end up fifth at his next competition. In his book "When Hell Freezes Over", he recalled, "Throughout my skating life, I was haunted by the frightening sense that everything I did - how I got on the ice, my numerical starting position, the colour of my costume, the way I laced my skates - was fraught with earth-shattering importance. If I made the wrong choice, everything would blow up in my face. I was tap dancing on a volcano. One wrong tap might activate the lava flow." In 1986, he changed hotel rooms in Paris because the first room number "didn't add up to the right number." He also had a lucky costume he used for ten years and once quipped, "In a pinch, I will always go to that costume. I swear it jumps by itself and never falls down."

Robin Cousins had a four leaf cover sellotaped to his skate bag, given to him by a fan at the 1976 Winter Olympics in Innsbruck. John Curry and Dorothy Hamill were also both given one at the same time. Tai Babilonia has long worn a lucky crescent moon pendant given to her by Stevie Nicks. She received it in the mail a month before the 1980 Winter Olympics in Lake Placid, and wore it every day leading up to the pairs competition. Concerned it may become unfastened during her performance with Randy Gardner, coach John Nicks asked her to take it off. That same day, bad luck befell the pair and they were forced to withdraw due to Randy's groin injury.

Jayne Torvill and Christopher Dean

For years, Jayne Torvill always wore the same pair of socks in every major competition. After they became so disintegrated she couldn't wear them anymore, she continued to carry them around with her. Christopher Dean had a pair of lucky pants... and a thing about skate guards. He always placed he and Jayne's guards parallel on the boards and would keep watch to make sure no one disturbed them.

Katarina Witt needed Jutta Müller to pat her on the back of the hand before she skated. She also had three stuffed animals given to her by friends that she carried in her skate bag for good luck. One was an angel. In her book "Only With Passion", she explained, "The angel always had to lose both of its wings every season. One of the wings had to come off at the European Championships, and the other wing had to come off at Worlds. Believe me, in an Olympic year we had a dilemma: three competitions and only two years. Then every year I sent the angel to be repaired so the wings could be ready to fall off the next year. It was tricky, because my therapist wasn't allowed to pull the wings off. They had to fall off by themselves, with a little encouragement. She had to be rough on the angel, to loosen the wings, but not too rough."

Liz Manley always had a superstition about cleaning and organizing before any competition. Even at the 1988 Winter Olympics in Calgary, when she was sick as a dog, she did all of her laundry and tidied her room as if she'd never been there before going out to perform the free skate of her life.
Brian Boitano would carry a bent nail from the stage at the San Francisco in his skate bag for good luck. Brian Orser wouldn't allow family members attending his competitions to sit together. He would always put his left skate on first and had to have a walk before he competed. He kept a certain stuffed animal in his skate bag for ten years, given to him by a skater who he helped pass a dance test. He also believed it was a good omen if a friend from Orillia showed up at the last minute and let him know he was in town.

Kurt Browning carrying the Canadian flag. Photo courtesy Library And Archives Canada.

There was a superstition in the nineties that Canadian athletes who served as flag bearers at the Olympic Games were jinxing themselves in their quest for medals. In 1992, decathlete Michael Smith was forced to withdraw from the Summer Olympics in Barcelona due to injury, and Kurt Browning - who was flag bearer at the 1994 Winter Olympics in Lillehammer  - finished off the podium. At the 1996 Summer Olympics in Atlanta, Charmaine Crooks placed a disappointing eighteenth in the 800 meters. Ironically, Kurt was actually the only Canadian figure skater in history who served as flag bearer at the Olympics and didn't win a medal. The honour proved to be a good luck charm for Tessa Virtue and Scott Moir, Brian Orser, Karen Magnussen, Bob Paul and Norris Bowden.

Michelle Kwan wearing her lucky necklace

Kurt Browning's good luck charm was a pair of skate guard covers. Elvis Stojko's was a necklace given to him by his mother, with a charm added by his aunt and uncle. On one side of the charm was the Olympic logo, on the other it read "Elvis, you're number one!" Fellow nineties stars Michelle Kwan and Jennifer Robinson also had lucky necklaces. Jennifer's had a photo of her future husband inside, and Michelle's was a dragon necklace with special family significance. Tara Lipinski always would step on ice with right foot first; Oksana Baiul her left. Both skaters won gold medals in the nineties in their first trips to the Winter Olympics. Oksana claimed her lucky number was three, and that was the number she drew in her group's starting order in the women's free skate at the 1994 Winter Olympics.


Since 2000, skaters haven't let up a bit in their superstitions. Evgeni Plushenko never shaved on the days he competed. Irina Lobacheva had a doll she'd put on the boards while competing. Joannie Rochette's mother would always put a prayer necklace in her skate bag. Jamie Salé put her left skate on first and would take off her lucky necklace, touch it and say a little prayer before she competed. Sasha Cohen had to be first on the ice for every warm-up. Marina Anissina wouldn't take the ice without a cross made by partner Gwendal Peizerat's grandmother around her neck. Yuna Kim always wore a rosary ring. She forgot to bring it to the 2010 World Championships, and went out and bought one just for the competition. Scott Moir often wore new socks for every event and Tessa Virtue would always sit her water bottle on the same place on the boards. Barbara Fusar-Poli always put her blades in the same position in the dressing room to dry. In a March 23, 2001 article in "The Province", Maurizio Margaglio was vague about his superstitions, only revealing he always tied his skates the same way before every performance. He joked, "We have [superstitions], of course - every skater has... I think it's psychological, and in Italy, we have a little bit of superstitions. But I'm not taking red peppers in my pocket or anything like that."

Skaters competing today aren't any less superstitious. Nathan and Karen Chen are both members of the 'left skate first' club, Kaetlyn Osmond has to have a glass of orange juice before she takes the ice and Yuzuru Hanyu's famous lucky Pooh Bear almost pales in comparison to his elaborate pre-competition rituals. Whether an attempt to ward off bad luck or bring good luck from the Skate Gods, the rituals of skaters serve as reminders that no matter how hard you train, the ice is slippery... and a little bit of superstition isn't always a bad thing.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

The 1958 European Figure Skating Championships


From January 30 to February 2, 1958, Zimný štadión in Bratislava played host to the first post-World War II European Figure Skating Championships to be held entirely on indoor ice. A whopping seventy entries from eleven countries participated. The event, organized by the Czech State Committee For Physical Training And Sport, marked the first time the Europeans were held in Czechoslovakia since 1948, ten years prior. Vladislav Cáp, a Czechoslovakian engineer who competed at the 1948 European Championships, designed the event's emblem - the letter 'E' with a skate blade.

Alain Giletti, Karol Divín and Alain Calmat in Bratislava. Photo courtesy Archív TASR.

The event marked the first time in history that the European Championships were televised in eleven countries - three of them in Eastern Europe - via Eurovision. Over the course of four days, a total of approximately ninety minutes of coverage was aired, though the BBC pre-empted coverage of the medal winning free dances in favour of football and pheasant shooting


Considering the anti-German sentiment and post-War expulsions of Germans in Czechoslovakia following World War II, the West German contingent of skaters was treated exceptionally well. Heinz Magerlein recalled, "The reception [in Bratislava] was very touching when, after a long journey, the German team got out of the passenger train shortly before midnight and delegations from sports clubs and companies had arrived. Poems and welcome speeches were recited in hard German, and from the Gesidern the joy shone, that we had come. In the shop windows of the prisoners we saw everywhere indications of the ice sports event, sculptures made of dough, fabric decorations, etc. However, the very spacious sports hall had a drawback: from an open piece of the roof soot fell on the ice and had left a fine layer that looked like emery and damaged the expensive ice skates badly."


Let's take a look back at how things played out on the ice in Bratislava!

THE MEN'S COMPETITION


Men's medallists in Bratislava. Photo courtesy Archív Múzea telesnej kultúry SR

Nineteen men from ten countries competed in the men's event. Karol Divín defeated Alain Giletti in a four-three split of the judging panel in the school figures. British Champion Michael Robert Booker placed a strong third.

Michael Booker

Alain Calmat, who had been fifth in figures, won the free skate over Alain Giletti with eight first place ordinals and an impressive double Axel. Divín received the ninth first place ordinal from the West German judge W. Stanek. That same judge was the only one to place Calmat fourth in free skating. Divín narrowly defeated Giletti overall, with Calmat moving up to take the bronze over Booker. It was the first time in history a Czechoslovakian man won a European title, and Divín
fittingly managed to do it in his home country... defeating the defending champion in the process.


Norbert Felsinger of Austria placed fifth and a trio of West Germans finished sixth through eighth. Tilo Gutzeit, the top skater of the bunch, received second place ordinals in the free skate from the Czechoslovakian and Soviet judges.

Tilo Gutzeit

Manfred Schnelldorfer, who placed seventh, suffered a wardrobe malfunction. Heinz Magerlein recalled, "In the freestyle, Manfred picked again, as so often, the starting number one. I had fastened Manfred's silver-shimmering tie with a small safety pin on the high waistband of the coat trousers. His spinning spurred the spectators on to hurricane applause. The tie had come loose from the attachment and struck him in front of his eyes, his nose, his mouth... In between it wrapped itself once or twice and around his neck and it did not wiggle. What was worse: looking for me or skating for Manfred? He did not fall, but he fought a desperate fight with the tie, which shook his sight and direction. One could see that he was close to bursting.... I blamed myself and decided to check everything out ten times since and have kept that tie to this day."

THE WOMEN'S COMPETITION


Hanna Walter and Ingrid Wendl. Photos courtesy Bildarchiv Austria.

Defending champion Hanna Eigel had turned professional, leaving the European women's title up for grabs. Eight judges had her compatriot Ingrid Wendl first in figures, while the Italian judge tied her with Hanna Walter, who finished second. Joan Haanappel was a unanimous third. France's Dany Rigoulot earned ordinals ranging from fourth to seventeenth in figures... highlighting the nightmarish judging that was to come in the free skate.

Left: Dany Rigoulot. Right: Joan Haanappel. Photo courtesy Dutch National Archives.

Ingrid Wendl decisively won the free skate with seven first place ordinals but that was about the only thing the judging panel could seem to agree on. Six judges had Hanna Walter in the top three; the Swiss judge had her eleventh. Jidrinka Kramperova had ordinals ranging from second to fifteenth. Five judges had Karin Frohner in the top three; the Czechoslovakian judge had her eleventh. The West German judge had Regine Heitzer in a tie for first, while the Polish judge had her a tie for eighth. Strangely enough, when the overall marks were tallied all but one judge had Wendl first, all but one judge had Walter second and every judge had Haanappel third. Yet Jana Docekalova of Czechoslovakia, who earned two first place ordinals in the free skate, finished eleventh overall.

THE PAIRS COMPETITION


Věra Suchánková and Zdeněk Doležal

More than fifteen thousand spectators showed up for the pairs event... and the bizarre judging continued! Though Věra Suchánková and Zdeněk Doležal defended their title unanimously, no less than eight teams received top three ordinals. Nina and Stanislav Zhuk, Joyce Coates and Anthony Holles and Marianna and László Nagy, who placed second through fourth, were three of those teams. The Zhuk's and Coates and Holles' medal wins were both considered surprises as they had only finished fifth and sixth the year prior at Europeans.

Joyce Coates and Anthony Holles

Another team earning a top three ordinal was Marika Kilius and Hans-Jürgen Bäumler, who one judge tied for second and another placed thirteenth. Heinz Magerlein recalled, "They had left the hotel in good time with car, but a railway barrier had considerably delayed the journey. Since they had pulled start number 1 - which also had their share in fifth place! - of course, they were resented in the rink, which was filled to capacity... Lacking concentration and still under the impact of the annoying [delay] they milled about the ice, and their performance fell short of their potential."


Ludmila Belousova and Oleg Protopopov, who received no first place ordinals, were tenth with scores ranging from fourth to thirteenth. It was the young Soviet couple's first appearance at the European Championships. Perhaps most dramatic were the scores of the Austrian team who finished eleventh. The British judge had them second, while the Polish judge had them fifteenth and dead last.

THE ICE DANCE COMPETITION

One has to doubt whether any of the ice dancers complained when only five judges sat rink side to judge them instead of nine. In contrast to the women's and pairs events, the judging in dance was somewhat less controversial... at least near the top. To no one's surprise, defending champions June Markham of Durham and Courtney Jones of Bournemouth were the unanimous winners of both the compulsories and free dance. In his book "This Skating Age" Howard Bass recalled, "The cost of travel and accommodation for two people from London to [Bratislava and Paris - the site of the 1958 World Championships] can be reckoned at well over one hundred pounds. The sum actually allowed them by the N.S.A. was twenty pounds each. So patriotic Britons must thank the fact that Courtney and June happened to be able to raise sufficient money themselves to pay for the privilege of winning these titles for their country! As their compatriot, I feel like hiding my head in national shame. How humbling, how utterly humiliating!"

Though France's Christiane and Jean Paul Guhel managed to defeat Barbara Thompson and Gerard Rigby in the free dance, they weren't able to move up to take the bronze. Catherine Morris and Michael Robinson and Thompson and Rigby joined Markham and Jones on the podium in the fifth consecutive British sweep of the ice dance podium at the European Championships. Interestingly, the
teams who placed fifth through seventh each received ordinals ranging from fifth through tenth.
Svetlana Smirnova and Leonid Gordon made history as the first Soviet dance team to compete at the
European Championships. They placed dead last.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

The Pride Of Stuttgart: The Heiko Fischer Story


Born February 25, 1960 in Stuttgart, Baden-Württemberg, West Germany, Heiko Fischer was what we in the skating world like to call a 'late bloomer'. Although he started skating at a young age with the support of his mother Helga, Heiko was a studious young man. He passed his Abitur (a designation used for the final exam taken at the end of a German student's secondary education) at the Leibniz-Gymnasium at seventeen and showed great interest in both physics and computer science. However, like many skaters these days around the world, finding the balance between school and skating proved a challenge. Training at both the Waldau rink in Stuttgart and National Training Centre in Oberstdorf under the tutelage of (later disgraced) coach Karel Fajfr, he earned the distinction of sports master of Baden-Württemberg. He divided his time between studying physics - and later, computer science - and made time for skating.

Heiko's interests in physics and computer science reflected in the calculated way he approached skating. In a February 5, 2010 "Stuttgarter Zeitung" article, his mother Helga recalled that his coach "has always said he has a computer brain." Heiko used this 'computer brain' of his to win bronze medals at the West German Championships from 1979 to 1981. He made his first big splashes on the international scene in the fall of 1981 when he managed victories at both the Grand Prix St. Gervais and Nebelhorn Trophy competitions in France and West Germany, a pair of competitions held in conjunction with each other that often featured the same skaters travelling between St. Gervais, France and Oberstdorf, Germany by train to compete in both events back to back. That same season he won his first West German title, beating former champions Rudi Cerne and Norbert Schramm and making it loud and clear that West German men's skating was a three way race. He followed his win up with a sixth place finish at the European Championships in Lyon, France.


Though consistently dinged by the judges in his artistic impression marks, Heiko did have two very important things going for him: a stable of consistent triple jumps and excellent school figures. Looking at his competitive record, his many wins or top three finishes in international competitions in the figures make for a strong argument that he was moreso a figures specialist than someone who excelled in free skating. He was a tall, slim athlete, who at six foot three and one hundred and sixty five pounds called himself "the tallest international skater in the world". However, his left leg was three quarters of an inch shorter than his right leg and he had to wear lifts in the heels of his skates and shoes to avoid back injury. The October 11, 1982 issue of "The Globe And Mail" explained, "A small girl ran into him and knocked him down, causing him to land on his back. Three weeks later, he fell on his back in practice." In fact, Heiko suffered injuries during much of his career. However, the German magazine "Der Spiegel", dismissive of his history, blamed his "lack of confidence and a lack of assertiveness" for many of his competitive losses.


The 1982/1983 season was understandably a challenging year for Heiko but he persevered with determination. At Skate America, he won the silver medal behind Scott Hamilton despite only making it through his full free skate for the first time a week before the event. At Skate Canada in Kitchener, a second place finish in figures allowed him to hang on through the short program and free skate to claim the bronze behind Brian Boitano and Brian Orser. After successfully defending his West German title, he moved up two spots to fourth at the European Championships and nabbed a top ten finish in his first trip to the World Championships.



Although Heiko started the 1983/1984 season strongly with wins at the Nebelhorn Trophy in Germany and St. Ivel in England, where on  the basis of his strong figures, he narrowly defeated Gary Beacom, Bobby Beauchamp and East Germany's Falko Kirsten, Heiko lost his West German title in 1984 to Norbert Schramm and dropped from fourth to fifth at the European Championships in Budapest. Although he finished sixth in the figures at the 1984 Winter Olympics in Sarajevo, he dropped to tenth overall in a very deep field. It was at the Sarajevo Olympics that Heiko suffered perhaps one of the embarrassing moments in skating history. In his book "Jumpin' Joe", Jozef Sabovčík recalled, "Dressed in a baby blue unitard, Heiko towered over the other skaters. But what drew our attention was that a seemingly unaware Heiko was sporting an erection that befitted his huge body. I looked up to the one area of the audience that had a clear view and could see them laughing, as were all the other skaters. Frankly, the sight would have been difficult to miss." His embarrassing moment behind him at the World Championships in Ottawa, Heiko was actually third in figures behind Scott Hamilton and teammate Rudi Cerne and ahead of Jozef Sabovčík, Alexandr Fadeev, Brian Boitano and Brian Orser but again dropped in the standings down to seventh. Notice a trend here?


With Norbert Schramm and Rudi Cerne retiring following the 1984 World Championships, the following season had every potential to Heiko's best yet and he didn't disappoint. Reclaiming his West German title, he moved back up to fourth at the European Championships and earned the best finish of his career at the World Championships in Tokyo, finishing sixth - ironically solely on the basis of his free skating as opposed to his figures.


The following season started strongly for Heiko with a win at the Golden Spin Of Zagreb and another West German title, however his chronic back injury forced him to withdraw from the European Championships. Although he did manage a seventh place finish at the World Championships in Geneva (this time once again based on a top three finish in the figures) the severity of his chronic back injuries caused him to seriously contemplate retirement. After finishing a disappointing fifth at Skate America that autumn, he missed the rest of the 1986/1987 season with a hernia and a pulled groin muscle on top of his pre-existing back problems.


The thought of Heiko mounting a comeback in time for the 1987/1988 Olympic season seemed unlikely at best but he pulled a rabbit out of his hat, which is no surprise considering he had a reputation off the ice as a prankster. His comeback was no joke; he even took lessons from his former competitor Jozef Sabovčík,

After finishing second behind Petr Barna at Czech Skate, Heiko tied with Paul Wylie for first after figures and short program at St. Ivel in England, but dropped to third behind Wylie and Kurt Browning in the final standings. He returned to win his fifth and final West German title before heading to the European Championships in Prague and placing sixth. Determined to make a go of a second 'once in a lifetime' trip to the Olympics in Calgary, Heiko scrapped both of the programs he skated at the European Championships. He started fresh with new music and choreography for his short program and brought back and reworked his 1985 and 1986 "West Side Story" free skate. 


In Calgary, Alexandr Fadeev and Brian Boitano were first and second in all three figures but Heiko managed to place third on the first figure ahead of Brian Orser. A rusty performance on his final figure, the loop, left him in fourth overall. Quoted the February 19, 1988 issue of "The Globe And Mail", he said, "I don't know what happened. My first two figures were really good, but the last was a real mess. I just couldn't do it. It was perfect in warmup. Usually the loop is my best figure." He was proud of his finish though, remarking that "the judges know the old man can still do figures." The oldest of the men's competitors in Calgary at twenty eight, he predicted in the "Toronto Star" that Orser - not Boitano - would win the gold: "He's the strongest free skater and if he's consistent enough, he'll win. Boitano is excellent too, very consistent because he never misses anything. But if Orser is at his best, he'll win." Heiko wasn't correct in his prediction, but he gave two of the best performances of his career in Calgary despite dropping to ninth overall. 


Heiko's final competition, the 1988 World Championships in Budapest, saw him drop from fourth to Orser's fifth in figures down to seventh overall. However, he pulled up his socks and managed to give some of the best performances of his career when the chips were down.


Retiring from amateur competition following the 1988 World Championships, Heiko married and continued his studies in computer science while coaching young skaters on the side. On November 21, 1989, he collapsed during a game of squash with friends. He was taken to Sindelfingen Hospital, where he was pronounced dead. It was revealed that he suffered from chronic myocarditis.

Heiko's death came a huge shock to everyone close to him, as he was a very active person who spent what little free time he had off the ice playing tennis and squash. Family, friends and fellow skaters were devastated; he was a friend to even his closest rivals. His mother Helga stated, "He enjoyed his life whenever [there was time.] Heiko was a very happy person." So beloved was Heiko as a sportsperson in Stuttgart that when police had blocked off the Neuen Friedhof Degerloch cemetery after his death, people sat on the road and cried.

Horst Klehr, a pharmacist who was responsible for creating one of the first lists of banned substances specific to sport, referenced Heiko in a 2009 speech about athletes involved in doping. He said, "Many fatalities could still be alive today if the officials in the West had not closed their eyes."

When Heiko died, his wife was seven months pregnant. Because he had gone the education route when he had no substantial offers to skate professionally, he left his wife almost penniless. She was forced to survive on an insurance payout and financial support from Sports Aid and the Federal State of Baden-Württemberg. In 1990, a charity gala was organized to raise funds for Heiko's widow. Among the performers was two time Olympic Gold Medallist Katarina Witt. The following year, an international competition was established in his memory called the Heiko-Fischer Pokal. Among its past winners? Carolina Kostner, Stefan Lindemann, Alban Preaubert, Valentina Marchei, Peter Liebers, Eva-Maria Fitze, Sarah Hecken and the late Sven Meyer. 

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

#Unearthed: Skating Gossip

When you dig through skating history, you never know what you will unearth. In the spirit of cataloguing fascinating tales from skating history, #Unearthed is a once a month 'special occasion' on Skate Guard where fascinating writings by others that are of interest to skating history buffs are excavated, dusted off and shared for your reading pleasure. From forgotten fiction to long lost interviews to tales that have never been shared publicly, each #Unearthed is a fascinating journey through time. This month's 'buried treasure' is an essay by T. Maxwell Witham called "Skating Gossip" which originally appeared in the August to December 1895 issue of "The Badminton Magazine Of Sports And Pastimes". From the viewpoint of a practitioner of the English Style, Witham describes the evolution of skating in Europe and the rise in popularity of hand-in-hand - or pairs - skating.

"SKATING GOSSIP" (T. MAXWELL WITHAM)



All methods of self-propulsion are fascinating, but when, in addition, progression is only possible by means of a correct balance, as in skating and bicycling, the fascination is doubled.

Figure-skating, as distinguished from skating as a means of progression, is comparatively modern, and, curiously enough, emanates from Great Britain and from English-speaking people. Before the year 1830 figure-skating was in its infancy, and such movements as were known were handed down from generation to generation by tradition, as the few books on the subject that did exist described only the most elementary movements, and frequently the directions given for acquiring these were entirely misleading.

From the year 1869 till now skaters have been gradually taught by good text-books, the leading men in the art have studied the various movements that go to make up figure skating, and have now practically demonstrated all the fundamental strokes that are possible to the figure-skater. We are not
from this to understand that nothing new in figure-skating is possible. Far from it.

Although every possible stroke is now known, the multitude of combinations by joining one stroke with another is perfectly endless; but whether the rising generation will derive as much pleasure in devising these combinations as the pioneers of the art did in working out the simple initial strokes
is doubtful. In the dawn of figure-skating, undoubtedly the inside edge was the first which demonstrated the possibility of leaning over on an edge and so describing a curve, seeing that this inside edge was the easiest to execute by reason of the unemployed leg being always ready and available to act as a prop to the nervous or falling performer. This inside edge no doubt suggested the outside, and when this was demonstrated as possible, it was practised to the entire exclusion of the inside, because in the early days the position of the skater's body when executing the inside edge made it an ungainly and ungraceful movement.

In practising the outside edge, our ancestors, no doubt, in 'holding on' to the edge as long as possible occasionally found that at the end of the curve they made an involuntary half-turn, placing them
on the inside back, and this involuntary turn being by practice reduced to a certain turn gives us the common figure 3. It has, no doubt, struck many people, as it has struck me, as curious and almost incredible, that, given the dandy-horse, which demonstrated the possibility of riding on a machine having two wheels in the same plane, it was some forty years after the advent of the dandy horse before it occurred to some one to put cranks on the front wheel and so continue the motion, thus virtually creating the modern bicycle. And it is hardly more curious that, with the forward 3 commencing with an outside edge and turning to an inside edge backwards to guide them, it was years before the other turns were discovered.

Skaters continued to practise only the figures that had been handed down to them by tradition, gradually and slowly increasing the number of possible figures - such, for example, as a second and third turn in the 3. Who it was who had the boldness first to try the dangerous second turn is unknown, but the 3 having three turns and known as the ' double 3 ' was undoubtedly skated by the members of the Skating Club as early as 1830, but as a single turn, from inside back to inside forward, a means of propulsion ; and when this was recognised, any number of movements on one leg could be joined together and skated without any assistance from the other leg other than swing. It
is only within the last few years that the skating fraternity has from time to time been startled by the publication of descriptions and diagrams of new figures, some of them, perhaps, being put forward as theoretically possible, but practically impossible; yet now one sees boys of fourteen executing these supposed impossible figures with the greatest facility. How is this?

First, the modern figure-skater has a better constructed skate than his ancestors possessed; and, secondly, skating being an imitative art, he has only to copy what he sees others doing, or follow the careful instruction given in the text-books, and he is thus enabled to acquire facility in executing difficult movements much more rapidly than did the pioneers of the art; but he does not attain what was to the early figure-skaters the supreme pleasure of thinking out and demonstrating as possible some movement which at that period was a new departure.

The facility of communication all over the world has affected figure-skating as it has other arts, and itinerant professional skaters, mostly American, established themselves in Germany, Austria, Sweden, and Norway, and schools of skating were established, where the practice of the art is carried out by the natives in accordance with the early teaching of their professors, coupled with the desire for display peculiar to foreigners. The Englishman tries to, and does in fact skate the most difficult movements, and at the same time his whole desire is to conceal the difficulty.

The foreigners, on the other hand, exaggerate the motion or balance which emphasises the difficulty, and go for speed and dash, which they attain mostly at the cost of elegance. There is another school, that of St. Moritz, which is essentially British, and which has carried out the early teaching of the Skating Club of upright carriage and straightened knee to its logical conclusion, and it is quite wonderful to see the skill of the habitues of the St. Moritz rink in executing the most difficult
movements with the arms quiescent and the knee and body perfectly rigid. They carry this rigidity to an extent that some good judges consider exaggerated, but their style has one good quality, and one that will be more and more of use as an object lesson if our skating is to be done in the future principally in covered rinks, as it proves that by practice the most difficult movements may be skated with certainty and at a great pace without the stooping body, bent knee, and swinging arms which are the essential characteristics of difficult figures when skated in the acrobatic fashion common to foreigners.

What will the figure-skating of the future improve or degenerate into? The improvement of the last few years has been most marked on the part of the men, and the ladies are running them very close. The causes of this decided improvement are the start given to figure-skating by the introduction of roller skates in 1875, the greater interest that is now taken in anything athletic, the long frosts which we have enjoyed during the last few years, and the continuous practice which many of our best skaters obtain every year in the Engadine. But now that we have Niagara, and are to have similar places at Knightsbridge and Argyll Place, although there will be the opportunity of continuous
practice, the space available is contracted and crowded, and the chances are that, from an English point of view, the skating will deteriorate. Individual acrobatic performances on skates will doubtless develop enormously, but the accuracy and correct pose which have hitherto distinguished English skating, as seen to perfection in the ' Club figures,' will be lost.


There is one form of skating which has made some little progress of late years, which the real-ice rinks may bring to great perfection, and that is hand-in-hand skating. It is fascinating of itself, and is practically possible in a crowded rink. For the 'side-by-side' figures there are two ways of holding hands - first, the old method, where the gentleman, being on the left of the lady, takes her right hand in his right hand, and her left in his left, the joined right hands being underneath the left hands ; secondly, the method known as the Austrian. In this the lady puts her hands behind her with
the palms upwards, and the gentleman takes them in his hands, which are turned palms downwards. He stands behind the lady to her left, the left hands are joined and brought forward, and the lady's right hand is passed behind and across her back, and is so held in the gentleman's right. When the gentleman is to the right of the lady the position is, of course, reversed. At first this position feels cramped, and it is especially the lady who is most affected. This is caused by the strangeness of skating with her hands held behind her back, but if the gentleman will be careful to always be at her side, either to the right or left, instead of behind her, this feeling will soon wear off, and when the lady is able, without effort, to swing her arms behind her from one side to the other, according to the position of her partner, it will be found that much freer skating can be done in the Austrian than
in the old-fashioned side-by-side method.

One thing must be remembered in hand-in-hand skating: if either of the partners should feel that a fall is inevitable, the hands must be disengaged instantly; and to do this, and to ensure ease and grace, the hands should be held but lightly, and by the ends of the fingers. In the confined space of a real-ice rink Club figures are not possible, as they occupy far too much room; but this hand-in-hand skating
can be indulged in to any extent, and as every movement that can be executed by an individual skating alone can be equally well skated by two persons holding hands in the Austrian method, it is probable that for the next few years any great improvement in figure-skating will be in this direction.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

The 1935 U.S. Figure Skating Championships

Maribel Vinson. Courtesy of the Boston Public Library, Leslie Jones Collection. Used with permission.

In the second week of February, 1935, approximately seventy skaters from all over America flocked to the New Haven Arena ice pond in New Haven, Connecticut (the site of the very first U.S. Championships back in 1914) to show off their change loops and camel spins in hopes of being crowned U.S. Champions. 


One fascinating aspect of the 1935 U.S. Championships is that among the senior ranks, not a single winner or winning team from the previous year's Nationals retained their spot on the top of the podium. Two other interesting notes with regard to the 1935 event was its inclusion of 'carnival scenes' from members of the New Haven Skating Club between rounds of competition and the United States Figure Skating Association's decision to offer a generous portion of the proceeds from advance ticket sales to the Connecticut Society For Mental Hygiene.

THE NOVICE AND JUNIOR EVENTS

Members of the Skating Club of New York competing in New Haven in 1935. From left to right: Audrey Peppe, Marjorie Parker, Katherine Durbrow, Ardelle Kloss, Nettie Prantel and Marguerite Sherman. Photo courtesy "Skating" magazine.

As for the nitty gritty, let's start by looking at some of the novice and junior events. The novice men's champion was M. Bernard Fox of Boston and the junior men's champion was Erle Reiter of Minneapolis. The junior pair's winners were Jean Schulte and Ollie Haupt Jr. of St. Louis. For a look at the novice and junior women's events, we'll turn to the February 11, 1935 issue of "The Day", which tells us that "probably the closest margin of points separating two contests for the single honor of champion of the womens novices came with the awarding of the crown in this class to Miss Mary E. Weigel of Buffalo, over Mrs. Mabel Thorne of the Los Angeles Skating Club. Mrs. Anson Beard of New York, was third... During the afternoon, petite 15-year old Polly Blodgett, of the Skating Club Of Boston, won the women's junior figure skating championship." One thing you may have noticed in this particular quote are the titles of 'Miss' and 'Mrs.' used in the novice category. Back in the thirties, what division you competed in had absolutely to do with your age and everything to do with what tests you had passed. It was absolutely plausible - and common - for pre-teens to be competing against people old enough to be their parents in novice, junior and senior competitions in North America at the time.

THE SENIOR EVENTS

Members of the Skating Club of New York competing in New Haven in 1935. From left to right: George Boltres, Roy Hunt, Robin Lee, Wilfred MacDonald, Howard Meredith and Joseph K. Savage. Photo courtesy "Skating" magazine.

Sherwin Badger was disappointed as the Original Dance, an event that was basically an early forerunner of the OSP, which he worked so hard to promote was cancelled in 1935 after only one ice dance team entered. The only ice dancing event contested in New Haven in 1935 was the Waltz, which was won by Nettie Prantel and Roy Hunt. In second were Ilse Twaroschk and Frederick Fleishmann, third Maribel Vinson and Joseph Savage and in fourth were Eva Schwerdt and William Bruns.

Maribel Vinson and Geddy Hill

Siblings Jimmie and Grace Madden, the defending senior pairs champions, were not able to fend off Maribel Vinson and her partner Geddy Hill, who had defeated them previously in 1933 at the U.S. Championships. Third were Eva Schwerdt and William Bruns. Performing a special exhibition as guests were Canadian Champions in pairs, Louise Bertram and Stewart Reburn.


In the senior men's competition, a fifteen year old Eramus Hall High School student from New York City, Robin Lee, pulled off the upset of the decade in defeating seven time and defending thirty five year old U.S. Champion and Boston lawyer Roger Turner in front of an audience of four thousand. The February 11, 1935 edition of The New York Post recalled, "performing almost faultlessly in the free skating as he had done through the school figures, the young western protege outskated one of the largest fields ever to compete for the title."

Robin Lee. Photo courtesy the Minnesota Historical Society. Used with permission.

Robin Lee, a modest, young blond skater who also excelled at swimming and golfing was actually in his third year in the senior ranks and in finishing third and second the previous two years at Nationals had certainly made his presence known but defeating Turner was a very big deal at that time considering his resume and reputation. In third with a tumble in the free skate was James Lester Madden, the silver medallist in the senior pairs event, of the Boston Skating Club. The fifth place finisher that year, 1933 U.S. Junior Men's Champion Bill Swallender, later became an esteemed coach and was among those who perished in the 1961 Sabena Crash.


Maribel Vinson had skipped the 1934 U.S. Championships and taken up a job with "The New York Times" as its first female sportswriter, allowing Suzanne Davis of Massachusetts the opportunity to win her first and only U.S. senior ladies title. In 1935, Maribel returned with a vengeance, winning her seventh U.S. ladies title with a program that featured a half-Lutz jump and inside spread eagle into an Axel.


"The Day" noted that "this year's loser [Suzanne Davis] went into second place followed by the Weigel sisters of Buffalo, Louise in third place and Estelle in fourth" which would mean that with the exception of Maribel on top, the positions of the previous season's top three Nationals had been repeated. Like I always say whenever I'm writing about skating history, "it's all just a little bit of history repeating." Shirley Bassey and The Propellerheads were right.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Brackets On The Way To Brazil: The Kristóf Kállay Story

Photo courtesy National Archives Of Poland

The son of Miklós and Borbala-Roza (Dudosich) Kállay, Kristóf Ervin Kállay was born November 9, 1920 in Budapest, Hungary. His father was a highly respected and prolific journalist, novelist and playwright who served as co-editor of the Nemzeti Szalon. Through the noble blood of the Kállay family of Nagykálló, he was also related to Hungarian Prime Minister Dr. Miklós Kállay.

Kristóf's father Miklós Kállay

Kristóf started skating at the Városligeti Műjégpályá while he was a young student at the Benedictine Grammar School. At the age of eleven, he entered the junior men's event at the Hungarian Championships and placed second to István Hostyánszky. Three years later, when the World Championships came to Budapest he placed third in an international junior men's event held in conjunction with the competition. Many observers believed that he not have taken a fall in his free skating performance, he would have won.


As a teenager, Kristóf spent time training in London, England and routinely upstaged Hungary's top two senior men - Dénes Pataky and Elemér Terták - in domestic competitions. What precision he lacked in the school figures he more than made up for in free skating. His one-foot Axels and series of three jumps in a row were truly crowd pleasers.

Piroska and Attila Szekrényessy and Kristóf Kállay

In 1939, he made his first - and last - appearance in the senior men's event at the World Championships. Though he placed seventh of the eleven men entered, one judge had him as high as third in free skating. In 1940, Kristof won his first of three Hungarian senior men's titles at the age of nineteen. Hampered by illness, he placed dead last in an international competition between skaters from Germany, Austria and Hungary in January of 1941. However, he continued to practice and perform regularly in Budapest during the first few years of the War and was a skater who could have easily found himself in contention for a medal at the European and World Championships, had the War not have necessitated the cancellation of ISU Championships.


Kristóf graduated with a university degree in science in Budapest in 1942 and hung up his skates a year later. He served as an Officer in Foreign Affairs from 1942 to 1946, and after the War emigrated to Stockholm where he took up a position as a diplomat at the Hungarian Embassy. He later settled in Rio de Janeiro, Brazil, where he coupled diplomatic work with journalism. He married twice - to Adelaide Bebiano Vaccani and Tererina Ferreira dos Santos - and for several decades, he served as a Foreign Affairs correspondent for the "Jornal do Brasil". He also penned articles about history and politics for Hungarian journals. In the seventies, several of his works were translated and published in "Los Angeles New World". He passed away at the age of sixty nine on January 22, 1990 in
Teresópolis, Brazil, his wartime contributions to figure skating in Hungary all but forgotten.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.