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Talk:Arturo Toscanini

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Someone remove the chick pic in the "Toscanini in Time" area and replace it with the real cover of the magazine please.

Camebert, if you read the historical record of the time, it was in fact precisely those very conductors like Bruno Walter who regarded Toscanini so highly, thought of him as a god among their midst. But ok, I am not trying to push the point; we can leave the line as is. Anyway, I hope to add more objective biographical info to this article in due time. -- Viajero 20:49 26 Jul 2003 (UTC)

 * I know that he was very highly regarded, but I don't think that everybody thought he was the very best. To say he was regarded as "the greatest" without qualification is a bit misleading, I think. --Camembert

 * I realize that; that's why I presented it -- rightly or wrongly -- as the POV of his contemporaries. But to sustain it would take more effort than I prepared to do at the moment. -- Viajero 13:13 27 Jul 2003 (UTC)

 * What I mean is that not all his contemporaries thought he was the greatest. Maybe "regarded by many of his contemporaries as the greatest" is more to the point than "regarded by his contemporaries as one of the greatest". Anyway, I'm splitting hairs here, I agree it's not really a big deal. --Camembert

 * This page is too long, I don't think Wikipedia is "elitist".

 * I am interested that Bruno Walter would think highly of Toscanini. That is high praise indeed. I have the greatest regard for Bruno Walter. I thought that Toscanini was regarded by some (many?) in the contemporary musical community as a bit of a showman and also a lightweight. Wallie 20:25, 3 December 2005 (UTC)

 * Bruno Walter and Toscanini were very good friends. On August 22, 1939, it was Toscanini who informed Walter that his daughter Gretel had been shot by her estranged husband, and Toscanini conducted the concert replacing Walter.  They remained friends until Toscanini's death.kosboot 21:35, 9 January 2007 (UTC)

"Famed for his restless perfectionism....." I don't see anything wrong with listing some of the qualities that Toscanini was famous for, such as stating that he was well known for his perfectionism. However by adding adjectives like "restless" before each of these qualities you add a degree of poetic/subjective hero-worship which is out of place in a wikipedia entry. Many people would have thought a perfectionist but very few would have known if he was restless. —Preceding unsigned comment added by 94.194.100.19 (talk) 23:02, 20 January 2011 (UTC)

Toscanini and Mussolini
Toscanini, whose father fought in Garibaldi's army, was a lifeling opponent of Fascism--and had socialist leanings. As recounted in Harvey Sachs' suberb biography, Toscanini lent support to Mussolini when the latter advocated a socialist platform. But when Mussolini began to endorse fascism, Toscanini withdrew his support. [THD3]

Expand
This article is a good start, but Toscanini was a very important figure in music, and more should be said. Also, he was not without his critics, as I understand it. This article says nothing about that. --rogerd 13:50, 5 May 2006 (UTC)

It does now; read the section "Toscanini and the Critics". AlbertSM 17:21, 18 February 2007 (UTC)

Rudeness
I understand he was incredibly rude to his NBC players, sometimes telling them they played like farmyard animals, and accusing their mothers of gross sexual perversions. This seems to be a significant aspect of the whole person, despite his wonderful music making. Are there are any decent references to this outrageous behaviour? JackofOz 11:48, 31 October 2006 (UTC)

All of the surviving eyewitness accounts report that Toscanini was a perfectionist and that he had quite a temper. However, he was hardest on himself and recognized there were times when he didn't do his best. He expected his musicians to play their best and if, in his opinion, they didn't, he would tell them. Since English was his second language, he often resorted to Italian, as we can hear in the surviving recordings of his rehearsals. Harvey Sachs writes of a time when Toscanini made a serious mistake in his conducting and the orchestra played correctly despite this; when Toscanini realized that HE had been wrong and the orchestra had been correct, he didn't hesitate to compliment them. There were many times when he didn't get angry, too, because the orchestra played very well, especially the BBC Symphony Orchestra. He also sometimes recognized that an orchestra he was conducting WAS playing its best, even if it wasn't up to his standards, and he would tolerate their playing without getting angry. Sallyrob 18:02, 23 December 2006 (UTC)

If he was so rude, there were very few musicians who said so. Most orchestral musicians loved him - whether it was NBC Orchestra, Philadelphia Orchestra, BBC Orchestra, NY Philharmonic, Lucerne Orchestra, etc. Kosboot 02:06, 7 January 2007 (UTC)

Toscanini was demanding, no doubt, and he certainly had a temper. But most musicians understood it was a result of his artistic integrity. One NBC player commented that when "all hell would break loose" it was "not without justification". THD3 02:26, 7 January 2007 (UTC)

 * Interesting. I have a clear recollection of a BBC program about great conductors and their foibles, where the claimed words came from ("they played like farmyard animals, and accusing their mothers of gross sexual perversions").  But I can't find anything about this on the web.  A bit about his temper, though: "Toscanini's behavior would nowadays send him to jail or to Anger Management classes", so it seems he did step over the line, badly.  JackofOz 05:25, 9 February 2007 (UTC)

It is very easy to focus on Toscanini's notorious temper and say that he behaved horribly at times, particularly when he insulted the musicians. However, the evidence is strong that Toscanini was no different than many other conductors of his generation; some of the most notorious but still gifted conductors included George Szell and Fritz Reiner, both friends and admirers of Toscanini, who often resorted to biting sarcasm when they were not yelling at their musicians. Perhaps today conductors are less likely to behave this way because it is "politically incorrect" or otherwise inappropriate. A good example of a very fine contemporary conductor whose temper got him into trouble with management, after the musicians complained, is Charles Dutoit, the former music director of the Montreal Symphony Orchestra. Sallyrob 17:02, 20 March 2007 (UTC)

His behavior is probably considered more outrageous today than it was sixty or more years ago. There were no "pyshological categories" such as "verbal abuse" and "physical abuse" back then, and political correctness did not exist. Verbal abuse was probably considered just one more way to get perfect results out of somebody, and it wouldn't have occurred to anyone to sue a person over it. AlbertSM 18:48, 31 May 2007 (UTC)

Donald Vroon, the editor of American Record Guide described him as follows: "I have always heard in the music what I am finding out from the books: the man was a tyrant who beat his musicians with insults and temper tantrums. He never smiled when conducting (not even in rehearsals!) never thanked or complimented his men, never made them feel they were valuable partners or had even done a creditable job. He would fail to give them cues, then blame them with curses and insults for needing them! Besides being a compulsive perfectionist, he was childish, petulant, inconsiderate, monomaniacal, and monstrously self-centered. His technique was fear, and I always heard that fear in his music...Reading about him - especially books by people who worked with him - strongly confirmed what I had felt in my bones" From Vroon's foreword to The mystery of Leopold Stokowski, By William Ander Smith, Fairleigh Dickinson Univ Press, 1990, ISBN 0838633625 D7240 (talk) 22:08, 25 March 2009 (UTC)

Stereophonic recordings
Music and Arts recently released the stereo recording of Toscanini's penultimate concert (Rossini's Barber of Seville overture and Tchaikovsky's Pathetique symphony). The recording of his last concert, also in stereo has been available for years. It is my understanding that several versions of this last concert exist. The discoordination in the orchestra resulting from Toscanini's memory lapse during the Tannhauser Baccanale is very noticeable in the unedited version. THD3 23:31, 6 January 2007 (UTC) The stereo sound in the Toscanini recordings is not as spacious as the "Living Stereo" sessions which RCA Victor began to make that same year; nevertheless, it still has greater fidelity than his monaural high fidelity recordings in the 1950s. Sallyrob 19:49, 8 January 2007 (UTC)

For a Wikipedia article, this seems like an extremely minor point, unless the article expands to have a section devoted to details about Toscanini's recordings. But it does show a bias that many people today have -- that they think of Toscanini mostly as a "recording artist" rather than a musician. In other words, the focus is on his recordings, not on his musical abilities. kosboot 21:39, 9 January 2007 (UTC)

In liner notes from one of Toscanini's album, RCA Victor once lamented the fact that Toscanini had made NO stereophonic recordings. This came when RCA began releasing some of Toscanini's recordings in electronic stereo, a process which artificially tried to create the effect of stereo. Actually, Toscanini had not made any commercial recordings in stereo; it was just incidental that his last two broadcast concerts, as well as the rehearsals, were taped both in mono and stereo. As it was, he refused to approve the release of these performances. For those of us who never saw Toscanini in person, the recordings, as well as the movie Hymn of the Nation and the videos of his 10 televised concerts, are the only way we can hear and see what Toscanini was like as a conductor. In recent years, greater effort has been made to get the best possible results from the aging tapes and transcriptions which have survived. In some of the Amazon reviews, younger listeners have complained about the sound of his recordings. However, the later recordings probably have sound that is typical of the early 1950s and, thanks to digital remastering, we are hearing more than most people heard on the original LPs released by RCA Victor. Today marks the 50th anniversary of Toscanini's death and it is appropriate to remember Toscanini's legacy, which can only be appreciated by most of us through the surviving recordings. I am fortunate to have met a few people who knew or saw Toscanini and they all agreed that he was the greatest of all the conductors who lived in the first half of the twentieth century. Sallyrob 17:48, 16 January 2007 (UTC)

This page is being spammed and changed, perhaps it should be protectedNordicSkier 02:39, 9 February 2007 (UTC)

"In his will, he left his bâton to his protégée Herva Nelli." This may be true but Herva Nelli was a soprano who sang often with him as, for example, in his recording of "Aida". She was also his mistress.

His "protégée" was actually the conductor Guido Cantelli and I wonder if Toscanini, more logically, would have left his baton to him. I'm aware that Cantelli died in a plane crash less than two months before Toscanini's death but T. was never told about this for fear it would have killed him.

I would either eliminate this sentence or check it for the facts.Ed 17:26, 11 November 2007 (UTC)

Fair use rationale for Image:ToscaniniBeethoven.jpg
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All of the Toscanini photos in this article are taken from RCA Victor albums. These photos have been widely circulated and it may be simply necessary to give proper credit to the photographer, whose work has been used from the LPs in the 1950s throught the CDs released in 1990. 72.37.171.52 (talk) 19:40, 7 December 2007 (UTC)

Fair use rationale for Image:ToscaniniConducting.jpg
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Final years section
It says that his last two last two NBC broadcast concerts were recorded in stereophonic sound, but the last time he conducted was in 1954 and he died before stereo was widely used. It is possible that he recorded in stereo, but highly unlikely. NewYork1956 (talk) 08:51, 9 December 2007 (UTC)
 * I saw the discussion above just now. NewYork1956 (talk) 08:56, 9 December 2007 (UTC)

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Greatest Recordings
Who says these are his greatest recordings? Seems kind of POV. Maybe cite, or else change to "Selected Recordings". --Thegooseking (talk) 23:28, 1 July 2008 (UTC)

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It meets these criteria. Markhh (talk) 23:54, 8 January 2009 (UTC)

Toscanini and the original NBC Peacock?
Can anyone definitively say if Toscanini conducted the NBC Orchestra for the original NBC Peacock? It was originally aired January 1st, 1954 for the Tournament of Roses Parade. Video: http://www.youtube.com/watch?v=aF0vt5pUQ1w History: http://www.big13.net/NBC%20Peacock/NBCPeacock1.htm --message posted 15:54, March 7, 2011 by Discpad (talk)

 * According to your source, the first peacock was introduced in 1956, after Toscanini had retired. The 1954 logo was a color version of the NBC 3-note Chime. Regardless, it is very unlikely that Toscanini ever conducted any kind of commercial intros or logo soundtracks for NBC. They had plenty of staff musicians who would have done that. Toscanini would never have recorded anything except his concerts (rehearsals and broadcasts) and the NBCSO RCA Red Seal label recordings. Cheers, Markhh (talk) 23:43, 8 March 2011 (UTC)

Women pianists: Dorfmann and Hess
Is it true that the only 2 women pianists Toscanini ever conducted for were Ania Dorfmann and Dame Myra Hess?

Many sources I found when researching Dorfmann say she was the only one who played under him at all, ever (they played all 5 Beethoven concertos, the Triple Concerto and the Choral Fantasy, and made a studio recording of the 1st Piano Concerto), but I tracked down a single concert with Myra Hess in 1946. Even so, it seems remarkably light on.

Did he have a problem with women pianists, or was it just the prevailing attitudes? --  Jack of Oz   [Talk]  11:34, 28 January 2013 (UTC)
 * There were not that many women pianists in the United States at that time. -- kosboot (talk) 14:18, 6 October 2014 (UTC)

bias
I'm bothered by the excessively heavy slant of the article towards recordings. So much of this article seems to be about his recorded legacy (read: fetishism) and not about the person or his conducting. -- kosboot (talk) 14:22, 6 October 2014 (UTC)

Toscanini and Flagstad
I'm moving the comments on Toscanini, Flagstad, Melchior, and Traubel to the the talk page, where it belongs. I'm pasting it in verbatim:

(This preceding statement is not accurate. Flagstad was urged to remain in America for the duration of WWII but felt compelled to be re-united with her husband, allegedly a Nazi collaborator. It was only after war that Flagstad was "blacklisted" by the (mainly Jewish) board of the Metropolitan Opera and especially by columnist Walter Winchell. In fact, Flagstad had absolutely no pro-German and more especially pro-Nazi leanings and repeatedly refused to sing for the Germans - in itself a heroic act - during the occupation of Norway. Helen Traubel "filled-in" for Flagstad during the latter's long absence from the U.S. This is the reason why Toscanini became associated with her, not because of any supposedly pro-German sentiments on Flagstad's part which, as stated above, only surfaced after the war.)
 * "Mainly Jewish" board of the Met in the late 1940s? I find that a atrocious comment - 19:20, 6 July 2015 (UTC)

Balance
I've no doubt many will disagree, but to me, this article seems to be more about Toscanini's late recordings than about Toscanini himself or his historical context. Perhaps the recordings section could be forked eventually, and more information about his life be provided. - kosboot (talk) 19:33, 6 July 2015 (UTC)
 * Agreed. article could be called AT and the NBC Symphony. His long tenure at the NY Philharmonic is not even mentioned outside of the lead para, and his years at the Met Opera are given one sentence. Markhh (talk) 18:29, 11 October 2015 (UTC)

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NBC Symphony not created for Toscanini
I will leave it to someone else to correct the record but modern research shows that the NBC Symphony did not originate with Toscanini and was not "created" for him

https://artmusiclounge.wordpress.com/2017/04/05/why-did-arturo-toscanini-come-to-nbc/

"...Possibly the most amazing part of this very long dissertation is the revelation that there was an NBC Symphony well before Toscanini came to the network, that this NBC Symphony participated (even during Toscanini’s tenure) on other arts programs such as the Magic Key broadcasts as well as The Voice of Firestone and other programs featuring opera and concert singers, in addition to Walter Damrosch’s musical education shows and a ton of other programming."

--23.119.204.117 (talk) 19:26, 25 January 2018 (UTC)
 * All major radio stations had resident orchestras who would play music or filler on broadcasts. This includes NBC.  It's been well-documented that the players of the NBC Symphony Orchestra were specifically auditioned for the orchestra Toscanini was to conduct.  One would need more verification than a blog post - see WP:SOURCES. -- kosboot (talk) 22:41, 25 January 2018 (UTC)

When did he leave Italy? 1931 or 1939?
This article says he only left Italy at the outbreak of WWII

However your article on la Giovinezza says

" Finally, Toscanini refused to conduct "Giovinezza" at a May 1931 concert in Bologna, was subsequently roughed up by a group of blackshirts, and thereafter left Italy until after World War II.[1][31]"

Which is it?

Greatest Conductors of the 20th Century
It's common in the English speaking world to adopt a more measured tone toward Southern Europeans when it comes to their achievements, in comparison to their Northern counterparts. At one point the introductory passage asserted that Toscanini was one of the greatest conductors of the 20th century; now it asserts something more toned down i.e. "most acclaimed." Just out of curiosity, I went to von Karajan's page, and lo it says "generally regarded as one of the greatest conductors of the 20th century." As it should say in Toscanini's opening paragraph. If anything, Toscanini was greater than von Karajan, by most measures. This is not an isolated instance either. The same used to be asserted of Michelangelo, and was edited to a toned down version. I go on Rembrandt's page, and lo, it asserts "one of the greatest artists ...history... blah blah blah". Rembrandt is a dwarf compared to Michelangelo, who is a Titan in the literal Greek sense of the word; an unparalleled artistic genius. These biases are probably unconscious by the majority Northern European descent folks who write these articles, but you may like someone to point out that they're there.

It's just bunch of Northerners hyping up their own kind. One can let the kin-selective imperative pass here and there, but not to such a systematic degree. Put those phrases back to these titans of Western culture. 67.71.31.191 (talk) 03:24, 12 September 2022 (UTC)

Toscanini conducted in the front lines of World War I
In August 1917, Toscanini conducted a military band atop Monte Santo, recently captured from the Austro-Hungarians by Italian troops. For this he was decorated a few days later by General Capello with the Silver Medal for Valour. Seems worth adding a couple sentences about this to the article. Potential sources:

 * http://archives.nypl.org/uploads/collection/pdf_finding_aid/JPB_90-1_Series_L-R.pdf
 * https://books.google.com/books?id=L-5EQ-CbHcMC&pg=PA93&lpg=PA93
 * http://www.triestemusei.com/2014/11/toscanini-sul-monte-santo-nel-1917.html
 * https://www.ilgazzettino.it/nordest/udine/mostra_gorizia_isonzo_piave_1917_2017_dopo_caporetto_guerra_continua-2385359.html

--Worldbruce (talk) 16:22, 25 September 2022 (UTC)

section personal life / Wanda
The lemma says Then, that same year (1906), Carla gave birth to their second daughter, Wanda.

The article Wanda Toscanini Horowitz says

(December 7, 1907, Milan, Italy, – August 21, 1998).

Español, Français, Português ... 1907 (which does not mean much - maybe they have be translated from here). LDV-GS (talk) 16:57, 3 April 2023 (UTC)

Photo of Toscanini
As per my previous edit, there’s no way that that photo shows Toscanini at the advanced age of 83. He’s clearly much younger in it. I appreciate that the photo is from a 1950 concert flyer, but that hardly means the photo is from the same time. Best option would surely be to remove the date as it lacks credibility. Paulito (talk) 01:51, 2 January 2024 (UTC)

 * My guess is that the photo dates closer to 1938, but unfortunately I cannot impart information based on my intuition. All we can go on is with the information provided by the source in my collection, which is 1950. There is no further clarification or detail about the image. —CurryTime7-24 (talk) 02:21, 2 January 2024 (UTC)
 * My guess would be early 1940s. When he started with NBC (1937) he still had traces of hair color.  This pic looks closer to the time of Hymn of the Nations in 1943.  But these are all suppositions which of course can't be used on WP.  Could one say "circa 1940s" ? - kosboot (talk) 13:23, 2 January 2024 (UTC)
 * Just for clarity's sake, I'm not disputing any edit to change the dating of the photo. My only concern was to remain faithful to the document it was scanned from. Because it was evident that the photo wasn't taken in 1950, I indicated "circa" as this permitted a bit of wiggle room without straying far from the source. However, if a bolder edit is necessary, I'll be A-OK with that too. Thanks! —CurryTime7-24 (talk) 16:57, 2 January 2024 (UTC)

When did Toscanini conduct opera for the last time? (on stage / in concert)
A few years ago when I was in Milan at the museum of La Scala there was an exhibition dedicated to Toscanini, and I remember reading that "Die Zauberflöte" (The Magic Flute) at the Salzburg Festival 1937 was the last time Toscanini conducted opera.

I was surprised that Salzburg 1937 should have been the end of his career as a conductor of opera. Is this really correct? I think Toscanini did conduct opera later, but really only in concert? Excerpts and, I think, complete operas, too.

Is there any expert on Toscanini who could add these informations:

When did Toscanini conduct opera for the last time on stage? When in concert?

Kind regards Roland Scheicher (talk) 08:26, 13 May 2024 (UTC)

title: Talk:Arturo Toscanini


text:
Hobo spider

The hobo spider (Eratigena agrestis, formerly Tegenaria agrestis) is a member of the family of spiders known colloquially as funnel web spiders, but not to be confused with the Australian funnel-web spider. Individuals construct a funnel-shaped structure of silk sheeting and lie in wait at the small end of the funnel for prey insects to blunder onto their webs. Hobo spiders sometimes build their webs in or around human habitations. Despite past claims, there is no clear evidence that the hobo spider has venom that is dangerous to humans.

Taxonomy
The species was first described in 1802 by naturalist Charles Athanase Walckenaer as Aranea agrestis, in reference to its western European habitat in fields, woods, and under rocks. In 1841, Walckenaer transferred the species to the genus Tegenaria. In 2013, Tegenaria was split up, and the hobo spider was transferred to a new genus Eratigena, an anagram of Tegenaria.

Identification
Spiders, including the hobo spider, vary considerably in appearance, and identification can be difficult. The hobo spider is 7–14 mm in body length, and brownish in color. Identification relies on an examination of the spider's anatomy. Like many species of spider the positive identification of Eratigena agrestis requires microscopic examination of the epigynum and palpal bulb (the female and male sex organs respectively) and is best done by an arachnologist. However, the following characteristics identify hobo spiders among other species with a similar general appearance:

 * Hobo spiders lack the colored bands found on many spiders of the family Agelenidae where the leg joints meet.
 * The abdomen has chevron (V-shaped) patterns (possibly many of them) down the middle, with the chevrons pointing towards the head.
 * Hobo spiders have a light stripe running down the middle of the sternum. If the spider instead has three or four pairs of light spots on the lateral portions of the sternum, then it is one of the other two related Eratigena species. However absence of spots is not conclusive proof that the spider is a hobo spider, since the spots on other Eratigena species may be extremely faint and not readily visible.
 * Hobo spiders do not have two distinct longitudinal dark stripes on the top side of the cephalothorax, instead showing indistinct or diffused patterns. Washington spiders with distinct dark stripes include spiders from the genera Agelenopsis and Hololena and possibly some wolf spiders.

Distribution and habitat
Eratigena agrestis is distributed from Europe to Central Asia, and is also found in western North America, in the Pacific Northwest and Great Basin. It is recorded in the checklist of Danish spider species, and is present on the small island of Peberholm, probably having been carried there by foreign trains.

It is a resident of fields, avoiding human habitations occupied by major competitors, particularly the giant house spider (Eratigena atrica), which is a common resident of houses and other man-made structures in Europe. As a result, human contacts with the hobo spider are uncommon in Europe. Hobo spiders build a horizontal, trampoline-like web near brick walls or wood piles where the spider has shelter and awaits prey.

The hobo spider lays its eggs in September and they hatch during late spring. After the male hobo spider mates it dies.

Bite effects
Although the toxicity and aggression of the hobo spider have long been debated, there is little evidence that the hobo spider is a dangerously venomous species. The CDC reported case studies in the 1990s claiming that the hobo spider bite caused isolated cases of necrosis in people, but as of 2017, the CDC no longer lists the hobo spider among venomous species. In Canada, there is no evidence that hobo spider bites cause skin necrosis. Some bites reportedly from the closely related desert grass spider, Agelenopsis aperta, may have been inaccurately reported and may have actually been from the hobo spider.

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title: Hobo spider


text:
Charles Holden

Charles Henry Holden (12 May 1875 – 1 May 1960) was an English architect best known for designing many London Underground stations during the 1920s and 1930s, the Underground Electric Railways Company of London's headquarters at 55 Broadway, for the University of London's Senate House and for Bristol Central Library. He created many war cemeteries in Belgium and northern France for the Imperial War Graves Commission.

After working and training in Bolton and Manchester, Holden moved to London. His early buildings were influenced by the Arts and Crafts Movement, but for most of his career he championed an unadorned style based on simplified forms and massing that was free of what he considered to be unnecessary decorative detailing. Holden believed strongly that architectural designs should be dictated by buildings' intended functions. After the First World War, he increasingly simplified his style and his designs became pared-down and modernist, influenced by European architecture. He was a member of the Design and Industries Association and the Art Workers' Guild. He produced complete designs for his buildings including the interior design and architectural fittings.

Although not without its critics, his architecture is widely appreciated. He was awarded the Royal Institute of British Architects' (RIBA's) Royal Gold Medal for architecture in 1936 and was appointed a Royal Designer for Industry in 1943. His station designs for London Underground became the corporation's standard design influencing designs by all architects working for the organisation in the 1930s. Many of his buildings have been granted listed building status, protecting them from unapproved alteration. He twice declined the offer of a knighthood.

Early life
Charles Henry Holden was born on 12 May 1875 at Great Lever, Bolton, the fifth and youngest child of Joseph Holden (1842–1918), a draper and milliner, and Ellen (née Broughton, 1841–1890) Holden. Holden's childhood was marred by his father's bankruptcy in 1884 and his mother's death when he was fifteen years old. Following the loss of his father's business, the family moved 15 mi to St Helens, where his father returned to his earlier trade and worked as an iron turner and fitter and where he attended a number of schools.

He briefly had jobs as a laboratory assistant and a railway clerk in St Helens. During this period he attended draughting classes at the YMCA and considered a career as an engineer in Sir Douglas Fox's practice. In 1891 he began working for his brother-in-law, David Frederick Green, a land surveyor and architect in Bolton. In April 1892 he was articled to Manchester architect Everard W. Leeson and, while training with him, also studied at the Manchester School of Art (1893–94) and Manchester Technical School (1894–96).

While working and studying in Manchester, Holden formed friendships with artist Muirhead Bone and his future brother-in-law Francis Dodd. About this time Holden was introduced to the writings of Walt Whitman and became friends with James William Wallace and a number of the members of Bolton's Whitman society known as the "Eagle Street College". Whitman's writings and those of Henry David Thoreau, Ralph Waldo Emerson and Edward Carpenter were major influences on Holden's life. He incorporated many of their philosophies and principles into his style of living and method of working.

In 1895 and 1896 Holden submitted designs to Building News Designing Club competitions using the pseudonym "The Owl". Although the number of competing submissions made was not always large, from nine competition entries, Holden won five first places, three second places and one third place. In 1897, he entered the competition for the RIBA's prestigious Soane Medallion for student architects. Of fourteen entries, Holden's submission for the competition's subject, a "Provincial Market Hall", came third. Holden described the design as being inspired by the work of John Belcher, Edgar Wood and Arthur Beresford Pite.

Family life
Around 1898 Holden began living with Margaret Steadman (née Macdonald, 1865–1954), a nurse and midwife. They were introduced by Holden's older sister, Alice, and became friends through their common interest in Whitman. Steadman had separated from her husband James Steadman, a university tutor, because of his alcoholism and abuse. Steadman and her husband were never divorced and, though she and Holden lived as a married couple and Holden referred to her as his wife, the relationship was never formalised, even after James Steadman's death in 1930.

The Holdens lived in suburban Norbiton, Surrey (now Royal Borough of Kingston upon Thames) until 1902, when they moved to Codicote in Hertfordshire. Around 1906, they moved to Harmer Green near Welwyn, where Holden designed a house for them. The house was plainly furnished and the couple lived a simple life, described by Janet Ashbee in 1906 as "bananas and brown bread on the table; no hot water; plain living and high thinking and strenuous activity for the betterment of the World". The couple had no children together, though Margaret had a son, Allan, from her marriage. Charles and Margaret Holden lived at Harmer Green for the rest of their lives.

Early career
Holden left Leeson's practice in 1896 and worked for Jonathan Simpson in Bolton in 1896 and 1897, working on house designs there and at Port Sunlight, before moving to London to work for Arts and Crafts designer Charles Robert Ashbee. His time with Ashbee was short and, in October 1899, he became chief assistant in H. Percy Adams' practice, where he remained for the rest of his career. A number of Holden's early designs were for hospitals, which Adams' practice specialised in. At this early stage in his career, he produced designs in a variety of architectural styles as circumstances required, reflecting the influences of a number of architects. Holden soon took charge of most of the practice's design work. From 1900 to 1903, Holden studied architecture in the evenings at the Royal Academy School. He also continued to produce designs in his spare time for his brother-in-law and Jonathan Simpson.

His red brick arts and craft façades for the Belgrave Hospital for Children in Kennington, south London (1900–03), were influenced by Philip Webb and Henry Wilson and feature steeply pitched roofs, corner towers and stone window surrounds. The building, now converted to apartments, is Grade II* listed.

In 1902, Holden won the architectural competition to design the Bristol Central Library. His Tudor Revival façades in bath stone incorporate modernist elements complementing the adjacent Abbey Gate of Bristol Cathedral. The front façade features oriel windows and sculpture groups with Chaucer, Bede and Alfred the Great by Charles Pibworth. Internally, the design is classical, with the furniture designed by Holden and the stone carving mostly by William Aumonier. It was described by architectural historian Sir Nikolaus Pevsner as "free Neo-Tudor" and "extremely pretty" and by Andor Gomme as "one of the great masterpieces of the early Modern Movement". It has been compared with Charles Rennie Mackintosh's Glasgow School of Art and it is sometimes suggested that Mackintosh's designs for the later part of the school were inspired by Holden's, although Pevsner noted that Mackintosh's designs were in circulation earlier. The building is Grade I listed.

At Midhurst, West Sussex, Holden designed Tudor-style façades for the Sir Ernest Cassel-funded King Edward VII Sanatorium (1903–06). The building features long wings of south-facing rooms to maximise patients' exposure to sunlight and fresh air. The design is in keeping with the building's rural setting, with façades in the local tile-hung style. Pevsner called this "certainly one of the best buildings of its date in the country" and "a model of how to build very large institutions". He designed the sanitorium's V-shaped open-air chapel so that it could be used for both outdoor and indoor worship. Both buildings are Grade II* listed. Other hospitals he designed in this period include the British Seamen's Hospital in Istanbul (1903–04) and the Women's Hospital in Soho, central London (1908).

For The Law Society he designed (1902–04) a simplified neoclassical extension to the existing Lewis Vulliamy-designed building in Chancery Lane with external sculptures by Charles Pibworth and a panelled arts and crafts interior with carving by William Aumonier and friezes by Conrad Dressler. Pevsner considered the façades to be Mannerist: "The fashionable term Mannerism can here be used legitimately; for Holden indeed froze up and invalidated current classical motifs, which is what Mannerist architects did in the Cinquecento."

In 1906, Holden won the architectural competition to design a new headquarters for the British Medical Association on the corner of The Strand and Agar Street (now Zimbabwe House). The six-storey L-shaped building replaced a collection of buildings on the site already occupied by the Association and provided it with accommodation for a council chamber, library and offices on the upper floors above space for shops on the ground floor and in the basement. Described by Powers as "classicism reduced to geometric shapes", the first three storeys are clad in grey Cornish granite with Portland stone above. Located at second floor level was a controversial series of 7 ft tall sculptures representing the development of science and the ages of man by Jacob Epstein. The building is Grade II* listed. Alastair Service considered it "perhaps his best London building".

In 1909, Holden won the design competition for an extension to the Bristol Royal Infirmary. Subsequently, dedicated to the memory of King Edward VII (died 1910), the extension (1911–12) was built on steeply sloping ground for which Holden designed a linked pair of Portland stone-faced blocks around a courtyard. The plain, abstract blocks have towers on the corners and two-storey loggias, and are a further simplification of Holden's style. The practice became Adams & Holden in 1907 when Holden became a partner and Adams, Holden & Pearson when Lionel Pearson became a partner in 1913. In 1913, Holden was awarded the RIBA's Godwin medal and £65 to study architecture abroad. He travelled to America in April 1913 and studied the organisation of household and social science departments at American universities in preparation for his design of the Wren-influenced Kings College for Women, Kensington. Other buildings by Holden before the First World War include modernist office buildings in Holborn and Oxford Street, an extension in red brick of Alfred Waterhouse's Shire Hall in Bedford, and Arts and Crafts Sutton Valence School, Kent.

Holden also worked with Epstein on the tomb of Oscar Wilde at Père Lachaise cemetery in Paris (1911–12). In 1915, he was a founding member of the Design and Industries Association and he was a member of the Art Workers' Guild from 1917. Unsuccessful competition entries for which he produced designs include Strathclyde Royal Infirmary (1901), Manchester Royal Infirmary (1904), County Hall (1907), the National Library of Wales (1909), Coventry Town Hall (1911) and the Board of Trade building (1915).

War cemeteries and memorials
The Holdens shared a strong sense of personal duty and service. In the First World War, Margaret Holden joined the "Friends' Emergency Committee for the Assistance of Germans, Austrians and Hungarians in distress" which helped refugees of those countries stranded in London by the conflict. Charles Holden served with the Red Cross's London Ambulance Column as a stretcher-bearer transferring wounded troops from London's stations to its hospitals. Holden also served on the fire watch at St Paul's Cathedral between 1915 and 1917.

On 3 October 1917, Holden was appointed a temporary lieutenant with the army's Directorate of Graves Registration and Enquiries. He travelled to the French battlefields for the first time later that month and began planning new cemeteries and expanding existing ones. Holden described his experience:

"The country is one vast wilderness, blasted out of recognition where once villages & orchards & fertile land, now tossed about & churned in hopeless disorder with never a landmark as far as the eye can reach & dotted about in the scrub and untidiness of it all are to be seen here & there singly & in groups little white crosses marking the place where men have fallen and been buried."

In September 1918, Holden transferred to the Imperial War Graves Commission (now the Commonwealth War Graves Commission) with the new rank of major. From 1918 until 1928 he worked on 69 Commission cemeteries. Initially, Holden ran the drawing office and worked as the senior design architect under the three principal architects in France and Belgium (Edwin Lutyens, Reginald Blomfield and Herbert Baker). Holden worked on the experimental war cemetery at Louvencourt and, according to Geurst and Karol, probably on the one at Forceville that was selected as the prototype for all that followed.

In 1920, he was promoted to be the fourth principal architect. His work for the Commission included memorials to the New Zealand missing dead at Messines Ridge British Cemetery, and the Buttes New British Cemetery at Zonnebeke. His designs were stripped of ornament, often using simply detailed masses of Portland stone in the construction of the shelters and other architectural elements. Philip Longworth's history of the Commission described Holden's pavilions at Wimereux Communal Cemetery as "almost cruelly severe".

In 1922, Holden designed the War Memorial Gateway for Clifton College, Bristol, using a combination of limestone and gritstone to match the Gothic style of the school's buildings. For the British War Memorials Committee, he produced a design for a Hall of Remembrance (1918) that would have been in the form of an art gallery, and for New College, Oxford, he created a design for a tiny memorial chapel (1919). Neither was constructed.

London Transport
Through his involvement with the Design and Industries Association, Holden met Frank Pick, general manager of the Underground Electric Railways Company of London (UERL). Holden at the time had no experience in designing for transport, but this changed through his collaboration with Pick. In 1923, Pick commissioned Holden to design a façade for a side entrance at Westminster Underground station. This was followed in 1924 with an appointment to design the UERL's pavilion for the British Empire Exhibition. Also in 1924, Pick commissioned Holden to design seven new stations in south London for the extension of the City and South London Railway (now part of the Northern line) from Clapham Common to Morden. The designs replaced a set by the UERL's own architect, Stanley Heaps, which Pick had found unsatisfactory. The designs reflect the simple modernist style he was using in France for the war cemeteries; double-height ticket halls are clad in plain Portland stone framing a glazed screen, each adapted to suit the street corner sites of most of the stations. The screens feature the Underground roundel made up in coloured glass panels and are divided by stone columns surmounted by capitals formed as a three-dimensional version of the roundel. Holden also advised Heaps on new façades for a number of the existing stations on the line and produced the design for a new entrance at Bond Street station on the Central London Railway.

During the later 1920s, Holden designed a series of replacement buildings and new façades for station improvements around the UERL's network. Many of these featured Portland stone cladding and variations of the glazed screens developed for the Morden extension. At Piccadilly Circus, one of the busiest stations on the system, Holden designed (1925–28) a spacious travertine-lined circulating concourse and ticket hall below the roadway of the junction from which banks of escalators gave access to the platforms below. In 1926, Holden began the design of a new headquarters for the UERL at 55 Broadway above St James's Park station. Above the first floor, the steel-framed building was constructed to a cruciform plan and rises in a series of receding stages to a central clock tower 175 ft tall. The arrangement maximises daylight to the building's interior without the use of light wells. Like his stations of the period and his pre-First World War commercial buildings, the block is austerely clad in Portland stone. Holden again detailed the façades with commissioned sculptures; Day and Night, two compositions by Epstein, are at first floor level, and a series of eight bas-reliefs at the seventh floor represent the four winds (two for each of the cardinal directions, on each side of the projecting wings). The building is Grade I listed.

In 1930, Holden and Pick made a tour of Germany, the Netherlands, Denmark and Sweden to see the latest developments in modern architecture. The UERL was planning extensions of the Piccadilly line to the west, north-west and north of London, and a new type of station was wanted. Adapting the architectural styles he had seen on the tour, Holden created functional designs composed of simple forms: cylinders, curves and rectangles, built in plain brick, concrete and glass. The extensions to the west and north-west were over existing routes operated by the District line and required a number of stations to be rebuilt to accommodate additional tracks or to replace original, basic buildings. Sudbury Town, the first station to be rebuilt in 1931, formed a template for many of the other new stations that followed: a tall rectangular brick box with a concrete flat roof and panels of vertical glazing to allow light into the interior. The Grade II* listed building was described by Pevsner as "an outstanding example of how satisfying such unpretentious buildings can be, purely through the use of careful details and good proportions."

For Arnos Grove station, one of eight new stations on the northern extension of the line, Holden modified the rectangular box into a circular drum, a design inspired by Gunnar Asplund's Stockholm Public Library. Also notable on the northern extension is Southgate station; here Holden designed a single-storey circular building with a canopied flat roof. Above this, the central section of roof rises up on a continuous horizontal band of clerestory windows, supported internally by a single central column. The building is topped by an illuminated feature capped with a bronze ball. Other stations show the influence of Willem Marinus Dudok's work in Hilversum, Netherlands. In order to handle such a large volume of work, Holden delegated significant design responsibility to his assistants, such as Charles Hutton, who took the lead on Arnos Grove Station. For some other Piccadilly line stations the design was handled in-house by Stanley Heaps or by other architectural practices. All followed the modern brick, glass and concrete house style defined by Holden, but some lacked Holden's originality and attention to detail; Pick dubbed these "Holdenesque". The UERL became part of London Transport in 1933, but the focus remained on high quality design. Under Pick, Holden's attention to detail and idea of integrated design extended to all parts of London's transport network, from designing bus and tram shelters to a new type of six-wheeled omnibus. In the late 1930s, Holden designed replacement stations at Highgate, East Finchley and Finchley Central and new stations at Elstree South and Bushey Heath for the Northern line's Northern Heights plan. Holden's designs incorporated sculpture relevant to the local history of a number of stations: Dick Whittington for Highgate, a Roman centurion at Elstree South and an archer for East Finchley. Much of the project was postponed shortly after the outbreak of the Second World War and was later cancelled. Only East Finchley station was completed in full with Highgate in part; the other plans were scrapped. East Finchley station is located on an embankment and the platforms are accessed from below. Making use of the station's air-rights, Holden provided staff office space spanning above the tracks accessed through semi-circular glazed stairways from the platforms. Eric Aumonier provided the statue The Archer, a prominent feature of the station.

Holden's last designs for London Transport were three new stations for the Central line extension in north-east London. These were designed in the 1930s, but were also delayed by the war and were not completed until 1947. Post-war austerity measures reduced the quality of the materials used compared with the 1930s stations and the building at Wanstead was adapted from a temporary structure constructed during the line's wartime use as an underground factory. Gants Hill is accessed through subways and has no station building, but is notable for the design of its platform level concourse, which features a barrel vaulted ceiling inspired by stations on the Moscow Metro.

University of London
After the First World War, the University of London needed a replacement for its overcrowded and scattered accommodation in Kensington. A site was acquired in Bloomsbury near the British Museum and Holden was commissioned in 1931 to design the new buildings, partly due to the success of 55 Broadway. His original plan was for a single structure covering the whole site, stretching almost 1200 ft from Montague Place to Torrington Street. It comprised a central spine linked by a series of wings to the perimeter façade and enclosing a series of courtyards. The scheme was to be topped by two towers: a smaller one to the north, and a 19-storey, 210 ft tall Senate House.

Construction began in 1932, but due to a shortage of funds, the design was gradually revised and cut back, and only the Senate House and Library were completed in 1937, with the buildings for the Institute of Education and the School of Oriental Studies completed later. The design featured façades of load-bearing brickwork faced with Portland stone. Holden's intention to adorn the building with sculpture was also not fulfilled. As he had with his earlier buildings, Holden also prepared the designs for the individual elements of the interior design. From its completion until 1957, it was the tallest office building in London.

Senate House divided opinion. Pevsner described its style as "strangely semi-traditional, undecided modernism", and summarised: "The design certainly does not possess the vigour and directness of Charles Holden's smaller Underground stations." Others have described it as Stalinist, or as totalitarian due to its great scale. Functionalist architect Erich Mendelsohn wrote to Holden in 1938 that he was "very much taken and ... convinced that there is no finer building in London." Historian Arnold Whittick described the building as a "static massive pyramid ... obviously designed to last for a thousand years", but thought "the interior is more pleasing than the exterior. There is essentially the atmosphere of dignity, serenity and repose that one associates with the architecture of ancient Greece." The onset of the Second World War prevented any further progress on the full scheme, although Adams, Holden & Pearson did design further buildings for the university in the vicinity.

Town planning
With virtually no new work being commissioned, Holden spent the war years planning for the reconstruction that would be required once it was over. Holden was a member of the RIBA's twelve-man committee which formulated the institute's policy for post-war reconstruction. Holden's town planning ideas involved the relocation of industry out of towns and cities to new industrial centres in the style of Port Sunlight or Bournville where workers could live close to their workplace. The new industrial centres would be linked to the existing towns with new fast roads and reconstruction in town centres would be planned to provide more open space around the administrative centres.

In 1944–45, Holden produced plans for the reconstruction of Canterbury, Kent, with the City Architect Herbert Millson Enderby. Canterbury had been badly damaged by Luftwaffe bombing including the Baedeker raids in May and June 1942. Holden and Enderby aimed to preserve much of the character of the city, but planned for the compulsory purchase of 75 acre of the town centre for large scale reconstruction including a new civic way from the cathedral to a new town hall. Outside the city, they planned bypasses and a ring road at a two-mile (3.2-kilometre) radius of the centre. Although approved by the city council, the plan was widely opposed by residents and freeholders and the "Canterbury Citizens Defence Association" issued an alternative plan before taking control of the council at local elections in November 1945. The change in administration ended the proposals, although a new plan prepared in 1947 without Holden's or Enderby's involvement retained some of their ideas including the ring road.

The City of London's first reconstruction plan was written by the City Engineer F. J. Forty and published in 1944. It had met with considerable criticism and William Morrison, Minister for Town and Country Planning, asked the City of London Corporation to prepare a new plan. Holden was approached, and he accepted provided that William Holford also be appointed. Holden's and Holford's City of London Plan (1946–1947) recommended a relaxation of the strict height limits imposed in the capital and the first use in London of plot ratio calculations in the planning process so that buildings could be designed with floor space of up to five times the ground area. For the bomb-devastated area around St Paul's Cathedral, Holden proposed a new precinct around which buildings would be positioned to provide clear views of the cathedral and from which new ceremonial routes would radiate. The heights of buildings would be strictly defined to protect these views. The plan was accepted by the Minister for Town and Country Planning in 1948 and was incorporated into the wider London Development Plan.

In 1947, Holden planned a scheme on behalf of the London County Council for the South Bank of the River Thames between County Hall and Waterloo Bridge, including a plan for a concert hall with the council's architect Edwin Williams. The scheme received little attention and was almost immediately superseded by plans to develop the area as the site of the Festival of Britain. Holden was also architectural and planning consultant to the University of Edinburgh and to the Borough of Tynemouth.

Final years
Although Charles Holden had gradually reduced his workload, he was still continuing to go into the office three days per week during the early 1950s. He did not formally retire until 1958, but even then he visited occasionally. Margaret Holden died in 1954 after a protracted illness which had left her nearly blind since the mid-1940s. In the last decade of his life, Holden was himself physically weaker and was looked after by his niece Minnie Green.

One of Holden's last public engagements was when he acted as a sponsor at the award of the RIBA's Royal Gold Medal to Le Corbusier in 1953. The last project that Holden worked on was a much criticised headquarters building for English Electric in Aldwych, London. In 1952, Adams, Holden & Pearson were appointed by English Electric's chairman, Sir George Nelson, and Holden designed a monolithic stone building around a courtyard. In 1955, the London County Council persuaded English Electric to put the scheme aside and hold a limited architectural competition for a new design. Adams, Holden & Pearson submitted a design, but were beaten by Sir John Burnet, Tait and Partners. When that practice later refused Sir George Nelson's request to redesign the façades, Adams, Holden & Pearson were reappointed and Charles Holden revised his practice's competition entry. The new design was criticised by the Royal Fine Art Commission and a further redesign was carried out by one of Holden's partners to produce the final design, described by Pevsner as "a dull, lifeless building, stone-faced and with nothing to recommend it".

Holden died on 1 May 1960. He was cremated at Enfield Crematorium and his ashes were spread in the garden of the Friends' Meeting House in Hertford. On 2 June 1960 a memorial service was held at St Pancras New Church, where Holden had designed the altar in 1914. Obituaries were published in daily newspapers The Manchester Guardian, The Times and The Daily Telegraph and in construction industry periodicals including The Builder, Architectural Review, Journal of the Royal Institute of British Architects and Journal of the Town Planning Institute. Generally, the obituaries were positive about Holden's early work and the stations for London Underground, were neutral about Senate House and were negative about his practice's later works. The Harmer Green house and most of its contents were auctioned with the proceeds left to family members. Holden also left £8,400 to friends and staff and £2,000 to charity.

Holden on architecture
Holden recognised that his architectural style placed him in "rather a curious position, not quite in the fashion and not quite out of it; not enough of a traditionalist to please the traditionalists and not enough of a modernist to please the modernists." He believed that the principal aim of design was to achieve "fitness for purpose", and repeatedly called for a style of architecture that avoided unnecessary architectural adornment.

In 1905, in an essay titled "If Whitman had been an Architect", Holden made an anonymous plea to architects for a new form of modern architecture: "Often I hear of the glory of the architecture of ancient Greece; of the proud Romans; of sombre Egypt; the praise of vast Byzantium and the lofty Middle Ages, too, I hear. But of the glory of the architecture of the Modern I never hear. Come, you Modern Buildings, come! Throw off your mantle of deceits; your cornices, pilasters, mouldings, swags, scrolls; behind them all, behind your dignified proportions, your picturesque groupings, your arts and crafts prettinesses and exaggerated techniques; behind and beyond them all hides the one I love."

In his 1936 speech when presented with the RIBA's Royal Gold Medal, Holden defined his position: "It was not so much a matter of creating a new style, as of discarding those incrustations which counted for style ... surface embroidery empty of structural significance". His method was to focus on "those more permanent basic factors of architecture, the plan, and the planes and masses arising out of the plan." He described his ideal building as one "which takes naturally and inevitably the form controlled by the plan and the purpose and the materials. A building which provides opportunities for the exercise and skill and pleasure in work not only to the designer but also for the many craftsmen employed and the occupants of the building."

In a 1957 essay on architecture, he wrote "I don't seek for a style, either ancient or modern, I want an architecture which is through and through good building. A building planned for a specific purpose, constructed in the method and use of materials, old or new, most appropriate to the purpose the building has to serve."

Recognition and legacy
Holden won the RIBA's London Architecture Medal for 1929 (awarded 1931) for 55 Broadway. In 1936 he was awarded the RIBA's Royal Gold Medal for his body of work. He was Vice President of the RIBA from 1935 to 1937 and a member of the Royal Fine Art Commission from 1933 to 1947. In 1943 he was appointed a Royal Designer for Industry for the design of transport equipment. He was awarded honorary doctorates by Manchester University in 1936 and London University in 1946. Many of Holden's buildings have been granted listed status, protecting them against demolition and unapproved alteration.

Holden declined the invitation to become a Royal Academician in 1942, having previously been nominated, but refused because of his connection to Epstein. He twice declined a knighthood, in 1943 and 1951, as he considered it to be at odds with his simple lifestyle and considered architecture a collaborative process.

The RIBA holds a collection of Holden's personal papers and material from Adams, Holden & Pearson. The RIBA staged exhibitions of his work at the Heinz Gallery in 1988 and at the Victoria and Albert Museum between October 2010 and February 2011. A public house near Colliers Wood Underground station has been named "The Charles Holden", taking "inspiration" from the architect.

General

 * Charlesholden.com (brief introduction to Holden)
 * Bristol Central Library (looking at Buildings guide to one of Holden's buildings)
 * Underground Journeys: Charles Holden's designs for London Transport (online exhibition from the Royal Institute of British Architects)
 * Map of London Underground structures that were designed or inspired by Holden (from the RIBA exhibition)

Image galleries

 * London Transport Museum Photographic Archive (search results for "Charles Holden")
 * RIBA photographic archive (search results for "Charles Holden")
 * Charlesholden.com (image gallery)

Portraits

 * Charles Holden in later life (from the LTM Photographic Archive)
 * Charles Holden by Francis Dodd, 1915 (from the National Portrait Gallery)

title: Charles Holden


text:
PSK31

PSK31 or "Phase Shift Keying, 31 Baud", also BPSK31 and QPSK31, is a popular computer-sound card-generated radioteletype mode, used primarily by amateur radio operators to conduct real-time keyboard-to-keyboard chat, most often using frequencies in the high frequency amateur radio bands (near-shortwave). PSK31 is distinguished from other digital modes in that it is specifically tuned to have a data rate close to typing speed, and has an extremely narrow bandwidth, allowing many conversations in the same bandwidth as a single voice channel. This narrow bandwidth makes better use of the RF energy in a very narrow space thus allowing relatively low-power equipment (5 watts) to communicate globally using the same skywave propagation used by shortwave radio stations.

History
PSK31 was developed and named by English amateur radio operator Peter Martinez (call sign G3PLX) and introduced to the wider amateur radio community in December 1998.

The 31 baud BPSK modulation system used in PSK31 was introduced by Pawel Jalocha (SP9VRC) in his SLOWBPSK program written for Motorola's EVM radio. Instead of the traditional frequency-shift keying, the information is transmitted by patterns of polarity-reversals (sometimes called 180-degree phase shifts). PSK31 was enthusiastically received, and its usage spread rapidly worldwide, lending a new popularity and tone to the on-air conduct of digital communications. Due to the efficiency of the mode, it became, and still remains, especially popular with operators whose circumstances do not permit the installation of large antenna systems, the use of high power, or both.

Use and implementation
A PSK31 operator typically uses a single-sideband (SSB) transceiver connected to the sound card of a computer running PSK31 software. When the operator enters a message for transmission, the software produces an audio tone that sounds, to the human ear, like a continuous whistle with a slight warble. This sound is then fed through either a microphone jack (using an intermediate resistive attenuator to reduce the sound card's output power to microphone levels) or an auxiliary connection into the transceiver, from which it is transmitted.

From the perspective of the transmitter, the sound amounts to little more than somebody whistling into the microphone. However, the software rapidly shifts the phase of the audio signal between two states (hence the name "phase-shift keying"), forming the character codes. These phase shifts serve the same function as the two tones used in traditional RTTY and similar systems.

To decode PSK31, the audio whistle received from the transceiver's headphone output is fed into a computer sound card's audio input, and software decodes it. The software displays the decoded text.

Because PSK31 was developed for use through a computer's sound card, many programs have since been created to use the same technology for other modes, such as RTTY, Hellschreiber, and Olivia MFSK. So, once it has been set up to run PSK31, a computer can be used for a variety of digital message transmission modes.

Aside from a standard radio transceiver and a computer with a sound card, very little equipment is required to use PSK31. Normally, an older computer and a few cables will suffice, and many PSK31 software applications are free and open source. Many operators now use a commercially available interface/modem device (or "nomic" ) between their computers and radios. These devices incorporate the necessary impedance matching and sound level adjustment to permit the sound card output to be injected into the microphone input, send the radio's audio output to the sound card input, and handle the radio's transmit-receive switching. Sound card to radio interfaces typically use isolation transformers on both the send and receive audio paths to eliminate hum caused by ground-loops. Many interfaces also incorporate their own sound card and can be powered and run from the computer via a single USB connection. Some modern transceivers have these interfaces built in, requiring only a USB connection from the computer to the radio.

Resistance to interference
Like other narrow band digital modes, PSK31 can often overcome interference and poor propagation conditions in situations where voice or other methods of communication fail. However, PSK31 was designed only for leisure use by amateurs, and due to its relatively slow speed and limited error control, is not suitable for transmitting large blocks of data or text, or critical data requiring high immunity from errors.

PSK31 works well over propagation paths that preserve phase, and resists fading (QSB) well. However, it can be adversely affected by propagation modes—such as transpolar paths—where auroral "flutter" or multipathing can disrupt the signal phase continuity. In such cases the use of QPSK (see below) is often beneficial.

Some software supports PSK10 and PSK05 variants, running at 10 baud and 5 baud, respectively. These slower speeds sacrifice throughput to provide greater resistance to noise and other interference. Conversely, PSK63 is increasingly used for faster exchanges, especially during amateur radio contest operating.

Technical information
PSK31 is typically created by software that generates an amplitude- and phase-modulated waveform that is converted to an audio frequency analog signal by a sound card. In the most-commonly-used variant, BPSK31, binary information is transmitted by either imparting a 180-degree phase shift (a binary "zero") or no phase shift (a binary "one") in each 32ms symbol interval. The 180-degree phase shift for a "zero" bit code occurs at a null amplitude.

As shown in the figure, a cosine filter is used to smooth the rise and fall times of the audio waveform and eliminate key clicks. All subsequent amplification of the signal must be linear to preserve the modulation waveform and ensure minimum occupied bandwidth. In practice, this means limiting the transmit audio volume to below the level where the transmitter generates Automatic Level Control (ALC) feedback and disabling any audio compression or speech processing.

The Varicode is a kind of Fibonacci code where the boundaries between character codes are marked by two or more consecutive zeros. Like all Fibonacci codes, since no character code contains more than one consecutive zero, the software can easily identify the spaces between characters, regardless of the length of the character. The idle sequence, sent when an operator is not typing, is a continuous sequence of phase-shifts, which do not print on the screen. Martinez arranged the character alphabet so that, as in Morse code, the more frequently occurring characters have the shortest encodings, while rarer characters use longer encodings. He named this encoding scheme "varicode".

PSK31's symbol rate of 31.25 Hz was chosen because a normal typing speed of about 50 words per minute requires a bit rate of about 32 bits per second, and specifically because 31.25 Hz could easily be derived from the 8 kHz sample rate used in many DSP systems, including those used in the computer sound cards commonly used for PSK31 operation (31.25 Hz is 8 kHz divided by 256, and so can be derived from 8 kHz by halving the frequency eight times in succession).

BPSK31 and QPSK31 variants
Colloquial usage of the term 'PSK31' in amateur radio usually implies the use of the most commonly used variant of PSK31: binary phase shift keying (BPSK). The BPSK variant of PSK31 uses no error control. QPSK31, the variant based on quadrature phase shift keying (QPSK), uses four phases instead of two. It is simple to switch from BPSK to QPSK if difficulties arise during a contact; QPSK31 has the same number of symbols per second, and hence the same bandwidth as the BPSK variant. In a coherent receiver, the bit error probability of QPSK is the same as for BPSK operating at the same power, making QPSK31 the generally preferable mode from a robustness, and thus reach, point of view.

Using four instead of two constellation points provides twice the physical layer bit rate, which allows addition of redundant information to provide a degree of forward error correction. When QPSK is used, after encoding into varicode, the bits of the binary data signal is subject to a rate-1/2 channel code, which means that for every information bit, two code bits are calculated and transmitted. For that, a convolutional code with constraint length 5 (i.e. the last five bits from the input are incorporated to select two output bits per input bit) is used.

The resulting bits are mapped to a quaternary set of phases. At the receiver, a decoder for the convolutional code needs to be used, typically the Viterbi Algorithm, which is able to reconstruct the most likely sent sequence, even if multiple symbols were received incorrectly. Optimal decoding must take into account the same constraint length of information bits as encoding, yielding a 5-symbol decoding delay, which corresponds to 160 ms of delay.

Spectrum efficiency compared to other modes
PSK31's efficiency and narrow bandwidth make it highly suitable for low-power and crowded-band operation. PSK31 contacts can be conducted at less than 100 Hz separation, so with disciplined operation at least twenty simultaneous PSK31 contacts can be carried out side-by-side in the 2.5 kHz bandwidth required for just one SSB voice contact.

Common frequencies
The following amateur radio frequencies are commonly used for transmitting and receiving PSK31 signals. They normally occupy the lower edge of each band's digital modes section. PSK31 operators generally use upper sideband (USB), even on frequencies below 10 MHz where the convention normally calls for lower sideband. This is because (a) signals then spread upwards into the digimode section from the "base" frequency, and (b) using QPSK requires both stations to use the same sideband.

* Current usage as of 2010, based on observation, is centered on 7,070.15 and 21,070.15. 7,035.15 is commonly used in Region 2 as of 2012. There is no authoritative list, as the frequencies are determined by common convention.

** PSK has moved from 18.100 to 18.097 due to FT8 use of the 18.100 frequency as of November, 2019.

The IARU Region 1 Bandplan was revised in March 2009 to reflect the expanded 40 meter band. The CW-only section within Europe, Africa, the Middle East and the former USSR is now 7.000 to 7.040. Region 2 - The Americas - followed in September 2013. Region 3 - South Asia and Australasia - has not yet synchronised its bandplan with Regions 1 and 2.

title: PSK31


text:
NBA All-Star Game

The National Basketball Association All-Star Game is a basketball exhibition game hosted every February by the National Basketball Association (NBA) and showcases 24 of the league's star players. Since 2022, it was held on the third Sunday of February, the same day that the Daytona 500 was held, and one week after the Super Bowl. It is the featured event of NBA All-Star Weekend, a three-day event which goes from Friday to Sunday. The All-Star Game was first played at the Boston Garden on March 2, 1951.

The starting lineup for each squad is selected by a combination of fan, player, and media voting, while head coaches choose the reserves, seven players from their respective conferences, so each side has a 12-man roster. Coaches are not allowed to vote for their own players. If a selected player cannot participate because of injury, the NBA commissioner selects a replacement.

Traditionally, the NBA All-Star Game pitted the top players from both the Eastern Division/Eastern Conference and the Western Division/Western Conference. From 2018 to 2023, the teams were represented by the leading vote-getter from each conference and each player regardless of conference was chosen to either team via a draft. The teams also play for a charity of their choice to help the games remain competitive.

The head coach of the team with the best record in each conference is chosen to lead their respective conference in the All-Star Game, with a prohibition against consecutive appearances. Known as the "Riley Rule", it was created after perennially successful Los Angeles Lakers head coach Pat Riley earned the right to coach the Western Conference team eight times in nine seasons between 1982 and 1990. The coach of the team with the next best record gets to coach instead.

History
The idea of holding an All-Star Game was conceived during a meeting between NBA President Maurice Podoloff, NBA publicity director Haskell Cohen and Boston Celtics owner Walter A. Brown. At that time, the basketball world had just been rocked by the college basketball point-shaving scandal.

To regain public attention to the league, Cohen suggested the league to host an exhibition game featuring the league's best players, similar to Major League Baseball's All-Star Game. Although most people, including Podoloff, were pessimistic about the idea, Brown remained confident that it would be a success, and he offered to host the game and to cover all the expenses or potential losses incurred from the game.

The first All-Star Game was hosted at the Boston Garden on March 2, 1951, where the Eastern All-Stars team defeated the Western All-Stars team, 111–94. Boston Celtics' Ed Macauley was named as the first NBA All-Star Game Most Valuable Player, and the All-Star Game became a success, drawing an attendance of 10,094, much higher than that season's average attendance of 3,500.

In 2010, the NBA All-Star Game set the attendance record for a basketball game with 108,713 people attending at Cowboys Stadium in Arlington, Texas. This shattered the existing attendance record previously held at Ford Field on December 13, 2003, when 78,129 attendees watched Michigan State play Kentucky.

The 2017 All-Star Weekend was originally awarded to Charlotte, North Carolina. On March 23, 2016, North Carolina passed House Bill 2, also known as a "bathroom bill", which was seen as discriminatory against transgender persons. As a result, the NBA announced that it would move the game to another city if the bill was not repealed or revised. After North Carolina took no action, on July 21, 2016, the NBA announced that the 2017 game would be moved to New Orleans. In March 2017, after several provisions of the bill were partially repealed, the NBA awarded the 2019 All-Star Weekend to Charlotte.

On October 3, 2017, the NBA and NBPA announced changes to the game format, starting in 2018. Instead of being divided by conference, the top vote leaders for each conference would be team captains and hold a draft to choose among the rest of the starters and reserves, regardless of conference.

On October 25, 2023, the NBA brought back the conference-based format for the 2024 All-Star Game. The untimed fourth quarter (known as Elam Ending), which had been in used since 2020 in honor of Kobe Bryant, was also removed. However, the charity aspect was retained, with the team that scores the most points in each quarter winning a cash prize that went to their chosen charity.

Rosters selection
The starting five from each conference consists of three frontcourt players and two guards, selected by a combination of fan, player, and media voting. In 2017, the NBA moved from a pure fan vote to a weighted process wherein fan voting accounts for 50%, with player and media voting account for 25% each. Prior to 2013, fans selected two forwards and one center instead of generic frontcourt players. The NBA in 2003 began offering All-Star ballots in three languages—English, Spanish and Chinese—for fan voting of the starters.

NBA coaches vote for the reserves for their respective conferences, but they cannot choose players from their own team. Each coach selects two guards, three frontcourt players and two wild cards, with each selected player ranked in order of preference within each category. If a multi-position player is to be selected, coaches are encouraged to vote for the player at the position that is "most advantageous for the All-Star team", regardless of where the player is listed on the All-Star ballot or the position he is listed in box scores. If a player is unavailable for the game due to injury, the NBA commissioner selects a replacement for the roster. If the replacement is for a fan-selected starter, the All-Star Game coach chooses the replacement in the starting lineup, and is not limited to the commissioner's addition to the roster.

Multiple All-Star players can be chosen from one team, with the record being four. This has occurred nine times, the first such instance being in 1962, when four players each from the Boston Celtics and Los Angeles Lakers were chosen. The most recent game with four All-Star players from one team was the Golden State Warriors in the 2018 game.

The game
The game is played under normal NBA rules with some differences. Since the starting All-Stars are selected by fans, players, and media, players sometimes start the game at atypical positions. For instance, in the 2007 game, Kobe Bryant and Tracy McGrady were chosen as the starting Western Conference guards. As both players normally play shooting guard, Bryant started the game as a point guard. Gameplay usually involves players attempting spectacular slam dunks and alley oops and defensive effort is limited. The final score is generally much higher than a competitive NBA game.

If the score is close, the fourth quarter becomes more competitive. The fourth quarter was changed in 2020 to use the Elam Ending. In normal Elam Ending rules, the game clock is turned off with four minutes remaining and a target score is set; whoever reaches the target wins the game. In 2020, the NBA took the score at the end of three quarters and added 24 points (in honor of Kobe Bryant, who had been killed in a helicopter crash a month prior). With Team Giannis leading Team LeBron 133–124 at the end of the third quarter, the target score was 157 points, and Team LeBron won the contest.

The player introductions are accompanied by significant fanfare, including lighting effects, dance music, DJ's, elaborate portable stages, and pyrotechnics. Special uniforms are designed for the game each year, usually red for the Western Conference and blue for the Eastern Conference. From 1997 to 2002, players could wear their normal team uniforms. The "host conference" also traditionally has light uniforms, except from 2010 to 2014. In the past, players who wore the same number were given the option to pick a different numeral. For example, Patrick Ewing, who normally wore #33, ended up wearing #3 early in his career as Larry Bird also had that number. Since 1997, players can keep their uniform numbers. A major recording artist typically sings "O Canada" and "The Star-Spangled Banner" prior to tipoff.

Halftime is longer than a typical NBA game partly due to musical performances by popular artists. The first such halftime show happened in the 2000 game, with Kenny Wayne Shepherd, Mary J. Blige, 98 Degrees, Montell Jordan, Martina McBride, and LL Cool J performing.

All-Star Game results
List of each All-Star Game, the venue at which it was played, and the Game MVP. Parenthesized numbers indicate multiple times that venue, city, or player has occurred as of that instance (e.g. "Michael Jordan (2)" in 1996 indicates that was his second All-Star MVP award). , the Eastern Conference leads with a record of 38 wins and 29 losses.

Note: Venue names are listed as of the date of the All-Star Game.
 * Notes
 * * – a city without an NBA team in play during that calendar year.
 * ** – a game played at the "third" Madison Square Garden on 8th Avenue between 49th and 50th Streets, site of the first three NBA All-Star Games played in Madison Square Garden (1954, 1955 and 1968).
 * *** – a game played at the "fourth" (as of 2017) Madison Square Garden that runs from 31st to 33rd Streets from 8th to west of 7th Avenues above the western half of Penn Station in Manhattan that opened in February 1968, approximately one month after the 1968 game was played in the "old" MSG.
 * † – an NBA All-Star Game that is held at an NFL or MLB stadium.
 * § – a stadium or arena whose venue name has since changed AND the venue has hosted a subsequent NBA All-Star Game under the alternate name.
 * Portland, Sacramento, Memphis, and Oklahoma City are the only NBA cities that have not yet hosted an NBA All-Star Game. The Kings did host 2 All-Star Games when they were in Rochester in 1956 and in Cincinnati in 1966 when they were the Royals, and the Thunder had hosted it twice when they were in Seattle in 1974 and 1987 when they were the SuperSonics. Thus leaving the Portland Trail Blazers and the Memphis Grizzlies as the only two franchises never to play host to an NBA All-Star Game.
 * Despite playing in Los Angeles since 1984, the Clippers never hosted an All-Star Game individually until 2026 with the game set to play at Intuit Dome in Inglewood. The team previously co-hosted the 2004, 2011 and 2018 games with the Lakers at Crypto.com Arena (formerly Staples Center), due to being co-tenants of the arena. Its previous incarnation, the Buffalo Braves, never hosted an All-Star Game.
 * New arenas that have not hosted the All-Star Game are Fiserv Forum in Milwaukee, TD Garden in Boston, Kaseya Center in Miami, American Airlines Center in Dallas (the venue did host the 2010 Rookie Challenge and All-Star Saturday), Frost Bank Center in San Antonio, FedExForum in Memphis, Little Caesars Arena in Detroit, and Chase Center in San Francisco (set to host the 2025 game).
 * Market Square Arena in Indianapolis and The Summit in Houston were the only former NBA arenas to host All-Star Saturday but not the All-Star Game as the latter took place in bigger venues within their respective cities, in this case the Hoosier Dome and the Astrodome.
 * Other NFL or MLB stadiums that could host the NBA All-Star Game include Mercedes-Benz Stadium in Atlanta, Ford Field in Detroit, NRG Stadium in Houston, Lucas Oil Stadium in Indianapolis, SoFi Stadium in Inglewood (Los Angeles metropolitan area), U.S. Bank Stadium in Minneapolis, Caesars Superdome in New Orleans, State Farm Stadium in Glendale (Phoenix metropolitan area), and Rogers Centre in Toronto. Lucas Oil Stadium, however, would host the 2024 NBA All-Star Saturday Night events.
 * # – Arlington, Texas does not have an NBA team within its city limits, but it is a part of the Dallas–Fort Worth metroplex that has an NBA team (the Dallas Mavericks).
 * ‡ – the first game played under the Elam scoring format, where instead of a time limit, the fourth quarter would end when either team reached the target score, defined as 24, in honor of Kobe Bryant, plus whichever team had more points after three quarters. Team Giannis led 133–124 after three quarters, so the target score was 157. Anthony Davis hit a walk-off free throw to win it.

Other All-Star events
The All-Star Game is the featured event of All-Star Weekend, and it is held on a Sunday night. All-Star Weekend also features popular exhibition games and competitions featuring NBA players, celebrities, and alumni as well as players from the Women's National Basketball Association (WNBA) and NBA G League (G League).

title: NBA All-Star Game


text:
Talk:Arkansas County, Arkansas

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Talk:Ashley County, Arkansas

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Talk:Baxter County, Arkansas

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Communities
You state that Briarcliff, Norfolk and Salesville are small towns, but the pages for each call them cities. The lists of municipalities page for Arkansas also lists them as cities. The same is true of Lakeview, which you call a small municipality. I don't know which is correct, but these contradictions need to be corrected. Also, why don't you add the cities, towns and CDPs list style after your description? Every other states' counties pages use list style. The description is nice as extra info, but the list is more convenient for a quick look up. Jdtrue63 (talk) 14:05, 16 January 2024 (UTC)

title: Talk:Baxter County, Arkansas