text:
born on 8/4/1889 in Chester, North West England, United Kingdom
died on 24/2/1983 in Farnham, South East England, United Kingdom
Adrian Boult
Sir Adrian Cedric Boult, CH (/boʊlt/; 8 April 1889 – 22 February 1983) was an English conductor. Brought up in a prosperous mercantile family, he followed musical studies in England and at Leipzig, Germany, with early conducting work in London for the Royal Opera House and Sergei Diaghilev's ballet company. His first prominent post was conductor of the City of Birmingham Orchestra in 1924. When the British Broadcasting Corporation appointed him director of music in 1930, he established the BBC Symphony Orchestra and became its chief conductor. The orchestra set standards of excellence that were rivalled in Britain only by the London Philharmonic Orchestra (LPO), founded two years later.
Forced to leave the BBC in 1950 on reaching retirement age, Boult took on the chief conductorship of the LPO. The orchestra had declined from its peak of the 1930s, but under his guidance its fortunes were revived. He retired as its chief conductor in 1957, and later accepted the post of president. Although in the latter part of his career he worked with other orchestras, including the London Symphony Orchestra, the Philharmonia Orchestra, the Royal Philharmonic Orchestra, and his former orchestra, the BBC Symphony, it was the LPO with which he was primarily associated, conducting it in concerts and recordings until 1978, in what was widely called his "Indian Summer".
Boult was known for his championing of British music. He gave the first performance of his friend Gustav Holst's The Planets, and introduced new works by, among others, Elgar, Bliss, Britten, Delius, Rootham, Tippett, Vaughan Williams and Walton. In his BBC years he introduced works by foreign composers, including Bartók, Berg, Stravinsky, Schoenberg and Webern. A modest man who disliked the limelight, Boult felt as comfortable in the recording studio as on the concert platform, making recordings throughout his career. From the mid-1960s until his retirement after his last sessions in 1978 he recorded extensively for EMI. As well as a series of recordings that have remained in the catalogue for three or four decades, Boult's legacy includes his influence on prominent conductors of later generations, including Colin Davis and Vernon Handley.
Boult was born in Chester, Cheshire, in North West England, the second child and only son of Cedric Randal Boult (1853–1950), and his wife Katharine Florence née Barman (d. 1927).[1] Cedric Boult was a Justice of the Peace and a successful businessman connected with Liverpool shipping and the oil trade; Cedric and his family had "a Liberal Unitarian outlook on public affairs" with a history of philanthropy.[2] When Boult was two years old the family moved to Blundellsands, where he was given a musical upbringing. From an early age he attended concerts in Liverpool, conducted mostly by Hans Richter.[3] He was educated at Westminster School in London, where in his free time he attended concerts conducted by, among others, Sir Henry Wood, Claude Debussy, Arthur Nikisch, Fritz Steinbach, and Richard Strauss.[4] His biographer, Michael Kennedy, writes, "Few schoolboys can have attended as many performances by great artists as Boult heard between 1901 and October 1908, when he went up to Christ Church, Oxford."[1] While still a schoolboy, Boult met the composer Edward Elgar through Frank Schuster, a family friend.[3]
At Christ Church college at Oxford, where he was an undergraduate from 1908 to 1912, Boult studied history but later switched to music, in which his mentor was the musical academic and conductor Hugh Allen.[3][5] Among the musical friends he made at Oxford was Ralph Vaughan Williams, who became a lifelong friend.[3] In 1909 Boult presented a paper to an Oxford musical group, the Oriana Society, entitled Some Notes on Performance, in which he laid down three precepts for an ideal performance: observance of the composer's wishes, clarity through emphasis on balance and structure, and the effect of music made without apparent effort. These guiding principles lasted throughout his career.[6] He was president of the University Musical Club for the year 1910, but his interests were not wholly confined to music: he was a keen rower, stroking his college boat at Henley, and all his life he remained a member of the Leander Club.[1][7]
Boult graduated in 1912, with a basic "pass" degree.[8][9] He continued his musical education at the Leipzig Conservatory in 1912–13. The musician Hans Sitt was in charge of the conducting class, but Boult's main influence was Nikisch. He later recalled, "I went to all his [Nikisch's] rehearsals and concerts in the Gewandhaus. ... He had an astonishing baton technique and great command of the orchestra: everything was indicated with absolute precision. But there were others who were greater interpreters."[3] Boult admired Nikisch "not so much for his musicianship but his amazing power of saying what he wanted with a bit of wood. He spoke very little". This style was in accord with Boult's opinion that "all conductors should be clad in an invisible Tarnhelm which makes it possible to enjoy the music without seeing any of the antics that go on".[10] He sang in choral festivals and at the Leeds Festival of 1913, where he watched Nikisch conduct. There he made the acquaintance of George Butterworth, and other British composers.[11] Later that year Boult joined the musical staff of the Royal Opera House, Covent Garden, where his most important work was to assist the first British production of Wagner's Parsifal, and do "odd jobs with lighting cues" while Nikisch conducted the Ring cycle.[12]
First conducting work
Boult made his début as a professional conductor on 27 February 1914 at West Kirby Public Hall, with members of the Liverpool Philharmonic Orchestra. His programme comprised orchestral works by Bach, Butterworth, Mozart, Schumann, Wagner and Hugo Wolf, interspersed with arias by Mozart and Verdi sung by Agnes Nicholls.[13] Boult was declared medically unfit for active service during the First World War, and until 1916 he served as an orderly officer in a reserve unit. He was recruited by the War Office as a translator (he spoke good French, German and Italian).[14] In his spare time he organised and conducted concerts, some of which were subsidised by his father, with the aims of giving work to orchestral players and bringing music to a wider audience.[15]
Just before the Armistice, Gustav Holst burst into my office: "Adrian, the YMCA are sending me to Salonika quite soon and Balfour Gardiner, bless his heart, has given me a parting present consisting of the Queen's Hall, full of the Queen's Hall Orchestra for the whole of a Sunday morning. So we're going to do The Planets, and you've got to conduct."
Adrian Boult [16]
In 1918 Boult conducted the London Symphony Orchestra in a series of concerts that included important recent British works. Among them was the première of a revised version of Vaughan Williams's A London Symphony, a performance which was "rather spoilt by a Zeppelin raid".[16] His best-known première of this period was Holst's The Planets. Boult conducted the first performance on 29 September 1918 to an invited audience of about 250. Holst later wrote on his copy of the score, "This copy is the property of Adrian Boult who first caused The Planets to shine in public and thereby earned the gratitude of Gustav Holst."[16]
Elgar was another composer who had cause to be grateful to Boult. His Second Symphony had, since its premiere nine years earlier, received few performances. When Boult conducted it at the Queen's Hall in March 1920 to "great applause" and "frantic enthusiasm",[17] the composer wrote to him: "With the sounds ringing in my ears I send a word of thanks for your splendid conducting of the Sym. ... I feel that my reputation in the future is safe in your hands."[18] Elgar's friend and biographer, the violinist W. H. Reed, wrote that Boult's performance of Elgar's neglected work brought "the grandeur and nobility of the work" to wider public attention.[19]
Boult took a wide variety of conducting jobs in the years following the war. In 1919 he succeeded Ernest Ansermet as musical director of Sergei Diaghilev's ballet company. Although Ansermet gave Boult all the help he could in his preparations, there were fourteen ballets in the company's repertory – none of which Boult knew. In only a short period, Boult was required to master such scores as Petrushka, The Firebird, Scheherazade, La Boutique fantasque and The Good-Humoured Ladies.[20] In June 1921, Boult conducted for Theodore Komisarjevsky and Vladimir Rosing's experimental Opera Intime week at London's Aeolian Hall.[21] He also took on an academic post. When Hugh Allen succeeded Sir Hubert Parry as principal of the Royal College of Music, he invited Boult to start a conducting class along the lines of Leipzig – the first such class in England.[22] Boult ran the classes from 1919 to 1930.[7] In 1921 he received a Doctorate of Music.[8]
In 1923 Boult conducted the first season of the Robert Mayer concerts for children, but his participation in the following season was prevented by his appointment in 1924 as conductor of the Birmingham Festival Choral Society. This led to his becoming musical director of the City of Birmingham Orchestra,[5] where he remained in charge for six years, attracting widespread attention with his adventurous programmes.[1]
The advantage of the Birmingham post was that for the first time in his life Boult had his own orchestra, and sole control of programming; the only time in his life, he later said, when that was so.[23] The disadvantages were that the orchestra was inadequately funded, the available venues (including the Town Hall) were unsatisfactory, the Birmingham Post's music critic, A. J. Symons, was a constant thorn in Boult's side, and the local concert-going public had conservative tastes.[24] Despite this conservatism, Boult programmed as much innovative music as was practical, including works by Mahler, Stravinsky and Bruckner. Such departures from the repertoire expected by the regular concert-goers depressed the box-office takings, requiring subsidies from private benefactors, including Boult's family.[25]
While at Birmingham Boult had the opportunity to conduct a number of operas, chiefly with the British National Opera Company, for which he conducted Die Walküre and Otello. He also conducted a diverse range of operas from such composers as Purcell, Mozart and Vaughan Williams.[26] In 1928 he succeeded Vaughan Williams as conductor of the Bach Choir in London, a position he held until 1931.[1]
Visits to London by the Hallé Orchestra and particularly the Berlin Philharmonic under Wilhelm Furtwängler in 1929, had highlighted the relatively poor standards of London orchestras. Sir Thomas Beecham and the director general of the BBC Sir John Reith were keen to establish a first-class symphony orchestra,[27] and they agreed in principle to do so jointly. Only a small number of core players were recruited before negotiations foundered. Beecham withdrew, and with Malcolm Sargent soon established the rival London Philharmonic Orchestra.[28]
In 1930 Boult returned to London to succeed Percy Pitt as director of music at the BBC.[29] On taking up the post, Boult and his department recruited enough musicians to bring the complement of the new BBC Symphony Orchestra to 114. A substantial number of these players performed at the 1930 Promenade Concerts under Sir Henry Wood,[30] and the full BBC Symphony Orchestra gave its first concert on 22 October 1930, conducted by Boult at the Queen's Hall. The programme consisted of music by Wagner, Brahms, Saint-Saëns and Ravel.[31] Of the 21 programmes in the orchestra's first season, Boult conducted nine and Wood five.[32]
The reviews of the new orchestra were enthusiastic. The Times wrote of its "virtuosity" and of Boult's "superb" conducting.[33] The Musical Times commented, "The boast of the B.B.C. that it intended to get together a first-class orchestra was not an idle one" and spoke of "exhilaration" at the playing.[34] The Observer called the playing "altogether magnificent" and said that Boult "deserves an instrument of this fine calibre to work on, and the orchestra deserves a conductor of his efficiency and insight."[35] After the initial concerts Reith was told by his advisers that the orchestra had played better for Boult than anyone else. Reith asked him if he wished to take on the chief conductorship, and if so whether he would resign as director of music or occupy both posts simultaneously. Boult opted for the latter.[36] He later said that this was a rash decision, and that he could not have sustained the two roles at once without the efforts of his staff in the music department, which included Edward Clark, Julian Herbage and Kenneth Wright.[37]
During the 1930s the BBC Symphony Orchestra became renowned for its high standard of playing and for Boult's capable performances of new and unfamiliar music. Like Henry Wood before him, Boult regarded it as his duty to give the best possible performances of a wide range of composers, including those whose works were not personally congenial to him. His biographer, Michael Kennedy, writes that there was a very short list of composers whose works Boult refused to conduct, "but it would be difficult to deduce who they were."[38] Boult's pioneering work with the BBC included an early performance of Schoenberg's Variations, Op. 31, British premières, including Alban Berg's opera Wozzeck and Three Movements from the Lyric Suite,[39] and world premières, including Vaughan Williams's Symphony No. 4 in F minor[40] and Bartók's Concerto for Two Pianos and Orchestra.[39] He introduced Mahler's Ninth Symphony to London in 1934,[1] and Bartók's Concerto for Orchestra in 1946.[39] Boult invited Anton Webern to conduct eight BBC concerts between 1931 and 1936.[41]
The excellence of Boult's orchestra attracted leading international conductors. In its second season guest conductors included Richard Strauss, Felix Weingartner and Bruno Walter,[42] followed, in later seasons, by Serge Koussevitzky,[43] Beecham and Willem Mengelberg.[44] Arturo Toscanini, widely regarded at the time as the world's leading conductor, conducted the BBC orchestra in 1935 and said that it was the finest he had ever directed.[45] He returned to conduct the orchestra in 1937, 1938 and 1939.[46]
During this period, Boult accepted some international guest conductorships, appearing with the Vienna Philharmonic, Boston Symphony, and New York Philharmonic orchestras.[1] In 1936 and 1937 he headed European tours with the BBC Symphony Orchestra, giving concerts in Brussels, Paris, Zurich, Budapest and Vienna, where they were especially well received.[5][8] During his BBC years, Boult did not entirely lose contact with the world of opera and his performances of Die Walküre at Covent Garden in 1931 and Fidelio at Sadler's Wells Theatre in 1930 were considered outstanding.[8]
For many years, Boult had been a close friend of the tenor Steuart Wilson and his wife Ann, née Bowles. When, in the late 1920s, Wilson began to mistreat his wife, Boult took her side.[47] She divorced Wilson in 1931. In 1933, Boult astonished those who knew his notorious shyness with women by marrying her and becoming a much-loved stepfather to her four children; the marriage lasted for the rest of his life.[47] The enmity it provoked in Wilson had repercussions in Boult's later career.[48] The stigma attached to divorce in Britain in the 1930s affected Wilson's career but not Boult's: Wilson was barred from performing in English cathedrals at the Three Choirs Festival but Boult was invited to conduct the orchestra at Westminster Abbey for the coronation of George VI in 1937.[49]
During the Second World War the BBC Symphony Orchestra was evacuated first to Bristol, where it suffered from bombing, and later to Bedford. Boult strove to maintain standards and morale as he lost key players. Between 1939 and the end of the war, forty players left for active service or other activities.[1] In 1942 Boult resigned as the BBC's director of music, while remaining chief conductor of the BBC Symphony Orchestra.[50] This move, made as a favour to the composer Arthur Bliss to provide a suitable war-time job for him, later came to be Boult's undoing at the BBC.[50] Meanwhile, he made recordings of Elgar's Second Symphony, Holst's The Planets and Vaughan Williams's Job, A Masque for Dancing. At the end of the war Boult "found a changed attitude to the orchestra in the upper echelons of the BBC". Reith was no longer director general, and without his backing Boult had to fight hard to restore the orchestra to its pre-war glory.[1]
On 29 September 1946 Boult conducted Britten's new Festival Overture, to inaugurate the BBC Third Programme.[39] For this innovative cultural channel, Boult was concerned in pioneering ventures including the British premiere of Mahler's Third Symphony.[51] The Times later said of this period, "The Third Programme could not possibly have had the scope which made it world-famous musically without Boult."[2] Nevertheless, Boult's BBC days were numbered. When he was appointed in 1930, Reith had informally promised him that would be exempt from the BBC's rule that staff must retire at age 60.[52] However, Reith had left the BBC in 1938 and his promise carried no weight with his successors.[53] In 1948 Steuart Wilson was appointed head of music at the BBC, the post previously occupied by Boult and Bliss. He made it clear from the start of his appointment that he intended that Boult should be replaced as chief conductor,[54] and he used his authority to insist on Boult's enforced retirement.[55] The director general of the BBC at the time, Sir William Haley, was unaware of Wilson's animus against Boult and later acknowledged, in a broadcast tribute to Boult, that he "had listened to ill-judged advice in retiring him."[56] By the time of his retirement in 1950, Boult had made 1,536 broadcasts.[5]
London Philharmonic
After it became clear that Boult would have to leave the BBC, Thomas Russell, the managing director of the London Philharmonic Orchestra (LPO), offered him the post of principal conductor of the LPO in succession to Eduard van Beinum.[57] In the 1930s the LPO had flourished, but since Beecham's departure in 1940, it had struggled to survive. Boult was well known to the orchestra, having been among the musicians who came to its aid in 1940.[58] He took over as chief conductor of the LPO in June 1950, immediately after leaving the BBC, and threw himself into the task of rebuilding it. In the early years of his conductorship, the finances of the LPO were perilous, and Boult subsidised the orchestra from his own funds for some time.[57] The need to earn money obliged the orchestra to play many more concerts than its rivals. In the 1949–50 season, the LPO gave 248 concerts, compared with 55 by the BBC Symphony Orchestra, 103 by the London Symphony Orchestra, and 32 apiece by the Philharmonia and Royal Philharmonic orchestras.[59]
Although he had worked extensively in the studio for the BBC, Boult had, up to this point, recorded only a part of his large repertoire for the gramophone. With the LPO he began a series of commercial recordings that continued at a varying rate for the rest of his working life. Their first recordings together were Elgar's Falstaff, Mahler's Lieder eines fahrenden Gesellen with the mezzo Blanche Thebom, and Beethoven's First Symphony.[60] The work of the new team was greeted with approval by the reviewers. Of the Elgar, The Gramophone wrote, "I have heard no other conductor approach [Boult's] performance. ... His newly adopted orchestra responds admirably".[61] In The Manchester Guardian, Neville Cardus wrote, "Nobody is better able than Sir Adrian Boult to expound the subtly mingled contents of this master work."[62]
In January 1951 Boult and the LPO made a tour of Germany, described by Kennedy as "gruelling", with 12 concerts on 12 successive days.[63] The symphonies they played were Beethoven's Seventh, Haydn's London, No 104, Brahms's First, Schumann's Fourth and Schubert's Great C major. The other works were Elgar's Introduction and Allegro, Holst's The Perfect Fool ballet music, Richard Strauss's Don Juan, and Stravinsky's Firebird.
In 1952 the LPO negotiated a five-year contract with Decca Records, which was unusually rewarding for the orchestra, giving it a 10 per cent commission on most sales. On top of this, Boult always contributed his share of the recording fees to the orchestra's funds.[64] In the same year, the LPO survived a crisis when Russell was dismissed as its managing director. He was an avowed member of the Communist party;[65] when the cold war began some influential members of the LPO felt that Russell's private political affiliations compromised the orchestra, and pressed for his dismissal. Boult, as the orchestra's chief conductor, stood up for Russell, but when matters came to a head Boult ceased to protect him. Deprived of that crucial support, Russell was forced out. Kennedy speculates that Boult's change of mind was due to a growing conviction that the orchestra would be "seriously jeopardized financially" if Russell remained in post.[66] A later writer, Richard Witts, suggests that Boult sacrificed Russell because he believed doing so would enhance the LPO's chance of being appointed resident orchestra at the Royal Festival Hall.[67]
In 1953 Boult once again took charge of the orchestral music at a coronation, conducting an ensemble drawn from UK orchestras at the coronation of Elizabeth II. During the proceedings, he conducted the first performances of Bliss's Processional and Walton's march Orb and Sceptre. In the same year he returned to the Proms after a three-year absence, conducting the LPO. The notices were mixed: The Times found a Brahms symphony "rather colourless, imprecise and uninspiring", but praised Boult and the orchestra's performance of The Planets.[68] In the same year the orchestra celebrated its 21st birthday, giving a series of concerts at the Festival Hall and the Royal Albert Hall in which Boult was joined by guest conductors including Paul Kletzki, Jean Martinon, Hans Schmidt-Isserstedt, Georg Solti, Walter Susskind and Vaughan Williams.[69]
In 1956 Boult and the LPO visited Russia. Boult had not wished to go on the tour because flying hurt his ears, and long land journeys hurt his back. The Soviet authorities threatened to cancel the tour if he did not lead it, and he felt obliged to go.[70] The LPO gave nine concerts in Moscow and four in Leningrad. Boult's assistant conductors were Anatole Fistoulari and George Hurst. Boult's four Moscow programmes included Vaughan Williams's Fourth and Fifth Symphonies, Holst's The Planets, Walton's Violin Concerto (with Alfredo Campoli as soloist), and Schubert's Great C major Symphony. While in Moscow, Boult and his wife visited the Bolshoi Opera and were guests at the composer Dmitri Shostakovich's 50th birthday party.[71]
After the Russian tour, Boult told the LPO that he wished to step down from the principal conductorship. He continued to be the orchestra's main conductor until his successor William Steinberg took up the post in 1959.[72] After the sudden resignation of Andrzej Panufnik from the City of Birmingham Symphony Orchestra (CBSO), Boult returned as principal conductor of the CBSO for the 1959–60 season. That was his last chief conductorship, though he remained closely associated with the LPO as its president and a guest conductor until his retirement.[73]
After stepping down from the chief conductorship of the LPO, Boult was, for a few years, less in demand in the recording studio and the concert hall. Nevertheless, he was invited to conduct in Vienna, Amsterdam and Boston.[74] In 1964 he made no recordings, but in 1965 he began an association with Lyrita records, an independent label specialising in British music. In the same year he resumed recording for EMI after a six-year break.[74] Celebrations for his eightieth birthday in 1969 also raised his profile in the musical world. After the death of his colleague Sir John Barbirolli in 1970, Boult was seen as "the sole survivor of a great generation" and a living link with Elgar, Vaughan Williams and Holst.[75] In the words of The Guardian, "it was when he reached his late seventies that the final and most glorious period of his career developed."[76] He ceased to accept overseas invitations, but conducted in the major British cities, as well as at the Festival and Albert Halls and began what is frequently called his "Indian Summer" in the concert hall and recording studio.[76][77] He was featured in a 1971 film The Point of the Stick, in which he illustrated his conducting technique with musical examples.[78]
At a spare recording session in August 1970 Boult recorded the Third Symphony of Brahms. This was well received and led to a series of recordings of Brahms, Wagner, Schubert, Mozart and Beethoven.[79] His repertoire in general was much wider than his discography might suggest.[80] It was a disappointment to him that he was rarely invited to conduct in the opera house, and he relished the opportunity to record extensive excerpts from the Wagner operas in the 1970s.[81] Having conducted several ballets at Covent Garden during the 1970s,[82] Boult gave his last public performance conducting Elgar's ballet The Sanguine Fan for the London Festival Ballet at the London Coliseum on 24 June 1978. His final record, completed in December 1978, was of music by Hubert Parry. Boult formally retired from conducting in 1981 and died in London in 1983, aged 93.[83]
Musicianship
A review in The Observer of Boult's second London concert, in 1918, said, "Having, apparently, a thorough knowledge of the work, he was content to let it speak for itself without having recourse to those aids to success which are a constant temptation to conductors."[84] Sixty-five years later, in an obituary tribute, Peter Heyworth wrote in the same newspaper: "From Nikisch he had early acquired an immaculate stick technique and was quietly scathing about conductors who used their anatomy to indicate their artistic requirements. ... In an occupation ridden with inflated egos and circus tricksters Boult brought a rare probity to everything he undertook."[85]
Boult's biographer, Kennedy, gave this summary: "In the music he admired most, Boult was often a great conductor; in the rest, an extremely conscientious one. ... If from behind he seemed unexciting and unemotional, the players could see the animation in his face – and he was capable of frightening outbursts of temper at rehearsals. Tall and erect, with something of the military in his appearance ... he seemed the personification of the English gentleman. But recipients of his cutting wit and occasional sarcasm knew that this was not the whole picture."[1] Grove's Dictionary similarly said of him:
Of the leading British conductors of his time, Boult was the least sensational but not the least remarkable. He made no attempt to cultivate a public image. He was neither oracle, orator nor professional wit, but he expressed himself with trenchancy, and his gentlemanly self-control was occasionally ruffled by storms of anger. ... [T]here were nights when the physical impact of his conducting was low, and there was little beyond faithfulness to the notes. There were others when precise, sensitive stick technique, loyalty to the composer, selflessness and ability to see the music as a whole, produced results equally satisfying in the classics and the British music he understood so well.[5]
Boult, unlike many of his contemporaries, preferred the traditional orchestral layout, with first violins on the conductor's left and the seconds on the right. Of the practice of grouping all the violins together on the left, he wrote, "The new seating is, I admit, easier for the conductor and the second violins, but I firmly maintain that the second violins themselves sound far better on the right. ... When the new fashion reached us from America somewhere about 1908 it was adopted by some conductors, but Richter, Weingartner, Walter, Toscanini and many others kept what I feel is the right balance."[86]
This care for balance was an important feature of Boult's music-making. Orchestral players across decades commented on his insistence that every important part should be heard without difficulty. His BBC principal violist wrote in 1938, "If a woodwind player has to complain that he has already been blowing 'fit to burst' there is trouble for somebody."[87] The trombonist Ray Premru wrote forty years later, "One of the old school, like Boult, is so refreshing because he will reduce the dynamic level – 'No, no, pianissimo, strings, let the soloist through, less from everyone else.' That is the old idea of balance."[88]
As an educator, Boult influenced several generations of musicians, beginning with his conducting class at the Royal College of Music, London, which he ran from 1919 to 1930. As no such classes had been held before in Britain, Boult "created its curriculum from out of his own experience. ... From that first small class has come all the later formal training for conductors throughout Britain."[89] In the 1930s Boult ran a series of "conferences for conductors" at his country house near Guildford, sometimes helped by Vaughan Williams who lived a few miles away.[90] From 1962 to 1966 he again taught at the Royal College of Music.[91] In later life, he made time for young conductors who sought his counsel. Among those who studied with or were influenced by Boult were Colin Davis,[92] James Loughran,[92] Richard Hickox[93] and Vernon Handley. The last was not only a pupil of Boult, but acted as his musical assistant on many occasions.[94]
Honours and memorials
Boult was created a Knight Bachelor in 1937[7] and was created a Companion of Honour (CH) in 1969.[7] He received the gold medal of the Royal Philharmonic Society in 1944[5] and the Harvard Glee Club medal (jointly with Vaughan Williams) in 1956.[5] He received honorary degrees and fellowships from 13 universities and conservatoires.[7] In 1951 he was invited to be the first president of the Elgar Society.[95] In 1959 he was made president of the Royal Scottish Academy of Music.[5]
Boult's old school, Westminster, has a music centre named in his honour,[96] and the Birmingham Conservatoire, a department of the Birmingham City University included in its home building the Adrian Boult Hall. The hall was used for classical concerts, other musical performances, and conferences.[97] The hall was demolished in June 2016 as part of a redevelopment project.[98]
In the June 2013 issue of Gramophone Boult was added to the magazine's Hall of Fame which recognises musicians who have made a lasting impact on the world of recorded classical music.[99]
Boult was a prolific recording artist. Unlike many musicians, he felt at home in the recording studio and was happy working without an audience.[100] His recording career stretched from the days of acoustic recording until the beginning of the digital era. His last recording of The Planets made in May 1978 was taped in experimental digital sound, although technical problems led EMI to release an analogue version.[101]
Boult's recordings fall into three main periods. In the first, from 1920 to the end of the 1940s, he recorded almost exclusively for HMV. In the 1950s and early 1960s, he was less in demand by the major labels, and although he made a substantial number of discs for Decca, he recorded mostly for smaller labels, chiefly Pye Nixa. His last period, from the mid-1960s, sometimes referred to as his Indian Summer, was once again with HMV. With his regular collaborators the producer Christopher Bishop and the engineer Christopher Parker he made more than sixty recordings, re-recording much of his key repertoire in stereo. He also added many works to his discography that he had not recorded before.[102]
Of the British composers, Boult extensively recorded and sometimes re-recorded major works by Elgar and Vaughan Williams. He recorded all eight then-existing symphonies by Vaughan Williams for Decca in the 1950s with the LPO, in the presence of the composer. The recording producer, John Culshaw, wrote that the composer "said very little during the sessions because he was totally in favour of Sir Adrian's approach to his music."[103] Vaughan Williams was to have been present for the first recording of his Ninth symphony, for Everest Records in 1958, but he died the night before the session took place; Boult recorded a short introduction as a memorial tribute. All these recordings have been reissued on CD. In the 1960s Boult re-recorded the nine symphonies for EMI.[102]
Other British composers who feature significantly in Boult's discography include Holst, Ireland, Parry, and Walton.[102] Despite his reputation as a pioneer in Britain of the works of the Second Viennese School and other avant-garde composers, the record companies, unlike the BBC, remained cautious about recording him in this repertory, and only a single recording of a Berg piece represents this side of Boult's work.[102] In the core continental orchestral repertoire, Boult's recordings of the four symphonies of Brahms, and the Great C major Symphony of Schubert were celebrated in his lifetime and have remained in the catalogues during the three decades after his death. Late in his recording career he recorded four discs of excerpts from Wagner's operas, which received great critical praise.[104] The exceptional breadth of Boult's repertoire has left some well-regarded recordings of works not immediately associated with him, among which are versions of Franck's Symphony (recorded in 1959), Dvořák's Cello Concerto with Mstislav Rostropovich (1958), and a pioneering recording of Mahler's Third Symphony taped live in 1947.[102]
Boult wrote articles on a wide range of musical matters. They include an obituary of Nikisch (Music and Letters, Vol. 3, No. 2 (April 1922), pp. 117–121); "Casals as Conductor" (Music and Letters, Vol. 4 (1923), pp. 149–52); "Rosé and the Vienna Philharmonic" (Music and Letters, Vol. 32, No. 3 (July 1951), pp. 256–57); and an obituary of Toscanini for The Musical Times (March 1957, pp. 127–28)
Boult wrote books about music throughout his career. None were in print at April 2010. They are as follows:
Boult on Music: Words from a Lifetime's Communication. London: Toccata Press. 1983. ISBN 0-907689-03-5.
A Handbook on the Technique of Conducting (7th ed.). Oxford: Hall. 1951 [1920]. OCLC 155756343.
My Own Trumpet [autobiography]. London: Hamish Hamilton. 1973. ISBN 0-241-02445-5.
The St. Matthew Passion: its preparation and performance. London: Novello. 1949. OCLC 1547942. (with Walter Emery)
Thoughts on Conducting. London: Phoenix House. 1963. OCLC 892145.
^ a b c d e f g h i j Kennedy, Michael. "Boult, Sir Adrian Cedric (1889–1983)". Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 1 March 2010 (subscription required)
^ a b The Times obituary of Adrian Boult, 24 February 1983, p. 12
^ a b c d e Sadie, Stanley. "Sir Adrian Boult at 80", The Musical Times, Vol. 110, No. 1514 (April 1969), pp. 367–68
^ Kennedy, pp. 12–16 and 32
^ a b c d e f g h Crichton, Ronald and José A. Bowen. "Boult, Sir Adrian (Cedric)". Grove Music Online, Oxford University Press, accessed 1 March 2010 (subscription required)
^ Northrop Moore, Jerrold. "Sir Adrian Boult at 90". The Gramophone, April 1979, p. 1682. The full text of Boult's paper is reproduced in Moore, pp. 1–14
^ a b c d e "Boult, Sir Adrian (Cedric)'". Who Was Who, A & C Black, 1920–2008; online edition, Oxford University Press, December 2007, accessed 1 March 2010 (subscription required)
^ a b c d Osborne, Charles. "Boult, Sir Adrian (Cedric)" Archived 15 August 2016 at the Wayback Machine.. Oxford Dictionary of National Biography archive material, accessed 1 March 2010 (subscription required) (Article predating the Kennedy ODNB entry, available in the ODNB's online archive)
^ Boult later took an honours degree in music in 1914
^ Chesterman R. Conversations with Conductors. Robson Books, London, 1976: 1966 interview with Boult
^ Kennedy, p. 56
^ Boult, p. 46
^ Moore, p. 19
^ Kennedy, pp. 61–62
^ a b c Boult, p. 35
^ Lady Elgar's diary, quoted in Moore, p. 42
^ Quoted in Moore, pp. 42–43
^ Reed, p. 130
^ Moore, Jerrold Northrop, in Simeone, p. 63
^ Kennedy, p. 100
^ Kennedy, pp. 100–03 and 129
^ Kennedy, pp. 107–11
^ Reid, p. 204
^ "The Promenade Concerts" The Observer, 20 July 1930, p. 12
^ "Wireless Notes and Programmes", The Manchester Guardian, 22 October 1930, p. 12
^ The Musical Times, October 1930, p. 935. The other concerts were divided between Ansermet, Hermann Scherchen, Oskar Fried, Landon Ronald and Albert Coates.
^ The Times, 23 October 1930, p. 12
^ The Musical Times, 1 December 1930, p. 1124
^ The Observer, 26 October 1930, p. 14
^ Boult, p. 99 and Kennedy, p. 141
^ a b c d Cummings, David. "Boult's premières: Problems of Musical Lexicography", The Musical Times, May 1989, pp. 272–75
^ Boult, pp. 186–87
^ Foreman, Lewis. "Webern, the BBC and the Berg Violin Concerto" Tempo, September, 1991, pp. 2–10
^ The Times, 27 August 1931, p. 8
^ The Times, 10 September 1932, p. 8
^ 11 August 1936, p. 10
^ Morrison, p. 74
^ Boult, p. 102
^ a b Kennedy, pp. 161–63. Aldous, in his biography of Malcolm Sargent (p. 156), alleges that Boult and Ann Wilson were having an affair before her divorce from Wilson, but the source he cites (Kennedy, pp. 81, 111, 161–63) does not corroborate his statement.
^ Kennedy, p. 215, et seq.
^ Kennedy, pp. 162 and 181
^ a b Kennedy, p. 195
^ ODNB; Kennedy p. 215; and Aldous, pp. 156–57. However, in a biography of Wilson (English Singer, London, Duckworth, 1970, ISBN 0-7156-0468-6), Wilson's third wife Margaret disputes this and says that relations between the two were now amicable, and it was others at the BBC who were pressing for Boult's removal.
^ Russell, p. 77. Boult obtained leave from the BBC to conduct fund-raising concerts for the LPO. Others who came to the aid of the orchestra at that time included Wood, Sargent and Eileen Joyce
^ Hill, p. 50
^ Kennedy, p. 231.
^ The Gramophone]. May 1951, p. 17
^ Cardus, Neville. The Manchester Guardian, 19 January 1952, p. 3
^ Boult, p. 202. Kennedy (p. 232) states that there were 11 concerts, but Boult lists 12 dates and venues.
^ Michael Kennedy states that Russell "was a member of the Communist Party of Great Britain and made no secret of it"; see p.231
^ Witts, Richard. Boult, Russell & The London Philharmonic Orchestra 1952 Archived 25 April 2012 at the Wayback Machine.. Music in Society Seminar, Institute of British History, 2002. Witts concludes that it was not Russell but Boult – regarded by some as past his peak – who cost the LPO the Festival Hall residency.
^ The Times, 8 September 1953, p. 2; and 10 September 1953, p. 2
^ The Musical Times, October 1953, p. 472
^ a b Kennedy, pp. 244–57
^ a b Greenfield, Edward. "Boult – true servant of the composers", The Guardian, 24 February 1983, p. 14
^ "Boult, Adrian" Archived 23 July 2009 at the Wayback Machine., Naxos.com, accessed 2 April 2010.
^ British Film Institute database: "Archived copy". Archived from the original on 4 September 2009. Retrieved 12 November 2010.
^ Bishop, Christopher in Simeone, p. 73
^ Boult conducted seven of the nine Mahler symphonies well before the Mahler revival of the 1960s: the First, Third, Fourth, Fifth, Seventh, Eighth and Ninth (see Kennedy, p. 336), and he programmed Ravel's complete ballet Daphnis et Chloé and Ferruccio Busoni's rarely staged opera Doktor Faust in the late 1940s. He conducted Berg's Wozzeck before and after the war, regarding it as a masterpiece: see Kennedy, p. 169
^ Bland, pp. 198 and 232
^ Kennedy, pp. 287–88 and 294–96
^ "Concerts of the Week", The Observer, 24 February 1918, p. 5
^ Heyworth, Peter. "Sir Adrian", The Observer, 27 February 1983, p. 30.
^ Boult, Adrian. "Stereo Strings", The Musical Times, April 1973, p. 378
^ Shore, p. 52
^ Previn, p. 181
^ Simeone, p. 63
^ The Guardian, 19 January 2002, p. 7
^ "Bursar's Report" Archived 14 September 2014 at the Wayback Machine., Westminster School Elizabethan Newsletter, 2011/2012, p. 10
^ Conservatoire website Archived 22 March 2009 at the Wayback Machine., accessed 31 March 2010
^ "Farewell, Adrian Boult Hall - Alumni - Birmingham City University". bcu.ac.uk. Archived from the original on 12 October 2017. Retrieved 7 May 2018.
^ "Gramophone Hall of Fame". www.gramophone.co.uk. Archived from the original on 29 April 2015.
^ The Gramophone. September 1981, p. 344
^ a b c d e See Ashman, Mike. "Boult Discography", Records and Recording, April 1974, pp. 17–20, and Simeone, pp. 80–96.
^ Culshaw, p. 121
^ See, for instance, Deryck Cooke, The Gramophone, July 1972, p. 197: "He reveals himself as a 'perfect Wagnerite', and a thrilling one too ... a 'must' for Wagner-lovers".
Aldous, Richard (2001). Tunes of Glory: The Life of Malcolm Sargent. London: Pimlico. ISBN 0-7126-6540-4.
Bland, Alexander (1981). The Royal Ballet – the first 50 years. London: Threshold Books. ISBN 0-901366-11-0.
Boult, Adrian (1973). My Own Trumpet. London: Hamish Hamilton. ISBN 0-241-02445-5.
Culshaw, John (1981). Putting the Record Straight. London: Secker and Warburg. ISBN 0-436-11802-5.
Hill, Ralph (1951). Music 1951. Harmondsworth: Penguin Books. OCLC 26147349.
Kennedy, Michael (1987). Adrian Boult. London: Hamish Hamilton. ISBN 0-333-48752-4.
Moore, Jerrold Northrop (1979). Music and Friends: Letters to Adrian Boult. London: Hamish Hamilton. ISBN 0-241-10178-6.
Morrison, Richard (2004). Orchestra – The LSO. London: Faber and Faber. ISBN 0-571-21584-X.
Previn, André (ed) (1979). Orchestra. London: Macdonald and Janes. ISBN 0-354-04420-6. CS1 maint: Extra text: authors list (link)
Reed, W H (1943). Elgar. London: J M Dent. OCLC 8858707.
Russell, Thomas (1944). Philharmonic Decade. London: Hutchinson. OCLC 941577.
Shore, Bernard (1938). The Orchestra Speaks. London: Longmans. OCLC 499119110.
Simeone, Nigel; Simon Mundy (1980). Sir Adrian Boult: Companion of Honour. London: Midas Books. ISBN 0-85936-212-4.
Wikimedia Commons has media related to Adrian Boult.
Adrian Boult at AllMusic
Adrian Boult at Bach Cantatas Website
Westminster School website
This article uses material from the article Adrian Boult from the free encyclopedia Wikipedia and it is licensed under the GNU Free Documentation License.


The Supplementary Subject Fair 2019 will take place on 21 February from 10:00 to 16:00 in the Lakeside Lecture Theatres in the University Park.
The fair will feature presentations on a selection of supplementary subjects and you will be able to talk to representatives from Arts, Science and Technology, Aarhus BSS and Health (Health participates only from 10.30 – 12) about the courses available, admission requirements and career opportunities.
There will also be presentations about studying abroad from the International Centre and career opportunities from Arts Career. A teacher from the upper secondary school will also come and talk about what it is like to teach the upper secondary school in Denmark. A student will come and tell about her dream and considerations about becoming a future upper secondary school teacher.
The event is a great opportunity to learn about the many supplementary subjects Aarhus University has to offer. Come get informed – and get inspired. We are happy to answer any questions you have about your future supplementary subject.
In between presentations, you can buy refreshments in Studenterhusfonden's café.
Be sure and save the date!
See the programme for The Supplementary Subject Fair 2019.


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Women's Hockey Claims First MIAC Championship
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February 24, 2016 | 3 p.m.
By Tim Beasley, Assistant Sports Information Director
Bethel women's hockey team wins their first MIAC championship.
The Bethel University women's hockey team wrapped up their first MIAC championship in program history by finishing off a dominant series sweep of Concordia with a 5-0 victory on February 20. The Royals posted another shutout, this one with Maggie Straka in net, and racked up three, second period goals to win the series by a combined 8-0 score with the Cobbers, who entered the weekend tied with Bethel in second place.
After a strong start to Friday night's game the Royals once again set the tone early, scoring just 1:39 in and firing off nine shots to just one for Concordia in the first five minutes, forcing the Cobbers to take an early timeout. Kirsten Olson knocked in a rebound of Wendy Roberts shot for the Royals first score. Jill Larson also assisted on the goal. While Bethel did not score again in the first period, the Royals dominated the period. The second was much the same and this time the scoreboard reflected the Royals play as they totaled three goals in the period. Caroline Kivisto teamed up with Lauren Kolak and Briita Nelson for Bethel's second goal at 5:52 in the second. Briita Nelson then got a score of her own with Kivisto assisting at 13:34 to make it 3-0. At 18:30 in the second Kolak converted on a nice backhand goal to make it 4-0. Nelson and Kivisto were awarded assists. The Royals top line was not done scoring however as Kolak added an empty net goal just over two minutes remaining. Nelson and Karly Vohden assisted. Kolak, Kivisto, and Nelson all totaled three points on the day. Straka was outstanding in her first action since suffering a concussion on January 30 at Hamline in a 5-1 loss. Straka made 24 saves including 15 saves while on the penalty kill. Concordia had five power plays but was unable to convert on any of them. Bethel was 0-for-2.
The Royals finish the MIAC regular season with a 12-4-2 record and 26 total points, the same as the University of St. Thomas who will be the No. 1 seed for the MIAC playoffs based on their series win over Bethel back in November. Bethel will be the No. 2 seed and will host Augsburg on February 27 at 2 p.m. in the semifinals.
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Deletes the direct message specified in the required ID parameter. The authenticating user must be the recipient of the specified direct message. Direct Messages are only removed from the interface of the user context provided. Other members of the conversation can still access the Direct Messages. A successful delete will return a 204 http response code with no body content.
Important: This method requires an access token with RWD (read, write & direct message) permissions.
id (required) The id of the Direct Message event that should be deleted.


Time Management Tips: How to Manage Time while Studying in College?
How to manage time while studying in college?
Time Management is a process of practices, principles, skills, tools and systems that help you to use your time more wisely to complete the tasks within the stipulated time frame. The life of scholars encompass both academic and extra-curricular activities from attending lectures, studying, making notes and attempting exams to playing games, listening to music, reading novels, watching movies, etc.
By learning the time management techniques, you can manage your time productively and make the most of it. It will give you the best chance to stay on track and organize yourself that in turn can help you to reduce stress. Here are a few tips on time management which can assist you to use your time effectively. Let's go through them one by one!
You can try a pin-up planner or calendar of your cellphone. Observe what you do on a regular basis and make a schedule to check how much time you spend doing them. Keep your schedule simple and plan as per the time you have and don't overload yourself. Set 'SMART' goals, allocation of time and prioritize your objectives are a few things to consider while planning your timetable.
Reminders can help you recall important deadlines. Use sticky notes or text alerts on your smartphone to remind that you have something scheduled. If something is extremely significant, then arrange multiple reminders for yourself as you might overlook a single note or phone alert.
Manage your time wisely by planning to achieve the most essential tasks first. Note them in your timetable with a color highlighter or a small sticker. Schedule the top-priority work first to give sufficient time to complete it. Change your priorities from time to time and allot some spare time for last minute errands that require immediate attention.
The daily routine of students is affected by their sleeping habits. They must have an adequate amount of sleep so that their brain can relax and focus on work more efficiently. If you don't give proper time to rest, then it will influence your overall performance. Go to sleep a little earlier and avoid using electronic gadgets late night. 7 to 8 hours of sleep is a must as it will help you to enhance your concentration, thus you will be able to grasp things easily and work more productively.
Reading books and articles on time management will also give you some good ideas to organize your time. If you can't manage your time effectively due to loads of pending assignments, then you can ask for help from the professionals of 'Assignment Prime'. They intend to serve the college-goers by offering them with pocket-friendly assignment writing services in the shortest possible time.


Red area shows a "door zone" on the bike lane.
Yes! I support bike lanes on 30th St. I'll sign the petition.
As of this morning, San Diego is now a NACTO member.
Welcome to #NACTO's newest member, San Diego!
San Diego has finally joined the likes of Atlanta, Baltimore, Boston, Chicago, Detroit, Houston, Los Angeles, Minneapolis, New York, Philadelphia, Phoenix, Portland, San Francisco, Seattle and Washington DC. to determine how to work on finding solutions to our transportation woes and figure out how best to carve out space for all road users including the historically neglected ones like bicycle riders.
The National Association of City Transportation Officials (NACTO) is a 501(c)(3) non-profit association that represents large cities on transportation issues of local, regional and national significance. NACTO views the transportation departments of major cities as effective and necessary partners in regional and national transportation efforts, promoting their interests in federal decision-making. We facilitate the exchange of transportation ideas, insights and best practices among large cities, while fostering a cooperative approach to key issues facing cities and metropolitan areas.
Encouraging the city of San Diego to join NACTO was one of our goals for our first year.
NACTO caused a buzz two years ago when they launched their urban bikeway guide, a long overdue antidote to our very auto-centric design guidelines that our city transportation officials have had to rely on decades. This has resulted in, predictably, San Diego being a very auto-dominated city.
Los Angeles was one of the early member cities of NACTO and we've had nothing but admiration for the leaps and strides that L.A. has made toward making their streets more friendly to their bicycle riding residents. We believe that a lot of L.A.'s success had to do with signing on to be a NACTO member city and then learning from and sharing with other NACTO member cities ideas and strategies on how best to accommodate all road users.
BikeSD: How does a city benefit when it signs on to become a NACTO member. What are some of the downsides? What are some of the upsides?
Michelle Mowery: Since my expertise is bicycling I can only address the bike aspect but NACTO gives big cities the opportunity to share ideas and design concepts within circumstances that are not often shared by smaller, less urban cities. We use the NACTO Guide as a reference as we seek to develop new and experimental projects in the city. For example we are working on a cycletrack or protected bicycle lane in the Figueroa corridor and we've looked to the Guide for examples of how we might develop the design. The downside is that the document and the designs have yet to be adopted by Caltrans (although for the first time Caltrans is in the process of developing an experimental process for the testing of new bikeways design that is a direct outgrowth of the NACTO Guide) and thus it does not protect us from liability as we move forward with testing some of these new concepts in Los Angeles. That said are taking steps to protect the city from liability as we work on these projects by working with Caltrans and the FWHA on the experimental projects.
The efforts of NACTO have helped all of us who are implementing bike infrastructure to expand our tool boxes.
While the Feds and the State slowly inch their way into figuring out how to accommodate all roads users in a manner that more inviting and safer than it currently is, we're certainly thrilled that San Diego has joined the growing list of cities willing to forge a new path forward.
This post was written by BikeSD member and supporter Timur Ender who moved to San Diego for law school in January 2012. A year later, he moved to Portland to live in a city that has prioritized its citizens' safety, health and financial needs by providing them with safe, comfortable and inviting routes to ride a bicycle in. In moving away from San Diego to Portland, Ender turned down a $30,000 annual scholarship from Thomas Jefferson School of Law (TJSL). At TJSL, Ender was in the top 5% of his class. He said turning down a scholarship from TJSL was not nearly as hard as leaving all of the bike advocates who asked him to stay. Very rarely has he felt so honored, humbled, and valued.
Cities are erected on spiritual columns. Like giant mirrors, they reflect the hearts of their residents. If those hearts darken and lose faith, cities will lose their glamour.
We live in an age when Americans can live in just about any city in the country that they want. And, to a lot of people, what makes a city great is its walkability and bikeability, and a responsive local government that serves its residents and visitors. The weather alone cannot make a city America's finest.
As we have commented for years, San Diego's bicycle infrastructure is woefully deficient and needs dramatic improvement. That is why BikeSD exists: to advocate for those changes. With the election of mayor Bob Filner and with the support of the City Council, we are hopeful that things are going to start to change for the better. The recent 40 – year transportation plan authored by SANDAG, however, exemplifies the glacial pace at which things get done in this city. So, while we are hopeful that our elected officials will finally step up for bikes, we have our doubts.
There are basic, common sense steps that we can take today to get the change started.
First, go ride a bike! And encourage your friends, family, local officials to take a ride. As the adage goes, "you never truly know someone until you've walked a mile in their shoes." So, get on your bikes.
Second, get involved. If you are interested in making San Diego a world-class bicycling city - or if you are just interested in riding improving the infrastructure so you can ride your bike more - there are groups that already exist that are advocating for you. Talk to your bike advocates from BikeSD, from the City, and from SANDAG.
Third, urge your representatives to allocate money for bicycling infrastructure projects. Not all infrastructure projects are equal: while $700,000.00 may be a rounding error for a [bridge or highway] project, it's a significant amount for active transportation programs. Funding for bicycle projects should be aggressively pursued. Likewise, help your representatives understand that you "vote transportation." In other words, make it crystal clear to your representative that you will base your vote, at least in part, on the steps that have been taken to improve bicycle infrastructure.
Fourth, urge the City to properly maintain the existing bicycle infrastructure. The City should cite homeowners who routinely place garbage cans in the bicycle lanes. Further, the bollards should be removed from the bicycle path parallel to Harbor Drive. If the City is concerned about safety, a better solution is putting bicycle traffic lights and thereby legitimizing bicycling. The bollards are an inconvenience and an eyesore.
Fifth, the City should pass an anti-harassment ordinance so motorists who harass vulnerable road users will be held accountable.
The bicycling community has been pressing for these changes for years, from the bottom up. It is time they are met with action from the top down.
We wish Timur Ender the very best for his new life in Portland and thank him for his incredible help and insight he provided us during his very short stay here in San Diego.
The post below was written by BikeSD volunteer and member, Tyler Bergin.
Today, the North Park Planning Committee will vote on approving the installation of two new bike corrals and the city's first parklet. While the implementation of these cycling amenities in North Park would be a great start, more needs to be done in order to transform this up-and-coming neighborhood into THE MOST bike and pedestrian friendly neighborhood in San Diego. As many of you are probably aware, North Park was recently named the thirteenth best hipster neighborhood in the U.S. by Forbes. Whether the news made you giddy or nauseous, the fact is that this kind of national attention has brought this wonderful neighborhood into the spotlight locally as well. City and community officials now have their sights focused on North Park in order to decide how to gain more national attention and use this burgeoning hipster destination to the city's financial advantage.
Now is the perfect time to advocate for change. Recent studies have shown that the installation of bike lanes in New York and Portland have had a positive affect on the local economies. According to an NBC News article, sales at businesses along New York's Ninth Avenue increased as much as 49 percent after installing bike lanes. As Martha Roskowski of Bikes Belong puts it "When people travel by bike, they tend to eat, shop and play more locally." With this type of information available and our newly elected mayor's focus on public safety, arts and culture, jobs, small business, neighborhoods and environment/livability, it would seem that placing dedicated bike facilities along the major thoroughfares in North Park would be a no-brainer. This, however, is not the case.
Plenty of parking for cars at the North Park Parking Garage.
While automobiles are given almost exclusive right-of-way on our city's streets, the bicycle is left to fend for itself. Two tons of steel versus twenty pounds of aluminum; we all know which is the winner. To add insult to injury, not only are cars given exclusive right-of-way to drive on these streets, they are also given exclusive right to sit motionless on the side of these streets while bicycles are meant to be chained to a few randomly placed bike racks, not in the street, but on the sidewalk where bikes are not permitted to be ridden! One could make the argument that there are far more cars driven into North Park and removing parking from one side of the street in order to make space install bike lanes would create a huge deficiency, but this argument is invalid. At the corner of North Park Way and 30th Street sits a 388-space parking garage that four years after opening was, according to city redevelopment project manager Michael Lengyel, "generally at less than 50 percent capacity." What better way to put this fourteen million dollar parking garage to good use and recuperate some of this cost than by removing on-street parking!
So what exactly should be done in order to improve cycling infrastructure in North Park? There are three streets that could be immediately improved. Bike lanes and/or cycle tracks should be installed on both University Avenue and 30th Street. These can be simple bike lanes such as the ones that currently exist on Utah Street (perfect example of bikes being pushed onto side streets instead of main thoroughfares) or green protected bike lanes such as those that exist in New York, Portland and Chicago. Transforming the two main avenues in North Park into bike-friendly "complete streets" would establish North Park as THE bike friendly destination in San Diego.
The third street that could benefit is Ray Street between University Ave and North Park Way. As the location of the Ray Street Art and Culture District, this segment could be paved and turned into a fully bike and pedestrian street by completely removing access to cars. This would be the first of its kind in San Diego and follow the success of cities such as Barcelona, Spain and Curitiba, Brazil. Additionally, it would make a great location for a new bike corral.
As Councilman David Alvarez stated at BikeSD's launch party back in September, planning groups and city council have the power to make changes, but they need to know what changes the community desires to implement. There is an old saying "The squeaky wheel gets the grease." Let's make sure that wheel is spoked and attached to a bicycle.
North Park today: Ripe for change.
In San Diego, bike lanes often get dropped at intersections which is the one place all road users need direction on how to navigate across. Long Beach began using green paint to highlight specific areas where roads users needed to be especially cautious and we see this as a very low cost solution to implement while working on actually redesigning the intersections to be more in tune with the Dutch standard.
Designs for intersections with bicycle facilities should reduce conflict between bicyclists (and other vulnerable road users) and vehicles by heightening the level of visibility, denoting a clear right-of-way, and facilitating eye contact and awareness with competing modes. Intersection treatments can resolve both queuing and merging maneuvers for bicyclists, and are often coordinated with timed or specialized signals.
Where do you think would be ideal places to implement this sort of treatment?


We shouldn't be surprised that it's becoming harder and harder to identify and cultivate branch-level leadership.
If money in is sacrificed, then money out must have a commensurate cut.
Adult learners are more successful when trainers are skilled instructors who grasp various learning styles and approaches.
Wanted for real estate leadership positions: Talented and successful real estate agents who would like a far more restrictive schedule, a probable reduction in pay and increased responsibility.
Should we be surprised that it's becoming harder to identify and cultivate new branch-level leadership in real estate? Of course not.
This job description screams for mediocre bureaucrats who value predictable paychecks more than enthusiastic empire building.
Our profession is devolving into who can do our job and charge the least and who can take the commissions we generate and give agents the biggest piece.
It's often a call to the base instinct in people that the more they get to keep, the better. Well, now we've begun to see who really pays. As we've known all along, nothing is free.
If a company is undercutting commissions to grow volume and out-splitting its competitors to grow its agent count, the bills still need to be paid and the balance sheet balanced. If money in is sacrificed, then money out must have a commensurate cut.
According to research from the Journal of Social Sciences, adult learners are most successful in certain conditions.
It's critical that those teaching, training and coaching adults are well-prepared, skilled instructors who grasp various learning styles. These leaders should have different approaches for delivering instruction and maintain patience and empathy.
Adult students should be actively involved in their learning with healthy exchanges, small group discussion and a variety of teaching methodologies.
This category includes virtually all the behind-the-scenes services and assistance that often becomes invisible and taken for granted. Invisible, that is, until it's taken away.
It's true that real estate agents have become more mobile and less dependent on the traditional office setting. It's also the case that a brokerage is often distinguished by its capacity to host a meeting, to provide a comfortable setting for group work and to professionally welcome clients. Location still matters.
One quote from Ken Blanchard's research captures the impact of leadership: "As a company, we've been looking at the connection between leadership practices, employee work passion, customer devotion and an organization's bottom line.
This is the collective measure of the first four bullets.
When a company or broker's priorities become a contest of lowest commission and highest splits, the funds needed to pay the bills are funneled from these critical sources.
The impact of drawdowns in training, support, physical setting, leadership and ultimate quality isn't felt at once. There is enthusiasm from potential agent earnings and roster-building that keep our senses engaged.
Over time, though, any one of these sources compromised causes a drop in quality that clients and eventually agents will find increasingly intolerable. A combination of multiple source depletion and the decline in quality, family atmosphere and professionalism will compound precipitously.
Real estate is a profession, and while it's important that it remain flexible and change with the times, stripping it of its professionalism and quality will eventually affect us all.
Want to draw more leaders to the business and develop leaders from within?
First, determine what matters to your brokerage and to the profession for now and in the future, and then stay true to these values as your business matures.
Real estate is a profession, and stripping it of its professionalism and quality will affect us all.


Cell therapy is the transplantation of cells from human or animal origins to replace or repair damaged tissue and/or cells. The goal is for the healthy cells to become integrated into the body and begin to function like the patient's own cells.
Xenotransplantation is the transplantation of living cells, tissues and organs from one species to another.
How Are Cell Therapies Being Used Today?
1536: Phillippus Aureolus Paracelsus was a German-Swiss physician and alchemist who believed that the best way to treat an illness was to use living tissue.
1667: Jean-Baptiste Denis attempted to transfuse blood from a calf into a mentally ill patient.
1912: German physicians tried to treat patients suffering underactive thyroids with thyroid cells.
1930s:	Blood transfusion established as a medical procedure to replace lost blood.
1931: Dr Paul Niehans became known as the "father of cell therapy" when he used parathyroid gland cells from a calf in a saline solution to treat a dying human patient. The patient lived for another 30 years.
1969: The first human bone marrow transplant used as a treatment for leukaemia by E.D. Thomas.
1978: Human insulin is synthesised in the laboratory as a treatment for diabetes. Until this breakthrough, people with diabetes relied on animal insulin, primarily from cattle and pigs.
1986: The first human clinical trials of islet cell transplants in diabetic patients.
1991: The isolation of human stem cells by Irving Weissmann's group at Systemix Inc.
1998: The first intra-cerebral cell transplant to reverse brain damage caused by stroke.
2006: At least half a dozen clinical trials were underway in Europe and China using xenotransplantation as well as an FDA-approved clinical trial of an animal tissue treatment for Parkinson's disease in the US.


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Mobile Customer Survey Customizable by merchants using salesforce code

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The best type of RV depends on you and your family and how you plan to use the camper. It has to be right for you. With that said, the fifth-wheel design is a model that works well for many different kinds RVers. Every year, millions of Americans make the decision to purchase a fifth-wheel RV on either the new or used market.
Everyone has different reasons why they chose the model they did, but there are a few advantages to the RV type that are indisputable. Here are four advantages fifth-wheel RV owners enjoy.
To me, the biggest advantage of a fifth-wheel RV is how space gets utilized. A significant portion of the RV sits over the bed of the truck that tows it. This reduces the overall length of your tow vehicle and RV, making it easier to fit into certain campsites.
Also, the interior of a fifth-wheel offers excellent use of space. The floorplan options are endless, and you're not hampered by having a driver and passenger seat to factor into the floorplan like you are with a motorhome. Travel trailers offer good use of space, too, but the fifth-wheel makes the most of its floorplan from an exterior and interior standpoint.
While travel trailers will be the most affordable option when it comes to RVs, fifth-wheels offer excellent value, too. When compared to motorhomes, fifth-wheels of similar size and with similar amenities are often much less expensive.
Class A, Class C, and Class B RVs are simply pricey machines. They're wonderful RVs and the right option for many RVers, but if you're buying on a budget, you'll usually get more for your money if you buy a fifth wheel. With that in mind, you also need to factor in the cost of your tow vehicle.
If you already have a truck that can pull a fifth-wheel, then you're in the clear. However, if you have to buy a truck and an RV, then your savings by going with a fifth-wheel essentially dry up. It's important to crunch all the numbers before deciding on a specific model.
Travel trailers generally do a good job of being smooth and easy to tow, but fifth-wheels are more stable in general. There's less chance of the RV experiencing trailer sway and the overall design of the fifth-wheel makes it more aerodynamic than many travel trailers.
The reason for this is the way fifth-wheel hitch and the way weight is distributed. The trailer hitch for RV better displaces the weight of the trailer and it's a more secure anchoring point to the tow vehicle. While a fifth-wheel hitch may seem more intimidating at first, you'll often find it tows better once you get used to it than a comparable travel trailer.
Need to do some exploring around your campground? Have to make a grocery run? If you own a motorhome, you have to pack up the whole RV before you head out. With a fifth-wheel, you can simply unhook the tow vehicle from the RV, lock up the RV, and then drive to your destination.
Of course, travel trailers and other towables have this advantage as well, but it's worth mentioning. Motorhomes are great, but they're not always the most convenient option.
Do you have any other advantages of a fifth-wheel you think should be included? Leave a comment below!
This seems a little bias. It doesn't mention that you have to have a huge truck to pull the fifth wheel but does go on to say Class A's are not as good.
I think we all know it depends on what people want. Two huge expenses or one huge expense and a pull car most of us already own.
We just drove our class A 8900 miles pulling our Camry on a dolly.
Trust me. A class A motorhome is wonderful to travel in.
There's nothing wrong with a Class A! You're 100 percent correct that it depends on the person. The article says as much in the first paragraph. There are obvious advantages to Class A motorhomes, and we've extolled their virtues in other articles. With that said, there's no denying that a fifth-wheel does work well for many RVers. The article also does address what you're saying about tow vehicles under the second heading.
The point was not to say bad things about other RV types but to highlight the good points fifth-wheels have.
Class A motorhomes are wonderful to travel in but they don't work for everyone. When that's the case, a fifth-wheel can be a viable alternative.
All types of "campers" have advantages and disadvantages. This piece did a good job of pointing out advantages of a fifth wheel. One big advantage for me is I need a truck when I'm home. So even though it is an additional expense with a fifth wheel it is one that I use for more than JUST camping. That's true for a pull trailer as well. It sort of matches the point of a Class A where you "already have a car to tow" and that car is multi use. Home and camping.
,But we prefer , the 5th wh, For all the reason's listed above, & the height.
But they all have good and bad to Consider when purchasing an Rv..
I also think it depends on the person! For me my 40' diesel pusher with my toad is the ultimate! Driving my mh is like sitting in my living room, plenty of room. Comfortable, and plenty of room to stretch out for the Grandkids. Bathroom for the kids, food preparation a breeze for lunch and a cool drink from the fridge, all while driving down the road with,Air ride suspension! And you know what? I never hear " Are we there yet!". This of course is my opinion that the Motorhome is the Ultimate Camping Machine! Thank you!
We recently purchased a new class c for 56k. Have friends that went the 5th wheel route and spent more than 56k on each, camper and truck. We can still pull a small car if needed.
Don't forget it's a lot easier to service and repair a common truck than an expensive class A motor home. On YouTube, it seems Class A motorhomes breakdown every week. Also, trucks offer the safety of airbags and crash technology to safely crunch the vehicle engine underneath passengers. Overall, a Fifth Wheel is safer and less expensive both up front and operationally.
We have a class A and already had a small car. We are full timers. We spend less on gas because when we go sight seeing we can take the small car. It's easier to get around and parking a small car is easier than a large truck. As far as head room we have plenty almost 8 feet. A class A also has more storage than any 5th wheel we've seen. For us a class A was the best choice. 5th wheels may be best for others. One isn't better than another. It's personal choice. I felt the article was biased for anyone trying to make a first time choice. My suggestion is to research all types, talk to people who own all types of RV's and decide what will work best for you.
Hi Linda, You're totally right! Everyone should research all types of RVs before purchasing. The point of the article was not to suggest fifth-wheels are the best, but that they come with several advantages. With that said, Class A RVs come with many advantages of their own!
Some national park camps have 25 ft limits and some have no electric. If you like the woods and high elevation stay small, under 25 ft .
You are all right, it is what works for you that makes it the best rig for you. We know people who have ever kind of RV and they all chose them for their own reasons. For us it was a 35ft 5th wheel that did it for us. Bottom line get what works for you and yours and don't worry about what the guy in the next spot has. Just get out and enjoy your rig and yourselves.
A lot more storage in the basement is another advantage.
Your right, Rob. Excellent point!
We have hosted a dinner for 10 (2tables) easily in our 5th wheel, and card games in ours. It was so spacious for group gatherings on cold or rainy nights.
Nearly 20 years ago we decided we wanted an RV. I also wanted and have use for a truck so the goth wheel was a no brained for us.
We are on our 3rd one and have graduated to a 44' model. My next and final one will probably be a little shorter, but not by much. We like the roominess and openness of the fifth wheel designs.
I have a fold up bed cover that pulls over the hitch when we unhook. We place the coolers, chairs and umbrellas in there and conveniently lock them up when not in use.
We've often evaluated whether a class a or c would be better and the answer has always been no.


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20 Other Names for Santa Claus Around the World
Saying the name Santa Claus conjures an image of a jolly, generous man who delivers gifts to good girls and boys. The spirit of Santa Claus may be close to universal, though the details vary a bit in some places, and the name isn't the same everywhere. There are a number of other names for Santa Claus, including many Santa Claus names in different languages. Discover 20 names for Santa Claus around the world.
Santa Claus with sack of gifts
Agios Vasilios (Greece)
Agios Vasilios, also known as Saint Basil, visits homes in Greece to welcome in each new year. Rather than visiting homes in December, Agios Vasilios visits homes on New Year's Day, which is known as the Feast of Saint Basil. Families traditionally set a place for Agios Vasilios to join them for their New Year's meal. The real-life Saint Basil was known for helping the poor, so families also make charitable donations in his memory.
Babbo Natale (Italy)
Translated as Daddy Christmas, Babbo Natale is the Italian name for Santa Claus. Per Italian Christmas tradition, Babbo Natale visits homes on Christmas Eve to leave presents, but he is not the only giver of secret gifts associated with the Christmas season in that country. On January 5, which is the night before the Epiphany, La Befana, who is known as the good Christmas witch, is said to ride her broom to homes throughout Italy, bringing gifts to children.
Dun Che Lao Ren (China)
Dun Che Lao Ren is the primary name used for Santa Claus in Chinese Christmas traditions. This name translates into old Christmas man. Children hang stockings made of muslin for Dun Che Lao Ren to fill with presents. Alternately, some people in China refer to Santa as Lan Khoong-Khoong, which means nice old father.
Ded Moroz (Russia)
The Russian equivalent of Santa Claus is Ded Moroz, which translates to English as grandfather frost. Ded Moroz carries a staff and is accompanied by horses instead of reindeer. He most commonly appears in a blue robe lined in fur, though he is sometimes shown in a red or metallic robe. He makes his gift-giving rounds on New Year's Eve via a troika instead of a sleigh.
Father Christmas (England)
The name Father Christmas is commonly used in England and the rest of the United Kingdom (UK). Father Christmas visits on Christmas Eve, bringing presents and filling stockings. It's tradition for UK families to leave Father Christmas a mince pie to snack on along with some whiskey to drink.
Hoteiosho (Japan)
In Japan, Hoteiosho is one of the names given to their equivalent of Santa Claus. The other is Santa Kurohsu. Hoteiosho is depicted as a Buddhist monk who behaves in many ways like Santa Claus, especially in that he has a big belly and goes from house to house leaving toys for children. Japanese folklore says Hoteiosho and Santa Kurohsu have eyes in the back of their heads so they can see clearly how children are behaving.
Jólasveinar (Iceland)
Jólasveinar is the group name for the 13 Santa-like figures in Iceland. Referred to as the Christmas boys or Yule lads, these gents share the responsibility of visiting homes throughout Iceland over the 13 days that precede Christmas, leaving behind secret gifts for well-behaved children in each home.The Jólasveinar are trolls, so they also engage in mischief.
Joulupukki (Finland)
In Finland, Santa Claus goes by the name Joulupukki, which translates to Christmas goat, Christmas buck or billy goat. Joulupukki visits homes to distribute presents to children, but doesn't do it in secret. Instead, Joulupukki knocks on the front door or rings the doorbell to signal his arrival. Families often serenade him with Christmas carols. He travels by a reindeer-pulled sleigh, but his reindeer don't fly.
Julenissen (Norway)
In Norway, Santa Claus is called Julenissen. Scandanavian folklore includes nisse or julenisse, which are small gnome-like creatures that are sometimes described as hobgoblins or spirits. They are mischievous, yet benevolent and are said to bring luck and prosperity as long as the families they visit keep them happy. They are said to bring special gifts to children throughout Norway at Christmastime. This tradition led to Santa Claus being named Julenissen in Norway.
Kanakaloka (Hawaii)
Kanakaloka is the Hawaiian language word for Santa Claus. Hawaii isn't the best place to travel by sleigh wearing a heavy fur suit, so Kanakaloka does things a bit differently than Santa Claus. He travels via a canoe with outriggers rather than in a sleigh. While he is sometimes depicted in traditional Santa red, he is often outfitted in a Hawaiian shirt paired with shorts.
Noel Baba (Turkey)
While Turkey is a Muslim country where Christmas is not celebrated, there is still a Santa Claus equivalent there. After all Antalya, Turkey is where the real Saint Nicholas was born and lived his life. While Christmas is not observed in Turkey, New Year's Eve is a big holiday celebration there. That's when Noel Baba visits, bearing gifts he carries in a sack. Noel Baba is sometimes depicted in a sleigh and sometimes on a raft. He wears a red suit, though it's scaled back to account for the Turkish climate.
Pai Natal (Portugal)
In Portugal, Santa Claus is called Pai Noel. The story of Pai Noel closely follows other Santa Claus traditions, with Pai Noel making a furtive visit to homes on Christmas Eve to deliver presents to children once they are soundly sleeping. These gifts are left beneath the family's Christmas tree or in shoes that children leave out for him to find. However, some in Portugal say that it's actually the Baby Jesus who leaves gifts for the kids.
Papá Noel (Spain)
In Spain, Papá Noel travels the country on Nochebuena (December 24), leaving gifts for children in the overnight hours. Children awaken on Christmas Day to those presents after enjoying a large Christmas meal with family members the evening before. Other than presents left by Papá Noel, though, other gift-giving waits until the Epiphany, which is January 6.
Papai Noel (Brazil)
In Brazil, Santa Claus is usually referred to as Papai Noel, though the name Bom Velhinho, which translates from Portugese into English as good old man, is sometimes used. Due to the climate in Brazil, most homes do not have fireplaces, so Papai Noel doesn't come in via a chimney. Children in Brazil hang socks near a window for Papai Noel to fill when he visits after they go to sleep on Christmas Eve.
Père Noël (France)
In France, Santa Claus is called Père Noël, He is typically depicted in a white fur cloak with an attached hood, which he typically wears pulled up over his head. He travels by reindeer-pulled sleigh and visits homes to secretly leave presents for children. He doesn't fill stockings, but rather places goodies in children's slippers or shoes, which they leave out for him before going to bed on Christmas Eve. Rather than leaving milk for Santa to drink, French children are likely to pour him a glass of wine.
Saint Nikolaus (Austria)
In Austria, Saint Nikolaus visits homes to bring gifts on December 5, which is the night before Nikolaustag, (Saint Nikolaus' Day). He behaves very much like Santa Claus, but is named for the real-life bishop of the same name who died during the 4th Century. The name Saint Nikolaus, or Saint Nicholas, is used in other countries as well, including many Germanic nations and English-speaking countries.
Samichlaus (Switzerland)
In Switzerland, Santa Claus goes by the name Samichlaus. As with Austria's Saint Nikolaus, December 5 is the day Samichlaus spreads happiness (in the form of gifts) to children throughout the country. Rather than being helped by elves, his assistants are referred to as schmutzli. He doesn't have flying reindeer, but instead travels primarily by foot.
Sinterklaas (Holland)
Based on Saint Nicholas, Sinterklaas is the name for Santa Claus used throughout the Netherlands. As with other countries where traditions surrounding Santa are linked to Saint Nicholas, his visit occurs on December 5, the evening before the Feast of Saint Nicholas. Children place their shoes in front of the fireplace, as Sinterklaas is prone to leaving small gifts or candy treats inside of shoes.
Święty Mikołaj (Poland)
Based on Saint Nicholas, Święty Mikołaj is the primary Polish equivalent of Santa Claus. Children wake up on December 6 to find a small gift from Święty Mikołaj signaling the start of the Christmas season. The majority of gift giving, however, is reserved for Christmas day. In some areas of Sweden, Poznań (which means star man) is the one who brings gifts to children.
Weihnachtsmann (Germany)
In Germany, there are several names for Santa Claus. The oldest one that is the most similar to the way the jolly holiday gift-giver is portrayed in other parts of the world is der Weihnachtsmann, which is the German equivalent of Father Christmas or Christmas man. Other German names for Santa Claus include Nickel, Klaus, and Niglo.
Many Names for Santa
Just as there are many Christmas customs around the world, there are also Santa Claus names in different languages. These are just 20 of the many names for Santa Claus and the spirit of giving he embodies. Traditions and the exact date of his visit may vary, but there are some commonalities to the story of Santa Claus no matter what name is used. To learn more about Christmas terminology in other languages, explore more Christmas words in Spanish.
Mary Gormandy White
M.A. Communication


Competition by VP Jarell - Welcome to Florida DECA!
There have been some major changes to this year's Competitive Events, mainly with the Written Entries. First off there are no more 5, 11, or 30 pages ❗❗ They have instead been replaced with 10 and 20 pages (10 being in place of 5 and 11 pages, 20 for 30). This is very important to note when picking the right competition for you. There'll be a lot more people doing 10 pages rather than 20 pages too, so keep that in mind. No matter what your interest is, there's for sure a category for you. From virtual business challenges and the stock market game, to written event competitions and testing/role plays; there's something for everybody.
Now specifically for first year members, there's a testing category called the Principles of Business Administration Events, which are four different tests on the basics of finance, marketing, business management + administration and hospitality + management.
Use this info wisely as your pickining your category to compete in this year, good luck!!