Music Trade Review

Issue: 1930 Vol. 89 N. 12

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
The
Published Monthly
FKDKHATKD BUSINESS PUBLICATIONS, INC.
420 Lexington Ave.
New York
IN
aide Review
Serving
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the Entire % ^^M&?
Vol. 89
December, 1930
Music
Single Copies
Twenty Cents
Annual Subscription
Two Dollars
Industry
No. 12
CASE
DOES YOUR
INSURANCE
PROTECT?
By CLARENCE T. HUBBARD
Authority
T'S easy for a music dealer to say—-"put
$100,000 fire insurance on my fixtures,
equipment and stock"—but it's worse than
a drop in the stock market to find that
you are only partially covered when a loss
occurs because you didn't understand the pro
rata distribution clause, the reduced rate contri-
bution clause, the three-fourths value clause or
the iron safe clause. For some of these clauses
there is a credit in your rate or premium, as
explained.
In these days of financial readjustment it is
extremely important that music dealers be clear
on certain fire insurance policy clauses. To
produce profits by scientific business promo-
tion, advertising and efficient economy and then
to lose by insurance carelessness is not a de-
fensive business policy.
Consider first the pro rata, or, as sometimes
called, the average distribution clause. What
is it? What does it do? Has your agent or
broker ever illustrated with pencil and paper
its functions?
When you cover inore than one building, or
stock in more than one building under one fire
insurance policy covering blanket over all and
you do not insure fully to value—the pro rata
distribution average clause is usually attached
to the fire insurance policy. There is no charge
for it or for excluding it—and usually it is
mandatory to have it attached to your fire in-
surance policy.
The clause reads: "It is a condition of this*
contract that the amounts- covered hereundcr
shall attach in or other structure and/or place in that proportion
I
of the amount hereby covered that the value
of the property covered by this policy in or on
each said building, shed and other structure
and/or place shall bear to the value of all of
the property described herein."
How it functions is very important. Assume
that you have a store in one building, a service
department in another and in the rear a ware-
house. The total contents are worth, say, $200,-
000. You order a blanket fire insurance policy
Here are some things
about trick fire-insur-
ance clauses which the
merchant should know
for his own protection
for, say, $100,000 to cover over the contents of
these three locations. In the store the value
of the contents is $100,000, in the service de-
partment, $40,000, while in the warehouse you
have $60,000 worth of pianos stored. But your
policy is only for $100,000 over all. A fire
occurs and causes damage to the amount of
$10,000 in the warehouse. How much do you
collect under the pro rata distribution clause?
The amount of insurance you arc entitled to
collect is represented in what the value (not
the amount of insurance) of the contents of
the destroyed warehouse ($60,000) bears to the
total value of the contents of all three locations
($200,000) as applied to the total fire insurance
3
on Fire Insurance
carried. That is what 60,000/200,000—the value
in the warehouse to the value of the store, the
service department and warehouse combined—
bears to the total insurance carried ($100,000") or
6/20 of $100,000, which is $30,000. You can
follow this better with pencil and paper. The
amount of $30,000, then, is the proportion of
insurance applying to the warehouse—$30,000
insurance, $60,000 values. If the warehouse was
totally destroyed and the contents were valued
at $50,000, you would under the circumstances
outlined collect $30,000. That is the positive
limit over all, and the pro rata distribution
clause inserted in your fire insurance policy. If
there was a loss of $29,000 you would collect
$29,000 or any lesser sum, but not over $30,000.
The example given was based on the assump-
tion that the values were insured in keeping
with the co-insurance clause attached. In the
above example the aggregate values in all of
the buildings was $200,000 and the amount of
insurance covering blanket over all was $100,-
000, which was on the basis of 50 per cent co-
insurance, meaning you insured only one-half
of your property. Now assume that the total
values contained in all of the buildings at the
time of a fire were $300,000, and still only
$100,000 in insurance was carried. Then the
whole picture would be changed. First you
would apply the pro rata distribution clause and
(hen, secondly, the co-insurance clause. First,
then, the pro rata distribution average clause
would distribute the insurance on the basis of
what the values in building three—say still
$60,000—bore to tin- total value of $300,000 or
(I'lcusc
turn
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Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
New Board of Control
Guiding National Bureau
hr ^ Advancement of Music
Committee of Nine, Representing the Music Industry,
Educators and Philanthropic Institutions, Now in Con-
trol of the Bureau With C. M. Tremaine as Director.
members of the Board of Control by the Pres-
ident of the Chamber the Board was organized
at a meeting- held Thursday, October 23, 1930,
at which C. M. Tremaine, whose resignation
from the National Bureau for the Advancement
of Music was formally accepted, was elected as
director of the reorganized National Bureau.
Miss Gertrude Borchard was made secretary
while Harry Meixell, general manager of Music
Industries Chamber of Commerce, was appointed
treasurer of the reorganized body.
At the same lime a sub-committee on wavs
Hermann Irion, Chairman
S announced exclusively in The Review
last month, the reorganization of the
National Bureau for the Advancement
of Music on a basis that provides for
the carrying on of the- work under the direction
of a board of control with equal representation
from the music industry, educators and philan-
thropic organizations has now been completed
and the Bureau is functioning on the new basis.
For the balance of the current fiscal year
of the Natiotial Bureau ending May 31, 1931,
I'resident C. Alfred Wagner, of the Chamber,
has made the following appointments to the
National Bureau's Board of Control:
Representatives of Music Industries—Her-
mann Irion, Chairman, Stein way & Sons; Luc-
ien Wulsin, Baldwin Co., and Alfred 1.. Smith,
C. G. Conn, Ltd.
Representatives of Musical Educators—Dr.
Joseph E. Maddy, General chairman of the
Committee on Instrumental Affairs of the Mu-
sic Supervisors National Conference; I'rofes-
sor in Department of Fine Arts in the L'niver-
sity of Michigan; I'resident and organizer of
the National High Sdmol Orchestra and Band
camp at Interlochen, Mich; Professor 1'eUr \\ .
Dykema, Professor oi public school music ed-
ucation. Teachers College, Columbia University.
He is ex-president of the Music Supervisors
National Conference, and has been one of
the dominant figures in that organiation for
the past ten or fifteen years, and Dr. Hollis
Danu, Professor of public school musical ed-
ucation at New York University, ex-president
or Music Supervisors National Conference. He.
is the author oi many school music books.
Representatives of Philanthropic Organiza-
tions—Dr. Howard Hanson, Director of the
Kastman School of Music, and one of the prom-
inent American composers; Dr. John Erskine,
I'resident of the Juilliard Musical Foundation,
Prof, of English Literature, Columbia Univer-
sity, well-known author and concert pianist, and
Dr. William F. Learned, Member of the Board
of the Carnegie Foundation.
A
Board of Control Effects Reorganization
Immediately upon the appointment of these
Lucien Wulsin
and means and budget consisting of Hermann
Irion, Chairman; Dr. John Erskine and Pro-
fessor Peter W. Dykema was created. A Sub-
Committee on By-Laws consisting of Dr. Jo-
seph E. Maddy, Chairman; Dr. Hollis Dann and
Harry Meixell was requested to formulate a
code of by-laws to govern the operation of the
reorganized National Bureau.
At this meeting" the work of the National
Bureau for the past fifteen years was reviewed
by the Chairman, who stated:
"For almost fifteen years, the National Bu-
reau for the Advancement of Music has been
an adjunct of Music Industries Chamber of
Commerce, and, during this period, has had
from the Chamber approximately $600,000 for
financing- its general music promotional activi-
ties, and many thousands of dollars additional
for coring for specialized promotional activities
which have grown out of the general work.
These sums do not include the special expen-
ditures made by such affiliations of the Cham-
ber as the National Piano Manufacturers' As-
sociation of America which, if added, would
bring the total of the industry's outlays for
music promotional work, both general and spe-
cial, to almost $1,000,000' during the time indi-
cated.
"This sum of money—relatively vast for an
industry as small as that devoted to the pro-
duction of musical instruments—has been spent
almost entirely in the pursuit of the idea of
the advancement of music in general and with-
out reference to the benefits which the success-
ful prosecution of the work might have directly
upon the fortunes of manufacturers of musical
instruments in general; manufacturers of any
particular types of musical instruments or the
fortunes of any one particular company. In-
deed, with few and slight exceptions which are
insignificant those musical instrument manufac-
turers giving these large sums of money to the
National Bureau for the Advancement of Music
have had no direct part in formulating the work
programs to be financed with their money and
no .prerogatives in formulating the policies
governing the carrying out of these work pro-
grams.
"Notwithstanding this fact there has been a
growing tendency on the part of some con-
tributors toward the work of the National
Bureau to demand direct specialized benefits
for their outlays of money. Especially does
this tendency manifest itself in times of busi-
ness stress and strain.
"With the National Bureau an adjunct of, in-
deed what might be termed a subsidiary of,
Music Industries Chamber of Commerce, and
Alfred L. Smith
under the Chamber's direct control, it is very
difficult to repel these demands for direct serv-
ice for financial backers, despite the fact that
from the very nature of the Bureau's work the
rendering of direct services is not alone un-
desirable but impossible. On the other hand,
it is extremely difficult if not almost impossible
to bring home this fact to would-be benefici-
aries of the National Bureau's work.
"Consequently, to forestall any further growth
of this attitude on the part of any branches,

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