Presto

Issue: 1920 1747

THE PRESTO BUYERS'
GUIDE CLASSIFIES ALL
PIANOS AND PLAYERS
AND THEIR MAKERS
PRESTO
E.tabiuhed 1884
THE AMERICAN MUSIC TRADE WEEKLY
THE PRESTO YEAR BOOK
IS THE ONLY ANNUAL
REVIEW OF
THE MUSIC TRADES
to c*nt. ; ss.oo a Y W
THE ANTI-STRIKE MEASURE
It is roughly estimated that the New York
strike has cost the piano industry and trade in
excess of $15,000,000. And this does not take
into consideration the great loss it has entailed
upon the piano workers themselves. The sup-
ply houses have not been able to keep up with
the demands of the industries which were not
affected by the strike, so they are eliminated
from the problem.
The New York strike is dying out and the
strikers do not seem to have accomplished
their aims in any form of self-betterment. But
the injury done will continue to be effective
for some time to come. And what the future
may bring is as uncertain and filled with the
germs of doubt as ever. That is, after all, the
worst of it.
The first piano strike, so far as the records
go, took place in England and as a result there
was an anti-strike statute passed which im-
posed a fine of "10 pounds or twenty days' im-
prisonment, with allowance of only bread and
water for the first offense; 20 pounds or pillory
for the second, and 40 pounds for the third, or
else loss of one ear and perpetual infamy."
According to Blackstone, also "combinations
to raise the rate of labor are in many cases
severely punished by particular statute."
But that was in a time when the inherent
rights of man to the best results of his skill
and effort were not recognized by the so-
called "ruling classes." Today we are not sup-
posed to have any "ruling" by class at all.
But there is great danger that by a reversal
of the old order of things, the class that re-
fused to be ruled may become the most un-
reasonable and inflexible rulers.
Until comparatively recent years, it was a
conflict of tact between capital and labor. But
gradually the right of the employer to con-
duct his business to suit himself has been
taken away, and the fruits of dissipated in-
vestment and idle labor have at last been
reaped richly in the piano industry, as in most
others.
It is not remarkable that at last the powers
that make our laws have taken up the subject
of the strike. The rights of the workers to
strike have again been challenged, and the
argument that legislation against the strike
would be a violation of the Federal Constitu-
tion has been forcefully denied. In a recent
speech by the Hon. J. Stanley Webster in the
House of Representatives at Washington, we
find this:
"There can be no clear thinking upon this
problem unless we bear in mind the fact that
there is a vast distinction between the right to
cease one's employment and the right to
strike. The right to cease one's employment
means just what the words imply—the right
to quit work whenever it suits the individual
for any reason or for no reason at all; but a
strike is where a body of men engaged in com-
mon employment cease work at or abcut the
same time pursuant to a previous agreement
expressly or tacitly entered into for the pur-
pose of coercing compliance with their de-
mands, but with the intention all the while of
returning to their employment when their ob-
ject is attained."
We do not know of another so clear a state-
ment of what we have all thought but have
not been able to express. No one can deny
any man the right to quit his work, but the
striker does not throw down his tools with any
idea of at the same time throwing up his job.
His purpose is to so harass his employer as
to force compliance with the demands of the
workers. And, having coerced the employer,
the job is still the striker's, or the strike pro-
ceeds. Mr. Webster further says:
"No constitution, State or Federal, with
which I am familiar either expressly or impli-
edly guarantees to any man the right to strike.
However, we do find in the organic law of the
Nation a guaranty of the right to life, liberty,
property, reputation and happiness. And, I
ask, what halo is there about the head of this
claimed right to strike not mentioned in any
constitution that removes it from the sphere
of governmental regulation?"
Of course the purpose of Congressman
Webster's speech was to awaken interest in a
measure designed to enforce the rights of em-
ployers against organized unions, and to create
a condition of responsibility on the part of the
labor unions. In former years the favorite ar-
gument was that the law of supply and demand
would regulate these matters. Net so today.
Something more clearly defined is needed;
something which, working hand in hand with
some system of economic justice, shall guar-
antee to the workers their share of the results
of their skill, and eliminate the distrust and
despotism to which all systems of "ruling
classes" are due. By the enactment of fair
laws, and a just administration of them, the
employer might have the protection absolutely
essential to enterprise and the development of
industry. As things now are, there is no as-
surance by which to forecast the future, and
doubt puts the brakes to ambition. Mr. Web-
ster seems to have a clear understanding of
what is needed and we wish he might have a
better hearing than the reports of his speech
seem to indicate.
CONVENTION TO BE EDUCATIONAL
The foolishness of some dealers and the culpabil-
ity of others are causes that make for ineffective
trade methods and abortive trade associations, ac-
cording to President P. E. Conroy of the National
Association of Music Merchants, who contributes
the following corrective this week:
Many people get tired of attending conventions
because they hear too many stock phrases and too
few original ideas. They are compelled to listen
to too many long-winded speeches and to few
snappy talks. Too many subjects of indirect inter-
est and too few of direct interests.
The coming music merchants convention is going
to be an education to everybody who attends. If
anyone believes he can stay away and derive the
same benefit by reading about it, he is certainly
greatly mistaken.
Many Houses to Exhibit.
For the first time in the history of our association,
we are going to have exhibitions of all the different
systems used in conducting some of the most suc-
cessful music houses in the country. These will
show how they record their sales, keep their ledgers,
attend to collections, prospects, notes and mort-
gages, commissions, salaries, etc. In other words,
every form of stationery they use will be shown.
I advocated this at our last annual meeting, and
Mr. Dennis, our secretary, informs me he has a fine
exhibit for the coming convention. This feature
alone should be sufficient to draw every dealer to
New York who wants to keep in touch with the live
methods of conducting business. Many of these
systems which will be displayed cost hundreds of
dollars, and were installed by expert accountants.
At the convention meetings there will be no long-
drawn-out papers read, as I have notified all speak-
ers that five minutes will be about their limit, be-
cause I have never heard but very few speeches at
piano conventions which could not have been boiled
down, and the substance of each delivered in this
period of time.
Subjects of vital importance will be discussed, and
some of the most successful men will tell how they
manage their institutions. The following topics will
be only a part of the program:
'"The Best Basis for Employment of Salesmen."
"The Best Collection System."
"The Moral Risk."
"Cooperation between Musician and Merchant."
"Community Music."
"Americanization through Music."
"The Trade Service Department oi the Music In-
dustries Chamber of Commerce."
"State and City Commissioner Activities."
"The Importance of Local Associations."
Next comes the big Music Show. We have ar-
ranged our convention meetings so that the after-
noons can be devoted to "talking prices" with the
manufacturers at the show. In these days of uncer-
tainty of output, it behooves the dealer to go to the
market and learn the condition of affairs and govern
his business accordingly. Then again, there are new
inventions every day in the music industries, and
the latest and best will be on exhibition.
Banquet to Be Great.
The merchants' banquet will eclipse all previous
ones of the association, as the speakers will include
such men as Dr. Nicholas Murray Butler, Presi-
dent of Columbia University: Hon. James M. Beck,
formerly attorney general; and Rev. C. Wallace
Petty.
Last, but not least, New York is going to cele-
brate Music Week. Such cities as St. Louis, De-
troit, Milwaukee, Dallas and others have made this
a great success, but none of them undertook it in
such a thorough manner as New York.
Most of the live wires in these cities will also be
in New York to help put Music Week across, and
the dealer who fails to be in attendance will be neg-
lecting his business by not keeping abreast of the
times.
I hope, therefore, to see every member of our na-
tional association in New York the first week in
February.
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
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PRESTO
PRESTO
PUBLISHED EVERY THURSDAY AT 407 SOUTH DEAR-
BORN STREET, OLD COLONY BUILDING, CHICAGO, ILL.
A. DANIELL and FRANK D. ABBOTT
Editors
Telephones: Chicago Tel. Co., Harrison 234; Auto. Tel. Co., Automatic 61-703.
Private Phones to all Departments. Cable Address (Commercial Cable Co.'s Code)
"PRESTO," Chicago.
*nir<»r«(j as second-class matter Jan. 29, 1896, at the Post Office, Chicago. Illinois
•*
under Act of March 3, 1S79.
Subscription, $2 a year; 6 months, $1; Foreign, $4. Payable in advance. No «xtm
«ms«.rjje m TJ, 8. possessions, Canada. Cuba and Mexico
Address all communications for the editorial or business departments to PRESTO
PUBLISHING CO., Chicago, III.
Advertising Ratesi-^Three dollars per inch (13 ems pica) for single insortirai&
Six dollars per inch per month, less twenty-five per cent on yearly contracts. T h i
Presto does not sell its editorial space. Payment is not accepted for articles of de-
scriptive character or other matter appearing in the news columns. Business not ces
will be indicated by the word "advertisement" in accordance with the Act of August
24. 1912.
Rates for advertising in the Tear Book issue and Export Supplements of The
Presto will be made known upon application. The Presto Year Book and Export
issues have the most extensive circulation of any periodicals devoted to the musical!
Instrument trades and industries in all parts of the world, and reach completely and
effectually all the houses handling musical instruments of both the Eastern and West-
ern hemispheres.
The Presto Buyeis' Guide Is the only reliable index to the American Musical
instruments; it analyzes all Pianos and Player-Pianos, gives accurate estimates tb«nr values and contains a directory of their manufacturers.
-3 Ktems of news, photographs and other matter of general interest to the muss*
trades are invited and when accepted will be paid for. Address all communications <*•
presto Publishing Co., Chicago, III.
THURSDAY, JANUARY 15, 1920.
TO CORRESPONDENTS.
PRESTO IS ALWAYS GLAD TO RECEIVE NEWS OF THE
TRADE—ALL KINDS OF NEWS EXCEPT PERSONAL SLANDER
AND STORIES OF PETTY MISDEEDS BY INDIVIDUALS. PRESTO
WILL PRINT THE NAMES OF CORRESPONDENTS WHO SEND IN
"GOOD STUFF" OR ARE ON THE REGULAR STAFF. DON'T SEND
ANY PRETTY SKETCHES, LITERARY ARTICLES OR "PEN-PIC-
TURES." JUST PLAIN NEWS ABOUT THE TRADE—NOT ABOUT
CONCERTS OR AMATEUR MUSICAL ENTERTAINMENTS, BUT
ABOUT THE MEN WHO MAKE MUSICAL INSTRUMENTS AND
THOSE WHO SELL THEM. REPORTS OF NEW STORES AND
THE MEN WHO MAKE RECORDS AS SALESMEN ARE GOOD. OF-
TEN THE PIANO SALESMEN ARE THE BEST CORRESPONDENTS
BECAUSE THEY KNOW WHAT THEY LIKE TO READ AND HAVE
THE OPPORTUNITIES FOR FINDING OUT WHAT IS "DOING" IN
THE TRADE IN THEIR VICINITY. SEND IN THE N E W S -
ALL YOU CAN GET OF IT—ESPECIALLY ABOUT YOUR OWN
BUSINESS.
THE SIZE OF IT
There is always a temptation to indulge in reminiscence at the
beginning of a New Year. So many things have happened since the
late old year began. So many more things happened in all of the
years that range themselves in memory before that. And the oppor-
tunities of contrast are so many, and perhaps equally fruitful of the
good results of experience. But Presto is one of the business publica-
tions that tries to keep the cork pretty tight in the flask of reminis-
cence.
It is now something like thirty-three years since the first Presto
Year Book Issue made its appearance. It was put forth at Christmas
time and, of course, it carried the regulation holly wreaths and other
symbols of the season. And Presto Year Books kept coming, every
year, until in the middle of the nineties the annual book of the music
trade was the biggest magazine ever produced in connection with
pianos and other things of more or less sweet sound.
Since then, other trade papers have also put forth heavy, fat and
handsome Holiday Numbers and Christmas Numbers. And they have
added to the gaiety of the nation, and carried enough special adver-
tising to pay the printers. Without doubt, also, they have paid their
advertisers.
But our fine and fancy special trade paper issues have not
grasped the idea as originally illustrated by Presto. Pretty pictures
and fine printing may be found in a hundred publications on every
newsstand. The trade paper cannot compete with them. But none of
those pretty publications sets forth anything of special value to the
men who make and sell musical instruments—that is, nothing that
can help along the results of their business. Here is where, we believe
and hope, Presto Year Book Issue was as different as it was more
within reason.
One of the features of last week's issue of Presto was the "Suc-
cessful Styles of the Year" section. In that feature was the real
January 15, 1920.
basis of the issue—that and the succinct review of the twelve months
recently ended. And it needs no words to tell why the two features
are of practical value to the industry and trade. The Successful Styles
this time were not as full or diversified as in some earlier issues. That
was partly because the manufacturers have not been turning out so
many new styles, partly because they have been so engrossed in trying
to supply the demand; partly because some of them got the notion
that Presto wanted only styles of its advertisers, and so did not re-
spond to the invitation to contribute. But this paper is not so narrow
as the latter suggestion would imply.
The purpose of the Successful Styles feature is to help the deal-
ers; to afford a means of comparison and contrast not to be found
anywhere else. Of course the more handsome case designs shown for
tha purpose the more valuable the feature. However, there were
enough for the purpose and more of them would have added to the
bulk of the paper—not a desirable result.
The last sentence reminds us that some Presto Year Book issues,
in times past, were the largest trade papers ever produced. They, in
some instances, were so bulky as to make the biggest and fattest of
recent holiday numbers seem small. And one cf the real efforts in
preparing this issue of Presto has been to keep the size within com-
fortable proportions. If we could squeeze all of the features, and
other timely matter, into the regular 32 pages that would have been
done. However, next year's Presto Year Book's issue may put forth
a paper consisting of at least 300 pages. We say it may!
CHANGING PLACES
While the turning-back season is at its full, take a look behind
at the changed places of some one-time prominent old piano concerns
and some newer ones. There are old names, almost forgotten today,
which were once on every piano man's lips and to be seen in the
newspapers when great things in music were under discussion. And
there are comparatively new names in the piano world that are so
conspicuous that no one could miss them in any consideration of
the industry or trade.
What has brought about the near-extinction of the piano names
once so great? What has given to the newer names so much power
and virility?
Of course, when a great man in any department of effort closes
his book of life, the story, so far as his individual initiative goes, is
done. If what he has accomplished is to persist it must be because
there are inheritors of his genius and his material assets, possessed of
ambition and abilities not unlike his own. If there are no such suc-
cessors, the name must gradually sink into forgetfulness, and the
industrial towers of the great life go to decay.
Apply that to some of the one-time powerful piano names and
industries. We, who know and keep track of the progressive news of
the piano, and who must also note the retrogression of seme of the
others, can tell in a sentence the names of both kinds. And a few of
the industries that were built by brainy men, and are now dying
because of small controls, present remarkable contrasts. It would be
of curious interest could some Sir Oliver Lodge get out the myste-
rious apparatus by which the hearts and souls of the dead are said to
throb in intelligent accord with the living, and get in touch with some
of the piano makers of the past. There are great piano names, of
years gone, that are now rapidly losing their lustre and fading even
from the memory of old-timers. We could print nearly a column of
them, and they would be significant of the folly of little men in big
places.
And in another column we could print the names of younger men
who are carrying forward the names they have inherited, in a way
to insure a greater future than anything in the past. It is young men
of the latter kind that have brought the estimated values of good
piano names from tens of thousands to full millions of dollars. An
illustration of the latter estimate appeared in a recent issue of this
paper. And to give special emphasis to this matter of a broad-gauge
administration of an old piano left by its founder to the younger gen-
eration, it would be easy to turn to New York and point to one of
several that have grown from comparatively small things to giant
proportions embracing nearly every branch of manufacture from
smallest supplies to completed instrument.
It would be folly, of course, for a trade paper to draw any such
invidious comparisons. It would be almost as needless to emphasize
the subject by pointing to the highest peaks of efficiency in New
York, as to the lowest specimen of inefficiency in Chicago. But it
could be done. It could be shown that in New York there is a piano
industry so great, so adroitly and liberally conducted, that it reaches
out to the ends of the world in disposing of the product of a score of
factories. And it could be shown, by way of contrast, that in Chicago
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/

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