Music Trade Review

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THE
MUSIC TRADE
1909, which gave damages to Loewe of $74,000, or $222,000 when
trebled.
Both sides, the American Anti-Boycott Association and the
American Federation of Labor, concede it to be the greatest case
of capital versus labor ever tried out in an American court. The
verdict sustains Loewe's contention that he and his workmen may
legally do as they please without interference on the part of the
local union leaders, the United Hatters of North America, or the
American Federation of Labor, with which they are affiliated.
It is understood that the decision will be appealed to the United
States' Supreme Court. If not favorable, Samuel Gompers states
that the labor unions are determined to take the matter to Con-
gress. The decision as it stands is not only a victory for the open
shop, but demonstrates that the labor union must assume responsi-
bilities like any organization of capital when it decides to promul-
gate a boycott.
I
T is worthy of more than passing mention that piano merchants
and travelers nowadays report an increasing demand through-
out the country for pianos of quality—of recognized reputation.
This is a condition full of hope.
It is only a few years ago since the coupon, or picture puzzle,
campaign was in full swing, undermining the faith of the public
in piano values and demoralizing the entire retail trade. Many
piano merchants had then become so inflicted with the coupon fever
that they seemed willing to sacrifice their future for immediate
profits.
The danger of this policy was pointed out in The Review time
and time again. Meanwhile the parties who originated and stimu-
lated this disastrous policy were thwarted in their plans of ruining
the industry. The craze was suppressed, but the damage then in-
flicted was so great that to-day the retail trade of the country is
suffering seriously from its after effects.
This is shown in the class of retail piano advertising which
has come under observation during the past year. It is apparent
that piano selling has degenerated into a question of low prices and
long terms. To read some of these advertisements one would
imagine that there was not a piano of quality made—that the fight
for trade seemed to center solely on how cheap a piano could be
sold, no matter how absurd and ridiculous the terms may be from a
business standpoint.
It is a cause of satisfaction that to-day there is a reaction
toward the piano of quality.
Piano merchants are realizing that they are not in business for
a day, but for all time, and that their enduring success is only
REVIEW
5
Legal Questions Answered for the
Benefit of Review Readers
have opened a Department wherein legal
questions, which have direct bearing on music
trade affairs, will be answered free of charge.
€jThis Department is under the supervision of
Messrs. Wentworth, Lowenstein & Stern, attor-
neys at law, of 60 Wall Street, New York.
tjMatter intended for this Department should be
addressed plainly, Legal Department, The Music
Trade Review.
possible by paying more attention to development of trade in pianos
of reputation—of quality.
There is a place for the cheap piano, and there will always be
a large trade in these instruments, but it is mighty poor business
to sell commercial pianos at an abnormal price—a price approxi-
mating that of a really high class, meritorious instrument. This
is too commonly done.
Piano merchants who value their reputations are not indulging
in these practises. They are presenting the claims of pianos of
quality in a manner that has gained for them the confidence of the
public in these instruments and in themselves.
As a result the manufacturers of these pianos are experiencing
an increasing demand for their products, all of which demonstrates
an improving condition as compared with the low standard that
existed following the dreadful puzzle, or coupon campaign.
It is now the duty of piano merchants to put more emphasis
on the piano of quality—to awaken to the fact that the American
public should be supplied with instruments of recognized worth—
pianos of repute. That the exploitation of instruments of this char-
acter will bring them a class of patronage more profitable and more
resultful, both to their prestige and their finances, than can be
obtained by confining their efforts to the overdone competition of
low prices and indefinite time payments.
The American public wants the best, and with money in its 1
possession it will gravitate to those establishments that are asso-
ciated with quality products.
A STANDARD OF VALUE FOR USED PIANOS
(Continued from page 3.)
new purchase which may be made within two or three years; but this plan is not good merchandizing.
No furniture merchant or tailor or jewelry dealer would stand for such business inconsistency.
The piano merchants by adopting such a course are fooling themselves, and there is no reason why
the retail purchaser should not pay a full monthly rental for his piano; and right here let me ask why
it would not be a good plan to standardize used pianos on the basis of a deduction of rental values when
taking them back as part payment for new instruments?
It is a great subject and one of deepest interest to piano merchants nationally. I shall be very glad
to hear from my readers everywhere as to why this would not be a proper move to make to establish
a standard, if possible.
Why should not the Piano Merchants' Association take up such a matter as this and settle it, and
then, having once definitely denned a standard of value which is fair to all, stick to it?
The piano business has been retarded in its progress by reason of many unsound business methods
which have been adopted in various departments of the industry.
It is quite time that they were readjusted and remodeled to suit the present-day environment.
No matter about what we did years ago—conditions have changed and men must change as well.
Sound business methods which fit in the trade structure of to-day is what we need.