Presto
Issue: 1925 2045 - Page 4
PRESTO
is wrong or lacking in American music. The prob-
lem is threefold. It is a sociological problem. It is
an economic problem. It is an educational problem.
The solution to these problems is the salvation of
music in America and of American music industries.
T H E SOCIOLOGICAL PROBLEM.
This is the age of industrial revolution. It is also
an age of social revolution. It is an age of machine-
made, rather than hand-made products.
New
fashions, new styles, new and wonderful inventions
crowd upon the heels of their predecessors. Human
wants and needs have multiplied a hundred times
within a decade. The increase in earning power has
not kept pace with the buying will. Every individual
faces a daily battle of conflicting desires.
The Liabilities of Leisure.
The man at the machine lacks the thrill of creative
workmanship. He looks for it elsewhere. Sometimes
he gets the desired "kick" from destructive activi-
ties. Shorter working hours have made longer lei-
sure hours. We have learned to earn, but not to
live. Loafing leisure is charged with explosive emo-
tions more dangerous than dynamite.
The Restless Age.
It is well called "The restless age." Modern trans-
portation facilities, steamships, the railroads, automo-
biles and aircraft have made the world our parking
place. Theaters, movies and public amusement pal-
aces lure the people from their homes. The postal
service, the newspapers, the telegraph and telephone,
the playerpiano, the phonograph and radio have
brought the world into the farmer's front parlor.
One set of forces is centrifugal; they take us away
from home. Fortunately, the latter forces are centri-
petal; they tend to keep us at home. But the out-
doors is bigger than all the indoors. "The call of
the wild" is irresistible. These marvelous inventions
have keyed humanity to a higher pitch of vibration
to which it is not yet harmonized. The world is
awhirl on wheels.
Modern. Home Life.
Since we spend so little time indoors, our homes
have lost their once treasured associations. To sat-
isfy all these material wants, the young wife con-
tinues to work. To own an automobile seems more
.important than to own a home. The young couple
live in an eight-by-four flat. They only sleep in it
anyway. After the day's work, they eat at Child's,
hop in the car and strike out for the open. Where is
the American home? It's in a Ford!
There is little room for pianos in most modern
apartments. It is even rumored that architects and
apartment owners are discouraging the use of pianos.
If that is true, it is a poor policy, because music
focuses family life. The decadence of American
homelife means the downfall of democracy, and ruin
to the race.
Still another sociological problem that affects the
American home is the servant question. Even people
of wealth are giving up their pretentious residences
and are moving into smaller quarters in apartments.
Tse answer to this problem is difficult. The woman
in business has replaced the maid in the kitchen. The
standard eight-hour working day may have to be
adopted for household work if household servants are
not soon to be included among extinct races!
T H E ECONOMIC PROBLEM.
These tremendous social changes have occurred
almost within the past generation. They have not yet
been met by corresponding economic adjustments.
Increases in income have not kept pace with increases
in outgo. Relatively, the American dollar today buys
only about sixty cents worth of commodities as com-
pared with 1914. Incidentally, herein lies one answer
to the increased dollar volume in many industries in
1921 as compared with 1914.
The piano business was JIO exception to this eco-
nomic condition as reflected in dollar volume, which,
it is true, was somewhat greater for a two-thirds pro-
duction. The point is that the output should have
increased proportionately with the increase in popula-
tion. In that case the production of pianos should
have been ten per cent greater in 1921 than in 1914,
or 360,000 in pianos produced instead of 221,000.
Correspondingly, the wholesale dollar volume, at the
same average prices, should have been around $108,-
000,000 instead of only $66,000,000. But if we take
1909, the peak production year, as a basis, the legiti-
mate production in 1921 should have been sixteen
per cent greater, or 423,872 pianos with a corre-
sponding wholesale dollar volume of around $127,-
000,000 or nearly double what it actually was.
Incomes and Expenditures.
Federal income tax reports show that in 1920, sev-
enty-three per cent of American families had annual
incomes under $3,000 and that more than half of these
were below $2,000. If we take an average income of
$2,400 and budget the family expenses, balancing i1
with modern diversified wants, it is easy to see why
music is not in the budget of sixty per cent of Ameri-
can homes. It is not a saturated market. The Amer-
ican people simply want other things more than they
want music. And they buy what they want most.
If we take the deflated American dollar of 1921 as
one factor, and the growth of population as another
factor, we can see the cause of the increased business
in most of these industries. What then is wrong
with the American music industries? The people
have not been educated to enjoy music to the same
extent that they have come to enjoy the uses of these
other products.
T H E EDUCATIONAL PROBLEM.
The tendency of the day is toward materialism. The
desires of the body far surpass those of the intellect
and the spirit. The American people want to be
entertained, not educated. The ability to enjoy and
to appreciate good music is not acquired over night.
"Art is long," is a truth that runs counter to present
high-speed standards of living. People hesitate to
buy pianos or other musical instruments when they
reflect upon the time, effort and cost required to learn
to play them. Other articles offer instant returns in
comfort, convenience, luxury, pleasure, entertainment
or beauty. Home-made music is postponed pleasure.
It is easier to pull the switch, push the button or
turn the dial.
This makes the problem of music education more
difficult but not necessarily insoluble. The possibili-
ties in music for correcting many of our present day
social evils, surely makes the effort worth while.
"Leisure Time Is Crime Time."
The appalling crime wave is the great social prob-
lem of the day. Richard Washburn Child, in his
current articles on "The Great American Scandal,"
attributes the prevailing preponderance of crime to
the breaking down of the American home. The most
alarming factor in this situation is that the majority
of new criminals are yet in their teens. What is the
cause? Where is the answer?
The cause lies in ignorance and in the misuse of
leisure. Ignorance of the real, lasting values of life
is the fundamental cause. Misdirected energy is the
result. Leisure, ill-used, in a liability to the individ-
ual and to the community. Leisure time is crime-
time. The answer is the training of our youth to the
worthy use of leisure hours as well as to the efficient
employment of working hours. The emphasis upon
physical efficiency has been gained at the cost of
spiritual survival. Modern education has failed to
develop the finer emotions and feelings, along with
manual skill and intellectual accomplishments.
"A Cure for Crime."
If the American school has failed to teach, along
with its three R's, the essentials of right living, com-
mon decency and morals, then it has failed utterly.
If it fails to develop the emotional life of pupils and
to provide safe and sane outlets or media for emo-
tional expression, then it fails to perform its highest
mission. All other training is of little value if the
children have not learned how to live happily and
wisely. The schools have failed signally to promote
those activities that develop the finer feelings and
emotions and to provide suitable media through
which children might express themselves in their
leisure hours. Music is probably the finest medium
for the expression of the emotions that appeals uni-
versally. Rightly taught, music simultaneously de-
velops the finer emotions and provides the means for
expressing them. Unfortunately, in many schools,
this true mission of music has been held secondary
while the sterner mechanistic phases of the art have
usurped its nobler functions. Under such conditions
children have grown to dislike music, or rather that
which passed for music, in the guise of dull exercise.
Such malpractice of the art could not be expected to
yield good fruit.
School Music.
School music has too long confined itself to a pro-
cedure that has had power, rather than pleasure, for
its aim. Skill must become the by-product of inter-
est, love and appreciation, rather than the end in
itself. _ School music must give the children some-
thing joyful to express and then make it possible for
them to express it in their leisure time, outside of
school, at home and in their own social environment.
The only answer that public school music can give
to this crying need of the hour is class instrumental
instruction.
Points the Way.
Few children are ever observed to sing their do re
mi's or even their songs outside of the general music
class. But, give the boys and girls musical instru-
ments and teach them how to play them and you will
find music in the homes and lives of these children.
Neighborhood and Sunday school orchestras will be
born. School orchestras will put a new spirit in the
life of the school. The child will find a new medium
for the expression of his emotional life. He will
discover something new and interesting to occupy his
leisure time. He will stay at home or play in en-
semble groups with other children in his neighbor-
hood. He will find less time for idle hands. The
child that makes music is not the child that is making
mischief. The girl that picks out the tunes is not
the girl that picks your pocket. The boy that draws
the bow is not the boy that draws the gun.
We think we have accomplished something when
we boast of our ten big symphonic orchestras, our
excellent Grand Opera companies and our records
of concert attendance. Splendid as these movements
are, they reach only a small fraction of the people,
probably less than one per cent. How can we reach
all of the people, or, at least, all of the children, with
music? The answer is, "In the American Public
Schools!"
MAKE IT MUSICAL T H R O U G H EDUCATION.
You may think that music is now taught in the
public schools. It is taught in some schools in a
comprehensive way, including instruction in instru-
mental classes where children are taught to
play any standard musical instrument at a cost of
only ten cents per lesson. In a few cities this in-
struction is as free as instruction in reading and
writing. And, why not?
But in most schools where music is taught, it con-
sists chiefly of song-singing and of sight-reading,
which is well enough as far as it goes, but it doesn't
go far. The child leaves it in the schoolroom. He
(Continued on Page 16.)
October 3, 1925.
M. SCHULZ CO.'S LINE
BUILDS DEALERS'TRADE
Orders Far Above Ordinary Fall Business as
' Demand for Grand Models Increase by
'
Wide Margin.
' The report of the M. Schulz Co., 711 Milwaukee
?venue, Chicago, at the close of September, discloses
the fact that the active Chicago firm will experience
one of the best fall seasons in the history of its busi-
ness. The report is indicative of increased efforts of
M. Schulz dealers and a greater demand for the M.
Schulz line by the music loving public.
The various M. Schulz styles are being ordered
freely by dealers everywhere and have necessitated a
production schedule of capacity limit at the M. Schulz
Co.'s factory. Although the call for M. Schulz
instruments is insistent, there is no rush in construc-
tion. Each instrument receives the same careful
attention that has won presfige for the Schulz pianos
in the trade. The personnel of the M. Schulz Co.
is a perfected organization and through knowledge,
diligence and application has adhered to the fine poli-
cies of the company, which was founded in 1869.
As the fall season is at hand, the many M. Schulz
models are being pushed with equal vigor and they
have attained a high place in the trade from the
standpoint of sales. Authentic Period Art pianos
have been accorded their share of sales and beautiful
models have been announced to the trade. They
range from the Bardini Grand, with the Aria Divina
reproducing action, Italian Renaissance Art Model to
the small upright Style 15, Louis XVI Model only
four feet high. The former is a veritable treasure
chest of the world's music and the latter is an attrac-
tive model with a large volume of tone and designed
for use where space-saving is of vital importance.
WHAT THE DAILIES ARE
NOT DOING FOR MUSIC
Mr. French Is Right in Criticising Incomplete
Statement of Presto Editorial Item Which
Left Wrong Impression.
Thirty years ago the daily newspapers were invading
the sheet music trade, printing "popular songs" and
otherwise threatening to annoy the music publishers.
Nothing of that kind today. Kven the big popular maga-
zines no longer boast of their music departments.—
Presto, Sept. 28.
New Castle, Ind., September 28 ( 1925.
Editor Presto: I just noticed the enclosed clipping
from "Presto" editorial column and would like to sug-
gest that in my opinion it would be quite a good
thing for the piano industry if we could get the high-
class magazines to resume their music department
and carry one or two musical numbers in each issue.
I feel sure it would stimulate the interest in music
which is one thing the piano industry sadly needs.
Yours truly,
JESSE F R E N C H & SONS PIANO CO.
H. Edgar French, V.-P. and Gen. Mgr.
Of course Mr. French is right. The editorial
paragraph should have gone far enough to cover the
point he makes. Whatever helps to encourage music-
love and to stimulate the use of music must serve a
good purpose. Without sheet music there would be
much smaller demand for pianos.
The custom of the magazines printing music and
running regular music departments was not only good
for the public, but must have created special popu-
larity for the magazines. If more of them would re-
turn to the custom it would be well for the publishers
and welcomed by the subscribers.
The present drive of manufacturers and other lead-
ers in educational affairs is doing a great deal in the
right direction. That is what the Music Week is for,
and the address by Mr. Miessner in this issue of
Presto is along the same line. Keep alive the inter-
est of youth in good music and the effect upon the
piano trade will be made clear enough. Mr. French
is right, and his note is appreciated.
IMPROVES MISSOURI STORE.
The Chillicothe Music Co., Chillicothe, Mo., is
carrying out important alterations in the interior of
its store. The demonstration and the booths which
occupy space along the south wall are being removed
to the rear of the store in order to give more floor
space in the front of the room for pianos and phono-
graphs.
FIRE DAMAGES STORE.
Some of the stock at the headquarters of the Co-
lumbia Wholesalers, Inc., 205 West Camden street,
Baltimore, Md., was damaged by smoke and water
recently when fire badly damaged the adjoining build-
ing, occupied by a paper box manufacturing con-
cern. No fire reached the Columbia stock, however.
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is wrong or lacking in American music. The prob-
lem is threefold. It is a sociological problem. It is
an economic problem. It is an educational problem.
The solution to these problems is the salvation of
music in America and of American music industries.
T H E SOCIOLOGICAL PROBLEM.
This is the age of industrial revolution. It is also
an age of social revolution. It is an age of machine-
made, rather than hand-made products.
New
fashions, new styles, new and wonderful inventions
crowd upon the heels of their predecessors. Human
wants and needs have multiplied a hundred times
within a decade. The increase in earning power has
not kept pace with the buying will. Every individual
faces a daily battle of conflicting desires.
The Liabilities of Leisure.
The man at the machine lacks the thrill of creative
workmanship. He looks for it elsewhere. Sometimes
he gets the desired "kick" from destructive activi-
ties. Shorter working hours have made longer lei-
sure hours. We have learned to earn, but not to
live. Loafing leisure is charged with explosive emo-
tions more dangerous than dynamite.
The Restless Age.
It is well called "The restless age." Modern trans-
portation facilities, steamships, the railroads, automo-
biles and aircraft have made the world our parking
place. Theaters, movies and public amusement pal-
aces lure the people from their homes. The postal
service, the newspapers, the telegraph and telephone,
the playerpiano, the phonograph and radio have
brought the world into the farmer's front parlor.
One set of forces is centrifugal; they take us away
from home. Fortunately, the latter forces are centri-
petal; they tend to keep us at home. But the out-
doors is bigger than all the indoors. "The call of
the wild" is irresistible. These marvelous inventions
have keyed humanity to a higher pitch of vibration
to which it is not yet harmonized. The world is
awhirl on wheels.
Modern. Home Life.
Since we spend so little time indoors, our homes
have lost their once treasured associations. To sat-
isfy all these material wants, the young wife con-
tinues to work. To own an automobile seems more
.important than to own a home. The young couple
live in an eight-by-four flat. They only sleep in it
anyway. After the day's work, they eat at Child's,
hop in the car and strike out for the open. Where is
the American home? It's in a Ford!
There is little room for pianos in most modern
apartments. It is even rumored that architects and
apartment owners are discouraging the use of pianos.
If that is true, it is a poor policy, because music
focuses family life. The decadence of American
homelife means the downfall of democracy, and ruin
to the race.
Still another sociological problem that affects the
American home is the servant question. Even people
of wealth are giving up their pretentious residences
and are moving into smaller quarters in apartments.
Tse answer to this problem is difficult. The woman
in business has replaced the maid in the kitchen. The
standard eight-hour working day may have to be
adopted for household work if household servants are
not soon to be included among extinct races!
T H E ECONOMIC PROBLEM.
These tremendous social changes have occurred
almost within the past generation. They have not yet
been met by corresponding economic adjustments.
Increases in income have not kept pace with increases
in outgo. Relatively, the American dollar today buys
only about sixty cents worth of commodities as com-
pared with 1914. Incidentally, herein lies one answer
to the increased dollar volume in many industries in
1921 as compared with 1914.
The piano business was JIO exception to this eco-
nomic condition as reflected in dollar volume, which,
it is true, was somewhat greater for a two-thirds pro-
duction. The point is that the output should have
increased proportionately with the increase in popula-
tion. In that case the production of pianos should
have been ten per cent greater in 1921 than in 1914,
or 360,000 in pianos produced instead of 221,000.
Correspondingly, the wholesale dollar volume, at the
same average prices, should have been around $108,-
000,000 instead of only $66,000,000. But if we take
1909, the peak production year, as a basis, the legiti-
mate production in 1921 should have been sixteen
per cent greater, or 423,872 pianos with a corre-
sponding wholesale dollar volume of around $127,-
000,000 or nearly double what it actually was.
Incomes and Expenditures.
Federal income tax reports show that in 1920, sev-
enty-three per cent of American families had annual
incomes under $3,000 and that more than half of these
were below $2,000. If we take an average income of
$2,400 and budget the family expenses, balancing i1
with modern diversified wants, it is easy to see why
music is not in the budget of sixty per cent of Ameri-
can homes. It is not a saturated market. The Amer-
ican people simply want other things more than they
want music. And they buy what they want most.
If we take the deflated American dollar of 1921 as
one factor, and the growth of population as another
factor, we can see the cause of the increased business
in most of these industries. What then is wrong
with the American music industries? The people
have not been educated to enjoy music to the same
extent that they have come to enjoy the uses of these
other products.
T H E EDUCATIONAL PROBLEM.
The tendency of the day is toward materialism. The
desires of the body far surpass those of the intellect
and the spirit. The American people want to be
entertained, not educated. The ability to enjoy and
to appreciate good music is not acquired over night.
"Art is long," is a truth that runs counter to present
high-speed standards of living. People hesitate to
buy pianos or other musical instruments when they
reflect upon the time, effort and cost required to learn
to play them. Other articles offer instant returns in
comfort, convenience, luxury, pleasure, entertainment
or beauty. Home-made music is postponed pleasure.
It is easier to pull the switch, push the button or
turn the dial.
This makes the problem of music education more
difficult but not necessarily insoluble. The possibili-
ties in music for correcting many of our present day
social evils, surely makes the effort worth while.
"Leisure Time Is Crime Time."
The appalling crime wave is the great social prob-
lem of the day. Richard Washburn Child, in his
current articles on "The Great American Scandal,"
attributes the prevailing preponderance of crime to
the breaking down of the American home. The most
alarming factor in this situation is that the majority
of new criminals are yet in their teens. What is the
cause? Where is the answer?
The cause lies in ignorance and in the misuse of
leisure. Ignorance of the real, lasting values of life
is the fundamental cause. Misdirected energy is the
result. Leisure, ill-used, in a liability to the individ-
ual and to the community. Leisure time is crime-
time. The answer is the training of our youth to the
worthy use of leisure hours as well as to the efficient
employment of working hours. The emphasis upon
physical efficiency has been gained at the cost of
spiritual survival. Modern education has failed to
develop the finer emotions and feelings, along with
manual skill and intellectual accomplishments.
"A Cure for Crime."
If the American school has failed to teach, along
with its three R's, the essentials of right living, com-
mon decency and morals, then it has failed utterly.
If it fails to develop the emotional life of pupils and
to provide safe and sane outlets or media for emo-
tional expression, then it fails to perform its highest
mission. All other training is of little value if the
children have not learned how to live happily and
wisely. The schools have failed signally to promote
those activities that develop the finer feelings and
emotions and to provide suitable media through
which children might express themselves in their
leisure hours. Music is probably the finest medium
for the expression of the emotions that appeals uni-
versally. Rightly taught, music simultaneously de-
velops the finer emotions and provides the means for
expressing them. Unfortunately, in many schools,
this true mission of music has been held secondary
while the sterner mechanistic phases of the art have
usurped its nobler functions. Under such conditions
children have grown to dislike music, or rather that
which passed for music, in the guise of dull exercise.
Such malpractice of the art could not be expected to
yield good fruit.
School Music.
School music has too long confined itself to a pro-
cedure that has had power, rather than pleasure, for
its aim. Skill must become the by-product of inter-
est, love and appreciation, rather than the end in
itself. _ School music must give the children some-
thing joyful to express and then make it possible for
them to express it in their leisure time, outside of
school, at home and in their own social environment.
The only answer that public school music can give
to this crying need of the hour is class instrumental
instruction.
Points the Way.
Few children are ever observed to sing their do re
mi's or even their songs outside of the general music
class. But, give the boys and girls musical instru-
ments and teach them how to play them and you will
find music in the homes and lives of these children.
Neighborhood and Sunday school orchestras will be
born. School orchestras will put a new spirit in the
life of the school. The child will find a new medium
for the expression of his emotional life. He will
discover something new and interesting to occupy his
leisure time. He will stay at home or play in en-
semble groups with other children in his neighbor-
hood. He will find less time for idle hands. The
child that makes music is not the child that is making
mischief. The girl that picks out the tunes is not
the girl that picks your pocket. The boy that draws
the bow is not the boy that draws the gun.
We think we have accomplished something when
we boast of our ten big symphonic orchestras, our
excellent Grand Opera companies and our records
of concert attendance. Splendid as these movements
are, they reach only a small fraction of the people,
probably less than one per cent. How can we reach
all of the people, or, at least, all of the children, with
music? The answer is, "In the American Public
Schools!"
MAKE IT MUSICAL T H R O U G H EDUCATION.
You may think that music is now taught in the
public schools. It is taught in some schools in a
comprehensive way, including instruction in instru-
mental classes where children are taught to
play any standard musical instrument at a cost of
only ten cents per lesson. In a few cities this in-
struction is as free as instruction in reading and
writing. And, why not?
But in most schools where music is taught, it con-
sists chiefly of song-singing and of sight-reading,
which is well enough as far as it goes, but it doesn't
go far. The child leaves it in the schoolroom. He
(Continued on Page 16.)
October 3, 1925.
M. SCHULZ CO.'S LINE
BUILDS DEALERS'TRADE
Orders Far Above Ordinary Fall Business as
' Demand for Grand Models Increase by
'
Wide Margin.
' The report of the M. Schulz Co., 711 Milwaukee
?venue, Chicago, at the close of September, discloses
the fact that the active Chicago firm will experience
one of the best fall seasons in the history of its busi-
ness. The report is indicative of increased efforts of
M. Schulz dealers and a greater demand for the M.
Schulz line by the music loving public.
The various M. Schulz styles are being ordered
freely by dealers everywhere and have necessitated a
production schedule of capacity limit at the M. Schulz
Co.'s factory. Although the call for M. Schulz
instruments is insistent, there is no rush in construc-
tion. Each instrument receives the same careful
attention that has won presfige for the Schulz pianos
in the trade. The personnel of the M. Schulz Co.
is a perfected organization and through knowledge,
diligence and application has adhered to the fine poli-
cies of the company, which was founded in 1869.
As the fall season is at hand, the many M. Schulz
models are being pushed with equal vigor and they
have attained a high place in the trade from the
standpoint of sales. Authentic Period Art pianos
have been accorded their share of sales and beautiful
models have been announced to the trade. They
range from the Bardini Grand, with the Aria Divina
reproducing action, Italian Renaissance Art Model to
the small upright Style 15, Louis XVI Model only
four feet high. The former is a veritable treasure
chest of the world's music and the latter is an attrac-
tive model with a large volume of tone and designed
for use where space-saving is of vital importance.
WHAT THE DAILIES ARE
NOT DOING FOR MUSIC
Mr. French Is Right in Criticising Incomplete
Statement of Presto Editorial Item Which
Left Wrong Impression.
Thirty years ago the daily newspapers were invading
the sheet music trade, printing "popular songs" and
otherwise threatening to annoy the music publishers.
Nothing of that kind today. Kven the big popular maga-
zines no longer boast of their music departments.—
Presto, Sept. 28.
New Castle, Ind., September 28 ( 1925.
Editor Presto: I just noticed the enclosed clipping
from "Presto" editorial column and would like to sug-
gest that in my opinion it would be quite a good
thing for the piano industry if we could get the high-
class magazines to resume their music department
and carry one or two musical numbers in each issue.
I feel sure it would stimulate the interest in music
which is one thing the piano industry sadly needs.
Yours truly,
JESSE F R E N C H & SONS PIANO CO.
H. Edgar French, V.-P. and Gen. Mgr.
Of course Mr. French is right. The editorial
paragraph should have gone far enough to cover the
point he makes. Whatever helps to encourage music-
love and to stimulate the use of music must serve a
good purpose. Without sheet music there would be
much smaller demand for pianos.
The custom of the magazines printing music and
running regular music departments was not only good
for the public, but must have created special popu-
larity for the magazines. If more of them would re-
turn to the custom it would be well for the publishers
and welcomed by the subscribers.
The present drive of manufacturers and other lead-
ers in educational affairs is doing a great deal in the
right direction. That is what the Music Week is for,
and the address by Mr. Miessner in this issue of
Presto is along the same line. Keep alive the inter-
est of youth in good music and the effect upon the
piano trade will be made clear enough. Mr. French
is right, and his note is appreciated.
IMPROVES MISSOURI STORE.
The Chillicothe Music Co., Chillicothe, Mo., is
carrying out important alterations in the interior of
its store. The demonstration and the booths which
occupy space along the south wall are being removed
to the rear of the store in order to give more floor
space in the front of the room for pianos and phono-
graphs.
FIRE DAMAGES STORE.
Some of the stock at the headquarters of the Co-
lumbia Wholesalers, Inc., 205 West Camden street,
Baltimore, Md., was damaged by smoke and water
recently when fire badly damaged the adjoining build-
ing, occupied by a paper box manufacturing con-
cern. No fire reached the Columbia stock, however.
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/
Future scanning projects are planned by the International Arcade Museum Library (IAML).