VOL. V, No. I PUBLISHED BY AMERICAN GUILD OF MUSICAL ARTISTS, Inc., A. F. of L. FEBRUARY, 1952

"THE HAUNTED ROO,M"

OURS IS a strong ship. This ship-our union-has carried Unfortunately, we have within our midst thousands of free us safely through calm waters and boiling seas. riding non-members, barnacles befouling the bottom of our We may well be proud of our ship. We, the membership, craft. The point is now reached where the bottom must be are that great vessel-its ribs and struts, its steel plate, its scraped clean. The free-rider must learn that he is an un­ motive power, the full ship's complement. As we grow and welcome guest at our table, that he is not wanted. weld into bonds of unbreakable steel our unity, we strengthen In practical terms the cost to us of the non-member is far the ship and those who sail upon it. too great to be borne further. He hampers our every activity, Nevertheless, a specter haunts our ship and its crew. making our union's task far greater than should be the case. Across the decks there strides a shadow. Almost inevitably, When we, at our conventions, layout our bargaining pro­ as we navigate in troubled water, this shadow materializes grams, the non-member's voice, although silent, rings loudly into a menace. in the negative. When our chosen representatives sit across Stealing into the engine room, this specter throws monkey the bargaining table, the employers have on their side an wrenches into the intricate machinery that drives forward our unseen ally; the free rider. craft. Haunting the chartroom, it tries to steal the maps and Yet, every gain we make is grabbed by the non-member guide-posts. Walking among the crew, it spreads unfounded -without so much as a, "Thank you." The non-member, rumor in an effort to stir up panic, fear and mutiny. save to criticize, takes no part in our affairs. He contributes This is the non-member. He is neither passenger nor crew. no financial support, no positive work, no sacrifice and no He pays no passage, yet he comes along for the ride. He is moral aid. Because of him, it it harder to win justice on the excess baggage riding upon the shoulders of those who bear job. the load. He is a menace to the security of our ship and to The non-member is a parasite upon all and can be ill the precious cargo of lives which our vessel carries. (Continued on next page) afforded by our union. We pay a heavy toll for his existence We are the overwhelming majority and in this lies our in foregoing additional benefits that cannot be realized while strength. The minority of non-members must be made to he remains to plague us. He is a big cost upon the member­ recognize the will of the majority. We have it within our power ship in money, in extra effort and in useless dead-weight. to enforce that will through the deliberate isolation of the There is no reason to tolerate the non-member. Where he confirmed non-member who will then stand out as a horrible exists through ignorance upon his part, we must educate him example. . into membership. Where the fault is our own due to improper We now start the year 1952. This must be the year in which contact with him or through lack of contact, we must correct we must establish the full stability of our union-a historic our organization and our efforts. Where he deliberately year in our development. If every member will do his part, chooses to remain out of our ranks, we must make his isola­ we can kill the ghost of the non-ember and his haunting of tion complete, being far more exclusive concerning the com­ our ship. It is up to all of us, each and every member. Together pany we keep than he would ever know how to be. we can, we will, we must do this job. AGMA Unfair List

The companies and producers listed 11. New York Civic Opera Company 14. Star Opera Company below have been placed upon AGMA's 150 West 46th Street, N.Y.C. 317 West 42nd Street, N.Y.C. unfair list by the Board of Governors. William Reutemann Francis C. Torre Under no circumstances mayan AGMA artist perform with those companies. 12. New York Operatic Society 15. Verdi Grand Opera Co. Any violation of this rule will result in Empire Hotel 110-42 65th Avenue disciplinary action by the Board of 63rd & Broadway, N.Y.C. Forest Hills, N. Y. Governors. William Feinmann Sylvestre Zaccaria 1. Adams-Williams Corporation 13. Rochester Grand Opera Co. 16. Washington Grand Opera Assn. 430 Sixth Avenue, N.Y.C. 745 Penfield Road 1710 19th Street, N.W. Wilson A. Williams Rochester, N. Y. Washington, D. C. Josephine di Crasto William Webster 2. Alkahest Celebrity Bureau 1221 Mortgage Guarantee Bldg. Atlanta, Georgia AGMAZINE S. Russell Bridges Official organ published bi-monthly by the American Guild of Musical 3. Belmont Opera Guild Artists, Inc., A F L, New York City, N. Y. 276 West 43rd Street (Belmont Community Society) HOWARD M. LARAMY, Editor 183rd Street and Arthur Avenue VOLUME V, No. 1 FEBRUARY, 1952 Bronx, New York 4. Cosmopolitan Opera Company OFFICERS 1332 Walnut Street LA WRENCE TIBBETT ABBA BOGIN Philadelphia 7, Pa. President Treasurer Theodore Feinman ASTRID VARNAY ELIZABETH HOEPPEL 1st Vice·President Recording Secretary 5. Boston Grand Opera Company J ASCHA HEIFETZ HYMAN R. FAINE 160 West 73rd Street 2nd Vice-President Executive Secretary New York, N. Y. MACK HARRELL HOWARD M. LARAMY 3rd Vice-President Asst. Exec. Secy. Stanford Erwin JAMES PEASE EUGENE 1. HAYMAN 6. London Opera Co., (Celebrity At­ 4th Vice· President Asst. Exec. Secy. tractions, Inc.) LEOPOLD SACHSE RITA NASSER Financial Secretary 150 West 46th Street, N. Y. C. 5th Vice·President JAFFE & JAFFE Vera Crenny Counsel

7. Manhattan Opera Co. OFFICES 119 West 57th Street, N.Y.C. 276 West 43rd Street Stanford Erwin Telephone: LOngacre 5-7508, 9, 10 8. Manhattan Opera Guild Los Angeles Philadelphia EDWARD A. ROSENBERG EDWARD DAVIS 1545 Broadway, N.Y.C. 6636 Hollywood Blvd. 215 S. Broad Street Benjamin F. Kutcher Hollywood 28, Calif. KIngsley 5·4310 HUdson 2-2334 9. Mascagni Opera Guild • 250 West 91st Street, N.Y.C. • Josephine La Puma San Franscisco Chicago THEODORE HALE IRVING MEYERS 10. New Brooklyn Opera Co. 216 Pine Street 188 W. Randolph Street 119 West 57th Street, N. Y. C. Sutter 0855 STate 2-0585 E. E. Stanford 2 Concert Artists In AGM,A SPECIAL MEETING CALLED BY OFFICERS

A special meeting of all concert art­ of trouble with the A.F.M., some of our meeting with the solo concert artists, ists was called by AGMA President, instrumentalist members remained on stressing the need to secure not only Lawrence Tibbett and 2nd Vice-Pres­ the side of AGMA and helped win this the 90% membership provided for in ident, J ascha Heifetz at Steinway Hall, battle with A.F.M. Through the inter­ the agreement but to increase it to December 16th, 1951 at 3 :00 p.m. to vention of William Green, Pres. of the 100%. The arguments against the or­ which AGMA members and non-mem­ A.F.L., we made an agreement with ganization of AGMA in its formative bers were invited. The meeting was at­ Petrillo which required all instrumen­ years were based on the theory that tended by about one hundred concert talists to be members of A.F.M. but artists in the higher brackets would artists. Two reasons for the meeting for purposes of collective bargaining in never get together since they had nothing , were given by Mr. Tibbett: the concert field, recognized AGMA as to worry about. The history of AGMA's 1. Membership participation in the af· having exclusive jurisdiction. Follow­ formation was similar to that of the fairs of AGMA. ing this agreement, we tried to organize other entertainment unions; it was the the instrumentalists in the concert field top people in the field who were the 2. More membership coverage among and negotiated contracts with the con­ prime movers in setting up guilds to the concert soloists, both vocal and cert managements. Under these agree­ protect the rights of all members. The instrumental, to creat a stronger un­ ments, we were given the right to or­ strength of AGMA was based upon the IOn. ganize 90% of all artists under manage­ "box office" strength of the artists in the ment contracts. The 10% Was provided higher brackets. We still need such sup­ Early History for foreign artists who might be en­ port from the "higher bracket" concert Of AGMA gaged in the concert field of the U.S. artists in order to give AGMA the re­ Reference was made to the history of This percentage provision has created in­ quired strength to bring about the 100% the formative years of AGMA when the creasing difficulties for AGMA. The AGMA membership in the concert field. Metropolitan Opera had complete con­ A.F.M. claims that AGMA has no right In order to achieve solidarity in trol over all the professional activities to coerce instrumentalists into joining AGMA it may be necessary for the in­ of its artists under the provision of the AGMA. This claim is groundless, since dividual artist to sacrifice a few engage­ infamous Clause 12. Under these pro­ the A.F.M. in the above mentioned ments, since only through artist loyalty visions, the artist often had to pay to agreement has recognized and affirmed and support of the guild which has se­ the opera company commission fees AGMA's jurisdiction over instrumen­ cured so many benefits already and elim­ which were more than the salary paid talists in the concert field, and conse­ inated manv abuses to which all artists to the artists by the company. Salaries quently AGMA's right to organize these were victims, can AGMA convince the then ranged from nothing to $15.00 per artists. Due to the A.F.M.'s position less managements that we mean what we week. Through long negotiations and and less instrumental soloists have say. experience, these matters were greatly joined AGMA. The foreign artists in The artists present then resolved to improved and the artist was made freer whose behalf the 10% clause was estab­ give a vote of confidence and support to accept concert engagements without lished, have in most cases been very to the officers, executives, and members willing to join AGMA, and it is the na­ having to pay commission fees to the of the Board of Governors of AGMA in tive artists who have been hesitant to Met. the program to keep and enforce the become members. Thus the whole pur­ Negotiations with the concert man­ contracts already existing, as well as to pose of this clause has been circum­ agers was a long and bitter struggle. But outline a long-range program to secure vented. This reluctance on the part of success in a great measure has been greater benefits. achieved by AGMA; reductions of com­ instrumental artists to join AGMA has mission fees for community and civic resulted in creating a weak link in our Lawrence Tibbett concert dates as well as for radio ap­ chain of membership categories, threat­ Appoints Committee ening the strength of the whole guild. pearances were secured. In spite of these An AGMA Artists-Manager Relations improvements, some concert artists re­ Necessity for Committee was appointed by Mr. Tib­ fused to join AGMA although enjoy­ 100% Membership bett to study and make recommenda­ ing the benefits secured for all artists tions for AGMA's activities in the con­ by AGMA. At this crucial point, AGMA deems cert field. The committee members now it necessary to inform these concert are: The A.F.M. Controversy artists of the need to join AGMA and And Its Effects back the guild in order to combat this Ann Ayars Julius Katchen threat to our organization and, once Abba Bogin James Pease At present our concert artists who Walter Cassel Benno Rabinof are vocalists are 100% AGMA mem­ and for all settle this membership re­ quirement for all concert artists. Joseph Fuchs Robert Rounseville bers. But concert instrumental artists Eleanor Steber Mr. Faine gave a more detailed back­ Carlton Gauld have held out from joining AGMA. In Conrad Thibault ground of what AGMA has achieved in Igor Gorin 1946, the A.F.M. attacked AGMA's Byron Janis Floyd Worthington rights and ordered instrumentalists, who the past agreements with managers. This were members o.f AGMA, to resign and is covered in detail in the survey printed A meeting of the above committee join A.F.M. In spite of the loss of many on page 4. was scheduled for Saturday, December of our instrumental artists and the re­ Mr. Heifetz contributed some further 22, 1951 to commence the work of such fusal of others to join under the threat remarks about the purposes behind the a study. 3 Protections for Artists Under Present Agreements MR. FAINE REVIEWS BENEFITS TO CONCERT ARTISTS

All soloist concert artists whether 10. You can terminate your contract make committments outside the United singers or instrumentalists, have protec­ with your manager if, States without your consent, and at no tion afforded them through the Basic higher commissions than stated above. (a) during the first year under his Agreements negotiated between manage­ ment and AGMA. management you obtain in gross 13. All disputes between yourself and fees less than six times your reg­ the manager are to be settled by arbitra­ Exercising the rights granted to ular concert fee, or tion, which is a fast and inexpensive AGMA by the International Board of method. the American Actors and Arstists As­ (b) during any subsequent year you sociation A. F. L. to represent artists obtain less than twelve times your 14. Your individual contract must performing in the concert field as the regular concert fee, or less than state your minimum fees for regular, sole bargaining agent; AGMA has nego­ 65% of your gross concert fees Civic or Community duties and manager tiated Basic Managers Agreements which of the preceding year, whichever may not book you at lesser amounts insures many benefits to the performing is greater. without your written consent. Your artists. manager is entitled to his commissions 11. Commissions that may be collect­ only if you get paid. Under such agreements the AGMA ar­ ed are 20% for regular concerts, 15% tists gain the following advantages: for Civic or Community concerts, and 15. Your manager warrants that the 10% for radio, phonograph recordings fee he collects for you in Community or 1. Manager guarantees that he is and opera engagements. 1£ your fee is Civic dates is not in excess of your reg­ equipped and will continue to be equip­ $750. or more and you earn in gross fees ular concert fee. ped, to handle the artists and his affairs. in a year, less than $7500.00, the com­ There are many other benefits which 2. Existing contracts made with ar­ mission on regular concerts drops to 18%. These are maximum commissions. cannot be enumerated here because of tists prior to the AGMA agreement are space. If you have any questions about to be modified to conform with Basic No commissions may be deducted on any minimum fees under AGMA contracts. your present contract, or the AGMA Agreement. Manager must file by J anu­ Basic Artists Management Contract, ary 30th the list of all artists under his 12. Manager can move engagements please do not hesitate to contact Eugene management. already made only for your own good Hayman, Assistant to the Executive Sec­ 3. No individual contract can be and you must be so notified. He may not retary at the AGMA office. longer than three years, including op­ tions. 4. All options to renew individual contracts must be exercised not later than December 1st of any year. Critical Denial of Crisis 5. Your Manager cannot book you for PROTESTS FROM MEMBERS dates beyond the expiration of your in­ dividual contract. Following this meeting, Mr. Faine re­ with the crisis said to be of utmost im­ 6. You may examine your bookings ceived some written reactions to the portance to all performing artists. at reasonable times and receive a list of concert artists' meeting at Steinway Hall 3. If AGMA cannot achieve the 90% all written offers of bookings. December 16, both approving the membership with managements provid­ need for strengthening our present mem­ 7. You can require statements of ac­ ed for under its agreement, a strike call bership, and striving to get 100% count and payment of net balances at would not be backed except by those AGMA membership for all concert art­ 30 day intervals, and quarterly itemized artists not performing. ists under management agreements. statements of all expenses. 4. Although the writer wished to make Among the letters were some criticiz­ 8. The maximum amount that your no crusade for his personal point of ing the present AGMA stand. Based on manager may spend for advertising, ex­ view, if his letter were to goad the com­ the explanation offered to the artists at cept as to amount needed to service mittee into decisive and constructive the meeting, some denied the need for bookings, without your consent, is action, it would be so much the better. calling a meeting of the concert artists $500.00 in anyone year, of which $250. in the first place. The above letter was answered by may be payable in advance, but can be AGMA Artists-Managers Relations Com­ used only for printing of brochures. A typical letter of criticism contained mittee. the following items: 9. If you feel the manager has too The Committee then took this letter many artists in your category, or has 1. No present urgency was fully out­ into consideration and made the follow­ booked you unwisely, or has refused lined except a demand for building up ing reply, which is herewith printed, as bona fide offers for your services, you AGMA membership. For what? containing the proper basis for AGMA's can get a release from your contract, if position and to answer other concert an arbitration board decides that the 2. If the situation is indeed serious, artists who may hold similar if unex­ facts are as you claim. why were the artists not fully acquainted pressed opinions. 4 Answer to Letter from Critical Artist AGMA COMMITTEE CLARIFIES GUILD'S STAND Mr. Faine has brought to our atten­ ager. How many different ways there which, as our representative, has signed tion your letter of December 31, 1951, are of doing this we are sure you are basic contracts with the managers. These addressed to him, and we felt that we, aware of. The commissions could be contracts, for the first time, hold the as a committee, would like to answer any percentage the artist would be will­ managers to maximum commissions and some of the questions you posed con­ ing or forced to agree to, also the dif­ demand certain rights for each· artist. cerning the present situation and the ne­ ferential on Community and Civic dates Perhaps you are not aware that your cessity of this committee. anything the manager could get out of own relationship with your manager is You state that you are not convinced the town; the amount of money the governed by these contracts. Don't you of the extreme urgency of the situation; manager spent for the artist's publicity feel that these provisions which AGMA you ask what the specific threats to the (at the artist's expense, naturally) any­ has fought to have placed in that con­ position of the artist are, what AGMA thing the manager wanted to, many tract are also for your benefit? Most proposes to do towards ameliorating the times without presentation of bills and concert artists seem to, certainly. artist's position, and what the purpose with a portion going into the manager's But many of them have grievances of building our strength to 90% and pocket. Concerts could be booked all and suggestions for improving the future then to 100% is. over the map with uttel disregard to contracts. That future is very near. We May we answer all these questions to­ the amount of time or money the artist need not tell you that this entire business gether by reminding you that at one wasted in order to fulfill his dates. works a year or two in advance, as far time there was no AGMA. Artists were Maybe for the big drawing card this as booking and planning go, and there­ still managed then and some of them was not of importance, his fees were fore, December 1953 is really not very succeeded in building very fine careers. high enough, his popularity already far off. That is the date all Basic AGMA­ But many did not, and as time passed well-established enough, so that he could Management Contracts expire and all the concert managers learned that their make demands to which his manager individual contracts on AGMA forms. role was more that of the businessman had to concede because it was more Therefore, we feel that if we are to do out to make more and more money, and profitable to him on a business basis. anything towards achieving a better less that of the impressario who feels But the situation today, with so many basic contract for artists we must do he is achieving something artistically accomplished performers, would be in­ it now. Our membership must let us by being an active cog in the machinery tolerable were it not for a guild through know at present what their grievances of presenting art to the public. which the artists, acting collectively and are if any demands for improvements Therefore, the manager, in all his therefore with strength, can and did es­ are to be made. This is the urgency. subsequent relations with new artists tablish their rights and proper relations Stricter Enforcement of presented terms to the artist that meant with their managers. AGMA.Managers Contracts more business primarily for the man- At present, we artists have a guild The problem then boils down to the fact that until now we have not even enforced the basic contracts we have. Each manager agreed to have at least L,etter To All Concert Artists 90% of his artists sign AGMA contracts February 4, 1952. which require the artist to join AGMA. Dear Member, The managers were willing to have 90% of the people they manage join Have you grossed less than $7500 in concert fees in anyone season for the past few AGMA, but they have not pressed the years? If so, your manager may owe you money! artist in to joining because we have not We, your AGMA Artist-Managers Relations Committee, want to acquaint you pressed the managers. with the above and many other beneficial provisions of your contract which AGMA If we cannot make the manager live has fought so hard to achieve. The attached letter will give you the details. If after up to his contract, how can we expect reading this summary you do find that you have claims but cannot collect them, him to listen to other terms we may please refer them to the AGMA office. demand from him in future negotia­ The negotiations for your new basic contract will begin this year. Now is the tions. But, you ask, what is the pur­ time for you to acquaint your representatives with your problems. Even though we pose of the membership drive? I think are artists like yourself, we cannot know them all. Please, dear member, this time we are all aware of the fact that "in we don't want money; we need to know your grievances or suggestions in order to union there is strength." If 100% of the formulate new provisions which will really solve some of the difficulties of our artists managed by the concert manag­ profession. ers belonged to an organization which Will you contact us by telephone or mail? Better still, join this committee which consistently fought for better conditions exists solely for the improvement of the relations between you and your managers. for the artist, the fight would be an easy Sincerely yours, one. AGMA ARTISTS-MANAGERS RELATIONS COMMITTEE Do you doubt the fact that many art­ Ann Ayars Byron Janis ists are victims of all sorts of injustices Abba Bogin James Pease by the managers? Certainly most of Walter Cassel Benno Rabinof these injustices could be eliminated if Joseph Fuchs Robert Rounseville each and every artist belonged to a Igor Gorin Floyd Worthington (Continued on page 8) 5 Official AGMA Producers The following companies have nego­ CONCERT Concert Theatre Ltd. tiated Basic Agreements with AGMA for James A. Davidson Management the 1951-1952 season. American Bach Society (Rodgers & Hammerstein Nights) Bach Aria Group De Paur Infantry Chorus AGMA artists may perform only with Choral Art Society Southern California Symphony Assn. Producers or Associations listed in this column. Any violations of this ruling will result in disciplinary action by the Board of Governors. AMERICAN GUILD OF MUSICAL ARTISTS, INC. Each AGMA member is advised to Statement of Operating Receipts and Disbursements check with the AGMA office before sign­ for the Fiscal Period ing a contract with any producer. October 1, 1950 to September 30, 1951 OPERA RECEIPTS: Atlanta Opera Co. Initiation Fees ...... $12,710.33 Celebrity Artists Corp. Dues: Central City Opera Assn., Inc. Active - Soloists ...... $18,040.83 Chor~ters ...... 7,384.67 Chautauqua Institution Dancers ...... 5,858.45 Cincinnati Summer Opera Assn., Inc. Associate'- Soloists ...... 10,843.92 City Center of Music and Drama, Inc. Choristers ...... 6,440.06 Columbia Opera Co. Dancers ...... 4,779.17 53,347.10 Connecticut Opera Association Working Pernuts ...... 3,641.94 Connecticut Opera Company Assessments ...... 00 Fort Worth Opera Assn., Inc. Guild Opera Co. TOTAL RECEIPTS $69,699.37 Johnstown Opera Guild DISBURSEMENTS: La Scala Opera Assn. of Hollywood Salary - Executive Secretary ...... $10,099.60 Los Angeles Conservatory of Music Office Salaries (Schedule A·I) ...... 21,660.50 Printing and Mimeographing ...... 2,197.56 and Arts Stationery and Office Supplies ...... 1,091.91 Los Angeles Grand Opera Productions Rent ...... 2,700.00 Metropolitan Opera Association Telephone and Telegraph ...... 3,058.60 J. H. Meyer Postage ...... 1,863.76 Monte Carlo Opera Co. Light, Water and Towel Supply ...... 491.94 Insurance ...... 84.08 National Grand Opera Co. Miscellaneous Expenses: New England Opera Theatre Inc. Furniture and Fixtures ...... 53.03 New Orleans Opera House Assn. Advertising ...... 300.00 New York Youth Concerts Inc. Sundries ...... 1,326.83 Nine O'Clock Opera Co. Bank Charges ...... 97.12 Opera Guild of Miami Subscriptions & Periodicals ...... 48.75 Auditing Fees ...... 900.00 Frank Pace Arbitration Fees Pacific Opera Co. American Arbitration Association ...... 250.00 Philadelphia Civic Guild Opera Co. Legal Fees (Schedule A·2) ...... 2,250.00 Philadelphia La Scala Opera Co., Inc. Disbursements - Legal ...... 82.92 Pittsburgh Opera Inc. Checking Performances ...... 268.21 Meeting Expenses ...... 248.38 Popular Price Grand Opera Co. Traveling Expenses (Schedule A·3) ...... 845.41 Rome International Opera Co. Delegates Expenses (Schedule A·4) ...... 234.03 San Francisco Opera Assn. Office Expenses: Shreveport Opera Co. Chicago (Schedule A·5) ...... 643.22 Symphony Society of San Antonio Los Angeles (Schedule A.6) ...... 5,214.03 San Francisco (Schedule A·7) ...... 1,403.13 Chas. L. Wagner Management, Inc. Philadelphia (Schedule A·8) ...... 338.02 Per Capita Tax to AAAA ...... 1,382.72 BALLET Audition Expenses ...... 5l.l3 Agmazine Expenses ...... 613.97 Ana Maria Spanish Ballet Contribution to Maintenance Fund Ballet Russe de Monte Carlo Inc. for Convention Expenses ...... 00 Ballet Theatre Foundation, Inc. Contribution to T.V. Authority ...... 00 Federal Old Age Benefit Tax ...... 308.69 City Center of Music and Drama, Inc. New York State Unemployment Tax ...... 615.04 Jose Greco and his Spanish Ballet New York State Disability Tax ...... 81.09 Mata and Hari Sadlers Wells Theatre Ballet TOTAL DISBURSEMENTS $60,803.67 Mia Slavenska Ballet Variante EXCESS OF RECEIPTS OVER DISBURSEMENTS Matina Svetlova Ballet $ 8,895.70 Uday Shankar - Hindu Ballet 6 Managements Under AGMA Agreements Jack Adams & Co. Giorgio D'Andria Sylvia Hahlo Theatrical Agency 11 West 42nd St., N. Y. C. 1005 Carnegie Hall 113 West 57th St., N. Y. C. 57th St. and 7th Ave., N. Y. C. Laura Arnold Dolores Hayward Concert, Mgt. 545 Fifth Avenue, N. Y. C. James A. Davidson Management, Inc. 113 West 57th St., N. Y. C. 113 West 57th St., N. Y. C. Dick Campbell Concerts, Inc. Hans J. Hofman 81 East 125th St., N. Y. C. Wilfrid L. Davis 55 West 42nd Street, N. Y. C. 62 West 91st Street, N. Y. C. Columbia Artists Management, Inc. Hurok Attractions, Inc. Community Concert Service . De Pace Associates 711 Fifth Avenue, N. Y. C. 113 West 57th St., N. Y. C. 1270 Sixth Avenue, N. Y. C. Lawrence Evans for CAM I International Artists Corp. Ward French for Community Fortune Gallo 420 Madison Ave., N. Y. C. 1697 Broadway, N. Y. C. Consolidated Concerts Corp. Berenece Kazounoff, Inc. 30 Rockefeller Plaza, N. Y. C. General Artists' Concert' Bureau, Inc. 1776 Broadway, N. Y. C. Charles E. Green 1270 Sixth Avenue, N. Y. C. David Libidins 113 West 57th St., N. Y. C. Statements of Assets and Liabilities Wladimir Lubarsky as of September 30, 1951 119 West 57th Street, N. Y. C. ASSETS Cash in Banks on Hand: Ludwig Lustig Manufacturers Trust Co. New York, N. Y. Regular Acct ...... $34,504.93 11 West 42nd Street, N. Y. C. Security First National Bank of Los Angeles, Calif...... 1,056.80 Petty Cash and Travellers Checks ...... 248.44 1. H. Meyer 119 West 57th Street, N. Y. C. TOTAL CASH $35,810.17 Cash in Transit: Wm. Morris Agency, Inc. Manufacturers Trust Co. New York, N. Y. Regulart Acct ...... 263.90 Rent Deposit New York Office ...... 450.00 1740 Broadway, N. Y. C. Sundry Receivables: Loan to 4A's ...... $ 1,000.00 National Concert & Artists Corp. Miscellaneous ...... 282.50 1,282.50 Civic Concert Service 711 Fifth Avenue, N. Y. C. Furniture and Fixtures: Marks Levine for NCAC Nominal Value ...... 1.00 Security Funds and Bonds: O. Bottorff for Civic Claim Adjustment Account - Contra (Sch. B-Il Manufacturers Trust Co., New York, N. Y. Emmy Niclas Claim Adjustment Account ...... 2,783.16 Hotel Wellington, N. Y. C. Security Deposit Account - Contra (Sch. B-12) Manufacturers Trust Co., New York, N. Y. Security Deposit Account ...... $22,702.00 David W. Rubin Artists, Mgt. Custodian Account ...... 5,000.00 27,702.00 113 West 57th St., N. Y. C. TOTAL ASSETS $68,292,73 William L. Stein, Inc. LIABILITIES 113 West 57th St., N. Y. C. Notes Payable - Screen Actors Guild ...... $ 2,600.00 Sundry Payables: J. J. Vincent LeRoy Antoine - Salary Bond ...... $276.00 119 West 57th Street, N. Y. C. Educational Opera Association - Salary Bond ...... 100.00 Frank Pace - Salary Bond ...... 28.67 Charles L. Wagner Management, Inc. Miscellaneous ...... 89.17 493.84 511 Fifth Avenue, N. Y. C. Taxes Payable: Federal Withholding and Old Age Benefit Taxes ...... 359.01 Martin Wagner New York State Disability Benefit Tax ...... 22.21 381.22 Bank of America Building Sunset & Clark Avenues Claim Adjustments Payable Contra (Sch. B-1) ...... 2,783.16 Hollywood, California Security Deposits Payable - Contra (Sch. B-2) ...... 27,702.00 WCB Artists & Concert, Mgt. TOTAL LIABILITIES $33,960.22 236 West 55th Street, N. Y. C. 1. A. Bollew, Director EXCESS OF ASSETS OVER LIABILITIES $34,332.51 Carl Yost 789 Madison Avenue, N. Y. C. 7 New York Area Membership Meeting Donald Dame ~~~~,~~FEBRUARY 29, 1952, 2:30 PM Dies Suddenly a ,r AGENDA Donald Dame, well-known and well­ 1. Organization of the concert field; liked tenor and member of AGMA since 2. Postponement of AGMA convention; 1941, died on January 21, 1952 in Lin­ 3. Election of members to the N. Y. Area coln, Nebraska, while on tour with the Nominating Committee; Metropolitan Opera's production of "Die 4. Report on negotiations; Fledermaus." He was only 34 years old. 5. Report on TVA Convention and 4A's Mr. Dame was an active member of merger. AGMA and in 1950 was appointed treas­ HOTEL CLARIDGE urer to fill the vacancy left by Frederick Broadway and 44th Street Jagel. In 1951, Mr. Dame was nomi­ nated and elected treasurer of AGMA, PLEASE ATTEND & BE PROMPT!

Letter Answered OBITUARY MAX ALTGLASS By Committee Soloist (Continued from page 5 ) group formed specifically for this pur­ RICHARD LORD pose and were active and interested to Dancer see that this group acts in his behalf. Both this committee and Mr. Faine CATHERINE LITTLEFIED agree with you that the meeting at Stein­ Dancer way Hall was indeed badly managed and failed to present the problems to the OSCAR NATZKA audience quickly and concisely. But if Soloist the situation is serious and urgent, a LEON ROTHIER badly handled meeting does not make it less serious and urgent. We feel that Soloist an office which he held competently until when the problems were finally made The membership of AGMA wishes to his untimely death. clear, we could see that there existed pay homage to their fellow artists who The passing of Donald Dame is a real grievances which most of the peo­ deeply felt loss to AGMA and the pro­ ple in the concert field are extremely have passed away since our last issue. fession. The members, the Board of Gov­ concerned about; that artists are not The merits of their service to the impossible as you seem to feel, but that ernors, and the staff of AGMA join in artists present were intelligent and cultural life of this country and the offering their condolences and sympathy strong personalities who were willing to world is measured by the high. degree to the family and relatives of Mr. Dame. stick together even if it came to a strike, of their fame in the field of music. a step which we will never have 1'0 take AGMA wishes to express its sympathy GOT ANY NEWS? if the managers see that. we are well to those relatives and close friends whose Members who have any news items organized and mean business. of interest for the next AGMA­ Sincerely yours, great loss is shared by the artist mem­ bers of this union. ZINE please send to the office, AGMA ARTISTS-MANAGERS care of the AGMAZINE Editor. RELATIONS COMMITTEE

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