Vol. 1, No.4 PUBLISHED BI-MONTHlY BY AMERICAN GUILD OF MUSICAL ARTISTS, Inc., A. F. of L. September, 1947

OFFICERS OFFICES

LAWHENCE TIBBETT 19 President 276 West 43rd Street Telephone: LOngacre 5-7508, 9, 10 NOH MAN COHDON 1st Vice-President .. JULIUS HUEHN Los Angeles 2nd Vice-President I. B. KOHNBLUM EDWAHD HARHIS 6331 Hollywood Boulevard 3rd Vice President Telephone: Hillside 5121

ARTHUR KENT .. 4th Vice-President Sur" Franscisco MAHTHA LIPTON 5th Vice President THEODORE HALE 216 Pine Street ELIZABETH HOEPPEL Telephone: Sutter 0855 Recording Secretary .. FREDERICK JAGEL Treasurer G. GILBERT MASON HYMAN R. F AINE 207 Walnut Place Executive Secretary Telephone: Lombard 1187 .. .. JAFFE & JAFFE Counsel 1 .. BEN MEYEHS BELMONT KINDLEH 188 W. Randolph Street Editor Telephone: State 0855

TAFT-HARTLEY, INC. Of, Tile SeDson Opens Witll D Flop On June 23, 1947, the Big Business Company pre­ put Labor at a disadvantage in cases which come before it; sented working men and women of the with a unions may not participate in a secondary boycott or juris­ premiere of "The Labor-Management Relations Act of 1947," dictional dispute; a union's disciplinary powers are hedged composed by Robert Taft and Fred Hartley. in by restrictions. In the first place, the music is not original, and we've Third Act - Labor, because of her important position heard the same tune sung before by other gentlemen whose in society, has made many friends, and attempts to rally them minds run parallel with that of Messrs. Taft and Hartley. to her support. When Management learns of this, he stabs This time, however, the performance was more skillful, no Labor in the back, and then passionately proclaims his un­ doubt indicating that the participants had rehearsed more dying love for her, saying that everything he planned was for frequently. Briefly, here is the plot:- her ultimate good. Labor falls back, wounded, but vows re­ venge in November, 1948. First Act - Management, after having lived fairly hap­ pily with Labor for ten years, secretly decides to destroy her. Principal roles were performed by members of various Saying that times have changed, he accuses Labor of business organizations who were frequently off key, and in­ unfair practices, binds her with red tape, and confides his terestingly enough preferred to remain in the background. scheme. Smaller parts were taken by Joseph Ball, Harold Stassen, and Irving Ives, whose acting ability won the applause of Second Act - Management, with the aid of wealthy their friends. friends, sues Labor for breach of contract, and brings her to court, where the judge, a friend of Management, delivers a Mr. Taft conducted the performance himself, and ob­ lengthy and tortuous aria. Labor's finances, he says, now will servers remarked upon his unusually rapid tempo through­ be inspected and regulated by the government; her union out. One felt that although enjoying his work, he couldn't shop will be made more difficult and complicated to obtain; wait to get finished. Discerning members of the audience she may not use union funds to criticize and campaign noted that when Taft didn't know the'score, cues were given against her enemies; the new NLRB is constructed so as to (Continued on page 2) TAFT-HARTLEY~ INC. ATTENTION (Continued from page 1) by the business men having principal roles, resulting in com­ plete cooperation between them. URGENT Although Mr. Taft can write a libretto that can excite you, MEMBERSHIP MEETINC it is obvious that he knows nothing about harmony, and relies too much upon outworn ideas in his approach to new thema­ Friday, Sept. 19, 1947 tic material. The stage direction was expertly conceived, frequentlv 8 p. m. Sharp resulting in a compelling atmosphere of illusion. ~ The performance, then, was ill-advised, operating behind MAIN BALLROOM a facade of authenticity and ostensible originality, and we all would have been better off, including Messrs. Taft and CLARIDCE HOTEL Hartley, had their new opus never been written. We are con­ fident that in the not too distant future, it will be remembered BROADWAY AND 44 STREET as an unfortunate nightmare.

See Here~ Mr. Taft 4As Fight The membership of the AMERICAN happy for whatever sense of' dignity that GUILD OF MUSICAL ARTISTS is has been contributed to their welfare. Tolt-Hortler Bill composed of many of the world's out­ The Taft-R artley Bill is a devious at­ tempt to castrate the American trade­ The International Board of the 4 A's standing singers, dancers and instru­ union movement. In AGJVIA's instance. which met recently, discussed in detail mentalists. They have struggled for it would completely restore the jungl~ the Taft-Hartley Bill and its application many years to achieve some standing i::1 morality in a field which still requires to all branches of the 4 A's. The fol­ a desperately overcrowded profession, not a little surveillance. We will there­ lowing resolution was proposed and adopted: and at a considerable outlay of money. fore publish in our November issue of Is it true that artists don't know the AGMAZINE a survey of conditions in the "This international board goes difference between a union and a musical profession which existed prior on record in support of the sonata? Anyone who thinks so hasn't to AGMA's organization, and trace the AFL position that it will fight met many of AGMA's members. They changes which occured since the appear­ to the utmost to appeaJ the are intelligent and gifted people who ance of AGMA onto the musical scene T aft -H art 1e y Law and the seek opportunity and personal fulfillment in 1936. Our members will then realize branches of the Four A's will through the democratic process, and what may await them if the Taft-Hartley extend all cooperation possible with the enthusiastic assistance of an Bill is not repealed. to the AFL ~n its efforts to American trade-union. If we have of­ We believe that you have made our have this law repealed and fered our time and energy to men and membership more union-conscious, Mr. oppose the re-election of the women who chose music as a beautiful Taft. The result of that awakening will legislators who made the law art but a difficult livelihood, we are be apparent in the near future. possible. by. voting. for. it; further that each br'llnch of the Four A's be so notified as well as the AFL." Signed, Paul Dulzell International President Television News The 4 A's Television Subcommittee on Wages and Working conditions of which \Tinton Havworth of AFRA is Chairman has submitted to each of the participat: ing unions a concise and informative re­ port which is the result of considerable study and effort on the part of the Com­ mittee. The AGMA representative3, Kathryn Lee, William Horne, Val Pattacchi, and Beatrice Tompkins will soon meet to dis­ cuss the report, and then submit their recommendations to the Board of Gov­ ernors of AGMA for discussion and ap­ "Must you play the 'Pastoral Symphony'?!" Courtesy Musical America. proval. 2 May 20 Membership ON THE OPERA FRON'T By Hy Faine Meeting Report Agma has now signed Basic Agreements for the 1947-1948 opera season with A general membership meeting was among others, the Association, Opera Associa­ held at the Hotel Claridge on May 20, tion, Center of Music and Drama, Pittsburgh Opera, Inc., Inter­ at which. Lawrence Tibbett, Agma'.s national Opera Co., and the League of Grand Opera Producers, Inc. Negotiations President presided. It was one of the were conducted in an atmosphere of cordiality and mutual confidence, and Agma largest and most successful meetings in is proud to present to its members some concrete examples of the gains which Agma's history. were incorporated into the Contracts. Executive Secretary Hy Faine opened with a report on negotiations with the Metropolitan Opera Association Metropolitan Opera House, Concert PRlNCIPALS Managers, Recording Companies, Pop­ ular Price Opera Companies, and Bal­ 1947-1948 1946-1947 let Companies. Mr. Faine then proposed Pre-season unpaid rehearsals limited to No limitation on unpaid weekly pre-sea­ for discussion the question of a Constitu­ 2 weeks. son rehearsals. tional Convention and it was unanimous­ ly voted by those present to hold such Radio fee of $50 limited to artists earn­ Radio fee limited to artists earning $150 a Convention as soon as possible. ing $200 or less. or less. Also on the agenda was a petition Artists earning $250 weekly receive $3 No provision for artist earning $250 signed by 63 Agma members presenting daily road tour sustenance. weekly. certain grievances which they believed could be improved or eliminated. Beale Hober, who offered the group's point of CHORUS view at the meeting, brought up each Weekly salary of $85 in New York City. Weekly salary of $82 in New York City. grievance for discussion and Mr. Tib­ bett patiently went into detail, explaining Weekly salary of $130 on the road. Weekly salary of $124 on the road. that while the validity of some griev­ $1.25 for rehearsals hourly. $1 for rehearsals hourly. ances was granted, the fault lay not with the administration or officers of Agma, $.77 for 15 minute overtime rehearsal $.60 for 15 minute overtime rehearsal but rather with the imperfections of our periods. periods. Constitution. This was precisely the reason why Hy Faine suggested as far $4. expense money for each performance $3.50 expense money for each perform­ back as last January at the Annual Meet­ during N. Y. season outside 30 mile ance during N. Y. season outside 30 mile ing that a Convention be held. Mr. Tib­ radius; $1.50 for same within 30 mile radius; $1.25 for same within 30 mile bett further pointed out that the obstruc­ radius. radius. tionist tactics of a few Agma members $85. plus $6.45 nightly if in N- Y. or $82. plus $6 nightly if in N. Y. or Phil. had disrupted the Annual Meeting, and Phil. more than 3 days during road tour. more than 3 days during road tour. there was consequently no opportunity to bring the matter of a Convention be­ $3.08 per hour or fraction for rehearsal $2.25 per hour or fraction for rehearsal fore the membership for discussion. He of solo or mute parts. of solo or mute parts. also gave the background and facts in­ $13.7S for each commercial broadcast. $12.50 for each commercial broadcast. volved in many of the other grievances. When the meeting finally ended, many Improved rehearsal pay for Sundays and petitioners admitted that their charges after 6 P.M. weekdays. had been based on insufficient informa­ tion. To all concerned, the evening was DANCERS an outstanding example of union democ­ racy in action, with all Agma members Weekly salary of $60 in New York City. Weekly salary of $56 in New York City. finally uniting to face the more im­ portant struggles that lay ahead. Weekly salary of $102 on the road. Weekly salary of $94.50 on the road. $60 plus $6 nightly if in N. Y. or Phil. $56 plus $5.50 nightly if in N. Y. or Travel Note more than 3 days during road tour. Phil. more than 3 days during road tour. As we mentioned in our last $4 expense money for each performance $3.50 expense money for each perform­ issue, all artists when signing a during N. Y. season outside 30 mile ra­ ance during N. Y. season outside 30 mile contract for an opera engagement dius; $1.50 for same within 30 mile radius; $1.25 for same within 30 mile which entails travelling, are urged radius. radius. to include transportation arrange­ ments. If no such stipulation ap­ $7.50 for performance on seventh day of $7 for performance on seventh day of week in N. Y. pears in the contract, the producer week in N. Y. may then be in a position to claim $2 per hour for rehearsals on Sunday. $1.80 per hour for rehearsals on Sunday. that the artist's transportation was included in the fee for the engage­ $1.50 per hour overtime in rehearsal $1.25 per hour overtime in rehearsal ment. week. week. (Continued on page 4) 3 ON THE OPERA FRONT AGMA PIons (Continued from page 3) Convention $2 per hour for rehearsals 2 hours be- No provision for rehearsals 2 hours be- At the Annual Meeting held last J anu­ fore a performance. fore a performance. ary, Hy Faine, our Executive Secretary, $2 per hour for rehearsals 12 hours or No provision for rehearsals 12 hours or delivered a report to the membership on less after previous performance. less after previous performance. some of Agma's accomplishments dur­ ing the preceding year, and the neces­ An outstanding feature of the Met Basic is the provision establishing a pension sity for instituting internal changes in fund for all artists. Those artistists employed by the Met will donate their services Agma, so that in the process of growth for at least one benefit performance, and the funds thereby raised will be matched and expansion, we could continue as a by the management, both amounts creating an embryonic pension fund. This fund democratically - led and functioning will be jointly administered by the Met, and the unions whose members are union. With this aim in mind, Agma's employed at the Met. Agma is proud to be the first entertainment union to estab­ Board of Governors passed a resolution lish a pension fund for it's members, and hopes the precedent will be extended in in May approving the holding of a Con­ the field. stitutional Convention, and this action League of Grand Opera Producers was approved at the General Membership Meeting which took place on May 20. PRINCIPALS Constitution to be Changed Unpaid rehearsals limited to 2 weeks; No limitation on unpaid weekly re­ At the coming Convention, the most $25 for each succeeding week. hearsals. important work will be focused on re­ vising our Constitution. Written upon Daily rehearsals limited to 6 hours until No similar provision. Agma's inception in 1936, it has proved midnight; overtime @ $2 per hour; ap­ of inestimable value in guiding our plicable to both rehearsal and perform­ union, but the passage of time has re­ ance weeks. vealed some of its inadequacies. Artists engaged for 10 weeks or more on No similar provision. Constitutional Committee road receive $7 a day sustenance for After the May 20 meeting, Agma's each day of layoff during Ch'ristmas and President, Lawrence Tibbett, appointed Holy Week. a Constitutional Committee which was Artist receives principal's salary if rna­ No similar provision. representative of all categories and lo­ j ority of roles sung during week are calities of Agma's membership, and leading roles. whose function it became to work out in advance the mechanical details of the Minimum fee for performance, either Convention such as the election of dele­ locally or out of town increased 15% for gates, the basis for representation, and single performances and 7V2 % for Constitutional changes to be suggested at weekly engagements. the Convention itself. Those accepting appointment were as follows:- Improvements in travelling provisions. 1. Ruthanna Boris 2. Lucy Brown DANCERS 3. Frank Chapman 4. Norman Cordon Weekly local salary of $56. Weekly local salary of $52. 5. Donald Dame 6. Edward Harris Weekly road salary of $75. Weekly road salary of $70. 7. Winifred Heidt 8. Jascha Heifetz $11 for single local performance. $10 for single local performance. 9. Beale Hober 10. Elizabeth Hoeppel $14 for out of town single performance. $12 for out of town single performance. II. Edith House Rehearsals for single performances @ 12. Julius Huehn 4 hours unpaid rehearsals for single per­ 13. Frederick Jagel $1 per hour. formances. 14. Edward Kane 15. Maurice Kostroff CHORUS 16. Ray Lev 17. Anthony Marlowe Weekly local salary of $67.50 for 7 per­ Weekly local salary of $62.50 for 8 per­ 18. May McDermott formances; $70 for 8 performances. formances. 19. James Melton 20. Elissa Minet Weekly road salary $83 for 7 perform­ Weekly road salary of $75 for 8 per­ 21. Lillian Nichols ances; $85 for 8 performances. formances. 22. James Pease 23. Leopold Sachse $11 for local single performance. $9 for local single performance. 24. May Savage 25. Margaret Speaks $15 for out of town single performance. $12 for out of town single performance. 26. Frederick White Out of town representatives are: $30 salary for each rehearsal week. $27 for each rehearsal week. 27. Galliano Daneluz~San Francisco (Continued on page 5) (Continued on page 5)

4 AGMA PIons ON THE OPERA FRONT Convention (Continued from page 4) (Continued from page 4) No rehearsal before 10 A.M. or 3 hours No similar provision. 28. Joaquin Felsch-San Francisco 29. Desire Ligeti-San Francisco before performance for weekly engage­ 30. Foster Grundy-Los Angeles ment. 31. Hilda Romain-Los Angeles 32. John Shafer-Los Angeles No rehearsal 2 hours before perform.. No similar provision. 33. Gilbert Mason---Philadelphia ance for single engagement. 34. Gerald Finerman- 35. Angela Kitches-Illinois $S sustenance if arriving 8 hours before No similar provision. 36. George Tozzi-Illinois rehearsal or performance out of town. 37. A. P. Winteler-New Orlpans Chorister singing classified role receives No similar provision. Organizational Plans chorus fee in addition to difference be­ The Committee has been meeting tween chorus fee and role minimum. weekly for several months and has done Minimum number of choristers are Minimum number of choristers 12 for a magnificent organizational job in plan­ either IS or 18 for all except for all operas. ning for the Convention_ It still needs, Barber of Seville, Don Giovanni, Don however, additional suggestions from Pasquale, Hansel and Gretel, Louise, you as to what changes should be made Del' Rosenkavalier where minimum is in the Constitution. Although the dead­ 10. line for such suggestions was August IS, nevertheless any and all suggestions The League of Grand Opera Producers is the collective bargaining agency are still most welcome. The following for popular price opera companies and includes the following members: Baccaloni is the tentative Convention timetable:- Opera Company, Connecticut Opera Association, National Grand Opera Com· Sept. 18-2S--Distribution of proce­ pany, Philadelphia La Scala, Popular Price Opera Company, San Carlo Opera dure and program to all Agma members. Company, and Charles Wagner. Sept. 2S-0ct. 20-Distribution and submission of petitions for nomination The City Center Basic Agreement contains many of the above provisions in of Convention delegates. addition to others which represented a substantial improvement for Agma mem­ Oct. 20-Nov. IS-Distribution of bal­ bers over last year's Contract. lots, voting by referendum, and counting of ballots in New York City. Nov. IS-Jan. 8, 1948-Preparation of Agenda, and all final arrangements. Dec. 28---Artists Christmas Party . .Tan. 8, 194.8-Convention held in New New Ballet Basic Signed York City. Basic Agreements for the coming season have been signed with the Ballet . Gala Christmas Party Theatre, Ballet Russe de Monte Carlo, and the Markova-Dolin Ballet Company. As a means of partly financing the The regular Ballet Basic Agreement contains the following provisions as compared attendance in New York of our out of to last year:- town delegates, Agma will present an Artists Christmas Party at the Metro­ 1947·1948 1946·1947 politan Opera House on December 28, in which famous musical artists will par­ Weekly salary of $72 locally and on Weekly local salary of $62; $72 on ticipate. The Constitutional Committee road. road. elected Frank Chapman as Artistic Direc­ $20 per performance. $17.S0 per performance. tor for this affair, and we feel certain that under his expert guidance, Agma Overtime rehearsal @ $2 per hour. Overtime rehearsal @ $1 per hour. will offer New York music-lovers a Rehearsal before 10 A.M. and after per­ Rehearsal before 10 A.M. and after per­ wealth of talent on the night of the formance @ $4 per hour. formance @ $2 per hour. Party. Mention should be made of the Rehearsal 2 hours before performance Rehearsal 2 hours beforme performance splendid cooperation pledged by concert @ $2 per hour. @ $1 per hour. managers Marks Levine, Charles L. Rehearsal on day in which 2 perform­ Wagner, Kurt Weinhold, and Austin Rehearsal on day in which 2 perform­ ances are given @ $1 per hour. Wilder at a recent meeting with Frank ances are given @ $2 for first hour and Chapman and Hy Faine. Although other $2.S0 for each additional hour. managers could not be present on the $S per day sustenance on road. $3 per day sustenance on road. day the meeting took place, they too have offered their assistance if Agma should 2 weeks sick leave; 3 weeks if injury is 2 weeks sick leave. request it. sustained at performance or rehearsal. Additional information on the Con­ Free day expires at 6:30 P.M. Free day expires at 6 P.M. vention will appear in the November AGMAZINE. Improvements in shoe provisions. 5 ''Help Wontetl u A'GMA Greets New Members -Agmozine With each suhsequent issue of AGMAZINE, we will puhlish the names of Artists who have joined AGMA. The following have The official magazine of any organiza­ recently hecome memhers. Welcome! tion should reflect the' opinion of its membership, and also represent, to a large a degree as possible, the efforts of Virginio Assandri John G. Hill its members. That's where you come in, John Bacos Mildred Hurst you folks who always wanted to write Celia Balho W. Kiepura.Ladis short stories, human interest arctiles, Joseph Barcellona Marion Manderen etc. Wesley Boynton Manners AGMA is forming an editorial board, Phyllis Brenneman Homer Maranville and is receiving applications from in­ Floyd E. Brewster Ruhy Penoff terested members. No experience is re­ Mindy Carson Charlotte Portney quired, but merely a desire to write, and Rene Castelar Edward Ravell receive satisfaction from doing construc­ Lawrence Davidson Jessa Reedy tive and creative work. Josephine Davis Luis Roki In each subsequent issue of AGMAZINE, Giulio De Capua Anthony Scott we plan to devote one page to hap­ Edward Dudley Helen Stanton penings in AGMA's out-of-town offices, William Eddy Sonva Swm~ and so would like to hear from members Dorothy Jean Fenn Pia "Tassinarl in Chicago, New Orleans, Philadelphia, Lydia Fostini Louis Torres Los Angeles and San Francisco. Beatrice Gentile William White Drop a note to Belmont Kindler, Reno J. Harms Ruth Williamson Agmazine's editor, and he will keep you informed of developments.

Opera Roles Reclassified WELCOME HOME The roles of 165 different operas were recently reclassfied by a rep­ Many AGMA members, after appear­ where you appeared? Did the artists resentative AGMA Committee, con­ ing in foreign countries during the sum­ there remark upon problems they would sisting of Francesco Curci, Eleanor Knapp, Lodovico Oliviero, Dr. mer, have now returned home, and it encounter if they entered the U.S.? How Leopold Sachse, and Belmont would be interesting to learn what their do the foreign concert bureaus operate, Kindler. Their patience and energy experiences were. We would like to and what is the relation of both the have been of immeasurable assist­ know for example whether there was any American and native foreign artist to ance in AGMA's negotiations with difficulty in securing a visa or labor the concert manager? opera companies, and we extend the Committee members, of which permit; whether artists were permitted Eleanor Knapp was Chairlady, a entrance on a quota basis, or if any time Let us know what happened. We're vote of thanks for their coopera­ limit was set to their visit. What was sure that every AGMA member is anx­ tion. the audience reaction in the country ious to know what's going on abroad.

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