"http://www.worldaffairsbrief.com/"
The American Cancer Society is accumulating great wealth in its role as a "charity." According to James Bennett, professor of economics at George Mason University and recognized authority on charitable organizations, in 1988 the ACS held a fund balance of over $400 million with about $69 million of holdings in land, buildings, and equipment (1). Of that money, the ACS spent only $90 million- 26 percent of its budget- on medical research and programs. The rest covered "operating expenses," including about 60 percent for generous salaries, pensions, executive benefits, and overhead. By 1989, the cash reserves of the ACS were worth more than $700 million (2). In 1991, Americans, believing they were contributing to fighting cancer, gave nearly $350 million to the ACS, 6 percent more than the previous year. Most of this money comes from public donations averaging $3,500, and high-profile fund-raising campaigns such as the springtime daffodil sale and the May relay races. However, over the last two decades, an increasing proportion of the ACS budget comes from large corporations, including the pharmaceutical, cancer drug, telecommunications, and entertainment industries.
I wouldn't contribute to those people if I were you. What do you think?
Saturday, March 30, 2013
Monday, March 4, 2013
Stencil Pianos
Pianos that did not bear the manufacturer's name, but some other name, were known as stencil pianos. Stencil pianos had their beginnings in the 1890's, on up through the roaring '20's and beyond. They were more often than not, a cheaper version of a piano (either grand or upright) made by that manufacturer. Not all manufacturers practiced the "art" of making stencil pianos, but since there were hundreds of piano factories in the hey-day of piano making, dozens did.
Lots of games were played with stencils. Mail order houses put their own names on them, claimed to save the buyer a hundred dollars or more (remember back in the beginning of the 20th century, uprights nominally went for $350 or so, and the more expensive ones were above $500), and their literature claimed that they were the same quality, or better, than the pianos being sold at the local piano stores for more money. Of course, nothing could have been further from the truth.
Other stencils were of better quality, but you would have found them in dealerships rather than in mail order catalogues. Manufacturers making stencils for their dealers would not make them better in quality than those with their own name on them, for obvious reasons.
It was about competing for business, and some just did not have many scruples when it came to making a sale (some things never change). It was estimated that in 1908, nearly half of the 200,000 pianos sold that year, were of the stencil variety.
Lots of games were played with stencils. Mail order houses put their own names on them, claimed to save the buyer a hundred dollars or more (remember back in the beginning of the 20th century, uprights nominally went for $350 or so, and the more expensive ones were above $500), and their literature claimed that they were the same quality, or better, than the pianos being sold at the local piano stores for more money. Of course, nothing could have been further from the truth.
Other stencils were of better quality, but you would have found them in dealerships rather than in mail order catalogues. Manufacturers making stencils for their dealers would not make them better in quality than those with their own name on them, for obvious reasons.
It was about competing for business, and some just did not have many scruples when it came to making a sale (some things never change). It was estimated that in 1908, nearly half of the 200,000 pianos sold that year, were of the stencil variety.
Tuesday, December 11, 2012
The "Upright Grand"
You have probably heard the term upright grand used before, but what does it mean? Is it really a grand that is upright? No, not possible! Back in the late 19th century, it originally referred to an upright piano with an overstrung scale, and called attention to the difference between the overstrung scale (where the bass strings are strung over the treble strings, a design that has been commonplace for well over 100 years), and the straight strung scale (a design that you just don't see any more, but was used extensively in the latter half of the 19th century, where the bass strings run parallel and on the same plane as the rest of the strings).
So...when the overstrung design was new, it made sense to call a vertical piano an "Upright Grand" to differentiate between that and the straight strung upright. It really had nothing to do with a grand piano, except that the overstrung design was used as in the grand piano. The "Upright Grand" designation actually stopped being used by manufacturers of any prominence by the late 1920's, but you still hear that designation used even today, but it really is meaningless...yet it did have an origin and a meaning at one time. And now you know!
So...when the overstrung design was new, it made sense to call a vertical piano an "Upright Grand" to differentiate between that and the straight strung upright. It really had nothing to do with a grand piano, except that the overstrung design was used as in the grand piano. The "Upright Grand" designation actually stopped being used by manufacturers of any prominence by the late 1920's, but you still hear that designation used even today, but it really is meaningless...yet it did have an origin and a meaning at one time. And now you know!
Friday, December 9, 2011
The Story Behind the Beginnings of a National Tuners' Organization
Although the first known attempt at creating a national organization for piano tuners goes back to 1892, it wasn’t until 1910 that success was finally in sight. Local tuners’ organizations were already in existence prior to 1890, such as in NYC and Chicago, as well as in other places, but it took a few men from the NYC association with a little fore-sight, prior experience with attempts at organizing, and a lot of will power to see that a national organization was not only essential, but that it was doable as long as some specific ideals were met. Here is an excerpt from the Jan. 1 “Tuners’ Association Bulletin” (subsequently known as “Bulletin of the American Guild of Piano Tuners”) citing a few of these ideals:
Provisional Platform of the American Guild of Piano Tuners
1. To elevate the standard of professional attainment by limiting membership strictly to those who can show a certain minimum of excellence.
2. To make the certificate of the association an object of general desire among tuners.
3. To educate the public as to the significance of the association’s certificate as a guarantee of professional worth.
4. To disseminate more thoroughly a general knowledge of the theory and practice of the tuner’s art.
5. To maintain the standard International pitch A 435.
These “Bulletins” were contained in “The Music Trade Review” magazines between Jan 1 and May 28 of 1910 and were under the heading of “The Review’s Technical Department”, a continuous column that had been written by William Braid White for many years prior. The “Provisional Platform” was also written by Dr. White in order to get things started for the Guild.
On Jan. 9th a meeting of representative Guild members was held at their temporary headquarters, also known as Dr. White’s apartment, which was located at 126 West 100th St. in NY. (A quick Google map search reveals that address is now a parking lot.) It may be interesting and instructive to relate the resolutions that came out of that meeting:
1. That the conference views with pleasure the evident intelligent enthusiasm with which the tuners of the country have received the movement for national organization.
2. That in accordance with the evident mandate laid upon the conference by the tuners of America, who look to NY for an initiatory step, this conference does hereby constitute itself the American Guild of Piano Tuners.
3. That a committee on organization, with full powers to act in its discretion, is hereby appointed to undertake the enrollment of membership and to transact all other pertinent business connected with the preliminary organization of the Guild.
4. That a committee on constitution is hereby appointed to draw up and submit to the Guild a comprehensive scheme of local and national by-laws.
5. That the Guild accepts the principle of organization through local committees, and declares in favor of this plan as an ideal toward which this Guild must strive.
6. That the Guild accepts the applications for membership made already by known and legitimate tuners through the Technical Department of The Music Trade Review.
7. That the Guild expresses its conviction that its aims and ideals are so entirely divergent from any entertained by labor organizations that a position of neutrality toward all organizations, whether of capital or labor, must be adopted and maintained by it.
8. That The Music Trade Review of NY, through its interest and encouragement of this movement, deserves credit and thanks, and that the thanks of the Guild be and hereby are extended to the Editor and Proprietor of that journal, Edward Lyman Bill.
9. That the Guild request The Music Trade Review to act as its official organ for so long as may be agreeable to the said Review.
10. That a second meeting of the Guild be held on Feb 6, 1910, for the election of officers for the first year, reception of reports from committees, and other pertinent business.
11. That the Guild authorize such of its present members as reside in the city of NY to form the NY Chapter of the American Guild of Piano Tuners, subject to suspension of adoption of constitution and by-laws until rules and regulations governing the formation of local chapters have been definitely adopted by the Guild.
12. That the Guild adopts, as an expression of its policy, the following recommendations, as made at the first meeting of the Conference Committee on Jan 2:
1. That the national officers for the first year be stationed in NY.
2. That this policy is dictated by the necessity for a coherent central body, compact and capable, for the preliminary work of organization.
3. That in addition to the central body of national officers, there shall be a national board of vice-presidents chosen from the large cities and important districts throughout the country, who shall become the local chairmen of city and state committees, working locally in their respective districts.
4. That the charter membership shall consist of all known and legitimate tuners, whose names are handed in up to Feb. 1, 1910.
5. That the fees for membership and annual dues shall not exceed $5 annually, the same to include the cost of an appropriate certificate and membership button.
6. That the platform already sketched out by W.B.White and published in the columns of The Technical Department of The Music Trade Review shall be considered as the platform of the American Guild of Piano Tuners until such time as the general membership shall express a desire to revise it.
At that second meeting of the Guild’s founders held in Feb., after several interesting and important propositions were brought up, it was resolved to do nothing until all the members were notified and asked to vote. Also, it was resolved to call the first convention to be in NYC during the month of August.
Provisional Platform of the American Guild of Piano Tuners
1. To elevate the standard of professional attainment by limiting membership strictly to those who can show a certain minimum of excellence.
2. To make the certificate of the association an object of general desire among tuners.
3. To educate the public as to the significance of the association’s certificate as a guarantee of professional worth.
4. To disseminate more thoroughly a general knowledge of the theory and practice of the tuner’s art.
5. To maintain the standard International pitch A 435.
These “Bulletins” were contained in “The Music Trade Review” magazines between Jan 1 and May 28 of 1910 and were under the heading of “The Review’s Technical Department”, a continuous column that had been written by William Braid White for many years prior. The “Provisional Platform” was also written by Dr. White in order to get things started for the Guild.
On Jan. 9th a meeting of representative Guild members was held at their temporary headquarters, also known as Dr. White’s apartment, which was located at 126 West 100th St. in NY. (A quick Google map search reveals that address is now a parking lot.) It may be interesting and instructive to relate the resolutions that came out of that meeting:
1. That the conference views with pleasure the evident intelligent enthusiasm with which the tuners of the country have received the movement for national organization.
2. That in accordance with the evident mandate laid upon the conference by the tuners of America, who look to NY for an initiatory step, this conference does hereby constitute itself the American Guild of Piano Tuners.
3. That a committee on organization, with full powers to act in its discretion, is hereby appointed to undertake the enrollment of membership and to transact all other pertinent business connected with the preliminary organization of the Guild.
4. That a committee on constitution is hereby appointed to draw up and submit to the Guild a comprehensive scheme of local and national by-laws.
5. That the Guild accepts the principle of organization through local committees, and declares in favor of this plan as an ideal toward which this Guild must strive.
6. That the Guild accepts the applications for membership made already by known and legitimate tuners through the Technical Department of The Music Trade Review.
7. That the Guild expresses its conviction that its aims and ideals are so entirely divergent from any entertained by labor organizations that a position of neutrality toward all organizations, whether of capital or labor, must be adopted and maintained by it.
8. That The Music Trade Review of NY, through its interest and encouragement of this movement, deserves credit and thanks, and that the thanks of the Guild be and hereby are extended to the Editor and Proprietor of that journal, Edward Lyman Bill.
9. That the Guild request The Music Trade Review to act as its official organ for so long as may be agreeable to the said Review.
10. That a second meeting of the Guild be held on Feb 6, 1910, for the election of officers for the first year, reception of reports from committees, and other pertinent business.
11. That the Guild authorize such of its present members as reside in the city of NY to form the NY Chapter of the American Guild of Piano Tuners, subject to suspension of adoption of constitution and by-laws until rules and regulations governing the formation of local chapters have been definitely adopted by the Guild.
12. That the Guild adopts, as an expression of its policy, the following recommendations, as made at the first meeting of the Conference Committee on Jan 2:
1. That the national officers for the first year be stationed in NY.
2. That this policy is dictated by the necessity for a coherent central body, compact and capable, for the preliminary work of organization.
3. That in addition to the central body of national officers, there shall be a national board of vice-presidents chosen from the large cities and important districts throughout the country, who shall become the local chairmen of city and state committees, working locally in their respective districts.
4. That the charter membership shall consist of all known and legitimate tuners, whose names are handed in up to Feb. 1, 1910.
5. That the fees for membership and annual dues shall not exceed $5 annually, the same to include the cost of an appropriate certificate and membership button.
6. That the platform already sketched out by W.B.White and published in the columns of The Technical Department of The Music Trade Review shall be considered as the platform of the American Guild of Piano Tuners until such time as the general membership shall express a desire to revise it.
At that second meeting of the Guild’s founders held in Feb., after several interesting and important propositions were brought up, it was resolved to do nothing until all the members were notified and asked to vote. Also, it was resolved to call the first convention to be in NYC during the month of August.
Tuesday, October 11, 2011
Defining things
DEFINITIONS:
Bill Ayres = of the weathermen
Bernadine Dorn = hippie, wife of Bill Ayres
Francis Fox Piven = bring the US down by bankrupting the economy
Obama regime = thuggery
Liberalism = spending someone else's money
Arab spring = Islamic tsunami
Republicans = step & fetch its
Democrats = republicans' bosses
Bill Ayres = of the weathermen
Bernadine Dorn = hippie, wife of Bill Ayres
Francis Fox Piven = bring the US down by bankrupting the economy
Obama regime = thuggery
Liberalism = spending someone else's money
Arab spring = Islamic tsunami
Republicans = step & fetch its
Democrats = republicans' bosses
Friday, September 23, 2011
William Braid White's Sidelight On History: The First Two Tries
1893
The history of attempts to organize the tuners and piano technicians of this country is longer than most men of today suppose. During the great Columbian Exposition in 1893 in Chicago, a group of these technical men from various parts of the country organized a National Tuners Association. Their purpose, so far as I have been able to find out, was to secure something like a fair level of prices for their work, and, to mobilize these recognized experts into a single national body. I can remember the late Benjamin Carr of Chicago, well known during his life as one of the best known of the tuner group in those days, had much to do with the founding and carrying on of the NTA, which, however, was unable to maintain itself against the negative forces of general apathy. It went to sleep; and declined thereafter to come back to consciousness.
1904
Some 10 years later, a small company of well known tuners, mostly connected with the more important music houses of New York City, met privately, and determined to form a society of thoroughly high-class technical experts, most, of course, from among the "outside" or visiting groups. Their expectation was to set up a sort of academy of choice spirits, who should be able to exert a strong influence upon the piano manufacturers and merchants of New York and of the eastern states. This was, if i remember, in 1904.
The local industry made no objections, and the first auguries were quite favorable. There was even a certain small favorable reaction in some other large cities; but again the destined life turned out to be sadly short. The thing would not hold together.
The top-ranked experts serving the great houses, and knowing themselves to be indispensable, considered that they formed a superior class and looked down upon their less distinguished confreres of the factories. The latter were jealous and the former very far from being fraternal.
As a song of the day, very popular among the habitues of the variety theaters, very aptly put it: "More work for the undertaker, 'nother little job for the casket maker."
Almost any other group of co-workers in any recognized activity could be brought together and formed into a permanent body; but the piano tuners seemed to be a "peculiar people." They may have loved each other, but their beliefs differed rather sadly from their practices. They may have called themselves brothers, but in fact, they were intensely jealous of each other and little inclined to entertain mutual fraternal sentiments.
The history of attempts to organize the tuners and piano technicians of this country is longer than most men of today suppose. During the great Columbian Exposition in 1893 in Chicago, a group of these technical men from various parts of the country organized a National Tuners Association. Their purpose, so far as I have been able to find out, was to secure something like a fair level of prices for their work, and, to mobilize these recognized experts into a single national body. I can remember the late Benjamin Carr of Chicago, well known during his life as one of the best known of the tuner group in those days, had much to do with the founding and carrying on of the NTA, which, however, was unable to maintain itself against the negative forces of general apathy. It went to sleep; and declined thereafter to come back to consciousness.
1904
Some 10 years later, a small company of well known tuners, mostly connected with the more important music houses of New York City, met privately, and determined to form a society of thoroughly high-class technical experts, most, of course, from among the "outside" or visiting groups. Their expectation was to set up a sort of academy of choice spirits, who should be able to exert a strong influence upon the piano manufacturers and merchants of New York and of the eastern states. This was, if i remember, in 1904.
The local industry made no objections, and the first auguries were quite favorable. There was even a certain small favorable reaction in some other large cities; but again the destined life turned out to be sadly short. The thing would not hold together.
The top-ranked experts serving the great houses, and knowing themselves to be indispensable, considered that they formed a superior class and looked down upon their less distinguished confreres of the factories. The latter were jealous and the former very far from being fraternal.
As a song of the day, very popular among the habitues of the variety theaters, very aptly put it: "More work for the undertaker, 'nother little job for the casket maker."
Almost any other group of co-workers in any recognized activity could be brought together and formed into a permanent body; but the piano tuners seemed to be a "peculiar people." They may have loved each other, but their beliefs differed rather sadly from their practices. They may have called themselves brothers, but in fact, they were intensely jealous of each other and little inclined to entertain mutual fraternal sentiments.
Wednesday, September 14, 2011
The 1914 Annual Convention of the American Guild of Piano Tuners and Frank Morton
The fifth annual convention of the American Guild of Piano Tuners (AGPT) was held in Rochester, NY at the Hotel Seneca, from August 3 to 6, 1914. These early gatherings consisted of talks given by prominent tuners and other prominent "piano men" from around the country, discussion from the executive committee and delegates about the structure of the organization and usually included a trip to a factory, along with a banquet and election of officers. At this particular gathering, the first speaker, after the welcoming speech by the President of the AGPT Emil Kohl and various other reports from the different officers were given, was Frank E. Morton, the acoustic engineer of the American Steel & Wire Co. He spoke on defining the position of the tuner, and what responsibilities he had, within the piano industry and the tuner's organization. And he treated his subject in a very interesting way.
He stated: "Criticism is neither good nor evil . . . but it may be used intelligently or unintelligently, and such uses are termed good or evil respectively. A tuning hammer is neither good nor evil, but it may be used either constructively to bring order out of chaos or destructively as a deadly weapon. When constructive utilization exceeds destructive utilization, growth results.
"The AGPT under the destructive criticism of its membership will die. Under constructive criticism, it will grow. This constructive criticism should find its expression in the educational activity of its members. . .
"Most tuners have found the key note of the users of pianos, but I want to tell you to find and how to find the key note of the industry with which you are closely allied and upon which you are dependent. This industry is the manufacture and sale of pianos. First recognize your interdependence, and when the mutuality of this interdependence is freely acknowledged, the condition will be favorable for growth and development.
"Although the tuner always has been the manufacturers' critic, whose decisions voluntarily or involuntarily have been accepted and acted upon, he has been looked upon as a necessary evil rather than a beneficial agent. Occupying as he does a position between the manufacturer and the consumer, he must accept the responsibility and intelligently utilize every factor in the service of both. . .
"You now have an organization whose avowed policy is exclusive in its nature. You are seeking to make the way more difficult for those who follow. This is wrong in principle. You should make it easier in order that those who follow may use their strength for progress greater than yours. Their labor should begin where yours leaves off. The American Guild of Piano Tuners' can be and should be a firmly established educational institution.
"The only requisites for membership should be a good moral character and a desire to follow this vocation. The classification which now is made outside the organization through examinations, etc., should be made inside the organization thus permitting progressive, cumulative and continuous action by its members.
"With the present ideal standard of proficiency determining the eligibility for membership in this organization there is no incentive to activity. Its members have "arrived", hence no further effort is necessary. . .
". . . Let your object be mutual helpfulness and your motto be "No Direction Without a Corresponding Responsibility.
"Those industries upon which you are dependent and whose help and co-operation are absolutely essential to your welfare will respond at once to this key note.
"The American Guild of Piano Tuners' under the broad and liberal policy suggested through larger enrollment, will become a power for the proper adjustment of those conditions now deemed unfortunate. With this added power you will influence public opinion through such literature and such emanations from your publicity department as will naturally lead to discrimination between Guild members and non-members without recourse to coercive measures. . ."
Thus was the AGPT put under some well meaning criticism for the intended betterment of their organization way back when.
Frank Morton was Chairman of the Technicians' Conferences that would be held between the years 1916 and 1919 under the auspices of the American Steel & Wire Co., where Mr. Morton was the acoustic engineer. Now, the word 'technician' was meant to indicate men who were involved in the piano industry who were not salesmen nor tuners. Technicians were piano builders, scale drafters, belly-men, action finishers, regulators, voicers, etc. In short, they were factory men.
If it wasn't for the recording of these proceedings by stenographers, and then compiled into the book titled "Piano Tone Building", we would likely not know much of anything else about Frank Morton. But he was a well educated man, and looked up to as a premium authority in the realm of piano building and design.
He stated: "Criticism is neither good nor evil . . . but it may be used intelligently or unintelligently, and such uses are termed good or evil respectively. A tuning hammer is neither good nor evil, but it may be used either constructively to bring order out of chaos or destructively as a deadly weapon. When constructive utilization exceeds destructive utilization, growth results.
"The AGPT under the destructive criticism of its membership will die. Under constructive criticism, it will grow. This constructive criticism should find its expression in the educational activity of its members. . .
"Most tuners have found the key note of the users of pianos, but I want to tell you to find and how to find the key note of the industry with which you are closely allied and upon which you are dependent. This industry is the manufacture and sale of pianos. First recognize your interdependence, and when the mutuality of this interdependence is freely acknowledged, the condition will be favorable for growth and development.
"Although the tuner always has been the manufacturers' critic, whose decisions voluntarily or involuntarily have been accepted and acted upon, he has been looked upon as a necessary evil rather than a beneficial agent. Occupying as he does a position between the manufacturer and the consumer, he must accept the responsibility and intelligently utilize every factor in the service of both. . .
"You now have an organization whose avowed policy is exclusive in its nature. You are seeking to make the way more difficult for those who follow. This is wrong in principle. You should make it easier in order that those who follow may use their strength for progress greater than yours. Their labor should begin where yours leaves off. The American Guild of Piano Tuners' can be and should be a firmly established educational institution.
"The only requisites for membership should be a good moral character and a desire to follow this vocation. The classification which now is made outside the organization through examinations, etc., should be made inside the organization thus permitting progressive, cumulative and continuous action by its members.
"With the present ideal standard of proficiency determining the eligibility for membership in this organization there is no incentive to activity. Its members have "arrived", hence no further effort is necessary. . .
". . . Let your object be mutual helpfulness and your motto be "No Direction Without a Corresponding Responsibility.
"Those industries upon which you are dependent and whose help and co-operation are absolutely essential to your welfare will respond at once to this key note.
"The American Guild of Piano Tuners' under the broad and liberal policy suggested through larger enrollment, will become a power for the proper adjustment of those conditions now deemed unfortunate. With this added power you will influence public opinion through such literature and such emanations from your publicity department as will naturally lead to discrimination between Guild members and non-members without recourse to coercive measures. . ."
Thus was the AGPT put under some well meaning criticism for the intended betterment of their organization way back when.
Frank Morton was Chairman of the Technicians' Conferences that would be held between the years 1916 and 1919 under the auspices of the American Steel & Wire Co., where Mr. Morton was the acoustic engineer. Now, the word 'technician' was meant to indicate men who were involved in the piano industry who were not salesmen nor tuners. Technicians were piano builders, scale drafters, belly-men, action finishers, regulators, voicers, etc. In short, they were factory men.
If it wasn't for the recording of these proceedings by stenographers, and then compiled into the book titled "Piano Tone Building", we would likely not know much of anything else about Frank Morton. But he was a well educated man, and looked up to as a premium authority in the realm of piano building and design.
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