broadcasts of the Hartford (Connecticut) symphony, by Aetna Life Affiliated Companies; children's concerts by the New Orleans Philharmonic broadcast under sponsorship of various businesses of that city.

Sometimes it is an area or hall, rather than actual money, that is donated. The Mondawmin Merchants Association of Baltimore provides space for summer concerts, namely the parking lot. J. P. Allen (ladies' wear) gives the Atlanta Symphony box office space.

Why this sudden emergence of industry as contributor in the field of art? Confessedly it is not from a heady desire to illustrate the fine points of a fugue or a Messianic urge to spread the message of Beethoven's Ninth. Industry and business are founded on the law of supply and demand and depart from it at their peril. The irrevocability of this law is ingrained in every executive who sits behind the glass-topped desk in the executive office. Industry and business put on pop concerts, finance music on television and contribute to symphony drives because such activities bring solid returns. There is no shilly-shallying about this. Hear what Morton D. May, president of the May Department Stores, Inc., in St. Louis, told a general session of the American Symphony Orchestra League at its convention in that city, in June, 1960.

"Business learned that to survive," he said, "it must contribute to the well-being of free men in a free society. This emphasis upon the connection between private interest and the public interest . . . between the profit responsibility of management and its social responsibility, differentiates between today's business and that of a generation ago.

"The idea of investing time, skill and money in research to improve products and tools, reduce costs, advance marketing methods and develop superior administrative techniques, has long been accepted as vital to maintaining a competitive position in industry. More recently, investments in community welfare, designed to make the environment of the enterprise more conducive to operating efficiently, have been considered desirable.

"In essence, business has learned that it can grow and prosper only in a community that is growing and prospering -not only in numbers and monetary worth but in the broad cultural sense as well. It must be the kind of community that knows and appreciates the better things in life... that is constantly striving to uplift itself ... to stand for leadership, including cultural achievement."

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Later in his speech, Mr. May advised the symphony orchestra representatives how to solicit the aid of industry: "You must demonstrate to them," he said, "how a cultural environment is a valuable asset to their business, and appeal to their civic pride and responsibility. Another helpful selling tool is employee relations and the benefits to be achieved in this area by support of the arts."

For instance, the management of the Mondawmin Merchants Association of Baltimore was quite clear on the point that the center wanted a promotion event which would not only bring people from all over the city to see the center and to be "exposed physically" to the stores, but which would also serve an unfulfilled need of the community. Incidentally, Redbook Magazine conducted a contest among the shopping centers in the United States to select the center with the best public relations and promotional ideas. The Mondawmin Shopping Center won a tie for first place in this contest, and the summer concerts were given credit for this billing.

No doubt of it, business and industry have gained through their support of the arts. One wonders why they delayed so long to begin the support. The principal reason could have been the belief, held almost universally at one time, of industries not having the legal right to share in community activities. However, this doubt was erased when, in 1940, a decision in the courts of New Jersey gave full scope to industry's giving. Today corporations are allowed to donate up to 5 per cent of their taxable income, tax free, to qualified organizations.

Musical enterprises on their part profit from industry's largesse, and their spokesmen are not loath to say so. "There is no question," writes Boris Sokoloff, general manager of the Minneapolis Symphony, "that in Minneapolis and St. Paul the assistance of industries is vital to the maintenance of the Minneapolis Symphony."

Wrote Thomas Archer in the Montreal Gazette, "the recent blessing given to fine music by business and industry is one of the most pregnant developments in the history of music in this city. It means that music, which never pays in terms of box office receipts, is being recognized by hardheaded men as something a little more than just the luxurious pastime of an evening."

So much for the beneficial effects of industry's newfound interest in the arts.

In every positive development-even in donations to good causes-there is always a negative aspect. Industry's aid, for one thing, is often localized. In some communities musical organizations receive almost no aid from industry, because the businesses located there are only branches of large corporations. Though some nation-wide corporations, such as Ford, are educated to the idea of their branch cities as well as their main centers being due for cultivation, many forget this important fact. New Orleans, for instance, is the headquarters of but a few large corporations. National companies maintaining offices in the area usually resist appeals for contributions for orchestral maintenance on the grounds that they will thus lay themselves open to being solicited for similar donations in all the sections in which they are represented. That such solicitations are entirely in order does not seem to occur to them. The plain fact is that, just as all branches are expected to produce, so they should be equally solicitous of the artistic life of their communities.

Then here again the spectre is raised, as it is raised in every case of outside help, be it individuals, governments or industries: Do the givers unnecessarily influence the policies of the musical organizations to which they contribute?

In short, there is the situation of industrial executives becoming members of symphonic boards.

It is true that in many cases of large donations, by an industry to a symphony orchestra, the corporation has a representative on the board of directors of the orchestra. But there are also checks and balances. The Louisville Orchestra management maintains that "board membership is not tied up with the personal gift," and the Los Angeles Philharmonic's general director puts it, "Executives of some of the contributing organizations are members of the orchestra's board, but this is not a 'quid pro quo' arrangement."

In the Detroit Symphony annual gifts of $10,000 by corporations automatically carry with them symphony board membership. However, great care is taken that the voting power of each remains equal, "so that there can be no criticisms of any one organization dominating the policy of the orchestra."

In general, therefore, it seems to be a policy for the big givers to have posts on the board, with proper restraints and balances.

Whatever abuses may creep in are to be righted, in any case, by diligence and a sense of integrity. But certainly the

mode of giving by industry is in itself a permanent part of our musical scene. The very future of our orchestras, in fact, has become dependent on corporate support. In this era of the vanishing philanthropist and the reluctant governmental body, business and industrial support form the solid financial understructure of musical enterprise.

HOUSE OF REPRESENTATIVES,

Washington, D.C.

Hon. STEWART L. UDALL,

Secretary, Department of the Interior,
Washington, D.C.

DEAR MR. SECRETARY: Along with many other Members of Congress I have consistently supported measures to advance the educational and cultural life of the Nation's Capital and make our Capital City ever safer and more attractive to live in. As a member of the District of Columbia Committee, it has, in fact, been my duty to do this because of the historic intent of the Congress that this great Federal City must represent the best of American life and reflect the deepest educational and cultural aspirations of the people of this Nation.

The Nation's Capital in 1950 observed and celebrated the sesquicentennial of its establishment as the seat of government. In connection with and as part of this occasion the Congress authorized the erection of the Carter Barron Amphitheater and appropriated nearly $1 million to build it. The purpose of the Congress in creating this great cultural and artistic facility was-as the records clearly reveal to advance the cultural, educational, and artistic growth of the Nation's Capital. The Congress lodged the management of this amphitheater in the Department of the Interior. For the full development of the aims of the Congress had in mind, it would perhaps have been wiser to have placed the management within the Smithsonian Institution, a Federal agency concerned more directly with the diffusion of knowledge.

I think the time has come if it is not, indeed, long overdue-to make a study of the Carter Barron Amphitheater operation which would take into account the major summer cultural programs in other U.S. cities and in leading European cities. The State Department, and our ambassadors abroad in other countries, would be delighted to cooperate, and their reports on summer cultural programs in Europe should be an important part of such a study. The Department of the Interior's stewardship of the Carter Barron Amphitheater as a cultural facility over the years should be subjected to a critical and searching analysis and no attempt to justify sins of omission or commission should be permitted. should any bureaucratic whitewash be attempted. Perhaps a special advisory committee made up of educational, cultural, and fine arts experts and leaders should be set up to help you carry out the study. This would assure the public of its impartiality and the soundness of its conclusions.

Nor

The major purpose of the study I propose, which I urge you to undertake, should be to find ways to make the Carter Barron Amphitheater a far greater and much more significant educational, cultural, and artistic force in the Nation's Capital than it has ever been. Such a study should certainly show conclusively what other major cities here and abroad do toward encouraging and developing and assisting in the growth of their own local artistic groups, their own talented artists, their own young artists; how much "commercial talent" they import; the role of civic, nonprofit groups similar to the National Symphony Orchestra and the Washington Opera Society; and whether they import all the talent presented on their summer programs from other cities as the Department of the Interior does in its programs at the Carter Barron Amphitheater.

No doubt professional, commercial entertainment of the kind which the Department of the Interior presents at the Carter Barron Amphitheater, including at times, I am told, sick jokes and a burlesque-hall-type of humor which would not be permitted on the family television set (which is significant, I think, at a time when broadcasting is being blamed by irate parents for some of the rising tide of juvenile delinquency), has its place. However, whether that place is in this great cultural facility to the utter exclusion of the National Symphony Orchestra and other civic, nonprofit educational and cultural programs, activities, and groups, would be thoroughly explored by the kind of a study I have proposed. It might well be that it would be found during the course of the proposed study that some of these programs which are presented at the Carter Barron Amphitheater should be presented in a privately owned theater or night club under commercial auspices for private profit and not be given the endorsement of the Federal Government which presentation at the Carter Barron Amphitheater implies.

I shall now suggest some additional matters which the proposed study should cover. For instance, I find it shocking that the Department of the Interior has no place in its Carter Barron Amphitheater programs for the National