joyment in musical participation. When you understand this, his actions are readily explainable in the light of his dictatorial power over the musicians and music industries of the Nation.

(6) From 1926 through 1934, I served as chairman of the committee on instrumental affairs of the Music Educators National Conference. This committee had charge of the organization and conduct of State and national school band and orchestra contests, formulating contest rules, selecting the music to be played, and engaging judges for the contests. During this period, the school instrumental music competi tions developed to such a degree that no city in the United States could handle the national-band contest, there being many thousands of school bands and orchestras throughout the land.

(7) Mr. Joseph N. Weber, president of the A. F. of M. for many years before he was ousted by Petrillo, always maintained a friendly attitude toward music education. There were, however, instances in which school bands or orchestras were accused of competing with union musicians. Mr. Weber always contacted me for help in settling disputes between school and union musicians. In every case, I was able to bring about a settlement satisfactory to both parties.

It was due to this cooperation with the union that the international executive committee of the A. F. of M., in 1930, granted my request for the National High School Orchestra at Interlochen to broadcast eight 1-hour commercial radio programs over the CBS network-the Majestic Hour-with the understanding that the union orchestra which was normally employed for this program be retained and should play 1 selection on each broadcast; also, that the announcer should state that "this program is presented with the cooperation of the A. F. of M. in the interest of living music."

It was understood that this project was not to be considered as establishing a precedent. The purpose of the broadcasts was to help pay off the National Music Camp debt.

(8) In 1931, I began teaching the playing of band instruments by radio from the University of Michigan. By 1936, the National Broadcasting Co. had become sufficiently interested in this project to schedule a series of radio band lessons to be presented by me over station WMAQ in Chicago, and over the NBC network the following year.

Although I was a member of the A. F. of M. in good standing. Petrillo treated me as a nonunion musician and required NBC to pay a "standby" union director during my broadcasts in which I used a band composed of union musicians on the payroll of NBC. For my radio music lessons broadcast from the University of Michigan I invited radio pupils to bring their instruments and demonstrate their progress over the air. These demonstrations were helpful in creating interest in the programs. Petrillo, then president of the Chicago local of the A. F. of M. (before he became national president). refused to allow any radio pupil to enter the studio.

Each week he managed to have some new obstacle for me to overcome until the effectiveness of the music lessons was lost. The final demand was that the National Broadcasting Co. provide 15 minutes of vocal music-by a Chicago grade-school chorus-in the middle of each 30-minute radio band lesson.

(9) In 1937, when I was president of the Music Educators National Conference, I prepared a code of ethics designed to prevent

disputes between school and union musicians. This code was patterned after a similar code which had been in successful operation in the State of Pennsylvania for several years.

I presented this code of ethics to the international executive committee of the American Federation of Musicians meeting in convention at Louisville, Ky., in June 1937 where it was formally approved. Soon after the official notice of acceptance of this code of ethics was received by me, a telegram from the intenrational executive committee stated that "the officers of the A. F. of M. believe the matter to be one for local unions to decide," canceling the agreement. (Petrillo was elected to membership on the international executive committee at the Louisville meeting. Undoubtedly the change of attitude was due to his influence when elected to membership on the committee.)

(10) In 1941 Paul Whiteman offered to bring his traveling orchestra to Interlochen to give a benefit concert to help pay off the camp's debts. Mr. Petrillo, by then president of the A. F. of M., refused permission, claiming that "There are too many benefit concerts. They should be stopped." Mr. Whiteman agreed to come if the camp would pay the nominal union scale fees for such a concert, which the camp was glad to do. Petrillo learned of this and demanded that the Whiteman members be paid "three times the union scale." This was done and the concert was given-raising some $1,500-in spite of Petrillo's opposition.

(11) The National Music Camp is an educational institution, incorporated not for profit-operated in the interests of the talented youth of America. The school, which is affiliated with the University of Michigan, is governed by a board of trustees composed of prominent educators, professional men, and business executives.

The camp operates on the income derived from campers' tuition fees, services provided for campers' parents and other visitors, and from gifts.

The physical facilities of the National Music Camp include a 700acre campus with more than 350 buildings-including classrooms, studios, practice buildings, libraries, dining rooms, dormitory cabins, recreation buildings and facilities, guest cottages, scholarship lodges, hospital, infirmaries, museum, laboratories, instrument repair shops, stores, broadcasting and recording studios, and a large inventory of pianos, organs, harps, and band and orchestra instruments.

Twelve hundred and fifty-one full-season students came from 42 States and 6 foreign countries last summer. In addition there were 768 Michigan schoolchildren in 2 all-State bands, 2 all-State orchestras, all-State chorus, all-State drama group and 2 all-State piano institutes each group spending 2 weeks in intensified instructional activities.

Postseason activities drew another 1,800 people for instruction in music and dance activities sponsored by the University of Michigan, American String Teachers Association, National Association of College Wind and Percussion Instructors, Amateur Chamber Music Society, and Michigan Civic Orchestra Association.

In all there were 3,961 persons who received 1 week or more of instruction at the National Music Camp last summer.

Nearly 200 students attended the camp with the help of scholarship funds provided by the camp and friends of the camp. Many of these

scholarship recipients are children whose parents are members of various unions. The outstanding violin soloist among last summer's campers was the danghter of a union machinist.

During the 1957 camp season 327 public performances were given by students and staff members of the National Music Camp. These concerts are major attractions for tourists in Michigan and are also the source of scholarship funds for worthy students. The receipts from concerts go into the scholarship fund.

The story of Interlochen, what it means to boys and girls, fathers and mothers, educators and governmental officials interested in maintaining the American way of life, is best told in the literature I have made available to the members of this committee.

I respectfully urge the members of this committee to come to Interlochen during our active season (June 22 to August 18 this summer) to see for yourselves the kind of training and guidance we provide for our boys and girls.

(12) Every summer, beginning in 1930, the National Music Camp's musical organizations presented nationwide radio programs as noncommercial features of the networks (CBS in 1930 and NBC thereafter). In July 1942, 1 day before the first scheduled NBC broadcast by the National High School Orchestra, Petrillo ordered the National Broadcasting Co. not to broadcast any programs from the National Music Camp at any time.

I am sure many Members of this Congress remember how Petrillo forced the National Music Camp off the national airwaves and has continued to keep us off these many years.

Yet there are those who would want to make this a personal matter between Maddy and Petrillo.

Nothing is farther from the truth.

The fact is that James C. Petrillo has been engaged in an insidious campaign to crush the National Music Camp and the cultural opportunities for the boys and girls of America.

He has chosen to fight boys and girls, who cannot fight back.

He has cleverly camouflaged this sinister plot by directing his ammunition at an adult, knowing well that the American public would never tolerate an outright assault against boys and girls.

He has made musical scabs of thousands of young musicians whose only sin is playing a piccolo or a violin under the baton of Joe Maddy.

The National Broadcasting Co. capitulated and canceled the broadcasts, fearing a strike by union musicians. A wave of indignation swept the country when this despotic decree became known. The children of the camp took action, writing to their parents and friends who, in turn, wrote their Congressmen demanding protection of our youth from such tyranny as being exercised by Petrillo.

The children of Interlochen invited Petrillo to visit the camp and see for himself the eagerness with which young musicians worked in the enjoyment of performing fine music. He ignored the invitations and extended his broadcast ban to all school bands and orchestras. The January 1944 issue of the International Musician (official magazine of the A. F. of M.) quotes Petrillo as follows:

When we came to the summer of 1943 there was no Interlochen High School orchestra on the air. Nor was there in the year 1943 any other school band er orchestra on the networks and there never will be without the permission of the American Federation of Musicians.

Who owns the air?

Congressional investigations were instituted which dragged on for many months. The late Senator Arthur Vandenberg introduced a ill designed to prevent Petrillo from interfering with music-educaion broadcasts. This bill passed the Senate twice without opposiion-once just before adjournment in December 1944 and again on January 23, 1945.

(13) Realizing that Congress was determined to limit his powers nd perhaps prevent him from destroying the National Music Camp, end, seeking to nullify in advance the effects of the Vandenberg bill, Petrillo, on January 19, 1945-4 days before the final passage of the Vandenberg bill-placed the National Music Camp on the union's unfair list and ordered the members of the A. F. of M. not to teach, oach, conduct, or play an instrument at the National Music Camp. This ruling in itself is a deliberate extension of the jurisdictional powers of the union to include teaching. Until that time the union ad claimed control only over instrumental music performance. Obviously this arbitrary extension of union control was for the sole urpose of crippling the National Music Camp by depriving it of the eaching services of experienced professional musicians.

This ruling necessitated the replacement of 28 instructors, many of -hom owned their summer homes in the vicinity of the camp.

It also prevented the appearance of nationally famous conductors nd soloists who had previously donated their services to the camp. For example, if Percy Grainger, who had been a member of the camp aculty for several summers, had continued to teach at Interlochen fter this edict by Petrillo, he would have been barred from performg with any professional orchestra thereafter.

Percy Grainger, along with Jascha Heifetz and all other instruental concert artists, had been forced by Petrillo to join his union as condition of being allowed to perform as soloist with any profesonal symphony orchestra in America.

Placing the National Music Camp on the union's unfair list deives the students who come to Interlochen from every State and any foreign countries of the privilege of performing under the direcon of any conductor of any major symphony orchestra because such onductors must all belong to the union. This blacklisting means that e University of Michigan cannot engage members of the A. F. of to give instruction to university students at the university's Interchen branch.

I present these facts to show how seriously this ruling by Petrillo s affected the instructional program and operations of an educaonal institution which was founded for the purpose of training our ys and girls in the art of musical performance.

For many years the National Music Camp has been recognized as merica's foremost proving ground for youthful musical talent-the ace where talented young musicians and artists could go for the rpose of testing their talents and abilities with those of other young ople from all parts of the country and thereby deciding whether to epare themselves for careers as performers or teachers, or to use eir talents avocationally.

(14) One effect of blacklisting the National Music Camp was to mulate legislation aimed at curbing Petrillo's tyranny over the sical interests of the Nation. I appeared before the House of Rep

resentatives Committee on Interstate and Foreign Commerce on February 22, 1945, and appealed for legislation which would relieve Amer ican children from the crippling effects of Petrillo's domination of the

radio air.

On January 15, 1946, when the House of Representatives was considering the Lea bill (House version of the Vandenberg bill), I was summoned before the international executive committee of the American Federation of Musicians, where I was "tried," "convicted," and expelled from the union of which I had been a member in good standing for 37 years-for the offense of teaching music at an institution on the union's unfair list-the National Music Camp which I had founded and directed for 18 years.

During this "trial" my counsel repeatedly attempted to determine the reasons for placing the National Music Camp on the union's unfair list, but the only answer obtainable was that the union had the right to put any place or person on its unfair list and that their action in so doing could not be contested or questioned.

Let me quote two paragraphs from the stenographic report of the expulsion hearing:

(The complete report is in the files of this committee-February 1947.)

Mr. PADWAY (general counsel for the A. F. of M.). Now the rightness or wrongness of our judgment, and the evidence we had before us before placing it on the unfair list, is not a material issue to this case. *** I say before the Board that we owed no duty to Interlochen as a name, to have it appear before the Board at any time and show to it why we should or should not put if on the unfair list. *** That when the Board at its meeting in January, decided that it had sufficient evidence before it that the National Music Camp at Interlochen was unfair and it placed the National Music Camp at Interlochen, Mich, on the unfair list, that is the end to that. *** We know that we are under no duty or obligation to bring before us organizations, or corporations or institutions, whom we declare to be unfair. We owe no such obligation to anybody. Mr. BAGLEY (chairman of the executive board of A. F. of M.). This organization is not required to give any prospective employer of musicians, any corporation, any firm, any individual, a hearing on the whys and wherefores of this federation declaring that corporation, firm or individual unfair and guilty of unfair practices. Those firms have no right to demand or to expect a hearing. We have a right to form that opinion. I think it would be highly improper to permit an inquiry into the actions of this Board because it has a right to put anyone on the unfair list it wants to and you have no right to question our ability to legislate or pass a rule which would bind our members. That question as to how that came to be put on there (unfair listing of Interlochen) is strictly a matter of the federation, and once put there, by its constituted authority, it stands our law says so they don't have to give any reasons, nor can I remember in my entire experience in this federation for over 44 years I can never remember an occasion when they called a man in and asked him whether he should or ought to be put on the unfair list. The man or organization against whom our federation has placed on the unfair list has no right to come in and demand the reasons for it.

I may state that I was thrown out of the Musicians' Union in 1936. In all of these years, I have never been able to get a reason. That is the reason I am asking for a ruling on an unfair practice like that to the court, so that they can prove whether or not we have been unfair.

It looks now as though the Supreme Court rulings may make that possible. I am not quite sure.

Mr. PERKINS. You refer to the recent Supreme Court decision, do you?