Sometime in the second half of my Philharmonic year Bernstein or Helen Coates, I cannot remember who, set up a meeting for me with Arthur Judson, head of Columbia Artists Management.
When I walked into his ofﬁces across the street from Carnegie
Hall, I was warmly greeted by a robust eighty-year-old man sitting
in a Boston rocker. I had no idea that before he was investigated
by the FBI and the FCC, and sued by the US Attorney General,
Arthur Judson controlled an amalgamation of seven independent
concert bureaus that managed 125 artists and organizations, ap-
proximately two-thirds of the top musicians in America. He was
the second largest shareholder of the Columbia Broadcasting
System (thereby inﬂuencing its subsidiary, Columbia Records,
Bernstein’s label) and only six years earlier stepped down as board
chairman of the New York Philharmonic.