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Burl Franklin: Kesearrh and Sourre Work Series #102
OR THE
BY GEORGE EITZHUGH.
H r J.iiH
SOCIOLOGY FOR THE SOUTH,
OR THE
BY GEORGE EITZHUGH.
THE THING THAT HAS BEEN, IT IS THAT WHICH SHALL BE ; AND THAT
WHICH IS DONE IS THAT WHICH SHALL BE DONE; AND THEBE IS NO NEW '
THING UNDER THE SUN.—Ecc. 1: 9.
BURT FRANKLIN
NEW YORK
V\W' I . P\ ^ V
Published by BURT FRANKLIN
235 East 44th Street
New York, N.Y. 10017
Printed in U S A.
TO THE PEOPLE OF THE SOUTH.
CtEO. fitziiugh.
PREFACE.
FREE TRADE.
Dear Sir: I wish to file with the committee at this time objections to
sections 13, 18, 32, 33, and 34 of the copyright bill. I will indicate
briefly the grounds of my objection and will make further argument on
them at some future time if the committee should desire.
Yours, respectfully,
Charles W. Ames.
Section 13, page 9.—I have always objected to the proposed affidavits
of domestic manufacture. I believe there is no real need for it and that
it imposes an unnecessary burden on the copyright proprietor and the
copyright office. It has been demanded only by the Typographical
Union, which claims to have private reasons for believing that the
requirement of domestic manufacture is being frequently violated by
publishers. The records of the copyright office do not show such
violations, nor have I ever heard of any being shown in the courts. The
publishers generally throughout the country regard this requirement as
an imposition and an outrage—that on the suspicion of the
Typographical Union they should be required to swear that they were
not violating the law whenever they take out copyright. The publishers
would have questioned the propriety of this measure when it was
pending before the last Congress if opportunity had been offered, and
strenuous opposition would have been made to the passage of the bill.
It is safe to say that not more than 5 per cent of all the copyrights
have any commercial value after twenty-eight years. It would seem
feasible to provide for the extension of the property rights in these
valuable literary or artistic properties without conferring undeserved or
undesired extensions of term in hundreds of thousands of copyrights
of no pecuniary value to the owners. On the other hand, there is some
intrinsic value to the public in a portion of the copyrighted material
after it has lost all pecuniary value to the author or his assignee.
I believe that the great majority of copyrights should fall into the public
domain at a definite and easily ascertainable time. I hold, therefore,
that the ordinary copyright term should be no longer than the twenty-
eight years as fixed at present. But the few valuable copyrights could
be secured for a much longer term by a simple and easy arrangement
for renewal, as by requiring merely the filing of a notice of the desire
to extend and allowing the author or his heirs to file such notice; or, in
case there has been an outright assignment, permitting the author and
assignee or licensee under royalty to join as provided in section 32 of
the present draft.
The penal provisions of this bill are severe and even harsh, including
misdemeanor clauses with fines and forfeitures and even
imprisonment. On the other hand, the law is full of novel provisions. It
will be, at best, years before these can be judicially construed so that
they may be generally understood. Meanwhile, everyone concerned
will find many doubtful points and open questions on which legal
advice will vary, and can in no case be conclusive. To subject authors
and publishers to the danger of being peremptorily summoned to
defend an action in a distant district for some supposed violation of
some provision, "any provision of this act," however insignificant, with
the issuance of ex parte injunctions operative throughout the whole
country, with possible "impounding" of important and valuable
publications for an indefinite period of time (during the pendency of
the suit, see sec. 23, p. 18), a publisher in New York might sue his
neighbor across the street in any distant district, possibly Alaska or the
Philippine Islands; a rich and powerful house might crush a feeble
competitor by forcing him to defend suits brought simultaneously in a
hundred jurisdictions. These possibilities may well terrorize all persons
interested in copyrightable property of any description.
June 9, 1906.
The Chairman of the Joint Committee on Patents of the Senate and House of
Representatives.
When recess was taken and the gentleman was leaving the building, I
called him aside and emphatically took exception to the remarks
referred to. As one attending but not participating in the last two
conferences held, I think it no more than fair and just and my duty to
express to the joint committee the fact that Mr. Putnam's course
throughout the conferences was fair, just, and equitable to all interests
represented, and that every interest concerned was invited to present
its views.
The interests were varied and frequently antagonistic, and Mr. Putnam
was decided in his expressions that every representative should be
heard to the fullest and freest extent, and that after the wishes of
those interested was ascertained he was confident an equitable bill
would be the outcome; that while it might not be satisfactory in every
respect to each, yet he felt positive that with the assistance of the
Department of Justice, the Treasury Department, and the cooperation
and counsel of the American Bar Association, and the Bar Association
of the City of New York, no interest or line of industry, whether
represented or not, would be unjustly or unfairly treated. His attitude
in all of the conferences was in the highest degree dignified and
impartial.
This statement is made solely for the reason that the unjust, unfair,
and undeserved criticism of Mr. Putnam, known to me to be absolutely
true, has stirred my deepest indignation, and I present this protest to
the committee and ask that the reflections upon Mr. Putnam be
stricken from the record.
Sincerely, yours,
Leo Feist.
I wish to state, gentlemen, that three or four days ago I first learned
of the introduction of this measure. I have heard what the advocates
of this bill have said with reference to there being one side to this
question. There are really four sides to this question—the public, the
composer, the manufacturers of the automatic musical instruments,
and the inventors that have made that industry possible.
The bill as drawn practically gives the monopoly of all this capital
that has been invested, the genius that has been displayed and
made this field possible to the composer, to the publisher and
composer, in its entirety. Now, the brains and effort that have made
this market open to the publisher should be recognized in this bill.
The bill should not be a retroactive one, to punish the inventor and
the capitalist for what they have done in the past to provide a field
for the composer.
Mr. Hedgeland. With that, gentlemen, I will not take any more of your
time.
The interests of equity involved are: The inventor; the composer; the
manufacturer of automatic instruments and their controllers; the
public. I shall take up the equities in the order named.
Second. State of the prior art as brought out in the Patent Office
search.
Third. The liability of infringement and the slow and tedious and
expensive process of stopping it, taking testimony from Maine to
California, etc. I have a case of flagrant infringement which was
prosecuted four years ago and has not yet been adjudged by the
circuit court—as is usual in such cases, temporary injunction being
denied, which the composer or author could and does readily obtain.
This has at no time been at the expense of the composer, but, to the
contrary, has increased not only the sale of sheet music but has not
diminished the study of music, as the following witnesses testified
under oath in the recent copyright case: White Smith Music Publishing
Company v. Apollo Company, which testimony was never rebutted or
disputed as to fact.
"Q. 5. Is it your actual observation that the demand for the sheet
music is created and stimulated so that the sale thereof is increased by
having the musical compositions played by the piano players and other
self-playing instruments, and that the cutting of the perforated rolls for
a given musical composition and the selling of such rolls with and for
the piano players does increase the demand for the sheet music?—A.
As I am not in the sheet business on such a scale that I could judge to
what extent it has increased, I still claim, from knowing the amount of
music sold in the United States to-day, especially in the popular
composition line, it is stimulated by all self-playing devices. For
example, I would sit at a piano player and play a catchy melody; six or
eight people standing around me will immediately ask—or some of
them will—'What is this tune you are playing?' and I know from
personal knowledge that many copies, especially of my own
compositions, which are cut for self-players, have been bought in
sheet-music form on account of my playing them on the machine.
"Redirect:
"Q. 22. I inferred from your statements in that regard that you
received usually what you regard as very small compensation or price
for a great many of your compositions thus sold. Will you give some
instances of this sort, illustrating the disparity between the price you
received and the popularity, in sales, of the pieces respectively?—A. My
first great success, 'Careless Elegance," which I published on royalty
twenty-eight years ago, and which is still selling to-day, netted me $11.
My great song, 'Who Will Buy My Roses Red?' which sold 100,000
copies, netted me $83. My great composition, 'The World's Exposition
March,' $5. 'The Cadet Two-step' (50,000 copies sold), $4. And so I
may go on ad infinitum. Out of 1,500 compositions I have probably
earned $5,000."
"Peter C. Lutkin, witness called on behalf of the defendant, being duly
sworn, testified as follows:
"Q. 3. Will you please state what those records show as to the rate of
growth of the attendance of pupils at that institution during recent
years, giving, if you can do so, the rate from year to year, down to the
current year?—A. I have taken this report from the year 1896-97, and
our years run from September to September, The increase from 1896-
97 to 1897-98 over the preceding year was 9.6 per cent, in the
following year 10 per cent, in the next year 10 per cent, in the next
23¾ per cent, and in the next year 12.9 per cent.
"Q. 4. Can you give, from the indications so far in this year, the
approximate rate of increase?—A. I should say it would be at least as
much as last year, which was approximately 13 per cent.
"Q. 5. What is the total increase in attendance from the first year of
which you have stated the figures, to the present time?—A. 75.3 per
cent; that is, up to September, 1902.
"No cross-examination."
"Q. 6. During the period, say, for the past three years, during which
the manufacture and sale of these automatic players has been most
rapidly increasing, what has been the fact with regard to the sales of
sheet music, as to growth or diminution?—A. My business has greatly
increased.
"Q. 8. Have you in mind—if so, you may state as near as you recall—
the rate of increase of any number of those which you have looked up
and remember, giving their titles, if you recall them; and, if not, in
general?—A. The sales of some of the pieces have doubled within the
last two years—double what they were for the four years previous. I
have traced up about 20 pieces of that sort to get these figures from
which I stated the comparison above. I know when I desire to get new
music for my family I call on the operator or performer of some of the
stores that handle the music rolls. They often give me a list of the
pieces. I usually purchase that. I have a list in my pocket of perhaps at
least 20 pieces that I have been recommended to purchase. They have
been recommended to me by one of the young men who has charge
of that department—music rolls—in one of the stores; pieces I had
never heard before.
"Q. 9. I understand you mean by your last statement that the pieces
that you are recommended to purchase are so recommended by
persons who have opportunity to hear them played by means of the
perforated rolls?—A. Yes, sir.
"No cross-examination."
"No cross-examination."
I wish to call the committee's attention to the fact that the above
testimony was taken to prove the opinions expressed by two witnesses
for the plaintiffs were in error when they stated as their opinion that
the mechanical player was detrimental to the sale of sheet music. Note
the lawyers for the White Smith Music Publishing Company did not
dispute the facts by not cross-examining these witnesses. The plaintiff
is a big music publishing house and influential members of the Music
Publishers' Association, with all the evidence and aid their association
could lend, could not and did not attack these undisputable facts. It is
a coincident worthy of your close attention that W. M. Bacon, a partner
in the plaintiff's firm in this case and also of the copyright committee
of the Music Publishers' Association, who was leader of the prosecuting
forces and signally failed to prove that this industry did other than to
improve the sale of music, now comes to your committee with a
copyright measure framed by his associate on the copyright committee
of his association.
F. W. Hedgeland,
Representing Inventors,
Manufacturers, Composers, and the
Public, 1535 West Monroe street,
Chicago, Ill.
Mr. Burton. I speak for the manufacturers of the perforated rolls and
automatic instruments.
The Chairman. How much time do you wish?
Mr. Burton. I do not know how much time the committee has at its
disposal nor what has transpired. It may appear that some of the
points on which I wish to speak have already been handled, and if I
am informed of that as I touch them I will not take up further time
with them. As I say, I speak for the manufacturers of perforated rolls
and automatic instruments.
Mr. Chaney. Of course we want that, Mr. Burton. We think that will be
more valuable to the committee than a speech.
Mr. Burton. That is what I wanted to present, and if I had had time I
should have been glad to have brought it in that form here.
I want to say first that it seems to me that while the bill follows the
previous statutes in general in respect to copyrights, in the point I
am going to speak of it ought to be amended. The practice in
respect of patents is that the inventor shall verify his inventorship;
he shall make oath that he believes himself to be the inventor, and
any rights that pass to an assignee of the inventor must pass by an
instrument which can be placed of record, signed by the inventor.
But on the contrary, in the case of copyrights, in order to obtain a
copyright the person claiming as the proprietor has merely to come
in and make the claim as proprietor. He does not even have to verify
that; and thereupon this bill expressly provides that he has a prima
facie title to the copyright thus obtained.
The bill provides that there shall be a very careful prima facie case
made by affidavit as to the printing and preparation of the
mechanical material for publication in order to come within the
statute. All that must be verified, but the fundamental authorship
requisite goes upon a mere assertion, without even the verification
of an oath of the party claiming. A change should be made in that
respect.
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