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work, made a similar observation, stating that "in the absence of changes in the substantive statutory guidelines, it should not be assumed that a different decision maker..... [will make] a substantially different decision." See Attachment A.

The arbitration panel will have to operate under the same statutory restraints that have applied to the Tribunal. In the event of a controversy, it will have to hold hearings to entertain oral and written evidence of the value of "intellectual property created by a population of artists as diverse as our culture." Id. It will then, based on the record, undertake the difficult and subjective task of determining a rate as close as possible to a marketplace rate. This is exactly the task that the Tribunal has performed over the past sixteen years. As noted earlier, however, the arbitration panel will lack the ability and incentive to facilitate settlements.

VL. Recommendation

Mr. Chairman, although as I have discussed above, I believe that the Tribunal is an efficient and productive agency, these are truly drastic times for this country. It is, therefore, imperative for every Federal Agency to examine ways to minimize taxpayer burden. Therefore, I offer the following recommendation:

Budget: Fully fund the Tribunal's budget from the royalty funds.

This financing method was originally proposed, by former Legislative Appropriations Subcommittee Member Burgener of California, as a means of reducing the tax burden. I believe that this proposal will find support in the industry, and will follow in the Tribunal's long tradition of cost consciousness.

Structure:

The current statute should be modified to ensure the staggering of the
Commissioners' terms. The terms should be staggered by two year

intervals.

The staggered terms will guarantee that the majority of the Tribunal will remain in place through each and every change in Commissioner. Such stability is necessary to safeguard the interests of the Tribunal, and to ensure that no one Commissioner's self-interest overrides the interests of the agency.

Mr. Chairman, I am not here to try to save my job, but rather I am here because I truly believe that the Tribunal is a worthwhile agency and one that should remain in existence. I strongly ask that you reconsider your bill.

Mr. Chairman, that concludes my statement. Thank you for your attentiveness to my remarks and I look forward to your questions.

MondayMemo

ATTACHMENT A

A Copyright Royalty Tribunal commentary from Bruce Forrest. Farrow: Schildhause. Wilson & Rains. Washington

Coming to the defense of the Copyright Royalty Tribunal

The necessity of a Copyright Royalty Tribunal and the role of the compulsory license have been the subject of fair-minded debate for some time. There have also been less useful ad hominem attacks on the tribunal members and their decisions. The tribunal's commissioners are called "political hacks" and "incompetent," their rulings "plucked out of thin air, sometimes "outrageous." Cries for abolition or reform have recently been propelled by an episode (the resignation of the tribunal's chairman) which, in the long run, should prove irrelevant to the tribunal's work. Making funeral plans for the tribunal has become something of a Washington parlor game.

It is time to take more objective stock of the tribunal. If one takes into account the agency's difficult, and very subjective, functions and the records put before it submit that one will find that the tribunal has done precisely what Congress told it to do, and is has done is job quite well.

Reform may well be in order. But it must be based upon careful review of the tribenal's statutory role and analysis of its performance based upon the records the partes put before it. Anything short of this will surely make things worse.

One must appreciate the nature of the tri

Bruce G. Forrest joined the Washington oflice of the Oaklanc. Call, law firm of Farrow Schildhause. Wason & Rains in December 1984. Before mna ne was with the appetats stail of the Justice Department's civil division. While at Juice. Forrest delenced a number of the Copynge Foyalty Tribunal's administrative decisions before the courts.

not like seming rates for a public utility. The tribunal is not determining a reasomeble rate of return on capital investment, or remunerating the cost of service.

even

right useres by supressing rates

Counsel for the cable industry were fully aware of these matters when the tribunal entered its most controversial proceeding: the setting of cable rates in light of FCC deregulation. The cable operators put on an affirmative case to show that the rates were aiready high enough. But this presentation was successfully rebuted by the coordinated presenations of many copyright owners groups. They proved overwhelmingly that a very substantial rate increase was in order.

The reviewing courts have unanimously affirmed the tribunal's rate decisions substantially in their entirety The reviewing courts were correct because there was ampie evidence of record to support tribunal decisions.

Whether the compulsory licenses should be abolished is a policy question beyond the purview of this nose. But proposals to keep the compulsory licenses, and to replace the tribunal with a Federal Copyright Agency Cablecasting." June 3), or move its function to the Department of Commerce or the Library of Congress, should be scrutinized most carefully in absence of changes in the substantive statutory guidelines, it should not be assumed that a different decision maker would have made a substantially dif ferent decision. Based on the records I've seen, the tribunal's decisions were not at all surprising.

The worst route, which all interests should avoid. is the delegation of any initia

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bunal's work. It sets fees for inmellectual less hehrangress really decisional authority to the courts. Any law

Property created by a population of artists as diverse as our culture. It then allocates the collections among competing claimants.

The tribunal inherned three low-balled starutory rates which were nothing more than political compromises. The legislative history of the rwo-and-three-quarter-cent song fee for "mechanical recordings shows that Congress rejected a proposal to maintain that rate pending the occurrence of "relevant factors aner enactment. The 58 fee set for cach jukebox for each year was absurdly low: The statutory fees for cable television signals were premised upon the FCC's anticable operator restrictions of distan-signal camage and the syndicated program tion option given to local broadcasters. The new tribunal was directed to commeans proceedings to adjust the phono record jukebox fees to make them "reasonable." The cable television fees were to be adjusted. again to be "reasonable. when the FCC's anucipated deregulation steps took place.

and

It was assumed that substantial upward adjustments of fees would occur. But the tribunal was given only very blunt instruments to decide by how much.

Senting fees for compulsory copyright li

told only to consider the "economic impact yer familiar with the range of personalities
on copyright owners and users in setting the
and judgments available from the judicia
new fee after repeal of the FCC's distant- branch will shedder (perhaps gieefully) at
signal rules. And for its distribution cases. the prospect of courthouse shopping baries.
Congress candidly declined to give the tribu--Ideally, legislation will fix compulsory li
nal any guidelmes at all.

The tribunal's struggles to explain "in detail the reasons for s decisions have been met with scorn. But anyone who participated in drafting this state should be dissuaded or at least embarrased from criticizing the tribunal for vagueness.

la the firs: rwo tribunal rate proceedings be mechanical fee for the record industry

juke box feel. the copyright users lied upon an attempt to impose a proof on anyone seeking to change sory fee levels, and poormouthing about the plight of their industry. But by any measure those fees were inadequate. If inflation alone were used to adjust the mechanical phone record fee, I would have risen to 14 cents per song. The jukebox fee was a small fraction of comparable fees charged in a wide vanery of Western nations. No one should have been surprised when the agency declined to impose a burden of proof on copynght owners or when u refused to require copyright owners to subsidize copy

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case fees and nepouston will divide the pool. The cable television fee schedule. es. pecially, needs revision. Even if overall recempts are maintained. the schedule is toc rococo, and is dictates results based more or history than economic reality

Meanwhile. absem station change. copyright users should still be able to substantially improve the evidenuary show. ings before the agency. The tribunal has dis counted the "marketplace analogie: presented by copyright owners. finding tha: resulting fees would be unfairly high. Cer tainly some effon should be made to bette: quantify the value of these differences. Es perience with current fee leveis should previde valuable information as to whethe those fees were set at leveis that were loc high or too low.

But absent statutory changes or improve: administrative presentations, don't expec new commissioners or new bureaucrati structure to satisfy complaints about perfo: mance under this statute.

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1 Expenses were for purchase of office furniture and equipment only.

2 Expenses were for 10 months operation only.

'Tribunal decreased positions from 18 to 10.

'Tribunal authorized 11 positions. Vacancies created by the death of Mary Lou Burg and resignation of Katherine D. Ortega and their respective assistants were not filled until late FY 1984. Ratio of appropriated funds to royalty funds 30%/70%. Authorized 11 positions. Ratio of appropriated funds to royalty funds 30%/70%. House Committee on Appropriation authorized funding for 3 commissioners, 3 assistants and a general counsel. Ratio of appropriated funds to royalty funds 30%/70%.

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Ratio of appropriated funds to royalty funds 20%/80%.

'Authorized 8 positions (3 commissioners, 3 assistants, 1 general counsel, secretary to general counsel. Ratio of appropriated funds to royalty funds 20%/80%. Authorized 8 positions. Ratio of appropriated funds to royalty funds 20%/80%. 10 Authorized 9 positions. Ratio of appropriated funds to royalty funds 15%/85%. "Authorized 10 positions. Ratio of appropriated funds to royalty funds 15%/85%. 12 Tribunal requested elimination of 1 position (legal researcher); authorized 9 positions. Ratio of appropriated funds to royalty funds 15%/85%.

13 Authorized positions 9. Ratio of appropriated funds to royalty funds 14%/86%.

70-857 0-93-3

ATTACHMENT C

STATUS OF ROYALTY FEE FUNDS DISTRIBUTED

Section 809 of the Copyright Act provides for the timely distribution of royalty fees that are not subject to an appeal, and where royalties would not be affected by an appeal under any circumstances. Each year since the Copyright Act of 1976 became effective on January 1, 1978, the Copyright Office has maintained the jukebox and the cable copyright royalty funds and the Tribunal. The funds are comprised of two elements: the deposits by the copyright users (less the administrative costs of the Copyright Office and the Tribunal) and growth on investment of the funds. The Tribunal has disbursed the following royalty fees

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