ENCOUNTERS by George Sturm
James M. Kendrick
This is the profile of a person and
his chosen profession. Underlying both person and profession are unbounded
enthusiasm for, and commitment to, music and the people who make it. The
person is James Kendrick and the profession is the law, and specifically
that highly specialized dimension of the law that deals with intellectual
property.
Jim Kendrick was born in Queens, New York in 1952 and moved
with his family to Levittown, Long Island where he attended public school
and had his first musical experiences, taking lessons at an early age from
his piano-teacher mother. In high school, he joined the band, at first taking
up the clarinet ("I was godawful") and then switching to the oboe
("it was more in demand"). He was obviously good enough to be accepted
by the Manhattan School of Music from which he graduated with a Bachelor's
degree, and by The Juilliard School where he earned his Master's. As part
of his studies, he also tried his hand at composition ("I realized pretty
quickly I didn't have much to say") and found it a valuable discipline.
As is the case with so many talented music students, he was able to put his
abilities to the practical test by gigging in and around the New York area,
performing with the National Orchestral Association under Leon Barzin, the
Brooklyn Philharmonic (then the Philharmonia), and other ensembles. When
the Broadway production of Porgy and Bess was recorded on RCA, someone
pointed out that he was lucky to get this assignment because it had been
25 years since the last opera recording was made in the United States. Already
then an excellent and intuitive listener, Kendrick thought, "Oh-oh,
how old will I be when the next opera recording will be made?" and began
looking for work, in addition to performing, that would nevertheless keep
him in music.
Through his scholarship-assigned tasks at Juilliard's library,
he had gotten to know some music publishers and distributors and soon went
to work for one of them. It was an eye-opener and his first experience with
the nitty-gritty and practicalities of music and its administration ("I
always enjoyed detail like cataloguing. A Juilliard librarian once accused
me of having a `picky brain."') Eighteen months later, having made something
of a name and reputation, he was wooed by a larger music publisher and, during
the next four years, completed a remarkably comprehensive apprenticeship,
dealing with everything from warehousing, pricing, and shipping to publication,
promotion, and contract management. It was this last activity, the details
of sometimes very complex contracts and licenses, that began to fascinate
him. The company's legal counsel, clearly recognizing Kendrick's bent, told
him that, since he "could read a contract and not fall asleep,"
he should go to law school. Still retaining his full-time job, he applied
to and was accepted as a night student by Rutgers Law School in Newark, and
soon became recipient of the Saul Tischler Scholarship, given to the law
student with the highest grade point average. His career path had begun.
In the middle of 1981, when he was about halfway through
law school, he took a position in AT&T's intellectual property litigation
group. It exposed him to some areas other than music that nevertheless fell
into the intellectual property category. Finishing law school and passing
both the New York and New Jersey Bar exams (1983), with several years of
practical experience in the music business, the young Kendrick was an attractive
and promising resource. Through a perfectly logical circuit of contacts,
he came to the attention of the Leonard Bernstein office that administered
the Maestro's many activities, including music publishing, and they were
pleased to secure his services, introducing him to a bevy of Bernstein's
associates. One of these was the head of Boosey & Hawkes — it was just
at the time that Bernstein was vesting his publishing affairs in this firm-and
before too long (1985), Kendrick became vice president of serious music at
Boosey & Hawkes and named chief executive of the New York firm the following
year.
A hundred years ago, scores of smallish, independent publishers
of serious music flourished in America, each with its own profile and publication
program. Today that number has been vastly reduced, with the remaining handful
generally being large and powerful. Top executives tend to stay put in their
jobs, having — unlike top executives of more commercial or industrial enterprises — nowhere to go from their comfortable perches. Having risen meteorically within the
ranks of music publishing executives, Kendrick could have been expected to
head up the American Boosey for the foreseeable future. In a surprising move,
however, he elected to change gears after five years. "I had only practiced
law for about two years," Kendrick recollects. "There were other
things I really wanted to do, not instead of, but in addition to, music publishing."
After a brief turn in another law firm, Kendrick was invited to head up the
intellectual property division of the prestigious general law practice, Thacher
Proffitt & Wood in New York.
His contacts and responsibilities are far-flung and his calendar
is living proof of how small the world has become. His schedule may have
him consulting on several continents during an ordinary work week, and it
takes a good bit of manipulation to reserve sufficient time for his growing
family who number, in addition to his wife, a 14-year-old boy from a previous
marriage, a 2 1/2-year-old boy, and another child on the way at the time of
this interview. In addition to office and home, Kendrick manages to teach
a course at Rutgers that he, in fact, initiated 13 years ago, that school's
very first evening division course in intellectual property, including such
considerations as copyright, trademarks, and patents. He is clearly interested
in education, in how students develop into lawyers, mindful that relatively
few — like himself — enter the field to supplement an area of competence they
already have. Most young lawyers, he points out, receive on-the-job training,
rotating from specialty to specialty until they find their sphere of choice.
"A lot of lawyers come out of law school, practice for a while and stop
practicing. Law is great training, but not necessarily for everyone to do
professionally."
It was time to ask Kendrick some specifics regarding intellectual
property. What is it? "Intellectual property," he said, "is
a form of property that is not tangible. It may exist in tangible form, like
a CD, but what is involved is the creation that is on the CD, and
the laws concerning the ownership, transfer, and protection of that property.
It tends to include copyrights, patents, and to a certain extent, trademarks
and some other things like trade secrets." Attorneys specializing in
this area are sometimes known as entertainment lawyers, and typical matters
coming before them might be the protection and exploitation of a creative
work in a realm such as music or literature; or the employment of someone
to create such a work, i.e., a commissioning agreement. Among the spicier
(and rarer) items falling into the entertainment lawyer's bailiwick is plagiarism,
when someone copies a work or a significant part of a work that has been
created by someone else. It is often difficult to prove and requires a judge
and jury to determine both the transgression and the damage.
Matters involving legal specialists like Kendrick are varied
and often extremely convoluted. A famous case some years ago concerned the
Bartók Concerto for Orchestra, often described as the last
symphonic work to enter the world repertory and therefore of considerable
financial consequence. Bartók died before the work was published,
raising the question of what constituted a posthumous work, when it was published
or when the contract for it was signed? (The court held that it was the latter,
a decision that impacted on publisher as well as heirs.)
Questions concerning pop songs seem to crop up more frequently,
not only because there are more of them, but because they are simpler in
nature and therefore easier, knowingly or unknowingly, to copy. Kendrick
makes reference to the case of former Beatle George Harrison's song "My
Sweet Lord" and its similarity to the previously issued "He's So
Fine." (Harrison lost but wound up owning both copyrights.)
A currently pending case has to do with a technology that
did not exist when the work involved was created or its initial use licensed.
Stravinsky's Rite of Spring, although in the public domain in the
United States because we did not have a copyright agreement with Russia at
the time of its composition, is protected elsewhere in the industrial world.
Its copyright owners licensed Disney to use a substantial segment for the
1940 film Fantasia. The license expressly conveyed the right for movie
house presentation. Fifty years later, Disney produced video cassettes of
Fantasia for distribution throughout the world. While the copyright
owners conceded that no rights existed in the U.S.A., they contended
that the work was protected in every other Berne Convention country and that
an unlicensed video had therefore been distributed for which damages were
now being sought. (Second Circuit Judge Duffy decided that the contract restricted
rights only to showings in theatres having licenses from the pertinent performing
rights societies. The problem was that the court did not wish to make a decision
involving the copyright laws of other countries, thus putting the copyright
proprietor — Boosey & Hawkes — in the bizarre position of having to sue in
all the individual countries in which the video is being marketed. Disney
is appealing the grant of judgment on the contract, and Boosey is appealing
the foreign copyright claims dismissal as this issue goes to press.)
Of major import, especially in the pop field, is the ownership
question when the composer is at the same time the performer and there are
two separate rights inherent in a recording, i.e., the copyright of the creation
and the rights in the performance of that creation. This becomes even more
tangled with the introduction of certain electronic techniques, often used
in "rap sampling," the use of snippets from one performance in
another performance. Who owns what? Who has the right to enjoin what kind
of use? It may not sound awfully exciting to the layman, but when potential
millions of CDs and dollars are involved, the scenario is suddenly fraught
with tension.
More and more, with each new technology, questions arise
as to how this tool may affect a copyright. Take the Internet. Technically,
Kendrick points out, every time you turn on your computer and bring in a
program, you are making a copy. Question: Should that copy have to be paid
for? If so, how? If not, is a copyright owner not being deprived of his sole
property (and often his sole means of support)? The on-line organizations
are deadset against licensing (and paying), on the grounds that they are
merely service providers, no more liable for what is being conveyed over
their facilities than is the telephone company for what goes over their wires.
But after a long period of squabbling, delay, and more squabbling, we have
managed to produce legislation that at least addresses some of the issues — with
many more still pending — opening some doors, and bringing us in line with
European nations that, in the thorny questions of authors' rights, are leagues
ahead of us.
An all-important question concerning authors, composers,
and publishers is the period of protection that our law allows before a work
falls into the public domain. Until 1978, we were the only country in the
world to protect works not on the basis of an author's life but on the date
of original publication. Thus, we actually penalized authors for their longevity,
and seniors (like Irving Berlin) lived to see the works of their youth fall
out of copyright. That changed on January 1, 1978 when we finally joined
the rest of the world in protecting works for a period of 50 years following
the death of their author. Of course, since then many countries have increased
that period from 50 to 70, and it is widely thought that 1997 will be the
year that the U.S. once again catches up to other countries in granting protection
for "life plus 70."
Kendrick muses on "the incredible jump in the value
of intellectual property," — another reason that a fair and reasonable
period of copyright protection is of such immense importance. He talks about
the profusion of cable channels, the availability of new media such as home
videos, CD and CD Roms, and above all, the desirability of recycling older
properties, of making them available in new media to new, up-and-coming audiencesthe
case of Fantasia being but one dramatic example.
Another concept which energizes Kendrick is a doctrine called
"fair use." "There is a common perception in the concert music
industry that charitable purpose equals fair use. That is absolutely not
the case. There isn't, to my knowledge, a single orchestra, opera or ballet
company that is not a charitable organization from a legal point-of-view.
If every such organization claimed that they had the right to use music for
free, no one would be paying for music in this country. While performances
under certain very limited circumstances might be exempt from payment, this
is almost never the case when the public is invited. The key question with
fair use, in addition to the nature of the work being used, is: what is the
effect of this use on the economic value of this work? do the composer and
publisher have a reasonable expectation to be paid for it? If, for example,
music is being published primarily for the educational market, it is absolutely
reasonable to be paid for it."
Among the most unusual and headache-producing legal developments
of recent times — some say of all times! — Is the so-called GATT legislation
and how it affects copyright. We asked Jim Kendrick to speak on it: "GATT
stands for the General Agreement on Tariffs and Trade. It is part of an international
trade protocol set up to diminish barriers to trade. Prior to 1989, the United
States, alone among western industrial nations, was not a member of the Berne
Convention. When we joined the Berne Convention, we did not agree to bring
back into copyright protection those works which were still protected elsewhere,
but had fallen (or had always been) in the public domain here, examples being
works whose authors were dead for less than 50 years, or works that were
never protected here because we had no copyright relations with the country
of origin. On joining the Berne Convention countries, we began pushing very
hard for countries, especially in Asia and Eastern Europe, to bring their
laws up to international standards and to enforce them in order to eliminate
a lot of the pirate videos, CDs and other products that were flooding the
market. When the Russians announced that they were ready to join the Berne
Convention, we inquired if they would grant retroactive protection to U.S.
works, and they responded by saying, in effect, we will if you will honor
the rights of our works.
"The result has been our agreeing to restore, or in
some cases to grant for the first time, copyright recognition to works that
had been in the public domain here for one of several reasons. They had to
be foreign works; no U.S. works are involved in this restoration. They had
to be out of copyright, either because they were not eligible for copyright — like
the Russian works — or because they did not comply with formalities such as
copyright renewals. So, as of January 1, 1996, any work which qualified under
one of those criteria could be restored to copyright, and any new uses would
be subject to full copyright protection."
The impact of what Kendrick was saying has been volcanic
in U.S. publishing and music distribution circles. It was akin to a legal
Lazarus rising from the dead: a treasury of 20th century music which had
been in the public domain and therefore devoid of any proprietary rights
was, with a pen stroke, being resurrected to copyright protection and assigned
to exclusive copyright ownership. The commercial implications of this phenomenon
have been only slighted mitigated by the fact that such restored works are
entitled only to the period of protection that would have applied under the
old U.S. Copyright Act, had protection then been granted: 75 years from original
publication. Thus, a work like Rite of Spring, originally published
in 1914, would have become free in the United States in 1989 even though
Stravinsky, who died in 1971, has all his works protected elsewhere for at
least 50, but mostly 70, years from his death date.
"The Congress shall have Power ... To promote the Progress
of Science and useful Arts, by securing for limited Times to Authors and
Inventors the exclusive Right to their respective Writings and Discoveries,"
reads Article I, Section 8 of the United States Constitution. The idea behind
this legal incentive for creative people is even somewhat older, stemming
back to a 1710 English statute known as the Statute of Anne. Just as attitudes
about justice, and as scientific and technological developments have changed
ever since, so has the law of the land. It is comforting to know that there
are highly qualified practitioners like James Kendrick who devote themselves
to the realm of intellectual property.
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