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I could remember when trying to integrate the film industry and the movie industry, television, and the music industry was an awful experience. I mean, the battles — and I don't mean to suggest that it's over, but there has been movement in this direction. And I think that it's very important for the country itself, and also for the creative experience that you've referred to so much here.
Mr. Jones. I agree with you, and I appreciate the compassion and understanding and attention that's been given this. It will drive the next century; there's no doubt about it.
Mr. CONYERS. Well, I'm happy that you've come here in this regard, and I hope that we will continue to hear some of the wonderful contributions that you've made. You've now crossed over into television and other kinds of activity, but I suppose the creative urge never leaves. I certainly hope it doesn't in your case.
Mr. Jones. Thank you.
I'll close with this. I keep remembering that the entire entertainment business is about six things: the song, the song, the song, and the story, the story, the story. That's all it's about, the whole thing. [Laughter.]
Without those two things, there's nothing to talk about. That's what hires millions of people. You don't call them, directors or actors or musicians or anything, until you have a song or a story.
And I think I would appreciate all the support you can give me, NEA, and anything that fosters the arts in America, because it is part of our heartbeat; it's part of our soul, a big part of our soul. And we dominate it; we really do. We do it better than anybody in the world, all of America.
Mr. CONYERS. Yes, thank you very much.
Mr. Jones. Thank you.
Mr. Gekas [presiding]. Thank you, Mr. Jones.
Your "Eyes of Love" I think is one of the most exquisite compositions of our time. You continue now to receive royalties from that, do you not?
Mr. Jones. Yes.
Mr. Gekas. And you will through the life of the cop5n'ight that is now accorded you as the composer of that number, and the pricing of whatever use is made of "Eyes of Love" takes into account the royalties to be paid to you, does it not? The marketplace, in producing, wherever it does, a reissuing or reproduction of "Eyes of Love," has to price it in such a way that they know that part of it has to go to you, the composer; isn't that right?
Mr. Jones. That's right.
Mr. Gekas. So the marketplace still works within the confines of the copyright world. The reason I'm asking that is, Beethoven, the example that you gave, which is in the public domain, itself is governed by the marketplace. It appears from what you tell us that the demand is still there for Beethoven; therefore, the pricing can be even higher than for the "Eyes of Love," for example; is that correct?
Mr. Jones. That's right. That's right.
Mr. Gekas. Well, you don't have any quarrel with that, do you? You don't have any quarrel with the fact that the marketplace still gathers in a large demand for Beethoven or for public domain