Old albums are now outselling new ones. Do we need protectionism against the past?

Long copyright terms may not reward the artist, but they make sure that people buy works by new musicians

 

The NME (remember the NME?):

Sales of "old albums" have overtaken sales of "new albums" for the first time over the last six months in the US.

Sales of "old albums", which are classified as LPs that have been on sale for longer than 18 months, numbered at 76.6 million over the last six months, with sales of "new albums" numbering at 73.9 million, reports OC Weekly

Copyright laws are transparently no longer about rewarding artists or incentivising creation. The idea that there is, or ever has been, a musician who sat down to record and then thought "you know what? I would create this art, but my descendants will only get to reap the rewards for fifty years after I die, rather than my preferred seventy," is ridiculous.

What this news shows, though, is one very real reason why long copyright terms might be important: protectionism against the past.

Even with a copyright system which keeps pretty much every song recorded since World War II - and a number recorded before - out of the public domain, "old" albums are still outselling new ones in the US. "Old" is, in this case, defined pretty loosely, but it is hard to imagine what the music market would look like if copyright terms were reduced, even if just to the life of the artist.

Imagine being able to get every song ever recorded by Elvis, Jim Morrison, Elliott Smith or Notorious B.I.G. for free, legally. Would you spend as much on new artists? Would you, in fact, spend anything on new artists?

It's obviously not the case that these long terms directly help up-and-coming musicians. Almost all of the money on every Tupac album sold goes to Universal Music Group, and most of the rest goes to his heirs. While there is the argument that any extra income to record labels helps them take greater risks on new talent, it seems unlikely that that actually translates into them getting a cut of the sales.

But where it might help them is by boosting demand. If you are ambivalent between a Beatles and a Battles album, you are that much more likely to buy the latter if it doesn't cost a thousand times more.

Protectionism against the past, then: artificially raising the price of something you don't want to sell in order to make the thing you want to promote look better.

Of course, there's no guarantee that that actually works. All of the above assumes that people begin with a fixed amount of music that they want to consume, and that every "old" album they listen to is a "new" one they won't. But it is equally as likely that, under the current situation at least, people have a fixed amount of money they want to spend on music, and that making older albums free would increase, rather than decrease, what they spend on new artists.

How to tell the difference? All-you-can-eat subscriptions might provide the answer. Someone who pays £10 a month for Spotify has access to more music than they could reasonably listen to in their lifetime. If all they want is a fixed quantity of music, then they won't spend anything else. If they want to spend a certain amount of money, then they'll start spending more on albums and bands not on the service. Sadly, no-one seems to have done that study, though if anyone does know the answer, I'd be fascinated to see it.

This is all economist noodling, though. As ever, the model has been simplified, and in the real world people don't actually think of "music" as a vast homogenous mass which they purchase. A Radiohead fan won't stop buying their albums just because they could get Elvis for free, and someone who thinks hair metal is the pinnacle of generic perfection is unlikey to buy music from past 1979 no matter how much it costs. But I certainly would like some free Marvin Gaye.

Marvin Gaye performs in the Royal Albert Hall in 1976. Photograph: Getty Images

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

Getty
Show Hide image

The struggles of Huma Abedin

On the behind-the-scenes story of Hillary Clinton’s closest aide.

In a dreary campaign, it was a moment that shone: Hillary Clinton, on the road to the caucus in Iowa, stopping at a Mexican fast-food restaurant to eat and somehow passing unrecognised. Americans of all political persuasions gleefully speculated over what her order – a chicken burrito bowl with guacamole – revealed about her frame of mind, while supporters gloated that the grainy security-camera footage seemed to show Clinton with her wallet out, paying for her own lunch. Here was not the former first lady, senator and secretary of state, known to people all over the world. This was someone’s unassuming grandmother, getting some food with her colleagues.

It might be unheard of for Clinton to go unrecognised but, for the woman next to her at the till, blending into the background is part of the job. Huma Abedin, often referred to as Clinton’s “shadow” by the US media, is now the vice-chair of her presidential campaign. She was Clinton’s deputy chief of staff at the state department and has been a personal aide since the late 1990s.

Abedin first met Clinton in 1996 when she was 19 and an intern at the White House, assigned to the first lady’s office. She was born in Michigan in 1976 to an Indian father and a Pakistani mother. When Abedin was two, they moved from the US to Saudi Arabia. She returned when she was 18 to study at George Washington University in Washington, DC. Her father was an Islamic scholar who specialised in interfaith reconciliation – he died when she was 17 – and her mother is a professor of sociology.

While the role of “political body woman” may once have been a kind of modern maid, there to provide a close physical presence and to juggle the luggage and logistics, this is no longer the case. During almost 20 years at Clinton’s side, Abedin has advised her boss on everything from how to set up a fax machine – “Just pick up the phone and hang it up. And leave it hung up” – to policy on the Middle East. When thousands of Clinton’s emails were made public (because she had used a private, rather than a government, server for official communication), we glimpsed just how close they are. In an email from 2009, Clinton tells her aide: “Just knock on the door to the bedroom if it’s closed.”

Abedin shares something else with Clinton, outside of their professional ties. They are both political wives who have weathered their husbands’ scandals. In what felt like a Lewinsky affair for the digital age, in 2011, Abedin’s congressman husband, Anthony Weiner, resigned from office after it emerged that he had shared pictures of his genitals with strangers on social media. A second similar scandal then destroyed his attempt to be elected mayor of New York in 2013. In an ironic twist, it was Bill Clinton who officiated at Abedin’s and Weiner’s wedding in 2010. At the time, Hillary is reported to have said: “I have one daughter. But if I had a second daughter, it would [be] Huma.” Like her boss, Abedin stood by her husband and now Weiner is a house husband, caring for their four-year-old son, Jordan, while his wife is on the road.

Ellie Foreman-Peck

A documentary filmed during Weiner’s abortive mayoral campaign has just been released in the US. Weiner shows Abedin at her husband’s side, curtailing his more chaotic tendencies, always flawless with her red lipstick in place. Speaking to the New York Observer in 2007, three years before their marriage, Weiner said of his future wife: “This notion that Senator Clinton is a cool customer – I mean, I don’t dispute it, but the coolest customer in that whole operation is Huma . . . In fact, I think there’s some dispute as to whether Huma’s actually human.” In the film, watching her preternatural calm under extraordinary pressure, you can see what he means.

In recent months, Abedin’s role has changed. She is still to be found at Clinton’s side – as the burrito photo showed – but she is gradually taking a more visible role in the organisation overall, as they pivot away from the primaries to focus on the national race. She meets with potential donors and endorsers on Clinton’s behalf and sets strategy. When a running mate is chosen, you can be sure that Abedin will have had her say on who it is. There’s a grim symmetry to the way politics looks in the US now: on one side, the Republican candidate Donald Trump is calling for a ban on Muslims entering the country; on the other, the presumptive Democratic nominee Hillary Clinton relies ever more on her long-time Muslim-American staffer.

Years before Trump, notable Republicans were trying to make unpleasant capital out of Abedin’s background. In 2012, Tea Party supporters alleged that she was linked to the Muslim Brotherhood and its attempt to gain access “to top Obama officials”. In her rare interviews, Abedin has spoken of how hurtful these baseless statements were to her family – her mother still lives in Saudi Arabia. Later, the senator and former Republican presidential candidate John McCain spoke up for her, saying that Abedin represented “what is best about America”.

Whether senior figures in his party would do the same now remains to be seen.

Caroline Crampton is web editor of the New Statesman.

This article first appeared in the 26 May 2016 issue of the New Statesman, The Brexit odd squad