Sian's been very naughty

The Beatles, Alex Cox and piracy - our blogger's take on the knotty issue of downloading.

Last week I did a very naughty thing. I downloaded from the internet a short film that was packed full of copyrighted material, stolen from Hollywood, American and Swedish TV news programmes, and even the BBC. It was called ‘Steal this Film – part 1’ and it has been made this year by a group of Swedish internet pirates who are intent on spreading lawlessness throughout the globe.

I don’t know how many of you have heard of The Pirate Bay, but it’s probably a lot more now than had a year ago. I confess happily to being a bit of a nerd, but the issue of file sharing at last seems to be breaking out of geekshire and into the world of mainstream politics, so it seems worth discussing at last.

Steal this Film was made by the organisers of The Pirate Bay and gives a short history of the site, how it grew out of Piratbyrån a campaigning organisation dedicated to the overthrow of copyright laws. So far, so extremely dull, you might think, but the film has a gripping plot centred on the extraordinary raid that was carried out by the Swedish police against the site’s internet servers in May this year. This incident is the reason I could be found watching a group of scandinavian tecchies on a Saturday night.

For the uninitiated, here’s a brief history of the issue. The Pirate Bay is now the most widely used and famous site where people go to find ‘bit torrents’ that allow them to download films, music, art, software (in fact anything that can be stored in digital form) from other people. Torrents don’t include these materials, but tell your computer where to find bits of the file you want on other computers that are sharing them. If you set off a torrent file, it will patiently collect thousands of tiny parts of the desired file from hundreds of different locations, and then neatly put them all back together.

Downloading large files via bittorrent is much quicker than trying to get a whole file from a single user because your computer can simultaneously download different parts from different places. And, as most people who use the service also allow uploading of the parts they already have, the more people who are downloading, the quicker the whole file comes to you.

File sharing in this way became popular after one-to-one sites like Napster were outlawed in the US a few years ago and, initially, many sites offered a bittorrent service - the most popular based in places like Slovenia and Finland. However, after putting all that effort into stopping Napster, music companies and film studios in the USA weren’t going to put up with this new challenge for long. One by one they persuaded governments to outlaw them and the sites closed.

As the alternatives were whittled away, one main site – The Pirate Bay, based in Sweden – carried on. This was allowed to continue only because of the organisers’ determined resistance to legal threats and the protection they had in Swedish law, which still recognises that torrents don’t actually contain any copyrighted material.

Admitting to file-sharing can feel like a bit of a crime to someone in the UK, akin to committing benefit fraud, but in Sweden things are completely different. People there think of it as a human right and the vast majority of young people do it regularly. Steal this Film is full of anxious vox pops with Swedish youth talking about their devotion to file sharing, and one elderly Swede even likens it to ‘the way older people look at lingonberry picking on other people’s land’ (I have no idea what this is, but it sounds lovely).

Not surprising then, that the raid on TPB sparked resentment towards the Swedish government. Protests started spontaneously in Stockholm and attracted thousands of people and the support of the Swedish Young Greens. Rumours circulated that the raid was demanded by US diplomats threatening sanctions against Sweden, and a minister seemed to confirm this on Swedish TV news.

Of course the clampdown backfired. The site was back up within days, and attracted such support and offers of back-up space that another raid would see almost no downtime at all. Personally, I would never have thought about this beyond occasionally using torrents to get hold of impossible-to-find gems, such as the nuclear war films ‘Threads’ and ‘The War Game’, had it not been for the police raid. And there is now even a ‘Pirate Party’ in Sweden, campaigning in elections on an anti-copyright ticket (I’m not sure what the Swedish Greens think about this!).

Hollywood had of course been pressing for something to be done about the Swedish law for ages. With just one country holding out, the nature of the internet means it provides a loop-hole for the entire world. The Motion Picture Association of America claims that internet piracy cost it $7.1 billion in 2005 and produces flashy adverts where James Cameron and Ben Affleck plead with you not to risk the jobs of movie makers by downloading.

But can those claims be true? Would all those people have spent more than $10 on a DVD instead if they couldn’t download a particular film? And where did the lost money go? Unlike when you buy a dodgy DVD off a man in the pub, no one is making a profit out of this. Not sitting in a jacuzzi quaffing champagne in their filmed interviews - instead hanging out in a scruffy bar - none of the organisers of TPB are getting rich off file sharing. So if money can just evaporate into thin air, can it really be described as ‘lost’?

Films are still making plenty of cash for the studios, despite the growth of file sharing, and the music industry’s profits grew healthily in 2005 as the labels took advantage of cash-for-download sites to sell more music than ever.

Historically, similar threats to creative profit have occurred regularly. With the advent of recorded music in the early 20th century, performance musicians staged protests and petitioned governments to stop it. In 1982, Jack Valenti, President of the MPAA told the US House of Representatives, “The VCR is to the American film producer and the American public as the Boston Strangler is to the woman home alone.” Yet somehow the industry struggled on as every home gained a video recorder, and even made extra cash selling us copies of ‘classic’ films that had stopped making money in theatres years before.

At around this point in ‘Steal this Film’, I’m starting to doubt that copyright should exist at all, clearly influenced by the propaganda effect of the many short clips from epic movies (overlaid with slogans like ‘You can’t outlaw social change’) which the directors have inserted into the film.

Luckily, also at this point, film director Alex Cox appears on the screen, commenting on the industry killer/massive profit opportunity incident with VCRs in the 80s. Alex is a Green Party member and has directed our recent party political broadcasts, so I decided to ask him what he thought.

It turned out he hadn’t known he was in the film at all, the pirate film-makers having stolen the footage from an old episode of The Money Programme - “Good for them,” he said. I asked whether, as a producer of content himself, he wouldn’t object to the abolition of copyright. “It is reasonable to get some exclusivity,” he said, “But the period of copyright is far too long.”

Suggesting that ten years might be a sensible time limit, he told me that the original copyright law of the USA gave artists 14 years, but this has been gradually extended under big business pressure so that now US law protects copyright for longer than anyone who created the work could feasibly stay alive. The so-called ‘Mickey Mouse Protection Act’ of 1998 now allows exclusive rights for a staggering 95 years. We’re not quite there in Europe, with a standard period for most things sticking at 50 years for now (hence Sir Cliff Richard is about to lose the rights to his early hits).

There’s a lot more to this issue, which I’ll try to cover another time but, on balance, I don’t think I want to see copyright abolished altogether. The ten-year term suggested by Alex seems like a sensible compromise. I love seeing films on a massive screen with mad, seat-shaking sound, and I also like watching things with others in a theatre so I don’t really want to see cinemas driven out of business.

But I also don’t see how downloading is harming these businesses at all. Cinemas do of course offer a lot more in their ‘package’ than simply the copyrighted works on show, including a comfy seat, a social venue and (perhaps this is unique to me) the chance to boo at 4x4 adverts in a place where other people might actually hear me.

However, especially with music, I’m inclined to agree that copyright terms should be as short as possible. Doesn’t leaving the control of recorded music in the hands of a few big companies actually restrict choice, variety and innovation in our music? And if established songwriters can now sit back and live off past royalties for decades, wouldn’t they work a bit harder to produce decent new material if they lost that income after a few years?

When we talked about music rights, Alex Cox gave the example of Sir George Martin, who has spent most of his career since the Beatles simply remixing and re-releasing their works, which are some of the most tightly controlled in the world. Wouldn’t the arts world be richer if Sir George had more incentive to discover and work with new bands too?

What is clear is that selling a plastic disc with data on it purely for the value of the data, is not going to last. The creative industries are sooner or later going to have to find new ways to profit from their art, or even (shock!) just profit less and create their works for art’s sake instead.

Sian Berry lives in Kentish Town and was previously a principal speaker and campaigns co-ordinator for the Green Party. She was also their London mayoral candidate in 2008. She works as a writer and is a founder of the Alliance Against Urban 4x4s
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The biggest divide in politics is not left against right, but liberals against authoritarians

My week, including a Lib Dem membership rise, The Avalanches, and why I'm putting pressure on Theresa May over child refugees.

It is a boost for us that Nick Clegg has agreed to return to the front line and be our Brexit spokesperson. I hadn’t even had a chance at our meeting to make him the offer when he said: “Before we start, I’ve been thinking about this and want to take on the fight over Europe.”

With Labour apparently willing to give the Tories a free pass to take us out of Europe, the Liberal Democrats are the only UK-wide party that will go into the next election campaigning to maintain our membership of the EU. The stage is remarkably clear for us to remind Theresa May precisely what she would be risking if we abandon free trade, free movement, environmental protection, workers’ rights and cross-border security co-operation. More than a month on from the referendum, all we have heard from the Tories is that “Brexit means Brexit” – but they have given us no clue that they understand what that means.

 

Premature obituaries

Not long ago, the received wisdom was that all political parties were dying – but lately the supposed corpses have twitched into life. True, many who have joined Labour’s ranks are so hard left that they don’t see winning elections as a primary (or even a desirable) purpose of a party, and opening up Labour to those with a very different agenda could ultimately destroy it.

Our experience has been happier: 20,000 people joined the Liberal Democrat fightback in the wake of the 2015 general election result, and 17,000 more have joined since the referendum. We now have more members than at any time this century.

 

Breaking up is hard to do

Journalists have been asking repeatedly if I want to see the break-up of the Labour Party, with moderates defecting to the Liberal Democrats. I have been clear that I am not a home-wrecker and it is for Labour to determine its own future, just as I focus on advancing the Liberal Democrat cause. Yet I have also been clear that I am happy for my party to be a home for liberals of whatever hue. I enjoyed campaigning in the referendum with a variety of progressive figures, just as moderates from different parties shared platforms in 1975. It struck me that far more unites us than divides us.

That said, not all “moderate” Labour figures could be described as “liberal”, as John Reid demonstrated as Labour home secretary. The modern political divide is less left v right than authoritarian v liberal. Both left and right are looking increasingly authoritarian and outright nasty, with fewer voices prepared to stand up for liberal values.

 

What I did on my holidays

Time off has been virtually non-existent, but I am reading A Wilderness of Mirrors by Mark Meynell (about loss of trust in politics, the media and just about everything). I’m also obsessively listening to Wildflower by the Avalanches, their second album, 16 years after their first. It’s outstanding – almost 60 minutes of intelligently crafted dialogue, samples and epic production.

During the political maelstrom, I have been thinking back to the idyllic few days I spent over half-term on the Scottish island of Colonsay: swimming in the sea with the kids (very cold but strangely exhilarating ­after a decent jog), running and walking. An added bonus is that Colonsay is the smallest island in the world to have its own brewery. I can now heartily recommend it.

 

Preparing for the next fight

The odds are weirdly long on an early general election, but I refuse to be complacent – and not merely because the bookies were so wrong about Brexit. If we have learned one truth about Theresa May as Prime Minister so far, it is that she is utterly ruthless. After her savage cabinet sackings, this is, in effect, a new government. She has refused to go to the country, even though she lectured Gordon Brown on the need to gain the endorsement of the electorate when he replaced Tony Blair. Perhaps she doesn’t care much about legitimacy, but she cares about power.

You can be sure that she will be keeping half an eye on Labour’s leadership election. With Jeremy Corbyn potentially reconfirmed as leader in September against the wishes of three-quarters of his MPs, Mrs May might conclude that she will never have a better chance to increase her narrow majority. Throw in the possibility that the economy worsens next year as Brexit starts to bite, and I rule nothing out.

So, we are already selecting candidates. It is vital that they dig in early. As we are the only party prepared to make the positive case for Europe, such an election would present us with an amazing opportunity.

 

Sitting Priti

David Cameron pledged to take an unspecified number of unaccompanied children from camps across the Continent. I am putting pressure on Theresa May to turn that vague commitment into a proper plan. Having visited such camps, I have been fighting for Britain to give sanctuary to a minimum of 3,000 unaccompanied children, who are currently open to the worst kinds of exploitation. We have heard nothing but silence from the government, with underfunded councils reporting that they are not receiving the help they need from Whitehall.

Meanwhile, it remains government policy to send refugees to Turkey – whose increasingly authoritarian government has just suspended human rights protection.

As if all of this were not grim enough, we have a new Secretary of State for International Development, Priti Patel, who has said that she thinks aid should be used largely to promote trade. As someone who wants our country to be respected around the world, I find this plain embarrassing. Actually, it’s worse. It’s shaming. As with Europe, so with the world: the ­Conservative government is hauling up the drawbridge just when we need more than ever to engage with people beyond our shores.

Tim Farron is the leader of the Liberal Democrats. To join the party, visit: libdems.org.uk/join

Tim Farron is leader of the Liberal Democrats.

This article first appeared in the 28 July 2016 issue of the New Statesman, Summer Double Issue