Enough With the Legal Theories About Piracy

When it comes to enterprise-scale piracy, it would be great if those who advocate its existence would just make simple declarations like, “I want free media and don’t care how I get it.”  Sure, that would be a childish thing to say, but still less offensive than all the pretense to rationale that accompanies piracy—the absurd legal arguments, the mystical economic analyses, and above all, the lionization of pirate site operators as though they are social revolutionaries in a grand culture war.  (Never mind that some pirate sites are verticals for larger criminal enterprises engaged in some pretty horrible activities.)  

Of course, an entrenched attitude is not easily pried from the mind once it takes hold; instead, it usually becomes fossilized under layers of facile talking points posing as ideas.  Petty aphorisms like sharing isn’t stealing, for instance, help paper over an otherwise complex issue and excuse ignorance of the broader implications of a phenomenon like media piracy. In this regard, the public is constantly fed variations on the theme that operating a website, which is purposely designed to exchange infringing material and, by virtue of that exchange, earns its owners millions of dollars is somehow not criminal.

And that brings us to the complaint by the United States against alleged Kickass Torrents (KAT) site founder Artem Vaulin and his unnamed co-conspirators.  The complaint was filed in an Illinois District Court on July 8, 2016 and Vaulin, a Ukranian, was arrested while traveling through Poland that same month.  Insisting upon his innocence, Vaulin chose to remain in Poland’s Bialoleka prison—it sounds pretty awful from this account on The Verge—for nearly a year, rather than prove his innocence at trial in the United States. (I’d personally try to avoid the Polish prison even if I were guilty, but to each his own.)  Vaulin is now out on $108,000 bail, fighting extradition, and is represented by Silicon Valley attorney Ira Rothken, who also represents Kim Dotcom.

As reported last Friday, Vaulin filed a motion to dismiss along with a litany of arguments contending that the copyright infringement counts against him are not properly criminal indictments. All of these arguments were rejected by the Illinois court.  The motion to dismiss was denied under the fugitive disentitlement doctrine, which basically says that if an individual refuses to appear in a U.S. court (i.e. makes himself a fugitive), then he may not avail himself of court protections like motions to dismiss.

Vaulin is charged with four criminal counts comprising three counts of criminal copyright infringement (§506 of Title 17) and one count of money laundering.  The 50-page complaint, filed by the investigating Special Agent for the Department of Homeland Security, cites compelling evidence alleging that Vaulin was the founder of the KAT network; that he and his associates purposely designed KAT with the goal of hosting torrents containing infringing material; that they knew their conduct was illegal; that they provided incentive for users to engage in infringement; that illegal activity took place within the United States; that the KAT network generated about $17 million/year in revenue from traffic to infringing content; and that the owners sought to hide funds through dummy corporations in bank accounts set up in Latvia and Estonia.  Here’s just one highlight from the complaint that makes several points rather simply:

“March 29, 2011, when an individual reached out to Vaulin…with the subject line “new movies.” The individual asked about the movies Kung Fu Panda and The Hangover, remarking that people were asking for those movies. Vaulin replied that same day, noting that Kung Fu Panda was added six hours ago and that The Hangover was just added.”

As I say, I get the self-interested reasons why people rationalize what these site operators are doing; but when the indictment is handed down, let’s not pretend we’re straying into some ambiguous area of criminal law.  Piracy advocates and copyright antagonists are very fond of the refrain that the owners of a site cannot be held criminally liable for the activities of its users.  But there are several examples like the quote above indicating that the KAT site operators knew exactly what they were doing, and it’s frankly stupid to pretend otherwise.

Nevertheless, copyright antagonists like Mike Masnick at Techdirt place a lot of emphasis in this case on the supposed ambiguity of of secondary liability, which is a common law principle applied in civil copyright cases but for which there is no federal statute proscribing the conduct. The theory being applied is that if Vaulin and his colleagues merely own a platform on which infringement takes place, they themselves cannot be criminally liable.

Indeed this secondary liability issue is one of the arguments presented by Vaulin’s attorney; and it is true that there is no statute in Tile 17 (the Copyright Law), which explicitly states that aiding and abetting copyright infringement is a crime. In fact, Rothken asserts that because the 1909 Copyright Act explicitly criminalized secondary liability but the 1976 Act does not, this implies that Congress does not consider secondary liability to be criminal. Yeah…no.

In the 1909 Copyright Act, each criminal statute included its own aiding and abetting provision; but by the time the 1976 Act was written, the federal criminal code had been completely overhauled and included a general provision for aiding an abetting of all criminal violations against the United States.  Thus, the court rejected Rothken’s reasoning, stating that a separate aiding and abetting provision in the 1976 Copyright Law would have been redundant.  Title 18 §2 states:  (a) Whoever commits an offense against the United States or aids, abets, counsels, commands, induces or procures its commission, is punishable as a principal. 

Thus, the Illinois court has held that if one is alleged to have helped people commit criminal copyright infringement, induced them to do so, rewarded them for doing so, and/or profited from their doing so, then one is properly charged with criminal copyright infringement.  And if that sounds like common sense, it’s because it is common sense.  And I will add that if this story were about trafficking in some less popular form of illegal activity—like snuff porn, or harmful counterfeit goods—I highly doubt that many average defenders of pirate sites would hope to see the law applied any differently.

I will not enumerate each of Vaulin’s defenses the court rejected, lest this post become unreasonably long and of interest to about ten law nerds.  But suffice to say that the defenses sound to this law nerd like a lot of grasping at straws. My personal favorite, though, is the assertion that torrents are not protected by the copyright law, and it is therefore not possible to infringe torrents.  That’s kind of like getting caught with a truckload of bootlegs and declaring that “audio tape isn’t illegal.”  As the court patiently explained, the torrents are the means to infringement, so it was a no-go on the twisted logic being applied there.

In his somewhat hand-wringing rebuttal to the opinions of the court, Masnick writes, “No one denies that there were people in the US who used the platform for infringement. But just because people are using the platform for infringement, doesn’t make it criminal infringement. For something to be criminal copyright infringement it has to reach a much higher bar than just ‘people downloaded stuff.’”

He’s absolutely right.  And a plain, common-sense reading of the details in the complaint should make clear to any reasonable person that the government has met the burden to bring a criminal indictment in this case. The 2016 DOJ guidelines regarding consideration of criminal charges in IP cases recommend weighing several factors that define best practices independent of the the type of IP involved.  The recommendations consider factors such as deterrence, potential economic harm, public safety, recidivism of the actors, and the efficacy of civil proceedings in lieu of criminal charges.  Suffice to say, an enterprise operating at the scale of Kickass Torrents easily checks off several boxes under the guidelines.

I mention this broader view of IP enforcement because, as indicated above, it is a dangerous precedent—no matter how popular pirating movies and music may be—to wish that the law worked differently than it does, especially in the digital age.  We live in a networked world in which transnational IP infringement can mean tainted food or drugs or other unreliable products getting into the supply chain. Cyberspace is still a relatively new frontier for crime; and some pretty nasty characters have sought to argue the same kind of defenses being used in this case in order to distance themselves from the harm they cause simply because their presence is virtual.  So, to any parents who, as cited in the complaint, were asking for Kung Fu Panda on KAT, I’d say be very careful what you wish for.

Compare & Contrast

Here’s one way the Web is being used by a group of young artists in collaboration with one of the “evil”  big media companies:

backstory 1

 MTVu created a challenge campaign called “Against Our Will,” asking students to submit creative concepts to highlight the problems of modern-day slavery.  The winning entry came from students at James Madison university and grew into an online, multi-media project called The Backstory, combining music, interpretive dance, story-telling, and an RPG-style interface to help viewers understand various human trafficking scenarios that could be happening in their communities. Collaborators on the project include rapper Talib Kweli and dancers from Ailey II, with choreography by Troy Powell and music by Kenna.

Backstory DanceI watched several of the pieces on The Backstory, and there really is something extraordinary that takes place when a concept or message is synthesized through artistic media.  I already pay attention to trafficking stories on a regular basis and have read or watched plenty of documentary video or news segments that convey real and horrific anecdotes about the victims of modern slavery; but seeing the familiar themes transformed into a shadowplay expressed by these exceptional dancers creates a tension between beauty and horror that leaves a unique and lasting impression. It’s not that we should turn away from the cold facts of the documentary forms, but I do think our psyches have natural defenses against staring too long into the real face of depravity; and one thing that art does so well is to build new routes past these defenses to reach our empathic instinct for response.

So, this is what artists do when they decide to lend their talents to fight for freedom — not a perceived, complacent, or academic idea of freedom, but real freedom from real bondage, real abuse, and real murder.  By contrast, it seems to me that too many self-appointed “defenders of the Web” presume to bestow upon every hacker and content exploiter the honorific titles freedom fighter, innovator, or cultural game changer.  The hypocrisy would be funny if it weren’t so serious.

Presently, people like David Lowery, Ellen Seidler, and Chris Castle are focused on mainstream advertisers whose banner ads appear on torrent and other infringing sites, and this is certainly an important issue.  But in the contextual question at to whether or not these sites are about freedom and culture, or using the Web to its best purposes, let’s take a look at what appears to be the majority of advertising on some top torrents.

Kickass KingsHere’s Kickass Torrents, which is listed in the #3 spot by TorrentFreak among the 10 Most Popular of 2012.  Of course, #2 Torrentz is actually a meta-search site, making Kickass the functional #2 behind The Pirate Bay, which supposedly has over two billion page views per month. I purposely chose a page for downloading Oscar winner The King’s Speech, picking a film a little more high-brow than the most popular stuff just to see if it has any effect on ad service; but the reality is that most of what appears on any page on Kickass will be a banner that looks like this:

KA BANNER

It’s one variation or another on themes designed to titillate the 18-24 year-old male, which is the majority demographic using torrents.  The link in the middle reads:  10 Disgraceful Intimate Acts 87% of Girls Regularly Do!

So, just to review before we go any further, The Backstory is just one example of how artists will use the Web to fight the exploitation of women, whereas I’m about ten seconds into my browsing Kickass Torrents before being invited to think of women as 87% sluts.  But where does this ad lead?

If you click on the link, you won’t actually find any research on women who regularly do something “disgraceful and intimate,” but you will be about two clicks away in almost any direction from landing within the reach of a snake-oil business called The Tao of Badass.  This is a kind of self-help program comprised of books, DVDs, a blog, etc. that claim to teach any man how to get women — not how to have a better relationship or find love, just how to get lots and lots of really hot women in the sack using the “techniques” you can only learn from The Tao of Badass.

tao of badass

Now, it’s a given that the majority of torrent users won’t click on any of these banners, but out of let’s say a very conservative three billion page views per quarter, that one half of one percent are men desperate enough to believe they can learn techniques to become real ladykillers.  That’s 15 million potential customers for Tao of Badass.  And let’s say only one percent of these suckers buy the 10 DVD set for the “discount” rate of $47.  That would be over $7 million in sales for Badass Ventures, Inc. based in San Carlos, CA.

What’s interesting about the mechanics here is that Tao of Badass is not an overt advertiser on the pages of Kickass Torrents.  It just happens to be the default recipient of the lion’s share of generically produced house-ad traffic.  And guess whose books and videos are not available for free download on the Kickass sites? Smell funny in here yet?

But let’s move on to an even more relevant contrast to The Backstory

MLP Asian

Welcome to The Pirate Bay, where a large portion of the ads are like this one:  We Got Asian Schoolgirls, in this case appearing next to a list of episodes of My Little Pony. Now, I understand that particular show isn’t just for little girls, but we’ll leave the phenomenon of the Brony for another conversation. Suffice to say that these ads generally lead to one version or another of a page promoting a “dating service,” which is generally not about dating so much as international matchmaking.  These services connect western men with women in Asia, Russia, Ukraine, etc. So, far, the reviews on these services seem mixed.  I haven’t seen any reports connecting these legal (if a little sleazy) matchmaking services with sex tourism, which is a different enterprise known to involve trafficked sex workers.

At worst, it seems that these sites and services are generally designed to string men along while extracting as much money as possible from them. It doesn’t appear that many happy marriages come about in this way.  And here’s a fun example that you have to love:  the top service and the one most likely to be linked to The Pirate Bay, Anastasia Date, supposedly charges up to $8 per email between the user and the apparently interested woman on the other side of the world.

So, let’s review again. . .

The Pirate Bay provides stolen, free media that users are too cheap to pay for, but  the site is littered with ads designed to entice some of those users to cough up eight bucks an email to correspond with Olga in Odessa, who might actually be Brad in Bangor, Maine (Bangor is where Anastasia International, Inc. is located).  Is it getting creepy in here, or is it just me?

There is no question the Web is very often used as a tool to exercise free expression in unprecedented ways and from nearly any voice.  But when the leaders of that industry presume to claim that our criticism of sites like Kickass Torrents or The Pirate Bay is tantamount to chilling the same right of speech being exercised by the artists behind a project like The Backstory, how does all reason not veer into the abyss of ordinary ignorance?