Tag: piracy

Conversation with Chris Ruen (Podcast)

Chris Ruen Part I
Chris Ruen Part II
From OR Books.

Freeloading: How Our Insatiable Appetite for Free Content Starves Creativity

In his new book, author Chris Ruen provides a glimpse into his personal transition from consumer of free media to advocate for artists’ rights and a more rational conversation about copyright in the digital age.  Ruen shares his own thoughts about common justifications for online piracy, about the mechanics behind the anti-SOPA protest, and about his own proposals for a renewed dialogue about copyright reform and enforcement.  While certain professionals on either side of the debate may take issue with Ruen’s specific, legal proposals, I believe the general reader with even a passing interest in the cultural aspects of what Ruen calls “freeloading,” can learn a great deal from this book.  In particular, the middle third of the work is comprised of interviews with musicians and producers from the independent punk scene — guys who are about as anti-establishment as it gets — and their no-nonsense views on the rationales supporting online piracy are well worth the attention of anyone who thinks he’s stickin’ to The Man by downloading torrents.

I spoke to Chris last week via Skype and found our conversation very engaging. In fact, I’m providing the discussion almost unedited, without introduction, and in two parts.  I hope you find these podcasts interesting and that you’ll let me know what you think.

For more information about Chris or to buy a copy of Freelaoding:  How Our Insatiable Appetite for Free Content Starves Creativity, visit www.chrisruen.com

Think File Sharing is Sticking it to The Man? Really?

puppetshareBack in the Napster days, I had an assistant named Greg, who remains one of the sweetest guys I’ve ever been lucky enough to call a friend. I remember giving him a hard time one afternoon when I realized he was using the file sharing app to download music.  With a slightly self-aware grin he said to me, “Yeah, but you gotta stick it to The Man,” to which I replied, “Greg, if I can teach you anything, it’s that Mick Jagger is not The Man.”

Of course, many of us know the history of events that unfolded since that time, and I would certainly be among those who say that mistakes made by the recording industry were profoundly unhelpful in the process of migrating entertainment into the digital age.  But that doesn’t entirely explain or excuse the dysfunction which still blinds “file sharers” to the fact that the people being harmed by piracy are indeed the artists and the skilled workers who support those artists.

I spent nearly 20 years providing freelance, creative services in the often bizarre and obfuscating lingo of corporate communications, which is to say I’ve listened to a lot of bullshit.  And when it comes to the various ways people talk about digital copyright infringement, the amount of bullshit is of Augean proportions.  First clue:  when corporate agents describe something that’s really very simple in terms that make it sound visionary, you’re wading knee-deep into it. Thankfully, independent musician David Lowery has brought a bulldozer to the party called The Trichordist.

Lowery of the bands Camper Van Beethoven and Cracker, co-founded this artists’ rights blog, which has a solid track record for getting to the point.  For instance, this week, the site posted a list of 50 major advertisers who have ads appearing on websites whose sole enterprise is unlicensed access to entertainment media (i.e. “dedicated to infringement”).  Aside from the fact that it’s just plain surreal to see Tom Waits “sponsored” by an ad for WeightWatchers, it takes about half a caffeinated brain cell to recognize that the entire business model is what we normally call wrong.  I know this is a word that makes many digital age millennials uncomfortable, but that’s just too bad because this is big boy school, and Professor Lowery is saying something very serious, but also very easy to understand. This is about large, American corporations supporting and legitimizing the exploitation of American workers.

I’ll say it again without equivocation. These sites are in the business of exploiting workers. Period. Don’t let’s get distracted by the fact that copies of files don’t cost anything to produce or distribute or that you think WMG is evil or you don’t like the RIAA.  That’s all that bullshit again, and it has nothing to do with the way in which these sites generate revenue. All that “free” media represent hours or years or even decades of labor, either by one person or by hundreds of people. This labor is very often done for compensation that is paid incrementally after the work is complete — sometimes years after in the case of, say, a screenwriter whose residuals over a decade might represent a portion of her income.

Fortunately, The Trichordist has bulldozed past the moral ambiguity of the user, the self-serving and vague politics of the Web industry, and the functional roadblocks of the technologists right to the money that goes into the pockets of the exploiters. It’s AT&T, it’s Ford, it’s American Express, it’s CitiBank, and so on. This is a B2B problem. Money from American businesses is supporting offshore, illegal operations that exploit American workers in other businesses.  It really doesn’t get more basic than that.

I know my friend at The Cynical Musician would agree that exploiting labor without permission or compensation is what we call slavery, so if we buy fair-trade goods or think twice about who assembles our iPods, we shouldn’t pat ourselves on the backs if we’re also regular users of these sites. The techno-utopians will say, “There are always winners and losers through transformation.” That’s fine, I guess, but then let’s stop all the prattle about new models, shall we? There’s nothing new about theft or exploitation; they are as old as human history and they reek, whether the tools of the exploiters are guns, whips, or keyboards. Moreover, the end-game in this trend is a dilution of the value of the individual voice of the creator, who will (and we’ve already seen this happen) become more dependent on corporate patronage to make a living.  That means art whose primary purpose is to support a brand, which is a functional, if not a legal, limit on free speech.

I would challenge the defender of “file sharing” to read the list on The Trichordist site and convince himself that by downloading unlicensed media he’s “sticking it to The Man.” The truth is the ardent file sharer is a corporate puppet that has no idea which companies are pulling its strings.

What I’d tell my own kids about piracy. Why scarcity is a good thing.

Photo by Gaia Moments
Photo by Gaia Moments

The ongoing debate over copyright in the digital age is clouded by so many layers of new-age malarkey and overblown, political banner-waving that it’s easy to lose sight of the behavioral realities behind all the self-serving theories of bloggers, legal scholars, corporate interests, and futurists. Take a very common activity like watching movies online via torrents or other sites that enable free viewing (aka piracy).  My kids’ generation, growing up around this behavior as a norm, will hear words to describe this kind of movie viewing as contrarily theft or sharing.  What are they to make of it?  Certainly, I’ve taught them to share and not to steal.  For the sake of their cultural and psychological growth, however, I’d suggest for the purposes of discussion, that this kind of media overconsumption is, if nothing else, dumb.

For context, we need to admit that the majority of unlicensed, online movie viewing is done by young, middle-class, generally privileged Americans, who are watching mainstream, Hollywood-produced fare. Search for top movies viewed through torrent sites, for example, and you’ll find that the lists will comprise tentpole films produced by the big studios who represent the part of the industry most vilified for efforts to mitigate piracy. If that hypocrisy is not enough to raise your brows, though, the very nature of these films is then used as a justification for the pirate-enabled viewing in itself. We typically hear some combination of the following:  “So much of the mainstream stuff is junk that it doesn’t deserve to be paid for.  These films already make millions. I would never pay to see it anyway, so it’s not like they’re losing a sale.”  If my own kids presented me with these rationales, we’d have a serious talk because this is corrupt thinking no matter what the law, the technologists, or the economic theories say.

Consolidate these oft-repeated positions into the declarative, first person, and the stupid shines through a little clearer:  “I’m going to spend hours of my life watching movies I probably won’t like, but because I expect not to like them, I’m not going to pay for them.”  And as a kicker, “I am going to help put money in the pockets of the people who stole the movies in the first place.”  Bloggers like Mike Masnick will try to argue the new and bizarre economics of free media; and scholars like Mr. Lessig will argue that there is something intellectually or culturally constraining about “permission culture.” Then, these purely academic theories trickle down to the ears of my kids and their contemporaries, who translate it all into the aforementioned rationale. But as a parent living in the real world, what I’ve just heard my kids say is that they’re shoplifting cartons of potato chips at the corner store, which doesn’t matter because chips aren’t real food anyway.  Hence, my kids now have both a moral and a health problem.

With regard to movies (or any creative media) the first thing I’d tell my own children is that their lives are not at all enriched by watching scores of films they probably won’t like. To the contrary, when they make time for media consumption, they should develop a critical sense for what kind films might be worth the investment of their time and attention. What matters is not the fifty films they’ll forget within hours of viewing, but the five this year that will change their lives in some way. It doesn’t matter that the sale for the producers of the tentpole is zero whether my kid watches it through a torrent or doesn’t see it at all; what matters is making the decision that if it isn’t worth paying for, it probably isn’t worth the equally valuable resources of time and attention. In short, it’s not only okay to let some things go, you don’t really have a choice.

It is a valuable component of cultural experience for the individual to pay attention to what kind of art or media affects him and to seek out that which fulfills these emotional connections.  Nobody can watch, read, listen to, or experience everything; so there is not only nothing wrong with scarcity, it is an absolute necessity for an individual’s cultural development. Those who promote the idea of abundance as some sort of digital-age renaissance are not really contributing to a more enlightened, more cultured generation so much as they’re breeding a new crop of agitated media junkies. Remove for a moment the questions of legality or creators’ rights, and we’re still living in an era of media obesity and don’t yet know what this means for the future of culture in general.

Many of the filmmakers whose works have touched my life and the lives of my contemporaries were dead before the Internet was even built.  We somehow managed to experience their films without this technology and without in any way contributing to IP theft. Through pre-Internet experiences, I have seen motion pictures that I doubt my own children will ever know existed; and still, in over thirty years of loving this medium, I know that there are dozens, if not hundreds, of films that I will not see in my lifetime. This is true for my children as well, despite the overblown promise of technology to put “the world at their fingertips.” So, what I’ll tell my kids is simply this:  “You can’t consume it all, you shouldn’t try, and whatever is worth your time is also worth your money.”