A ban will be ineffective

A new legal prohibition on any type of behaviour or conduct can only be set up by investing large amounts of political capital in order to transform vague proposals into a legislative document and then into a fully-fledged law. This expense can only be justified if the ban is effective – if it is seen as a legitimate use of a state’s power; is enforceable; and if it brings about some form of beneficial social change. The change being sought in this instance is a reduction in the violence, criminality and social disaffection that some people associate with hip hop music and its fans. Laws do not create changes in behaviour simply because they are laws. It is unlikely that the consumers of hip hop will refrain from listening to it. The ease with which music can be distributed and performed means that any ban on violent songs will, inevitably, be ineffective. File sharing networks and cross border online stores such as eBay and Silk Road already enable people to obtain media and controlled goods with little more than a credit card and a forwarding address. The total value of all of the music illegally pirated during 2007 is estimated to be $12.5 billion. The same network of file sharing systems and data repositories would be used to distribute banned music if proposition’s policies became law. Current urban music genres are already defined and supported by grassroots musicians who specialise in assembling tracks using minimal resources before sharing them among friends or broadcasting them on short-range pirate radio stations. Just as the internet contains a resilient, ready-made distribution network for music, urban communities contain large numbers of ambitious, talented amateur artists who will step into fill the void created by large record company’s withdrawal from controversial or prohibited genres. Although a formal ban on the distribution of music has yet to happen within a western liberal democracy, similar laws have been created to restrict access to violent videogames. Following widespread reports of the damaging effects that exposure to violent videogames might have on children, Australia banned outright the publication of a succession of violent and action-oriented titles. However, in several instances, implementation of this ban led only to increased piracy of prohibited games through file sharing networks and attempts by publishing companies to circumvent the ban using websites based in jurisdictions outside Australia. Similar behaviour is likely to result in other liberal democracies following any ban on music with violent lyrics. If banned, controversial music will move from the managed, regulated space occupied by record companies and distributors- where business entities and artists’ agents can engage in structured, transparent debate with classification bodies- to the partly hidden and unregulated space of the internet. As a consequence it will be much more difficult to detect genuinely dangerous material, and much harder for artists who do not trade in violent clichés to win fans and recognition. As discussed in principle 10, effective control and classification of controversial material can only be achieved if it is discussed with a high specificity and a nuanced understanding of the shared standards that it might offend. This would not be possible under a policy that effectively surrenders control of the content of music to the internet.