Oral Answers to Questions

John Nicolson Excerpts

Thursday 18th March 2021 Commons Chamber

[Caroline Dinenage]

Where appropriate, of course we can publish documents, but sometimes we have to have conversations behind closed doors, so that people can get off their chest how they are feeling and we can do our best to tackle it. We understand that there are a number of obstacles for our sectors at the moment, and the culture recovery fund has been fantastic at supporting them to keep going through this really difficult time. The hon. Lady will be delighted to know that her Richmond Park constituency has benefited to the tune of over £1 million from the culture recovery fund, which has supported so many incredible organisations, such as the Orange Tree theatre.

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

As if the Government’s refusal to underwrite live music insurance was not bad enough for the industry, the UK Government rejected a deal with the EU that would have allowed artists and their crews to tour without visas, as they did pre Brexit. At her recent Select Committee appearance, the Minister said that as far as she knew, no negotiations with individual states were taking place to resolve these arrangements, but she promised to strain “every sinew” to resolve this Brexit disaster. That was over a month ago. Have the Government finally engaged in bilateral talks over visa agreements for artists? If so, with which countries? What progress has been made? Artists are waiting to hear.

[Caroline Dinenage]

The hon. Gentleman knows that not all of what he said is 100% true. The Treasury has always said that it would look at indemnity if it was the only obstacle to events being able to take place, and in the current public health situation there is huge uncertainty, which is clearly another major obstacle. He also knows that we did not turn down an excellent visa option from the EU. He knows that the visa option that was on the table would not have permitted touring; it was just for ad hoc events and would not have supported all the support crews that necessarily go with a tour. With regard to international discussions, I met my colleagues in the Foreign, Commonwealth and Development Office only yesterday.

Department for Digital, Culture, Media and Sport

John Nicolson Excerpts

Wednesday 10th March 2021 Commons Chamber

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

I thank the hon. Member for Solihull (Julian Knight) for securing the debate and Members across the House for their contributions so far. How we have all missed culture and sport, which are the very heartbeat of our national life and which have been put on ice by this grim pandemic. I know that other Members ache, like me, to hear the roar of a crowd at a gig, to sit lost in music at a concert, to explore again their favourite museums and galleries and, of course, to celebrate Scotland’s victory on 18 June over England in the Euros group stage.

Cheering alone will not heal the deep wounds inflicted on the sector by both covid and Brexit. The damage that has been done is deep. Research by Oxford Economics estimates that covid has led to a £74 billion revenue drop in this sector alone, and the Creative Industries Federation has warned that one fifth of the creative sector—that is more than 400,000 people—either have lost or are in immediate danger of losing their jobs. Few enter the arts because they want to be rich. They do it for love, but even for those who had solid careers before the pandemic, there have been sleepless nights wondering how the next bill will be paid.

The Department’s brief is broad, but as a member of the Digital, Culture, Media and Sport Committee, I have heard the evidence in recent months, and some key themes have emerged. Festivals—one of the UK’s most thriving sectors—are in crisis. Until the pandemic, festivals brought over £1 billion into our economy. They not only showcase domestic talent and make these islands a cultural beacon in the summer, but they employ half a million people. Scotland, as my hon. Friend the Member for Edinburgh East (Tommy Sheppard) so eloquently highlighted, plays host to the largest arts festival in the world: the Edinburgh festival.

However, when the industry begged the UK Government to underwrite the insurance needed to plan gigs, concerts and festivals, it was denied. That was a key factor in the cancellation of Glastonbury festival, among others. Some festivals are going ahead this summer, but many festivals that could have gone ahead are not doing so. They could not take the risk without insurance, and they could not get insurance because of the pandemic. They needed Government intervention, but the UK Government turned their back.

Artists and musicians do not ask for much from Government, but they do expect that the Government will not work actively against them. Many will now be forced to change career, causing irreparable damage to the sector. That applies in particular to freelancers, who have slipped through the net, unable to fit the criteria for support. Equity, the actors’ union, has found that 40% of its members have received no help of any kind from the self-employment income support scheme.

The cultural sector has suffered the harshest economic blow from this pandemic, second only to those working in the hospitality and tourism sectors. Luckily for those living in Scotland, the Scottish Government at Holyrood have been able to pledge £30 million to mitigate the financial challenges for those who are unable to access the UK Government’s self-employment income support scheme, and in the current financial year they have committed to spending £177 million on investing in a diverse culture sector in Scotland—small comfort for those living in England, I know.

For many in the industry, there lies another long-term threat. I know that my friends on the Labour Benches are hesitant when it comes to talking about Brexit these days, and I understand why—after all, they voted for the disastrous Tory Brexit deal. However, Brexit’s impact on the sector will be not a one-off blow like the pandemic; rather, it will be a slow rot of our cultural institutions. It will come in the form of reduced funding for the arts; fewer opportunities to live, travel, work and learn in Europe; and a seeping insular mentality that is the very antithesis of cultural co-operation.

“Taking back control” was the Brexiteers’ cynical catchphrase; well, we have seen how much control the UK Government offer to artists. Last spring they could tour throughout Europe visa-free, but then the UK Government’s crack negotiating team got to work, and now orchestras, groups and soloists will have to pay €600 per member per night to play in Spain, and €500 in Italy—the price of a visa. Many have written to me to tell me that they have never earned that amount for a one-night gig, so they cannot afford to fork out a fortune for a visa.

When she appeared before the Digital, Culture, Media and Sport Committee recently, the Minister for Digital and Culture, the hon. Member for Gosport (Caroline Dinenage) seemed blithely unaware of any of the detail—the Marie Antoinette of Brexit—although she was able to tell us that no negotiations are going on with any of the EU countries to rescue artists from this mess. She did, however, promise that she was “straining every sinew”—doing what was not entirely clear. The DCMS seems to be the most toothless Department in Government, utterly incapable of scoring any victories against No. 10 philistinism on the European front. It is high time that those strained sinews delivered. We need urgent bilateral talks with European Governments to allow touring to resume there and artists to tour here as well. Those artists are the lifeblood of festivals.

Scotland voted to remain in Europe by a huge margin, and with independence we will rejoin, but until then we want to remain in cross-border cultural initiatives such as Creative Europe and Erasmus. Northern Ireland, protected by the Republic of Ireland, will remain in Erasmus; Scotland, undermined by Westminster, will not. Look at what we will lose. Creative Europe has been a critical funding stream for arts and culture organisations across these islands. Its media and culture programmes provided more than €100 million of direct funding to the UK over the past seven years. Erasmus has been a truly remarkable gift—what student would not want to be able to travel freely and study in 27 other countries? Now, our young people cannot access the scheme to travel throughout the EU and EU students cannot travel here—yet more Brexit insularity. Of course, mid oven-ready turkey roast, the Prime Minister promised us that there would be “no threat” to the UK’s participation in the Erasmus scheme. He guaranteed that we would remain in it. If only he had put it on the side of a bus, we would all be safe, all would have been well and the promise would have been honoured.

When she appeared before the DCMS Committee, I asked the Minister for Digital and Culture whether she would do her utmost to support Scotland’s continued participation in Erasmus and deliver for Scotland what the Dáil in Ireland has delivered for Northern Ireland. Her answer? She said, “I really cannot comment”. If we are to be dragged out of these cross-border cultural initiatives against our will, the very least that the UK Government can do is to provide adequate alternatives. Intercultural relations and student exchanges are about much more than money, and the role of the arts and culture in securing and maintaining the long peace in Europe is significant and irrefutable.

We are here today to talk about money, yet we have heard nothing from DCMS of what will replace Creative Europe’s culture programme. The Department’s screen fund is worth only half its European predecessor. It is clear that the screen industry is being short-changed by Brexit. What about the UK’s promised replacement for Erasmus, the Turing scheme? As the Member who introduced the Turing Bill—the Sexual Offences (Pardons Etc.) Bill—with promised Government backing, only to see Tory Ministers filibuster it, I am surprised that the Prime Minister has the gall to use Alan Turing’s name, but then I could say, “I am surprised that the Prime Minister has the gall” and apply it to countless situations. Let us just say that the Turing scheme would be better called the “mirage” scheme: it is scarcely visible on the horizon and I am not convinced that we will ever get there.

We all know that the work of this Department extends beyond culture and sport, with digital being an important factor in our increasingly online world. We know that the gigabit roll-out is not the only building work the Prime Minister is undertaking, but, sadly, Tory donors will not be paying for this one. The pandemic has shown how essential good broadband is for so many people across the country. The 2019 Tory manifesto managed to shave eight years from the previous gigabit commitment of the right hon. Member for Maidenhead (Mrs May), promising the electorate the utterly undeliverable. They later reduced the target from 100% full fibre to 85% with gigabit capable broadband, adding digital infrastructure to the long list of over-promising and under-delivering by the Government.

This has been a uniquely challenging year for all sectors within the Department. The actions needed for recovery are clear, and I would urge the Minister to heed them.

Covid-19: Cultural and Entertainment Sectors

John Nicolson Excerpts

Tuesday 2nd March 2021 Commons Chamber

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

I also welcome the hon. Member for Cardiff Central (Jo Stevens) back to her place. It is very good to see her.

One year ago, the pandemic changed our world. Lockdown came and, as we found ourselves forced inside and away from our friends and families, many found comfort in the arts and culture. In the past year, every hon. and right hon. Member of this House will have, I am sure, searched for escape in a book, lifted their spirits with music, or distracted themselves with film. A world without literature, music or cinema would be intolerable and a lockdown without the arts would have been even grimmer than it has been.

As we continue to weather the crisis, culture still plays a significant role in getting us through the day. The artist has in many ways been an essential worker and one too often overlooked by the UK Government. One of the groups struggling with the impact of covid-19 is the freelance sector. A survey of Equity members found that 40% have not received help from the self-employed income support scheme. Various loopholes have left many out in the cold, unable, due to technicalities, to qualify for UK Government schemes.

That injustice has meant that many creative professionals have had to apply for universal credit, with many more considering leaving the culture sector altogether. In pre-covid times, the cultural and entertainment sector not only brought huge benefits to the economy, but gave the countries of the UK international acclaim. It is vital that we ensure that every one of those workers comes back into the industry, so that whenever the pandemic is over the sector thrives again. In the Budget tomorrow, the Chancellor must protect these essential workers and ensure that they no longer fall through the cracks. He must go further by guaranteeing them the backdated support they deserve.

Let us look at musicians as one key group. They are facing long-term worries about the viability of their industry. They are fighting on three fronts. In the last five years, the market for recorded music has shifted towards streaming. Opaque deals cut by the big record labels and the streaming model mean that most no longer have a viable stream of income from recording. The result is that they are almost completely reliant on live performance. Live performances in the Brexit age, a world of limitless opportunity—well, hardly, because the UK Government rejected the EU’s proposed artists’ deal. Musicians have now been landed with the very hardest of Brexits.

The Minister, appearing before the Select Committee, recently looked surprised to discover that a single one-night visa for a UK performer in Spain now costs €600. It is €500 in Italy. When covid lockdown ends, none but the wealthiest musicians will be able to perform across much of Europe. That means the end of orchestral tours. The Minister confirmed to us that no talks are ongoing to resolve this looming Brexit reality. Once again, jobs are being wilfully sacrificed for anti-free movement zealotry. The chaos visited on musicians impacts not just them but their support crews, technicians and haulage companies, all of whom will lose out on work to cheaper European alternatives. Put yourself in the shoes of one of these musicians, with no money coming in from record sales or European tours, the only saving grace being the upcoming domestic festival season—a season once again cancelled. The UK Government had the opportunity to underwrite insurance for festivals but decided not to. Glastonbury was one of the first to cancel. Musicians and their support staff did not get into this business for money but for a love of their craft. They have never asked for much from their Government, but they surely have the right to expect that their Government do not actively work against them.

Musicians, rightly, have received much publicity, but another sector that has been forgotten by the Government is advertising-funded media and entertainment. Local commercial radio stations have provided trustworthy news and a friendly voice for those living alone, but they have seen their revenues plummet. The drop in advertising revenue has also been a major problem for local papers. Some have had to shut their doors after decades of dedicated service to their community. That is why we on the SNP Benches backed a tax credit for the advertising-funded media sector, and I call again on the UK Government and the Chancellor, in particular, to listen and act.

In the time available, I cannot name-check every cultural and entertainment sector damaged by this pandemic and threatened by Brexit, crying out for help, but all are asking that this House hears one overriding message that is vital for their long-term recovery. Just because an industry limps on, it does not mean that the wounds dealt by the pandemic have healed. The Government must offer and maintain their support in the years to come.

The arts and culture communities the length and breadth of these islands eagerly await the Chancellor’s Budget tomorrow. Artists deserve more from the UK Government and I hope that he has been listening and will deliver, but I am not holding my breath. Westminster seems very distant, remote and unresponsive to the sector’s concerns.

The Canongate wall of the Scottish Parliament is covered with quotations from writers from across Scotland and from the length of its history. I will close with one of those quotes by Sir Walter Scott:

“When we had a king, and a chancellor, and parliament-men o’ our ain, we could aye peeble them wi’ stanes when they werena gude bairns—But naebody’s nails can reach the length o’ Lunnon.”

Let us hope I am wrong.

[Madam Deputy Speaker (Dame Eleanor Laing)]

Although this is clearly on the Annunciator and the screens that people have in front of them, I reiterate that there will be a limit of three minutes on Back-Bench speeches.

Telecommunications Infrastructure (Leasehold Property) Bill

John Nicolson Excerpts

Consideration of Lords amendments & Ping Pong & Ping Pong: House of Commons
Wednesday 24th February 2021 Commons Chamber

[Christian Wakeford (Bury South) (Con)]

The last time I spoke on this Bill, I was waxing lyrical about Radcliffe, Whitefield, Prestwich, Ainsworth and Simister in my constituency, because it was my maiden speech. Unfortunately the Minister was rather confused as to whether I was supporting the Bill because of the number of times I had to namecheck which Bill I was speaking on.

I will be extremely brief because there seems to be a level of consensus and the Bill is extremely narrow in what it seeks to address. While I fully understand the premise behind it, Lords amendment 1 is not necessarily needed, so I would not be in a position to support it. As for Lords amendment 3, the Bill is so narrow that it does not need it. As regards the technology being put in by suppliers, that is not often done anyway. As far as I am aware, the Kingston area of Hull, where there is a monopoly in the market because of the local exchange, is the only area where there is that level of in-built monopoly. However, with the expansion of boundless and satellite broadband, this is progressing. Gigabit connectivity, which my hon. Friend the Minister mentioned, was important when we were discussing this just over a year ago, and it is even more important now in terms of our access to being able to work from home and learn from home—in fact, being able to do almost anything from home. The past year has shown the importance of that.

Agreeing to any of these amendments would prolong the Bill’s journey through both Houses, and we cannot afford for that to be the case for such a narrow Bill. I will support amendment 2 but hopefully we will not divide on amendments 1 and 3.

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

I, too, will be brief, because my hon. Friend the Member for Inverclyde (Ronnie Cowan), who led for my party, made several astute points on the Bill.

The pandemic has shone a light on how essential good broadband is for so many people’s lives. Businesses are often the focus, but we should not forget the role that a steady wi-fi connection can play for residential communities in preventing loneliness through, for example, the ability to attend online classes, watch online events, or video chat with loved ones. In my own constituency of Ochil and South Perthshire, the number of people unable to access decent broadband is nearly three times as high as the UK average, and constituents frequently write to me saying that they cannot make a living during the pandemic because of the poor connection. For example, one constituent now forced to teach the violin over Zoom often cannot do so because his connection is too poor. Living in rural areas should no longer be an excuse for inadequate connection.

This Bill is essential. It will lead not only to gigabit-capable broadband roll-out but to Scotland’s R100 programme. I note that the UK Government have retreated from their full-fibre manifesto commitment. Industry and consumers will be disappointed, but at least they now have clarity. I look forward to seeing the Bill progress.

[Shaun Bailey (West Bromwich West) (Con) [V]]

In line with the sentiment across the House today, I will attempt to keep my comments as brief as possible, and I will confine them to Lords amendments 2 and 3. However, with your indulgence, Madam Deputy Speaker, I would like to make a brief comment about the broader point of the Bill.

As my hon. Friend the Minister pointed out, and as many other hon. and right hon. Members have pointed out in this debate, access to fast broadband and a stable internet connection is vital. I want to talk about my community, because we have seen during this pandemic the need for a stable internet connection. I know from the correspondence I have received from teachers and parents who have not had that, where children have had to access the internet via a parent’s mobile phone to do their work, that the Bill is necessary.

I want to pay tribute in particular at this time to my schools, which have met the challenge of the digital divide—particularly the amazing team at Summerhill Primary Academy in Tipton, who have gone above and beyond to ensure that our most vulnerable students can still access education. That absolutely demonstrates why the Bill is necessary.

Lords amendment 2 is simple: it is about ensuring that someone’s access to the market should not depend on where they live. A competitive and open marketplace and the ability to access various providers is essential to ensuring access to a decent internet connection. It is right that where someone lives or where they are residing should not influence their access to a competitive internet supply. In my region of the Black Country alone, there are roughly 174 properties that will be impacted by the Bill, and more than 3,000 people more widely. Lords amendment 2 is welcome and I most certainly support it; I think it is the right one.

However, as my hon. Friend the Minister pointed out, the substantive amendment here is Lords amendment 3, which provides some food for thought. The sentiment behind the amendment, which requires the Secretary of State to provide a review of the Bill’s impact on the telecommunications code, in terms of whether the code is sufficient to support access to 1 gigabit per second broadband, is interesting.

The Government have been clear that the Bill is not a panacea; it addresses a very specific issue. The wider gigabit connectivity agenda needs its own legislative framework and its own level of scrutiny. My hon. Friend the Minister pointed out that the House has many mechanisms by which we are able to scrutinise the roll-out of that agenda, so I question whether Lords amendment 3 is necessary, given the various mechanisms that we have to hold the Government’s feet to the fire.

However, I am interested in some of the principles in the amendment, in particular the idea of rights of access for operators, akin to what we see for water, gas and electricity. The amendment recognises—I think this is a point that we all agree on across the House—that broadband connectivity and an internet connection will be just as vital as we come into this new economy as water, gas and electricity. It triggers an interesting debate and, I believe, a conversation that we are going to have for years to come as this develops.

I am conscious of time and my promise to keep my contribution brief; I would never wish to mislead you, Madam Deputy Speaker. At its heart, the Bill is about communities. Communities such as mine, which wish to aspire and achieve, need access to a basic, stable internet connection. Considering that 90% of job applications are based online and that the internet economy in the UK is worth around £180 billion, for me this issue is simple. It is vital for my communities in Wednesbury, Oldbury and Tipton that they have access to the opportunities that they have missed out on for far too long, and I believe that the Bill, and particularly the Government amendment, Lords amendment 2, allows that.

Oral Answers to Questions

John Nicolson Excerpts

Thursday 4th February 2021 Commons Chamber

[Oliver Dowden]

I share the hon. Lady’s passion for the creative industries. That is why we have put the support in, including in her own constituency. For example, the World Heart Beat Music Academy has received over £100,000, and the Exodus track and the Deptford Northern Soul Club have received over £50,000. On what we are doing to promote touring, there are basically three threads to it: first, we are working with the industry to help it overcome barriers. Secondly, we are working across Government to overcome barriers; and, thirdly, we continue to engage both with the Commission and member states to see what further support we can provide.

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

I deeply regret that Ministers have rejected the EU’s offer. Like petulant weans, Ministers have walked away from negotiations on musicians’ and artists’ visas. The Government did not get what they wanted, and have given up. Stating that the UK’s door remains open is simply not good enough for the people who desperately need visa-free travel in the EU. Without it, there will be disastrous consequences. British haulage firms go on tours, but they will go bust. British crews will lose out to cheaper competitors from the EU, and all but the most successful bands will struggle to tour in Europe. The result will be bad for the economy and bad for culture. Surely the Secretary of State must now realise, as so many Tory MPs do, that renegotiations are the only option. Going off in a huff is not the answer; this is all far too important.

[Oliver Dowden]

To be clear to the hon. Gentleman, the reason why we rejected the offer from the European Union, which he seems so keen to accept, was that it was not binding, it did not cover touring, it did not cover technical support staff and, crucially, it did not cover work permits. Of course, we continue to engage with it, but I must say to him that the most devastating consequences for musicians in Scotland would be to rip our precious shared cultural heritage apart by pulling Scotland out of our Union—I would note that £450 million a year is generated in Scotland through domestic music tourism; 90% of the revenue is through domestic markets—and that would be terrible for Scottish musicians.

UK Musicians: EU Visa Arrangements

John Nicolson Excerpts

Tuesday 19th January 2021 Commons Chamber

[Caroline Dinenage]

My right hon. Friend is absolutely right; the Government recognise the vital importance of the UK’s thriving cultural and creative industries. That is why we pushed for ambitious arrangements for performers and artists to be able to work right across Europe after the end of freedom of movement. The EU did not accept our proposals, so now we need to ensure that we are working to facilitate those arrangements as best we can. That means giving musicians and others access to information and guidance about the criteria for each EU member state and then working with those individual member states to ensure that the process is as seamless, fast, effective and simple as it can be.

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

Covid has been gruelling for the industry. The last thing it needs is the new Brexit visa barriers that we now know the UK Government—not the EU, but the UK Government—insisted upon. There is no money to be made from streaming. Artists make their income by touring. New barriers, visas and endless red tape mean that EU performers will not come to our festivals and our performers will face prohibitive new costs. It is wantonly cruel.

The Minister mentioned the Musicians’ Union, so let me quote its head. He said:

“the government fails to understand the issues facing touring musicians”.

He is an expert, and I know that the UK Government do not like experts, but this is more Brexit zealotry causing misery. Will the Secretary of State listen, intervene and publish that correspondence, as my hon. Friend the Member for Perth and North Perthshire (Pete Wishart) requested? Put it in the Library—let us read it.

[Caroline Dinenage]

There is a close historical relationship between the UK and the EU. That must endure, and it will endure. Artists and musicians from the EU are welcome. They are encouraged to visit and perform in the UK and vice versa, and the Government will do everything they can to make that as seamless as possible.

Online Harms Consultation

John Nicolson Excerpts

Tuesday 15th December 2020 Commons Chamber

[Oliver Dowden]

My hon. Friend the Chairman of the Digital, Culture, Media and Sport Committee asks about the involvement of the Committee; we will of course seek to involve the Committee extensively in the prelegislative scrutiny. He has already made an important suggestion about dynamic monitoring, which we will of course consider as we firm up the legislation.

My hon. Friend talks about a video sharing; the exemption for news publishers to protect freedom of speech will apply to all their output and will include that.

My hon. Friend asks about disinformation; if disinformation—for example, anti-vax content—causes harm to individuals, it will be covered by the legislation, and I very much expect to set that out as one of the priority areas that would have to be addressed in secondary legislation.

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

I thank the Secretary of State for the advance copy of his speech, much of which we SNP Members agree with.

At a time when anti-vax disinformation floods social media, when hate is spouted at minority groups under the cowardly veil of anonymity, often without consequence for the perpetrators, and when more children than ever before are using the internet and need to be shielded from harmful content, the proposed online harms Bill is welcome.

We welcome, too, the requirement that companies must accept a duty of care, and the fact that Ofcom will be the independent regulator—but it must be a regulator with teeth. As Dame Melanie Dawes, Ofcom’s boss, told the Digital, Culture, Media and Sport Committee a short while ago, Ofcom needs much-enhanced powers to be effective; what additional powers will she have?

To enjoy maximum support in the House, the Bill must, while balancing the right to free expression, tackle illegal content as well as content that is potentially harmful but not illegal. In particular, companies must protect all children from harm, and the Government are right to recognise that.

The covid epidemic and lockdown have seen a surge in homophobia and transphobia online. The TIE—Time for Inclusive Education—campaign reports a 72% rise in attacks on and cyber-bullying of lesbian, gay, bisexual and transgender young people, with organisations such as the so-called LGB Alliance leading the onslaught. In that context, surely there is a case for looking again at social media anonymity. Noms de plume are fine, but we believe that users’ identities should be known to the social media publishers—they should not be completely anonymous in all circumstances. Does the Secretary of State agree with that?

Social media disinformation has been especially pernicious during the covid pandemic. Experts tell us that the disinformation during this crisis is unparalleled in the internet era, and the consequences of online harm can be catastrophic, undermining public trust, faith in health officials and acceptance of the value of the vaccine now being rolled out.

In principle, we welcome much in the proposals. Of course, the proof of the pudding will be in the eating—exactly how tough the Government are prepared to be in reality, how hard they will be on the social media companies, and whether they will enforce some of the proposals—but we welcome it.

[Oliver Dowden]

I am grateful for the hon. Gentleman’s welcome for the legislation. He raised some important points. On anonymity, we have not taken powers to remove anonymity because it is very important for some people—for example, victims fleeing domestic violence and children who have questions about their sexuality that they do not want their families to know they are exploring. There are many reasons to protect that anonymity.

The hon. Gentleman talks about Ofcom; over the years, we have seen Ofcom rise to the challenge of increased responsibilities and I am confident that it will continue to do so. We will of course look to Ofcom to bring in independent expertise to help it in that process. It will clearly require a step change from Ofcom, but Dame Melanie Dawes and others are very much alert to that.

The hon. Gentleman talks about misinformation and disinformation. There are three things that we have to do to address those. First, we have to rely on trusted sources. We are so fortunate in this country to have well-established newspapers and broadcasters that are committed to public service information. We have seen that through the covid crisis, which is why we have supported them through this period. Secondly, we have to rebut false information. Through the Cabinet Office, we are working 24/7 to do that. Finally, we have to work with the tech companies themselves. For example, the Health Secretary and I have recently secured commitments to remove misinformation and disinformation within 48 hours and, crucially, not to profit from it. To the hon. Gentleman’s central concern, I think these measures really do mark a step change in our approach to tech firms. The old certainties are changing, and we are taking decisive action.

Oral Answers to Questions

John Nicolson Excerpts

Thursday 10th December 2020 Commons Chamber

[Mr Whittingdale]

The hon. Gentleman is right to say that the GDPR has ensured that we have high standards and, as I say, we are absolutely committed to maintaining them. We have no intention of diverging substantially from GDPR, but obviously we will be looking to see whether there are ways in which we can improve our regime while maintaining those high standards.

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

The independent Information Commissioner recently revealed that the Conservative party had racially and religiously profiled 10 million voters at the last election. I was shocked to learn that it did this by buying data that

“identified a person’s…ethnic origin and religion based on their first and last name.”

Can the Minister explain to the House why his party does this?

[Mr Whittingdale]

As I recall, the Information Commissioner examined the practices of all political parties and made comments against all of them. However, it did not find that any breaches of the law had occurred.

Her Majesty the Queen’s Platinum Jubilee

John Nicolson Excerpts

Thursday 12th November 2020 Commons Chamber

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

Seventy years in the one job is a remarkable achievement, and we on these Benches congratulate the Queen on the occasion of her platinum jubilee. My mother, who died this summer, was the same age as the Queen. A left-wing, pro-European Scottish nationalist, she always had a bit of a soft spot for her contemporary. Mum was not a natural monarchist, but she shared a sense, as so many of that generation do, that they had gone through a dark time together; the war, she felt, had given them a bond.

The UK has changed beyond all recognition in the seven decades since the Queen came to the throne. In 1953, we were still living with the brutal consequences of a war that had seen slaughter on an unprecedented scale all across Europe and the far east. We were a new nuclear power; rationing was in place; and we were to have a new national health service treating people on the basis of need, not money. Families like my own no longer needed to live in fear of facing a choice between food and medicine. It was an age of deference: our colonies were demanding and getting independence; and there were stirrings of demands for Scottish independence, with the first SNP Member of Parliament elected in Motherwell. Westminster MPs were arguing about Europe, however, so perhaps some things have not changed that much. We recognise the years and dedication Elizabeth I, Queen of Scots, has put into a job she might not have chosen.

Politicians often have a peculiar idea of what the Queen is going to enjoy when they arrange parties for her—who can forget her look of elation when standing in the dome with Peter Mandelson one damp London Hogmanay? So I make a plea to the Secretary of State: try to arrange a shindig she would really enjoy—maybe a ceilidh; at 96, I think she deserves it.

[Oliver Dowden]

I thank the hon. Gentleman for his comments, and perhaps I should put on record my thanks to the Scottish Government, and indeed the Welsh and Northern Ireland Governments, for their support in bringing this together. He is absolutely right to highlight both the constants and the changes throughout Her Majesty’s reign. He is also absolutely right that we want to make this a party and a celebration to remember. One of the things that was always put up on the wall during the Olympic games was, “Just make sure it’s not like the millennium dome celebrations.” I shall not comment on it this time around, but we are ensured that we have the very finest brains and minds to make sure that it is a great occasion.

Oral Answers to Questions

John Nicolson Excerpts

Thursday 5th November 2020 Commons Chamber

[Caroline Dinenage]

As I have already articulated, there is £119 million-worth of Arts Council England funding for which freelancers can bid, and I am sure that the Welsh Government are doing something similar with their share of the cultural recovery fund. It is also all about protecting opportunities for freelancers. Even in the latest restrictions that come into force today, we have ensured that there are exemptions for professional music, recording studios, film and TV production and live stream and digital performances. It is all about enabling those opportunities for people to keep doing the jobs that they love and that they are so brilliant at.

[John Nicolson (Ochil and South Perthshire) (SNP) [V]]

The hard-hit creative industries face not only the challenge of covid, but the looming threat of Brexit. The live music industry contributes more than £1 billion annually to the economy. EU nationals, are, of course, a vital part of this picture, with 750,000 music tourists visiting the UK. Barriers to travel—inevitable after Brexit—could lead to many of them going elsewhere in Europe. Brexit is not only a problem for those attending festivals from the EU, but a threat to those who perform at or work for festivals. There is endless red tape in the form of ATA carnets and the necessity for individual work visas. The Government are yet to come up with a viable solution to any of these problems. Given that, does the Minister accept that disruption to the ability of essential EU industry professionals and European visitors coming to the UK will harm this sector and damage the economy at a time when its success could not be more important?

[Caroline Dinenage]

No, I do not accept that. My Department has been regularly engaging with a range of creative industries, including the live music and cultural sectors, to make sure that the support is put in place for businesses, freelancers, visitors and the creative and artistic economy as we move towards the transition period.