47. Bruce Fries and Marty Fries, Digital Audio Essentials: A Comprehensive Guide to Creating, Recording, Editing, and Sharing Music and Other Audio (Sebastopol, CA: O’Reilly Media, 2005), 72–3; “EAT’M Working with MP3.com,” CMJ New Music Report, June 29, 1999, 29; on typical recording artist royalties, see Christopher Knab and Bartley F. Day, Music Is Your Business: The Musician’s FourFront Strategy for Success (Seattle, WA: FourFront Media and Music, 2007), 108.
48. Glenn Peoples, “Spotify Is Finally Available in the US—Now What?” July 14, 2011, Billboard.biz, http://www.billboard.biz/bbbiz/industry/digital-and-mobile/spotify-isfinally-available-in-the-u-s-1005278192.story, accessed July 19, 2011; Casey Johnston, “Eager to Share, but Doesn’t Quite Know How: Hands on with Spotify,” Ars Technica, July 19, 2011, http://arstechnica.com/gadgets/reviews/2011/07/nothing-wrong-with-free-hands-on-with-spotify.ars, accessed July 19, 2011.
49. For a good overview of the service concept, see Stephen A. Herzenberg, John A. Alic, and Howard Wial, New Rules for a New Economy: Employment and Opportunity in a Postindustrial America (Ithaca, NY: Cornell University Press, 1998), 21–2; for the information economy, see Christopher May, The Information Society: A Sceptical View (Oxford, UK: Wiley-Blackwell, 2002), 3–18.
50. Benkler, Wealth of Networks, 55; Jeffrey Pepper Rodgers, Rock Troubadours (San Anselmo, CA: String Letter Publishing, 2000), 163–4.
51. Herbie Hancock, preface to John Alderman, Sonic Boom: Napster, MP3 and the New Pioneers of Music (Cambridge, MA: Perseus, 2001), xviii.
52. Ben Krakow, “Hail to the Thief: Music Blogs and the Propagation of New Music” (unpublished senior thesis, Vassar College, 2009).
53. Information Infrastrucure Task Force, Intellectual Property and the National Information Infrastructure: The Report of the Working Group on Intellectual Property Rights (Washington, DC: Information Infrastrucure Task Force, 1995), 10.
54. James Boyle, The Public Domain: Enclosing the Commons of the Mind (New Haven, CT: Yale University Press, 2008), 42.
55. Jack Temple Kirby, The Countercultural South (Athens: University of Georgia Press, 1995), 39–42.
56. Boyle, Public Domain, 35.
INDEX
2 Live Crew, 205
50 Cent, 170–1, 204
999 Uses of the Tape Recorder, 88
A&M Records v. MVC Distributing (1978), 141
A&M Records, 142
ABC (American Broadcasting Company), 48, 69, 127
Abeles, Julian, 122
acetate, 41, 55, 63–5, 69, 77, 96
Acuff-Rose, 205
Adderley, Cannonball, 78
Adorno, Theodor, 133
Aeolian, 28
AFM (American Federation of Musicians), 36, 127, 131, 139
Afrika Bambaataa, 164, 165–7
Aftermath Records, 170
AGAC (American Guild of Authors and Composers), 121
All Boro Records and Tapes, 141
Allegro label, 76, 77
Allison, Roy F., 72
“Alone Again, Naturally” (Gilbert O’Sullivan), 205
Amazing Kornyfone label, 102–3, 105, 153
Amazon, 159, 209
American Federation of Television and Radio Artists, 147
American Talking Machine Company, 13
Ampex Corporation, 69, 83
Anchor label, 50
Anderson, Chris, 209
Andrews, Dana, 72–3, 82
Anthology (The Beatles), 105
Apocalypse Now, 182
Apollo Company. See White-Smith v. Apollo (1908)
Apple Computer, 161, 191, 209
Apple Corps label, 100
appropriation art, 162, 172, 205–6
Armour Research Company, 68
Armstrong, Louis, 40, 55–7, 110, 176
Arons, Max, 127, 139
ASCAP (American Society of Composers, Authors, and Publishers), 44–5, 132, 187
Associated Press (AP). See International News Service v. Associated Press (1919)
Association of American Publishers, 191
AT&T, 67–8, 202
Atari, 180
Atlantic label, 140, 181
Auld, Sam, 83–4
Australia, 59, 60 (fig.), 179 (fig.), 182, 186
authenticity, 30–1, 40, 106–7, 196
Author’s League, 123
“Autograph, The” (J. Cole), 1
Axelrod, Robert, 160
Babytone recorder, 42
Back from Hell (Run-DMC), 164, 197
“Back to the Commonwealth” (The Beatles), 104
Baes, Jonas, 196
Ball, Jared, 171
Bamboo Industries—Records for Most Jazz Ears label, 78
Band, The, 97
Banks, Lloyd, 169
Barbecue Bob, 59
Barlow, John Perry, 160–1, 211
“basement tapes.” See Dylan, Bob; Great White Wonder
Bayreuth Festival, 76
BBC (British Broadcasting Corporation), 67–8, 105
Beach Boys, 153
Beatles, The, 81, 94, 99–100, 106, 127, 200
piracy of, 6, 113, 124, 142, 163 and race, 104–5
Bechet, Sidney, 41, 55, 59, 61
Bee Gees, 182
Begun, Semi J., 41–2, 67–8
Beiderbecke, Bix, 6, 38, 40, 57
Beineix, Jean-Jacques, 175–6
Bell Telephone Laboratories, 67, 81
Ben Folds Five, 8
Ben-Ami, Daniel, 212
Benkler, Yochai, 160
Berardi, Franco “Bifo,” 173–4
Berkeley Barb, 97
Berliner, Emile, 4, 13, 20, 30, 70
Berne Convention, 20, 118–9, 190
Bharatiya Janata Party (India), 194
Big Champagne, 208
“Billie Jean” (Michael Jackson), 206
Biltmore label, 50
“Birdland” (Patti Smith), 105
Biz Markie, 205
Black Album (Prince), 163
Blackmun, Harry, 138
Blaisdell, William, 119
Blattner, Ludwig, 66–7
Blattnerphone, 66–7
Blue Ace label, 50, 59
blues, 52, 87
and collectors, 40, 44
piracy of, 36, 59–60, 176
Board of Foreign Trade (Taiwan), 184
Bogus Talking Machine, or the Puzzled Dutchman, The (Griffin Hall), 12–3
Bohusch, Jan, 112–4, 117, 141–2
Bollettino, Dante, 56–7, 71, 76, 127
comparison to later pirates, 86, 94, 106, 176
impact on legislation, 118
Bollywood, 185
Bomp!, 152–3
Bon Jovi, 163
Bono, Mary, 203
Bonus Platta-Pak company, 57
Bonynge, Robert, 24
boogie-woogie, 53–4, 56
bootlegging, 1, 4–8, 35–8, 86–8, 142–3, 150–64, 182–91, 195–6, 212–4
aesthetic of, 98–100, 207–8
and counterculture, 7, 103–9, 161–3
as distinct from piracy, 5–6, 101, 153–4, 205
in classical music, 31, 36, 48–50, 65, 72–7, 93, 96, 106, 126, 156, 201, 171
in hip-hop, 151, 164, 166–74, 214
in jam music, 156–60, 162
in jazz, 41–4, 50–62, 71, 76, 78, 118
in rock and roll, 57, 87, 93–117, 139, 150–60, 163, 210
technology of, 41–2, 65, 71, 85–8, 93–7, 116, 142, 157, 166–8, 182–3
Bowker, R.R., 18, 26
Boyle, James, 61, 216
Bradley, Wynant Van Zandt Pearce, 4, 29–32, 36, 124, 126, 176
Brand, Stewart, 161
Brandeis, Louis, 33–4, 137, 204
Brennan, William, 138
Brief, Henry, 126, 129
British Phonographic Industry, 154, 202
Brown v. Board of Education, 138
Brown, James, 6, 104, 166, 172
Brown, Tom, 114–7
Brucie Bee, 151, 1
65, 167, 169
Brunswick label, 42
Brush Development Company, 68–9
Buchanan, Patrick, 194
Buck Wild, 167
Burger, Warren, 136–8, 176
Burroughs, William, 87–8
Bush, George W., 212
Business Software Alliance, 191
Busta Rhymes, 170
Buzzcocks, 154
Cabellé, Monserrat, 77
Cage, John, 43
Calvé, Emma, 25
Cameo label, 57
Campbell, Clive. See Kool Herc
Campbell, William, 26
Canby, Edward Tatnall, 71–3, 95
Capitol Records, 80, 84–5, 124–5, 201
Capitol Records v. Greatest Records (1964), 124
Capitol Records v. Mercury (1955), 79–80, 123, 126
Capitol Records v. Naxos (2005), 200–1
Captain Sky, 166
Caruso, Enrico, 14, 25–6
Cash, Johnny, 96, 98, 170
cassette tape. See compact cassette
Castells, Manuel, 185, 210
Celler, Emanuel, 131
Chanel, 192
Chaney, John C., 28
Chang, Jeff, 164, 167
Chatfield, Thomas, 30–2
Chic, 164, 166
China, 183, 186–7, 195–6
Chomsky, Noam, 212
Chrysler, 82
Chuck D, 171
Clark, Payson, 127–9
Classical music, 87, 93–4
and ethos of documentation, 106, 156
and high-fidelity, 72–4
and Naxos case, 201
and Victor company, 25, 30–1
comparison with jazz, 39
piracy of, 5, 7, 36, 50, 65, 75–7, 175–6
Clay, Cassius, 104
Clinton, Bill, 7, 194–5, 211
Cohan, George M., 174
Cohen, Leonard, 96, 170
Cold Crush Brothers, 164
Colon, Chris, 144
Columbia Records, 16, 66, 75, 84, 103–4, 109–10, 140, 170, 181
attitude toward reissues, 38, 43, 51–2
piracy of, 30, 48–9, 55–7, 99–101
Combs, Sean “Puffy,” 167, 206
Commodore Music Shop, 42. See also Gabler, Milt
Communism, 76, 93–4, 182–3
compact cassette, 4, 7, 65, 71, 84–8, 94–5, 151–2, 162–4, 181–3, 188–9, 200, 202. See also mixtape
compact disc (CD), 5, 101, 162–3, 169, 173–4, 180, 196–7, 207
Compco Corp. v. Day-Brite Lighting (1964), 80–1, 123–4, 137–8
compulsory license, 27–8, 33, 111, 119, 130, 133–4, 139, 145, 148
Conklin, Terry, 116
conservatism, 104, 107, 137–8, 194, 211–2
Constitution (US), 97
and state copyright laws, 136–7
Ninth Amendment of, 81
on limitations of copyright, 7, 26, 120
on support of copyright, 3, 19
Copyright
and international law, 3, 20, 118, 175, 186–7, 192–5
and monopoly, 12, 27–8, 33, 124, 133, 136, 138, 146, 148
common law, 45, 48–9, 80, 125, 146, 201
Copyright Act of 1909 (US), 12, 21, 26–9, 32–3, 54, 80, 111, 119, 133, 145, 149
Copyright Act of 1956 (UK), 187
Copyright Act of 1976 (US), 142, 144–9, 152, 201, 212
dual system of, 146, 201
length of term, 3, 18, 26, 124, 128, 145, 149, 203
origin, 2–3
penalties for infringement, 22, 125, 141, 143, 149, 177, 197, 200, 203, 207, 211
Corbett, John, 63, 65
Council of Europe, 188
counterculture, 7, 94–117, 130, 152–3, 156, 161, 210, 211
counterfeiting, 1, 36, 141
and international market, 183–4, 191–2
as distinct from bootlegging, 101, 109, 151–4, 205
definition of, 5–6
legislation against, 123–4, 129, 149
country music, 60 (fig.), 65, 97, 142
Creative Commons, 161–2, 204, 213
Crosby, Bing, 69
Crosby, David, 116
Crosby, Stills and Nash, 116, 131
Crown label, 35
Crumb, Robert, 102
Currier, Frank, 23
custom pressing, 55, 61, 71, 94, 207
Custom Recording Company, 102, 133
cyberlibertarianism, 161
Dailygraph wire recorder, 67
Davies, Gillian, 188
Davis, Hal C., 131
Davis, Miles, 64 (fig.)
Day, William, 20, 120
Dead Kennedys, 202
Dead Relix, 157
Deadheads, 156–60. See also Grateful Dead
Debussy, 72
Decca label, 43, 52, 69, 75, 84
Deep Purple, 102
Def Jam, 173
Delaunay, Charles, 39
Demers, Joanna, 204–5
Denisoff, R. Serge, 106, 117, 142
Denver, John, 113
Deutsche Grammophon label, 76
Diamond Multimedia, 215
Difranco, Ani, 216
Dimock, Edward, 80
“Ding-A-Ling” (Bobby Rydell), 57, 142
Disney, 211
Dittolino Discs label, 153
Diva (Jean-Jacques Beineix), 175
DJ Clue, 167, 169–70
DJ Drama, 167, 173
DJ Kay Slay, 170
DJ Kool Akiem, 168
DJ Red Alert, 171
DJ Whoo Kid, 169
DJs (hip hop), 6, 151, 162, 164–73, 202, 204, 205, 214
“Dominic the Impotent Bull” (Elvis Presley), 113
Doo Wop (DJ), 167
Doobie Brothers, 150–2
Doo-Yun, Hwang, 191
Douglas, William, 138
Down Beat, 39, 51
Dr. Dre, 167
Dresden Opera House, 76
Dubs, 41–2, 55, 57
Dunkel Draft, 193–4
Dunn, Winfield, 125
Dwork, John R., 160
Dylan, Bob, 135–6, 152, 158, 162
and “basement tapes,” 4, 78, 94, 96–8, 163
bootlegs of, 99–102, 104, 106, 109–10, 207–8 See also Great White Wonder
“Early to Bed” (Fats Waller), 59
Eastern Tape, 112
eBay, 159–60
E-C Tape, 112, 142
“Economy of Ideas, The” (John Perry Barlow), 161
Edison, Thomas
sound recording innovations of, 1, 4, 12, 66, 200
on applications of sound recording, 13, 24, 68
EFF (Electronic Frontier Foundation), 161–2, 204, 211
eight-track, 7, 84–6, 144
Eilberg, Joshua, 149
Ekecs, Geza, 93–4
Electrical World, 66
Elektra, 181
Eliseo, Mario, 144
Ellington, Duke, 74
Elvis’ Greatest Shit!! (Elvis Presley), 113
Emerging Artists and Talent, 215
EMI (Asia), 195
EMI. See Capitol Records
Entertainment Software Association, 191
Entführung aus dem Serail (Mozart), 76
Enyart, Jim, 192
Erlanger, Steve, 189
Ernest, Roland, 77
Ervin, Thomas E., 127
Evans, Walker, 206
Excelsior Phonograph Company, 25 (fig.)
Facebook, 8, 202
Faces, 96
Fantasy Records, 110, 130
FBI, 139, 142–4, 153, 191
Fenby, Jonathan, 184
Fernando, S. H., 167, 172
file sharing, 7, 86, 202, 207–8, 215–16
Fine, Jack. See Kessler, Jack
Flower (Dylan bootleg), 100–1
Folkways label, 59, 60 (fig.)
Fonotipia v. Bradley (1909), 19, 30–4, 35, 50, 126
Ford, 84
Ford, Henry, II, 84
> Fordism, 208
four-track, 7, 82–3, 85–7
France, 22, 39, 42, 179 (fig.), 186, 190
Francis, Jack, 140–1
Frank, Barney, 211
Free Music Store (Patti Smith), 108
Free Software Foundation, 161–2
Friday Night Lights mixtape (J. Cole), 1
Friendster, 202
Fuller, Melville, 20
Fulton, Richard, 131
Funkmaster Flex, 167, 170
Furniss, George W., 22–3
G&G Sales, 112, 133
Gabler, Milt, 42, 53
Gangsta Grillz mixtapes (DJ Drama), 173
GATT (General Agreement on Trade and Tariffs), 192–6, 198
Geibel, Adam, 19
General Electric, 68
General Motors, 119, 190
General Music, 144
Gennett label, 35
Germany, 36, 66–9, 76, 80, 93, 179 (fig.), 182, 188–90
Gershwin, George, 27
“Get Back” (The Beatles), 105
Get Rich or Die Tryin’ (50 Cent), 170
Gifford, Livingston, 19
Gill, John, Jr., 28
Gilmore and Holding Band, 16
Giuliani, Rudolph, 168
Gleason, Ralph, 110, 130
Globe Phonograph, 15
Godfather, The, 182
Godzilla’s American Phonograph Record
Export Service, 113
Goldberg, Morton, 121
Golden, Bill, 82–4
Goldmine, 153
Goldsmith, Kenneth, 206
Goldstein v. California (1973), 86, 118, 136–8, 141, 149
Goldstein, Donald, 136
“Good Times” (Chic), 164, 166
Goodfriend, James, 74–5, 78–9, 128
Goodman, Benny, 44, 51 (fig.), 57
Google, 8
Gortikov, Stanley, 131, 134, 147
Gould, Joe, 74, 79, 87
GPL (general public license), 162
Gramophone label, 201. See also Capitol Records
Grandmaster Flash, 164–5, 169
Grateful Dead, 5, 151, 163–4,
and tape trading, 156–60, 173, 213, 215
as precursor of Creative Commons, 161–2, 211
Grauer, Bill, 57
Grease, 177, 182
“Great American Rip-Off, The” (IRTA), 148
Great Depression, 41, 44, 67, 78, 82
Great White Wonder (Bob Dylan), 78, 103, 113, 118
criticism of, 109–10
variations of 97–102, 207–8
Greatest Records, 124
Green, Delbert, 141
Griswold v. Connecticut, 138
Grokster, 200, 214
Gronow, Pekka, 95, 180
Grossman, Jack, 130, 132
Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century Page 39
