by Stephen Witt
Fry, Stephen, 211, 240
Fuchs, Michael, 42, 46, 50–51, 76–77, 278n
gaming software, piracy of, 108, 186
gangsta rap. See rap music
Geller, Harvey, 121, 158–61
Gerhäuser, Heinz, 13, 88, 132
Germany, patent protection in, 95–96
Get Rich or Die Tryin’(album), 153, 177,
199, 216
“Gin and Juice” (song), 50–51
Glover, Bennie Lydell (Dell)
as ADEG, 70–71, 145, 183, 251
albums released by, 103, 108–9, 135–41, 149, 158, 176–79, 184–85. 220–222, 226–27
bootlegging activities of, 67–68, 99–101, 175–76, 219–22
chat room presence of, 70–71
Dockery and, 34, 74, 100–101, 142, 148–50
dog breeding business of, 68–69, 100
dominance as leak source, 176–88, 211, 250–52
employment and termination at PolyGram plant, 27–33, 65, 247
FBI investigation of, 222–23, 226, 240, 247–52
indictment and trial of, 253–58
Kali’s association with, 108–9, 139–42, 145–46, 148–51, 215–22
KOSDK (music piracy leader) and, 181–88
lifestyle of, 34–35, 101, 187–88, 216–18
movie bootlegging by, 146–51, 183–88
post-prison life for, 263–64
relationship with Karen Barrett, 101–3, 142, 218
RNS, association with, 106–7, 142, 150–51, 176–79, 217–20
Scene rules violated by, 183–88
sleep apnea of, 31, 101
smuggling at PolyGram plant by, 135–40, 219–22
technology skills of, 30–31, 65–68, 176, 264
testimony against Cassim, 254–58
vehicle purchases of, 33–35, 65–66, 187–88, 218–22
work ethic of, 34–35, 101, 187–88, 216–18
Glover, Markyce, 99–100, 102
Gnutella peer-to-peer network, 160, 165
Graduation (album), 221–22, 248–49
Grainge, Lucian, 229, 260
Greenspan, Alan, 83–84, 111, 113, 243
Grill, Bernhard
Advanced Audio Coding project and, 88, 128
German Future Prize awarded to, 131
L3Enc development and, 55–56, 62–63
mp3 promotion and, 53–54, 59, 94–95, 97–98, 130–31, 134, 168
MPEG format wars and, 20–21, 23–25
psychoacoustic compression research and, 12–16, 19
WinPlay3 development and, 60–63, 95
Hanson (band), 82, 84
Harry Potter franchise, 211–14
Herre, Jürgen, 13, 59, 88
Hootie & the Blowfish, 42–45, 276n
Horowitz, Zach, 158–61, 231
Huckfeldt, Bruce, 194–96, 262
Huffman coding, 11, 16
“In Da Club” (song), 153, 199, 230
intellectual property law. See copyright law
International Federation of the Phonographic Industry (IFPI),
213–14, 217
Internet Relay Chat (IRC), 70–71, 105–6, 114, 130, 166, 182. See also chat rooms
Interpol, 147–48, 213, 217
Interscope Records, 45–50, 73, 77–80, 112–13, 153, 189
Iovine, Jimmy, 45–48, 76–80, 92, 112, 191
IP addresses
limits on for Scene members, 160–61, 180
traceability of, 70–71, 160–61, 250–52
iPod device, 155–57, 192–93, 202
iTunes Store, 132–33, 155–58, 189, 192, 205–6, 209, 235–36
Jackson, Michael, 84, 234
Japanese electronics industry, 93, 97,
127, 144
Jay-Z (artist), 103, 112–13, 125, 140, 177, 179, 201, 237–38, 260
Jobs, Steve, 132–33, 155–57, 189, 192–93, 227–28, 235–37
Johnston, James, 16–17, 20–21, 60, 96, 274n
Juvenile (artist), 80–81, 200
“Kali” (RNS ringleader)
as“Blazini,” “Death, ” 181
Glover’s association with, 108–9, 139–42, 145–46, 148–51, 215–22
law enforcement investigation of, 195–203, 248–52
leadership of RNS by, 106–8, 180–88, 217–20
paranoia of, 147, 217
post-RNS activities of, 251, 262
Saunders’ association with, 179
shutdown of RNS by, 218–22, 249–52
Tai’s association with, 143–45
Kaminska, Izabella, 244–45
Kazaa peer-to-peer network, 160, 165, 209, 225, 252
Knight, Suge, 46–50, 78, 81
KOSDK (RNS participant), 181–88, 220
Laurie Records, 38, 43–44, 199
Led Zeppelin (band), 39–41, 124, 199, 261
Level 3 encoder (L3Enc), 55–56, 62–63, 72–73, 88–89, 91
Lévy, Jean-Bernard, 155, 190
licensing agreements
mp3 technology and, 56–58, 90–91, 94, 128–29
music publishing business and, 234
for streaming media, 261
Lil Wayne, 81, 140, 154, 179, 200–202, 226
LimeWire peer-to-peer network, 160, 165, 171, 184, 252
Limp Bizkit, 79, 112, 123
Linde, Henri, 57–63, 93–94, 96, 127–29, 133
“Little Bit O’ Soul” (song), 43–44
Ludacris (artist), 140, 143–44, 148–49,
153, 177
Macintosh systems, mp3 and, 62, 132–33
Mannie Fresh (artist), 81, 154
Marilyn Manson (artist), 77, 79
market research, Morris’s reliance on, 42–50, 156–57, 190, 198–99
Marshall Mathers LP (album), The,
124–25
Messier, Jean-Marie, 122, 155
Metallica (band), 73, 202
Microsoft, 87, 128–30, 133
Middelhoff, Thomas, 116–17, 119
mixtapes, Internet distribution of, 201–2
Mnookin, Seth, 227–29
Mohan, Edward, 248, 251
MojoNation peer-to-peer network, 166–67
Montejano, Richard (RickOne) (OSC leader), 221–22, 248–49
Morris, Doug
advertising streaming revenue, 231–38
artists’ relationships with, 112–13, 120–21, 158–59, 191, 229–32
at Atlantic Records, 39–42
bootlegged music and, 84–85
Cash Money records and, 80, 113. 200, 202
earnings of, 189–90, 227, 260
Ertegun and, 39–42, 46, 48, 191, 199, 278n
Iovine and, 45–47
Jay-Z and, 103, 237
Jobs and, 155–57, 192–93, 227–28, 235–37
market research skills of, 42–50, 156–57, 190, 198–99, 228–29
MCA Music Entertainment Group and, 75–79
Napster, reaction to, 117–20
payola scandal and, 196–98
PolyGram merger and, 102–3
Project Hubcap lawsuits and, 158–61, 193
rap music expansion and, 148–51,
154–55, 221
as Sony Music CEO, 260
Universal Music Group and, 79–85, 111–12, 153, 155
Vevo and, 232–38, 261
Vivendi merger and, 122–25, 158–59, 189–92, 225–38
as Warner Music Group CEO, 37–38, 42–46, 50–51
Wired magazine interview and, 227–30
Moving Picture Experts Group (MPEG)
DVD technology and, 165
mp3 development and, 17–20, 61–62, 94, 97–98, 127, 134
organizational structure of, 274n
Philips lobbying of, 20–21
psychoacoustic compression competition held by, 17–19, 53
support of mp2, 5–6, 20–25, 58
mp2 technology
MPEG endorsement of, 20–25
popularity of, 5, 53, 192
&n
bsp; mp3 technology
bootlegged music using, 85, 88–89
Brandenburg’s development of, 2–6, 16, 18–21, 53–58, 128
commercial success of, 87
copy-protectable version of, 90
encoding process, 282n
Morris’ reaction to, 117–18, 120–21, 193
MPEG endorsement of, 20
music piracy and, 72–73, 193
patents on, 56–58, 90–91, 93–96, 128–29
player development for, 58–60, 125–26
psychoacoustic research and, 7–16, 128
recording industry resistance to, 5–6, 56–57, 90–92
MPMan player, 97, 259
MTV, 40, 179, 192–93
Murphy, George, 255–58
MUSICAM, 18–21, 24–25, 55, 60–61, 94, 97, 128, 134
Music Explosion (band), 43–44, 123
music festivals, growth of, 233–38, 260–61
music retailers
as prerelease source, 144–45, 176–77
price collusion and, 114
sales figures for, 43, 154
music videos, syndication of, 232–38, 260–61
Napster, 244
emergence of, 114–21
impact on recording industry of,
156–57, 244
mp3 technology and, 128, 130–31
peer-to-peer file-sharing and, 160, 165
portable player development and, 125–26
National Hockey League, 54–55
NEET demographic, 209–14
NetFraCk (piracy leader), 72–73
NFO files, Scene’s use of, 140–41, 182,
216, 219
Nicks, Stevie, 41, 45
Nine Inch Nails (band), 77, 208
No Doubt (band), 77, 79
Nominet domain name, 212–14
Ogg Vorbis, 132, 259
Oink’s Pink Palace, 170–74, 205–14, 239–43, 252, 263
Old Skool Classics (OSC) piracy group, 179, 220–22, 248–49
open-source software, 132, 168, 170–71, 259
Operation Buccaneer, 147–48, 162, 194
Operation Fastlink, 162–63, 182, 195, 203, 239, 257–58
organized crime, bootlegged music and, 67–68, 71–74, 83–85
Outkast, 108, 143–44, 148, 179
Pandora, 253, 261
Parker, Sean, 116–17
patent law, mp3 protections and, 95–96
PC systems, mp3 player development and, 55–56, 59, 62, 85
peer-to-peer file-sharing, 114–18, 121–22
lawsuits against, 158–61, 165, 225–26
Napster and, 160, 167
prerelease leaks and, 157–58
quality and distribution problems with, 165–67, 171–72
torrent technology and, 166–70, 226–27
Philips corporation
format wars and, 19–20, 59, 67, 94, 97, 134
mp2 promotion by, 20–25, 53
PolyGram division of, 32–33, 78, 82
Seagram purchase of PolyGram from, 82–85, 101
Physical Graffiti (album), 48, 199
Pink Moon (album), 205–6, 240
piracy, origin of term, 278n
Pirate Bay torrent site, 168–71, 173, 184, 207, 209, 240, 242–43, 252
Pirate Party, formation of, 242–45
PlayStation piracy, 108, 186
PolyGram division of Philips corporation, 32–33, 78, 82–85, 101, 111–12
EDC takeover of, 191–92, 215
marquee releases at, 136
PolyGram Kings Mountain manufacturing plant
closing of, 253
compact disc production at, 27–29
Glover’s employment at, 32–33, 175–76
Interscope distribution deal with, 73, 78
“No Theft Tolerated” standard at, 32
security system at, 67–68, 103–5, 135–39
smuggling activity at, 35, 67, 103–8, 135, 149–51, 176–88
Universal’s acquisition of, 84–85, 101–3
polyphase quadrature filter bank, 19–21
Popp, Harald, 13, 53, 56–59, 88, 93–95, 97–98, 130–31, 134
portable music players, 125–27
Prabhu, Jay, 194–96, 203, 252, 257
prerelease leaks
Oink’s Pink Palace and, 209–14
Scene involvement with, 72–73, 139–41, 144–45, 184–88
sources for, 144–45, 157–58, 176–77, 185–88
streaming technology and, 261–62
Pressplay online music store, 119, 157, 228
Project Hubcap lawsuits, 159–60, 166, 193, 225–26
psychoacoustic compression technology
AAC applications, 60, 88, 96–98
Brandenburg’s development of, 60, 88
competing research in, 7–17, 128
human speech and, 16
mp2 use of, 5, 20–25
mp3 use of, 7–16, 53–58
MPEG evaluation of, 17–19, 53
studio engineers’ reaction to, 91–92
Zwicker’s contributions to, 7–16, 18–19
publishing rights as revenue stream, 234–38, 260–61
Rabid Neurosis. See RNS
radio play statistics, 43, 196–200
recording industry
collusion in, 114
Congress and, 119–21
decline of, 83–85, 189
Morris’ career in, 42–51
mp3 development and, 56–57
Napster and, 114–21
payola scandal in, 196–97
performance targets and short-term results in, 123–24
profitability in 1990s of, 79–80
resistance to technology in, 90–93
Recording Industry Association of America (RIAA)
Brandenburg’s meeting with, 90–92
lobbying activities of, 90–91
Napster and, 115, 121
Project Hubcap lawsuits and, 159–61, 193, 225–26
surveillance of the Scene by, 161–63, 217
record stores. See music retailers
Reyes, Jonathan, 203, 249
Reznor, Trent, 77, 208
Rhapsody, 253, 261
Rhone, Sylvia, 191, 202
RIAA vs. Diamond Multimedia Systems, 121, 125–26, 157, 165, 192
RiSC_ISO piracy group, 147–48
Rivera, Domingo, 255–57, 262
RNS
albums leaked by, 72–73, 139–41, 144–45, 184–88
audience demographics for releases by, 179–80, 215–16
command structure of, 105–8, 140–44, 149–51, 178–79, 181–88
counterintelligence campaign of, 182–88
dominance of piracy by, 176–88,
215–17, 252
law enforcement surveillance of, 180, 194–203, 249–52
nullification of illegal activities of, 255–58
Oink’s Pink Palace competition with, 211–14
RIAA surveillance of, 162–63
shutdown of, 216–22, 248–52
Rolling Stone magazine, 181–82, 202–3, 221
Rosen, Hilary, 115–16, 118–20, 159–60
Rowling, J. K., 211–14
royalty payments to musicians, 235–38
Saehan International, 93, 95, 97, 259
satellite dish, prerelease leaks using, 185–86
Saunders, Patrick
albums released by, 179
as “Da_Live_One,” 178–79
Glover’s contact with, 219–20
as informant, 250–51, 254, 256–57, 262
RNS involvement of, 178–79, 181, 217
surveillance of, 248–49
Scarface (artist), 148–49
“The Scene,” 88–89
aging out of members of, 216–17
Glover’s association with, 105–9, 139–40, 175–77, 184–88
journalism investigations into, 181–82
law enforcement surveillance of, 147–48,
162–63, 180, 193–203
leaks from, 184–88
movie bootlegging and, 146–51, 165
NFO files released by, 140–41
organizational structure of, 72, 105–8, 140–46, 180–88, 262
pirating protocols developed by,
139–40, 148
rival groups within, 176–79
topsite servers for, 107–9, 146
torrent tracking, 169, 173
Scorpions (band), 19, 59
Seagram corporation, 75–77, 81–82, 101, 118, 122–23, 155, 157
Seitzer, Dieter, 7–9, 11–13, 15–16, 22, 88, 259
Shumaker, Mark, 193–94
Sims, Chaney, 150–51, 175
Snoop Dogg, 34, 48–50, 77–78
software piracy, 71–72, 186
Sony corporation
decline of recording industry and,
192, 215
mp3 technology and, 60, 93
music piracy and, 85, 154, 189
Napster and, 119
portable music players and, 127
Project Hubcap lawsuits and, 159
sound quality, 7–16, 19, 89–92, 128
Spitzer, Eliot, 196–98, 200
Spotify, 253, 261
Stahler, Jacob, 194–96, 262
Stein, Alex, 241–42
streaming of music
Adar’s vision for, 56–57
advertising and, 230–38
growth of, 260–61
recording industry adoption of, 253, 261
recording industry early disregard of, 56–57. 89–92
Seitzer’s patent application for, 8
Svartholm Warg, Gottfrid, 169, 242–43
Tai, Simon
albums leaked by, 143–45
lack of charges against, 251, 262
RNS involvement of, 143–45, 216–17
as “RST,” 143
Telos Systems, 53–55, 87
Tha Carter albums I, II, and III, 154, 179, 200, 226
Thomas, Jammie, 225, 243
Thomson SA corporation, 17, 57–60, 94, 127
“360” deals, 234–35
Thriller (album), 84, 234
Time Warner corporation
AOL merger with, 122, 154–55, 189
Morris and, 37, 40–42, 45, 47, 50–51, 75–77, 228
rap music and, 47–50, 78
“Tom’s Diner” (song), 16–18, 59
topsite servers
FBI “Fatal Error” false topsite, 194
Glover’s membership on, 183–88
Scene’s use of, 107–9, 146–51, 180
torrent technology, 166–74, 193, 205–14, 218, 226–27, 239–43
Total Request Live, 197–98
Tower Records, 114, 154
Tuesday rippers as prerelease source, 144–45, 157–58
Tupac Shakur (artist), 48–50, 73–74,
77–79, 191
2 Live Crew (rap group), 50, 120, 191
typisch Deutsch culture, 6, 13, 24–25
U2 (band), 45, 182
Universal Music Group (UMG)
Apple’s bid for, 155–57
dominance of, 111–14, 124, 189
