Democracy of Sound (46 page)

37
. “Stenographic Report,” vii.

38
. Ibid., 7.

39
. Ibid., 46.

40
. Ibid.

41
. Adrian Johns, “Pop Music Pirate Hunters,”
Daedalus
131 (spring 2002): 68.

42
. “Stenographic Report,” 12.

43
. Johns, “Pop Music Pirate Hunters,” 68.

44
. “Stenographic Report,” 12.

45
. “Hearings before the (Joint) Committees on Patents, June 6–9, 1906,” in E. Fulton Brylawski and Abe Goldman, eds.,
Legislative History of the 1909 Copyright Act, Volume 4
(South Hackensack, NJ: Fred B. Rothman, 1976), 26.

46
. Ibid., 28–9.

47
. Ibid., 28.

48
. Ibid., 27.

49
. Ibid., 28.

50
. Andre Millard,
America on Record: A History of Recorded Sound
(New York: Cambridge University Press, 2005), 37.

51
. “Hearings Before the (Joint) Committees on Patents, June 6–9, 1906,” 27.

52
. Ibid., 27.

53
. Ibid., 25.

54
. Kenney,
Recorded Music in American Life
, 52–3.

55
. “Hearings before the (Joint) Committees on Patents, June 6–9, 1906,” 31.

56
. U.S. Const. art. I, § 8, cl. 8.

57
. Henry,
Copyright—Information Technology
, 51.

58
. Neil Weinstock Netanel, “Copyright and a Democratic Civil Society,”
Yale Law Journal
106 (1996): 294.

59
. “Arguments before the Committee on Patents, May 2, 1906,” in Brylawski and Goldman,
Legislative History of the 1909 Copyright Act, Volume 4
, 20.

60
. “Stenographic Report,” 42.

61
. Ibid., 43.

62
. Roger W. Erickson, “Copyrights—Mechanical Reproduction of Musical Compositions—Liability of Non-Manufacturing Seller of Unauthorized Recordings,”
George Washington Law Review
26 (1958): 746; a comprehensive guide to the licensing system can be found in Harry Henn,
The Compulsory License Provisions of the United States Copyright Law
(Washington, DC: US Copyright Office, 1957).

63
. “Arguments before the Committee on Patents, May 2, 1906,” 15.

64
. Ibid., 8.

65
. Samuels,
Illustrated Story of Copyright
, 37.

66
. “Hearings before the Joint Committee on Patents, December 7–11, 1906,” in Brylawski and Goldman,
Legislative History of the 1909 Copyright Act, Volume 4
, 307.

67
. William Lichtenwanger, “94–553 and All That: Ruminations on Copyright Today, Yesterday, and Tomorrow,”
Notes
2nd ser. 35 (1979): 813.

68
. Russell Sanjek,
American Popular Music and Its Business: The First Four Hundred Years Volume III: From 1900 to 1984
(New York: Oxford University Press, 1988), 16–9.

69
. Herbert, “Canned Music,” 8.

70
. When Senator Reed Smoot (R-UT) proposed consideration of the bill, only Senator Charles Allen Culbertson (D-TX) objected, demanding more information on the minor differences between the House and Senate versions of the bill. Despite this snag, Smoot again brought the bill to the floor later in the day, and it passed without amendment or objection. Congress, Senate,
Congressional Record
, 60th Cong., 2d sess. (1909), 3744–7.

71
. Ibid., 3744.

72
. “Arguments before the Committee on Patents, May 2, 1906,” 22.

73
. “Stenographic Report,” 28.

74
. Ibid., 3.

75
. Bilton, “The Talk of Ohio,” 1.

76
. Sutton and Nauck,
American Record Labels
, 56.

77
. Roland Gelatt,
The Fabulous Phonograph: 1877–1977
(New York: Macmillan, 1977), 60.

78
.
Fonotipia Limited et al. v. Bradley
, 171 F. 951 (U.S. App. 1909) at 953.

79
. Ibid ., at 955–6.

80
. Sutton and Nauck,
American Record Labels
, 56.

81
.
Fonotipia
, 171 F. at 957.

82
. Ibid.

83
. Ibid., at 956–7.

84
. Ibid ., at 954.

85
. “Is Deception a Necessary Ingredient of Unfair Competition?”
Harvard Law Review
30 (1916–1917): 168.

86
.
Fonotipia
, 171 F. at 957.

87
.
International News Service (INS) v
.
Associated Press (AP
), 248 U.S. 215 (1918).

88
. Ibid., at 239.

89
.
Metropolitan Opera Association v. Wagner Nichols Recorder Corp
., 199 Misc. 786, 101 N.Y.S. 2d 483 (Sup. Ct. 1950).

90
.
INS
, 248 U.S. at 240. Justice John H. Clarke did not participate in the case.

91
. David Suisman,
Selling Sounds: The Commercial Revolution in American Music
(Cambridge, MA: Harvard University Press, 2009), 114–21.

92
.
Feist Publications, Inc., v. Rural Telephone Service Co
., 499 U.S. 340 (1991);
Sears, Roebuck & Co
. v.
Stiffel Co
., 376 U.S. 225 (1964);
Compco Corp. v. Day-Brite Lighting, Inc
., 376 U.S. 234 (1964); Arthur R. Miller, “Copyright Protection for Computer Programs, Databases, and Computer-Generated Works: Is Anything New Since CONTU?”
Harvard Law Review
106 (March 1993): 978–9.

93
.
INS
, 248 U.S. at 262–3.

Chapter 2

1
. “Music Copyright Legislation Develops New Battle Fronts at Third of House Hearings,”
Billboard
, June 14, 1947, 4; “Copyright Act Overhaul Move Seen in Offing,”
Billboard
, January 31,1948, 34; Mildred Hall, “AFM Charges Revision Gives Short Shrift to the Musicians,”
Billboard
, July 10, 1965, 8; Russell Sanjek,
American Popular Music and Its Business: The First Four Hundred Years Volume III: From 1900 to 1984
(New York: Oxford University Press, 1988), 130.

2
. David Diehl, “‘Call It Bootlegging but It’s Legal’: Eli Oberstein and the Coarse Art of Indie Record Production,”
ARSC Journal
31 (fall 2000): 282.

3
. Allan Sutton and Kurt Nauck,
American Record Labels and Companies: An Encyclopedia (1891–1943
) (Denver, CO: Mainspring Press, 2000), 214.

4
. “Petrillo Perplexed,”
Time
, June 28, 1943, 76.

5
. Sutton and Nauck,
American Record Labels
, 305.

6
. Ibid., 214.

7
. Ibid., 161, 208; media scholar Jacob Smith has written extensively about the content of the “party records” or “blue discs” that attained limited popularity in the late 1930s and early 1940s. Jacob Smith, “Filling the Embarrassment of Silence: Erotic Performance on ‘Blue Discs,’”
Film Quarterly
58 (2004): 26–35.

8
. “Mr. Big,”
Time
, February 19, 1940, 59.

9
. Sutton and Nauck,
American Record Labels
, 208.

10
. David Diehl, “Risque,”
The Blue Pages
, August 11, 2008,
http://www.hensteeth.com/risque.html
, accessed February 20, 2009.

11
. “New Hearing Is Set on Disk Called Nazi,”
New York Times
, October 27, 1959, 11; David Diehl, e-mail correspondence with author, February 20, 2009.

12
. Jeremy Rifkin,
The Age of Access: How the Shift from Ownership to Access Is Transforming Modern Life
(London: Penguin, 2000), 24; see also Benjamin B. Hampton,
History of the American Film Industry: From Its Beginnings to 1931
(New York: Dover, 1970).

13
. Charles Edward Smith, “Background to Bootlegging,”
Record Changer
, January 1952, 3.

14
. Wilder Hobson, “Le Jazz Jubilant,”
Saturday Review
, August 25, 1951, 41.

15
. David Suisman, “The Sound of Money: Music, Machines, and Markets, 1890–1925” (PhD diss., Columbia University, 2002), 208.

16
. Eric Porter,
What Is This Thing Called Jazz: African American Musicians as Artists, Critics, and Activists
(Berkeley: University of California Press, 2002), 47.

17
. Alan Lomax,
Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and “Inventor of Jazz”
(New York: Pantheon Books, 1993), 282–3.

18
. J. R. Taylor, “Jazz Periodicals” in
H.R.S. Society Rag
(Westport, CT: Greenwood Press, 1977), 1.

19
. Porter,
What Is This Thing Called Jazz
, 48.

20
. Stephen Duncombe,
Notes from Underground: Zines and the Politics of Alternative Culture
(London: Verso, 1997), 3.

21
. Stephen W. Smith, “Hot Collecting,” in
Jazzmen
, ed. Frederic Ramsey and Charles Edward Smith (New York: Harcourt Brace, 1939), 292.

22
. Dick Reiber, “First Thrills in Beulah Land,”
H.R.S. Society Rag
1 (July 1938): 9.

23
. Reiber, “First Thrills in Beulah Land,” 11.

24
. Smith, “Hot Collecting,” 290.

25
. Ibid., 291.

26
. Ibid.

27
. A useful comparison can be found in anthropologist Mark Jamieson’s work on collectors of doo-wop, northern soul, and other genres, for whom the prestige and originality of bootlegs were important; Jamieson, “The Place of Counterfeits in Regimes of Value: An Anthropological Approach,”
Journal of the Royal Anthropological Institute
5 (1999): 1–11.

28
. Smith, “Background to Bootlegging,” 4.

29
. See “
⁵
dub,” in
Webster’s Third New International Dictionary of the English Language
(London: Encyclopædia Britannica, 1966), 698.

30
. George Hoefer, “Few Discerys Cash in on Bechet’s Popularity,”
Downbeat
, June 16, 1948, 12.

31
. Russell, “Boogie Woogie,” in Ramsey and Smith,
Jazzmen
, 192.

32
. On the decline of the cylinder, see Gelatt,
Fabulous Phonograph
, 158–71.

33
. Hammond “was born in the kind of family and educated at the kind of school and given the kind of accomplishments, accent (slightly Hahvud) and clothes that mean the future is assured and just cushy. He didn’t choose to be an expensive lawyer like his father, or anything else respectable and gilt-edged that his Westchester family might have wanted.” Otis Ferguson, “John Hammond,”
H.R.S. Society Rag
no. 2 (September 1938): 2.

34
. David L. Morton Jr.,
Sound Recording: The Life Story of a Technology
(Baltimore, MD: Johns Hopkins University, 2006), 98.

35
. S. J. Begun,
Magnetic Recording
(New York: Murray Hill Books, 1949), 220.

36
. Morton,
Sound Recording
, 98.

37
. Ashley Kahn, liner notes in Various Artists,
Billy Crystal Presents: The Milt Gabler Story
(New York: Verve Records, 2004).

38
. Charles Delaunay, “Untitled,”
H.R.S. Society Rag
no. 5 (September 1940): 6.

39
. Smith, “Background to Bootlegging,” 4.

40
. Ibid.

41
. “H.R.S. Members—Attention!”
H.R.S. Society Rag
no. 1 (July 1938); Otis Ferguson, “John Hammond,”
H.R.S. Society Rag
no. 3 (January 1939): 1–7; Frank Norris, “Wilder Hobson,”
H.R.S. Society Rag
no. 3 (January 1939): 1–4.

42
. Frederic Ramsey Jr., “Grand Lama of Jazz,”
H.R.S. Society Rag
no. 4 (August 1940): 4.

43
. Norris, “Wilder Hobson,” 2. The unusual usage of the word “philatelist”—a stamp collector—suggests that Norris conceived of the relatively new practice of record collecting in the familiar terms of established hobbies, as if collecting jazz records were essentially similar to pressing stamps in a book.