Democracy of Sound (47 page)

44
. “Records—How Experts Rate Them,”
H.R.S. Society Rag
no. 4 (August 1940): 30–1.

45
. “Hot Society,”
Time
, May 17, 1937, 50.

46
. Porter,
What Is This Thing Called Jazz
, 51.

47
. Paul Starr,
The Creation of the Media: Political Origins of Modern Communications
(New York: Basic Books, 2004), 336.

48
.
Herbert v. Shanley Co
., 242 U.S. 591 (1917); Starr,
Creation of the Media
, 339.

49
. Susan J. Douglas,
Listening In: Radio and the American Imagination
(New York: Times Books, 1999), 85–6.

50
. Ibid., 90–2.

51
. Melville B. Nimmer, “Copyright Publication,”
Columbia Law Review
56 (1956): 185–202.

52
. “Piracy on Records,”
Stanford Law Review
5 (1953): 446.

53
.
RCA v. Whiteman
, 114 F.2d 86 (U.S. App. 1940), at 4.

54
.
RCA v. Whiteman
, 28 F. Supp. 787 (U.S. Dist. 1939), at 6–7.

55
.
RCA
, 28 F. Supp. 787, at 15.

56
. Ibid ., at 12.

57
. Ibid., at 11.

58
. Melvin Garner, “The Future of Record Piracy,”
Brooklyn Law Review
38 (1971): 409–10.

59
.
RCA v. Whiteman
, 114 F.2d 86, at 5.

60
. Ibid ., at 6.

61
. Ibid., at 5.

62
. Ibid., at 13.

63
. Ibid., at 7–8.

64
. Learned Hand,
The Spirit of Liberty: Papers and Addresses of Learned Hand
(New York: Knopf, 1952), 189–90.

65
.
Metropolitan Opera Association v. Wagner-Nichols Recorder Corporation
, 199 Misc. 786, 101 N.Y.S.2d 483 (Sup. Ct. 1950).

66
. Ibid ., at 796.

67
. Ibid ., at 796–7.

68
. Ibid ., at 791.

69
. Ibid ., at 793.

70
. Vaidhyanathan,
Copyrights and Copywrongs
, 19.

71
.
Metropolitan v. Wagner-Nichols
, at 797–8, 800.

72
. Ibid ., at 796.

73
.
Jacobellis v. Ohio
, 378 US 184 (1964).

74
. Frederic Ramsey Jr., “Contraband Jelly Roll,”
Saturday Review
, September 30, 1950, 64; as for the baker, Ramsey observed, “Jelly Roll, who once split a vaudeville bill with an entertainer who boasted he was Sweet Papa Cream Puff, would be happy.”

75
. Ramsey, “Contraband Jelly Roll,” 64.

76
. Thom Holmes, ed.,
The Routledge Guide to Music Technology
(New York: Routledge, 2006), 172, 277.

77
. Wilder Hobson, “Le Jazz Jubilant,”
Saturday Review
, August 25, 1951, 41.

78
. “LP Jazz Reissues Squeeze Bootleg Diskers on Old Collector Items,”
Variety
, May 9, 1951, 42.

79
. Alan Lomax,
Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and “Inventor of Jazz”
(New York: Duell, Sloan, and Pearce, 1950), 298.

80
. Smith, “Background to Bootlegging,” 3.

81
.
Shapiro, Bernstein and Co. v. Miracle Record
, 91 F. Supp. 473 (N.D. Ill. 1950).

82
. Ibid ., at 474.

83
. Ibid ., at 475.

84
.
RCA v. Whiteman
, 114 F.2d at 89.

85
. Russell, “Boogie Woogie,” in Ramsey and Smith,
Jazzmen
, 194.

86
. “Chi Court Ruling on Copyright Status of Recorded Music Stuns Industry,”
Variety
, June 14, 1950, 57; “Music Biz Maps Midwest Action Vs. Diskleggers,”
Variety
, June 18, 1952, 41.

87
. “Victor Presses Bootlegs!”
Record Changer
, November 1951, 6. As evidence, the magazine published an RCA invoice that showed 466 copies of a Jolly Roger record composed entirely of performances originally released by Columbia.

88
. “Victor Presses Bootlegs!” front cover.

89
. Ibid ., 6.

90
. “Fox Called in on Disk-legging,”
Variety
, August 15, 1951, 43.

91
. “RCA Cracks Down on Disk-legging in Policy Switch,”
Variety
, September 26, 1951, 131.

92
. “Victor Presses Bootlegs!” 6.

93
. Cripple Clarence Lofton,
Boogie Woogie and Blues
(Pax, 195-?), New York Performing Arts Library, Rodgers and Hammerstein Archives (RHA-NYPAL).

94
. For example, see notes by Charles Edward Smith of Hot Record Society on Eureka Brass Band,
New Orleans Parade
(Pax, 195-?), and Hoefer’s notes on Jimmy Yancey,
Yancey’s Mixture
(Pax, 195-?), RHA-NYPAL.

95
. “Pax Productions: Complete Jazz Record Catalog,” Pax Records Research File, Institute of Jazz Studies, Rutgers University at Newark (RUN-IJS).

96
. “Art and the Dollar,”
Record Changer
, November 1951, 7.

97
. “Jolly Roger: Records for the Connoisseur,” RUN-IJS.

98
. For contrast with Pax records, see
Jelly Roll Morton Vol. 1
(Jolly Roger, 195-?), Sound Recordings Archive, Bowling Green State University (BGSU-SRA).

99
.
Metropolitan v. Wagner-Nichols
.

100
. “Recorders vs. Bootleggers,”
Business Week
, February 9, 1952; “Platter Pilfering,”
Newsweek
, February 11, 1952, 71.

101
. William Livingstone, “Piracy in the Record Industry,”
Stereo Review
, February 1970, 62.

102
. “LP Jazz Reissues Squeeze Bootleg Diskers on Old Collector Items,”
Variety
, May 9, 1951, 42.

103
. “Platter Pilfering,” 71.

104
. “Bootlegging: The Battle Rages,”
Record Changer
, December 1951, 3–4.

105
. “Art and the Dollar,”
Record Changer
, November 1951, 7.

106
. “Our Position,”
Record Changer
, December 1951, 5.

107
. “2 Dealers Charged in Disk Bootlegging,”
New York Times
June 11, 1960, 21; Robert E. Allison, Peter Korelich (a record presser), Larry F. Lee, Carl John Marts, Charles Richards, and William Thompson (a commercial artist) were also arrested.

108
. “Fake Record Ring Broken; 7 Men Held,”
Los Angeles Times
, October 3, 1950, 2; see also “New Jersey Bootlegging Crackdown Dramatizes ARMADA Convention,”
The Cash Box
, June 18, 1960.

109
. “Pirate Records,” Brad McCuen Collection—Piracy 1969, 97–023, box 18, folder 9, Center for Popular Music, Middle Tennessee State University (MTSU-CPM).

110
. “Swaggie Records Catalogue,” Brad McCuen Collection—Piracy 1969, 97–023, box 18, folder 9, MTSU-CPM; Nevill L. Sherburn to W.T. Ed Kirkeby, May 13, 1966, Brad McCuen Collection—Piracy 1969, 97–023, box 18, folder 9, MTSU-CPM.

111
. Ed Kirkeby to Stephen H. Sholes, May 9, 1966, Brad McCuen Collection—Piracy 1969, 97–023, box 18, folder 9, MTSU-CPM.

112
. Peter Welding to Brad McCuen, February 5, 1964, Brad McCuen Collection—Piracy 1969, 97–023, box 18, folder 9, MTSU-CPM.

113
. Brad McCuen to Stephen H. Sholes, April 6, 1966, Brad McCuen Collection—Piracy 1969, 97–023, box 18, folder 9, MTSU-CPM.

114
. Yochai Benkler,
The Wealth of Networks: How Social Production Transforms Markets and Freedom
(New Haven, CT: Yale University Press, 2006), 31–2.

115
. With the fragmentation and diversification of the industry that accompanied the boom of rock and roll music in the late 1950s, more independent labels and record-pressing factories emerged, but in the period of the Hot Record Society and Jolly Roger few options were available for people to press small runs of records; see Robert Burnett,
The Global Jukebox: The International Music Industry
(New York: Routledge, 1996), 106; and Pekka Gronow, “The Recording Industry: The Growth of a Mass Medium,”
Popular Music
:
Producers and Markets
3 (1983): 70.

116
. James Boyle,
The Public Domain: Enclosing the Commons of the Mind
(New Haven, CT: Yale University Press, 2008), 224.

Chapter 3

1
.
Touch of Evil
, DVD, directed by Orson Welles ([1958]; Los Angeles: Universal Studios, 2000).

2
. John Corbett, “Vinyl Freak,”
Down Beat
, November 2004, 18.

3
. David L. Morton Jr.,
Sound Recording: The Life Story of a Technology
(Baltimore, MD: Johns Hopkins University, 2006), 97.

4
. John Corbett, “Vinyl Freak,”
Down Beat
, November 2004, 18.

5
. Interview with Dan Morgenstern, Institute of Jazz Studies, Newark, NJ, March 14, 2007; Will Friedwald, “Recording Jazz History as It Was Made,”
Wall Street Journal
, December 4, 2010, A30.

6
. David Suisman, “The Sound of Money: Music, Machines, and Markets” (PhD diss., Columbia University, 2002), 114.

7
. Brian Winston,
Media Technology and Society: A History: From the Telegraph to the Internet
(London: Routledge, 1998), 4.

8
. Jody Rosen, “Researchers Play Tune Recorded before Edison,”
New York Times
, March 27, 2008, A1.

9
. Winston,
Media Technology and Society
, 6.

10
. William Lafferty, “The Blattnerphone: An Early Attempt to Introduce Magnetic Recording into the Film Industry,”
Cinema Journal
22 (1983): 19.

11
. Oberlin Smith, “Some Possible Forms of Phonograph,”
Electrical World
, September 8, 1888, 117.

12
. Robert Angus, “History of Magnetic Recording,”
Audio
, August 1984, 28.

13
. Lafferty, “Blattnerphone,” 19.

14
. Ibid., 20.

15
. Ibid., 27–8.

16
. Ibid., 30.

17
. On Vail and Alexander Graham Bell’s vision of the telephone system, see Jeremy Bernstein,
Three Degrees Above Zero: Bell Labs in the Information Age
(New York: Charles Scribner’s Sons, 1984), 1–2.

18
. Mark Clark, “Suppressing Innovation: Bell Laboratories and Magnetic Recording,”
Technology and Culture
34 (1993): 535.

19
. Clark, “Suppressing Innovation,” 534.

20
. Ibid., 535–6.

21
. Millard,
America on Record
, 192.

22
. S. J. Begun,
Magnetic Recording
(New York: Murray Hill Books, 1949), 9.

23
. Millard,
America on Record
, 197.

24
. Hillel Schwartz,
The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles
(New York: Zone Books, 1996), 234.

25
. For an industrial example, see “Firms Use Tape Recorders to Cut Down Written Work,”
Chemical Week
, April 25, 1964, 104.

26
. Sam Dawson, “Revolution in Office Machinery,”
Los Angeles Times
, February 24, 1953, 19.

27
. R. H. Opperman, “Record Voice on a Hair-Like Wire,”
Journal of the Franklin Institute
237 (1944): 160.

28
. Eric D. Daniel, C. Denis Mee, and Mark H. Clark,
Magnetic Recording: The First 100 Years
(New York: Wiley-IEEE Press, 1998), 87.

29
. “New ‘Soundmirror’ Now Used at Hunter,”
New York Times
, February 25, 1940, 49.

30
. G. Schirmer, “Why Did More People Buy Their Soundmirror at Schirmer’s Than at Any Other Store in the Country? (ad),”
New York Times
, November 30, 1947, 20.