Democracy of Sound (51 page)

108
. “Piracy Hearing,” 50.

109
. Ibid., 51–2.

110
.
National Broadcasting Co., Inc., and Columbia Broadcasting System, Inc. v. Donald Ray Nance, et al
., 506 S.W.2d 483 (Mo. App. 1974);
A&M Records v. MVC Distributing Corporation
, 574 F.2d 312 (U.S. App. 1978).

111
. George S. Grossman, ed.,
Omnibus Copyright Revision Legislative History: Volume 15
(Buffalo, NY: Hein Law Book Publishers, 1977), 1244–6.

112
.
A&M Records v. David L. Heilman
, 75 Cal. App. 3d 554 (Cal. App. 1977).

113
. Mike Dembeck and David D. Porter, “City’s Suspected Hub of Bogus Tape Industry,”
Charlotte News
, December 7, 1978, 1A.

114
. Dembeck and Porter, “City’s Suspected Hub,” 12A.

115
. “2 Dealers Charged in Disk Bootlegging,”
New York Times
, June 11, 1960, 21.

116
. Bill Hazlett and Boris Yaro, “U.S. Jury to Probe Reports of Payola in L.A. Record Industry,”
Los Angeles Times
, August 31, 1973, 3A.

117
. Robison, “Record Industry’s No. 1 Enemy,” 32.

118
. Charles H. McCaghy and R. Serge Denisoff, “Record Piracy,” in
Crime in Society
, ed. Leonard D. Savitz and Norman Johnston (New York: John Wiley & Sons, 1978), 919.

119
. Bill Anderson, “Tape Cassettes: Bootleggers’ Boon,”
Chicago Tribune
, May 22, 1973, 10.

120
. McCaghy and Denisoff, “Record Piracy,” 919.

121
. “Record Piracy Act OKd,”
Chicago Tribune
, September 26, 1974, 8.

122
. Robison, “Record Industry’s No. 1 Enemy,” 32.

123
. Maureen O’Neill, “Profit Wasn’t Their Motive,”
Newsday
, December 7, 1978.

124
. Steve Wick, “FBI Sifting Bogus Recording Haul,”
Newsday
, December 8, 1978.

125
. Max H. Seigel, “F.B.I. Raiders Act to Smash Record Piracy,”
New York Times
, December 7, 1978, C22.

126
. Wick, “FBI Sifting Bogus Recording Haul.”

127
. “FBI Agents Seize Bootleg Albums in State Raids,”
Charlotte Observer
, December 7, 1978.

128
. Mike Dembeck, “Tapes Legitimate, Part-Owner of Raided Firm Says,”
Charlotte News
, December 7, 1978, 1A.

129
. Wick, “FBI Sifting Bogus Recording Haul.”

130
. O’Neill, “Profit Wasn’t Their Motive.”

131
. Siva Vaidhyanathan,
Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity
(New York: New York University Press, 2001), 36.

132
.
Copyright Revision Act of 1976
(Chicago: Commerce Clearing House, 1976), 225.

133
. Ibid ., 225.

134
. Ibid., 221.

135
. Ibid., 222.

136
. E. Fulton Brylawski and Abe Goldman, eds.,
Legislative History of the 1909 Copyright Act, Volume 4
(South Hackensack, NJ: Fred B. Rothman & Co., 1976), 22.

137
. Grossman,
Omnibus Copyright Revision Legislative History: Vol. 15
, 1301.

138
. Ibid., 1301–4; Robert A. Gorman, “An Overview of the Copyright Act of 1976,”
University of Pennsylvania Law Review
126 (1978): 877.

139
. Grossman,
Omnibus Copyright Revision Legislative History: Volume 15
, 1265.

140
. Ibid., 1239.

141
. Ibid.

142
. House Committee on the Judiciary,
Prohibiting Piracy of Sound Recordings
, 57.

143
. Pamela G. Hollie, “Piracy Costly Plague in Record Industry,”
New York Times
, March 10, 1980, D1.

144
. David and Russell Sanjek,
Pennies from Heaven: The American Popular Music Business in the Twentieth Century
(New York: Da Capo Press, 1996), 568.

145
. United States Copyright Office,
General Guide to the Copyright Act of 1976
(Washington, DC: US Government Printing Office, 1977), 1:3.

146
. “CQ Senate Votes 24–31,”
Congressional Quarterly Weekly Report
, 34, no. 8 (February 21, 1976): 449.

147
. Ibid., 449.

148
. “House to Act on Copyright Law Revision,”
Congressional Quarterly Weekly Report
, 34, no. 38 (September 18, 1976): 2551.

149
. “Barbara Ringer,”
United States Copyright Office
,
http://www.copyright.gov/history/bios/ringer.pdf
, accessed February 10, 2009.

Chapter 6

1
. “Doobie or Not Doobie,”
What’s Happening!!
February 4, 1978.

2
. For examples of the voluminous literature on the personal significance of sharing unique, personalized sequences of musical recordings, see James Sheffield,
Love Is a Mixtape: Life and Loss, One Song at a Time
(New York: Crown Publishing, 2007); Nick Hornby,
High Fidelity
(New York: Riverhead, 1995); Thurston Moore,
Mix Tape: The Art of Cassette Culture
(New York: Universe, 2005); and Jared Ball, “FreeMix Radio: The Original Mixtape Radio Show: A Case Study in Mixtape ‘Radio’ and Emancipatory Journalism,”
Journal of Black Studies
20 (2008): 1–21.

3
. Alan O’Connor,
Punk Record Labels and the Struggle for Autonomy
(Lanham, MD: Lexington Books, 2008), 20, 49.

4
. Louis M. Holscher, “I’ll Trade You an Elvis Sun for a Beatles’ Christmas Album,”
San Diego Justice Journal
1 (1993): 67.

5
. Holscher, “I’ll Trade You an Elvis Sun,” 65.

6
. Greg Shaw, “It Was Twenty Years Ago Today …”
Bomp
,
http://www.bomp.com/x/?page_id=2
, accessed September 14, 2008.

7
. “Bootlegs,” in
Hot Wacks
(Kitchener, Ontario: Blue Flake Productions, 1977), 2–3.

8
. “Bootlegs,” in
Hot Wacks Book Seven
(Kitchener, Ontario: Blue Flake Productions, 1979), 3.

9
. Ibid., 3.

10
. Jeffrey Ressner, “Bootlegs Go High-Tech,”
Rolling Stone
, May 30, 1991, 16

11
. Holscher, “I’ll Trade You an Elvis Sun,” 68; “Ban Bootlegs from Record Shows!”
Goldmine
, February 8, 1991, 6.

12
. Lee Marshall, “For and against the Record Industry: An Introduction to Bootleg Collectors and Tape Traders,”
Popular Music
22 (2003): 58.

13
.
Hot Wacks
(Kitchener, Ontario: Blue Flake Productions, 1977), 2.

14
.
Hot Wacks Book Seven
(Kitchener, Ontario: Blue Flake Productions, 1979), 1.

15
. Alireza Jay Naghavi and Günther G. Schulze, “Bootlegging in the Music Industry: A Note,”
European Journal of Law and Economics
12 (2001): 58.

16
. Lee Marshall, “The Effects of Piracy upon the Music Industry: A Case Study of Bootlegging,”
Media Culture Society
26 (2004): 177.

17
. “Record Hotline,”
Hot Wacks Quarterly
1 (winter 1979): 47.

18
. Marshall, “Effects of Piracy,” 176–7.

19
.
Hot Wacks Book Seven
, 1.

20
. “Record Hotline,” 47.

21
. Ressner, “Bootlegs Go High-Tech,” 16.

22
. Cason A. Moore, “Tapers in a Jam: Trouble Ahead or Trouble Behind,”
Columbia Journal of Law and the Arts
30 (2006–2007): 627.

23
. Ibid., 626.

24
. Ibid., 628.

25
. Michael Getz,
The Deadhead’s Taping Compendium: An In-depth Guide to the Music of the Grateful Dead on Tape
(New York: Henry Holt, 1998), 19.

26
. John R. Dwork, introduction to Getz,
Taping Compendium
, xii.

27
. Getz,
Taping Compendium
, 22.

28
. Mike Tannehill, “Recording a Live Concert or, Hey Are You Recording This?”
Dead Relix
, November–December 1974, 16.

29
. Charlie Rosen, “Wither the Poor Dead Freak,”
Dead Relix
, November–December 1974, 7–8.

30
. “Sound on Sound,”
Dead Relix
, November–December 1974, 4.

31
. Ibid., 4.

32
. “Trade with the Hell’s Honkies Tape Club,”
Dead Relix
, November–December 1974, 18.

33
. Melissa McCray Pattacini, “Deadheads Yesterday and Today: An Audience Study,”
Popular Music and Society
24, no.1 (2000): 7; “What Is a Tape Tree and How Does It Work?”
Stason.org
,
http://stason.org/TULARC/music-bands/grateful-dead/6-What-is-a-Tape-Tree-and-how-does-it-work-Grateful-Dead.html
, accessed July 24, 2012.

34
. Pattacini, “Deadheads Yesterday and Today,” 7.

35
.
Dead Relix
, November–December 1974, back cover.

36
. “Shit List,”
Dead Relix
, November–December 1974, 5.

37
. Ibid.

38
. Peter Kollock, “The Production of Trust in Online Markets,”
http://www.connectedaction.net/wp-content/uploads/2009/05/1999-peter-kollock-the-production-of-trust-in-online-markets.htm
, accessed October 24, 2008.

39
. Mark F. Schultz, “Fear and Norms and Rock & Roll: What Jambands Can Teach Us about Persuading People to Obey Copyright Law,”
Berkeley Technology Law Journal
21 (2006): 695.

40
. Dwork, introduction to Getz,
Taping Compendium
, xii.

41
. Schultz, “Fear and Norms and Rock & Roll,” 727; see also Yochai Benkler, “Coase’s Penguin, or, Linux and the Nature of the Firm,”
Yale Law Journal
112 (2002): 369–446.

42
. Moore, “Tapers in a Jam,” 627.

43
. Ibid., 628.

44
. John Perry Barlow, “The Economy of Ideas,”
Wired
, March 1993, 84–129.

45
. John Markoff,
What the Dormouse Said: How the 60s Counterculture Shaped the Personal Computer Industry
(New York: Viking, 2005), xiv–xix, 96–7.

46
. Fred Turner,
From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism
(Chicago: University of Chicago Press, 2006), 207–9; Langdon Winner, “Cyberlibertarian Myths and the Prospects for Community,”
Computers and Society
27 (1997): 14–9.

47
. Thomas Frank, “Why Johnny Can’t Dissent,” in
Commodify Your Dissent: Salvos from the Baffler
, ed. Thomas Frank and Matt Weiland (New York: W. W. Norton, 1997), 31; Lawrence Lessig,
Code and Other Laws of Cyberspace
(New York: Basic Books, 1999), 104–5; James Boyle,
The Public Domain: Enclosing the Commons of the Mind
(New Haven: Yale University Press, 2008), 180–1.

48
. Yochai Benkler,
The Wealth of Networks: How Social Production Transforms Markets and Freedom
(New Haven: Yale University Press, 2006), 13.

49
. Ressner, “Bootlegs Go High-Tech,” 15.

50
. Jim Walsh, “Singer Says ‘Seinfeld’ Tune Was Much Ado About … Nothing,”
St. Paul Pioneer Press
, May 22, 1998; see also Stephen Thomas Erlewine, “The Shit Hits the Fans: Overview,”
Allmusic
,
http://allmusic.com/cg/amg.dll?p=amg&sql=10:0bftxqwgldfe
, accessed September 15, 2008.

51
. Ressner, “Bootlegs Go High-Tech,” 15.

52
. Robert Hilburn, “Dylan Songs out of the Basement,”
Los Angeles Times
, July 26, 1975, B5. For a playful take on the claim that the
Black Album
was “
the
most bootlegged album in history!” see “People Who Own Bootleg Copies of Prince’s ‘Black’ Album Given Offer of Amnesty,”
Billboard
, November 26, 1994, 138.