Bootlegging

The popular recording industry has traditionally followed a mass-market productivist model which treats music fans as passive, rather than active, consumers. As a result, there has been a failure to understand or meet the demands of fans for live and archive (unreleased studio) material, or an inability or unwillingness to satisfy them. In the past, this shortfall of live concert recordings and archive material has been filled by a combination of commercial bootlegging and non-commercial trading. Music industry trade associations regard both of these as forms of audio piracy; as a challenge to the commodification of popular music and the exploitation of copyrights. They demonize all forms of trading activity and the music fans who engage in them – even though some artists authorize and support non-commercial trading.

This chapter discusses notions of the passive/active audience, and provides a history of not-for-profit audio trading and the distribution systems used. It also investigates the motivations and moralities of non-commercial traders, prior to exploring the various promotional and commercial opportunities of a more service-oriented approach to satisfying the needs of music consumers and fans.

This study explores the nature and practice of state power in ordinary times, as it developed in Gujarat from the 1980s, in an attempt to understand how the communal harnessing of the state that manifested in large parts of Gujarat in 2002 was possible. In particular, it examines everyday expressions of public corruption around the politics of bootlegging. In the context of systemic corruption at the local level in routine times
there was little difference between violators of the law and its purported guardians, such as state law-enforcement mechanisms and politicians. From the 1980s, practices of public power in Ahmedabad, infused by routine forms of corruption, became entwined with deepening ethno-Hindu politics and a strong anti-Muslim bent, thus readily enabling the communal harnessing of state power in 2002.

Hell Hole Swamp, located in Berkeley County, South Carolina, was home to some of the largest moonshine distillation operations in the nation during the Prohibition Era. Although liquor distillation sites in the state date as early as the 1750s, few of these sites have been formally documented. These sites may have only ephemeral remains due to short and clandestine periods of use, and can be frequently overlooked as modern debris or refuse scatters. Utilizing archaeological models established for these sites in different parts of Appalachia, as well as available ethnographic data, it may be possible to refine the diagnostic characteristics for still sites in order to better understand this facet of nineteenth and twentieth century life in the Francis Marion National Forest.

Hell Hole Swamp, located in Berkeley County, South Carolina, was home to some of the largest moonshine distillation operations in the nation during the Prohibition Era. Although liquor distillation sites in the state date as early as the 1750s, few of these sites have been formally documented. These sites may have only ephemeral remains due to short and clandestine periods of use, and can be frequently overlooked as modern debris or refuse scatters. Utilizing archaeological models established for these sites in different parts of Appalachia, as well as available ethnographic data, it may be possible to refine the diagnostic characteristics for still sites in order to better understand this facet of nineteenth and twentieth century life in the Francis Marion National Forest.

(Accompaniment to 2018 SHA Paper of Same Name) Hell Hole Swamp, located in Berkeley County, South Carolina, was home to some of the largest moonshine distillation operations in the nation during the Prohibition Era.  Although liquor distillation sites in the state date as early as the 1750s, few of these sites have been formally documented.  These sites may have only ephemeral remains due to short and clandestine periods of use, and can be frequently overlooked as modern debris or refuse scatters.  Utilizing archaeological models established for these sites in different parts of Appalachia, as well as available ethnographic data, it may be possible to refine the diagnostic characteristics for still sites in order to better understand this facet of nineteenth and twentieth century life in the Francis Marion National Forest.

Glen Dynner's fine study of a fascinating, and 'loaded', subject. Oxford University Press, 272 pp., $24.95 According to a famous Yiddish ditty the Gentile is, to his very core, an alcoholic. By contrast, in the tune's alternating refrain we "learn" that the Jew is, by definition, genetically sober, studious, and pious: Shiker iz der Goy (the Goy is drunk) Shikker iz er (a drunk is he) Trinken miz er (he must drink) Vayl er iz a goy (because he's a Goy) Nikhter iz der Yid (the Jew is sober) Nikhter iz er (sober is he) Lernen (in some versions, Davenen) miz er (he must learn, or pray) Vayl er iz a Yid (because he is a Jew) "Shikker iz der Goy" is one of the most popular and least charitable Jewish folk songs of all time. Its stanzas depict the respective hangouts of the Goy and the Yid, namely the tavern and the beit midrash. Its two alternating refrains, "explaining" these polar opposites by way of ethnic, even racial, determinism, reflect long-held and broadly shared biases about the sharply contrasting relationships to alcohol maintained by Gentiles and Jews. The myth of Jewish sobriety was employed by Jews to comfort, flatter, and elevate themselves above the debauched, drunken, and at times violently anti-Semitic Eastern European peasantry. But a far more sinister and predatory version of the fable of Jewish sobriety flourished for centuries among anti-Semites, particularly

Abstract. Nowadays, rapid technical progress makes
editing and changing music, film and picture
recordings much easier, faster and better.
Computers with editing software have replaced
keyboards, synthesizers and analogue multi-track
technology in music and film production. The
methods of sampling differ from the conventional
pirated copy in that using a sample involves
extensive changes and editing of the original work.
For a pirated copy, the original remains unaltered.
Different sampling methods make the technical
analysis and the legal classification more difficult.
Only if an analysis has been successful, can a
copyright infringement be prosecuted. Specific
analysis methods make it easier to clearly identify
the use of samples. Labelling technologies that are
applied correctly make an important contribution to
the effective detection of unauthorised sound
sampling. There are various articles on sound
sampling with regard to copyright and many articles
on individual technical methods. However, there are
hardly any holistic views that integrate the problem
of sound sampling into the fields of analysis,
identification, and labelling. In combination with
specific technical protective mechanisms against
sampling, an unauthorised use of samples protected
by copyrights can be prevented or reduced. Using
and sampling somebody else’s piece of music or
video can be a copyright infringement. The
copyright and the neighbouring rights of performing
artists and the neighbouring rights of phonogram
producers are affected by the consequences of
illegal sampling. Violationsof personality rights
and competition law may also lead to legal disputes.

Lee Marshall, Bootlegging: Romanticism and Copyright in the Music Industry. London: Sage, 2005, 167pp. inc. index, £65, ISBN 0761944907 (hbk)
Martin Myrone (ed.) with Christopher Frayling and Marina Warner, Gothic
Nightmares: Fuseli, Blake and the Romantic Imagination. London: Tate Publishing, 2006, 224pp. inc. index, £29.99, ISBN 1854375822 (pbk)

A chapter in the 2009 edited volume "Sound in the Age of Mechanical Reproduction," this paper looks at the way collectors in the 1930s prompted a reevaluation of the value of jazz and sound recordings in general. Collectors did not treat recordings as disposable consumer goods but, rather, as works of art and cultural artifacts worthy of preservation. By establishing a market for rarities and reproducing obscure and out-of-print works, these men laid the groundwork to the rise of a bigger bootleg market after World War II, which sparked the first major clash between listeners, entrepreneurs, the jazz press and record labels over who should control (and maintain) access to the world's recorded heritage. It also resulted in a comical fiasco in which RCA Victor was found to be unwittingly bootlegging records originally released by itself and its competitors in 1952.

In times of prohibition, restrictions, and censorship there is a rise in entrepreneurs who try to benefit from the gap created. In this post I reflect on how the prohibition of alcohol and the prohibition of the truth. In the US dubbed prohibition era, illegal manufacturing (bootlegging) of alcohol became a booming business. In today's global village with censorship, restrictions and other forma of information protection bills, we see a rise in 'truth-legging' (fake news and alternative facts)

Employees are increasingly considered as the origin of many corporate entrepreneurial ideas. Research on “bootlegging” posits that individuals often resort to hidden activities to elaborate their initial ideas and bring them to fruition. The origins and causes of bootlegging behaviour are well argued in the literature. Yet, less is known about what drives bootleggers to uncover their hidden ideas. This research uses field data from in-depth interviews with innovators in R&D departments in different industries of Iran to identify factors stimulating bootleggers to reveal their underground ideas. We identified five groups of factors at individual, managerial, firm, industrial, and idea levels, explaining the revealing stage of bootlegging behaviour. The findings provide a better understanding of the later phases of bootlegging behaviour and the possible role of context-specific factors such as cultural and religious beliefs.

Las tecnologías de grabación de audio y de video han evolucionado de forma relativamente paralela. En los dos casos su coste se ha abaratado, su manejo se ha hecho más sencillo y, en consecuencia, su uso se ha generalizado. En la actual era digital, el acceso de usuarios no profesionales a estas tecnologías dota de capacidad de registro de la realidad a personas que antes no la tenían. Esto podría dar lugar tanto a nuevas maneras de registrar como a nuevos usos para ese registro.

Este artículo abordará el desarrollo de esta situación en el contexto de los conciertos de música pop y los registros que la audiencia hace de ellos. La hipótesis propuesta es que la tecnología digital hace que los usos amateurs del material pasen de una voluntad de simple registro a una función narcisista, y en ello la imagen cobra importancia sobre el sonido. Esto se ha investigado a través del análisis de registros amateurs de conciertos pop y del estudio de comunidades de consumo organizadas online.

This piece suggests that the remarkable surge of activism against the Stop Online Piracy Act (SOPA) represents a major shift in the longer term debate about copyright in the US. An anti-copyright movement that began among a small group of academics and activists in the 1990s now commands a broad, if shallow, base of public support for the first time. The piece draws on the work of pioneering copyright skeptics such as Lawrence Lessig and James Boyle, who drew an analogy between anti-copyright politics and the environmentalist movement to urge a reframing of the public domain as an issue of broad public concern. It shows how such ideas have increasingly resonated with a wider audience in the struggle over property rights and sharing on the Internet.