41. Letter from Max L. Arons, April 29, 1966, at 50, Bill Jacket, L. 1966, ch. 982, SIBL.
42. Memorandum from Attorney General Louis J. Lefkowitz, February 8, 1966, at 16, Bill Jacket, L. 1966, ch. 982, SIBL.
43. Telegram from Thomas E. Ervin, April 22, 1966, at 1, Bill Jacket, L. 1966, ch. 982, SIBL.
44. Ibid., 4.
45. Clark had been obsessed with jazz ever since he strung up a long-range antenna from the roof of his parents’ house in Rochester, New York, in 1938, in order to listen to live performances broadcast from Chicago, New York, and London. During a long life that included stints in banking and insurance on Wall Street, Clark amassed a large archive of live jazz recordings. See “Guide to the E. Payson Clark Papers, 1915–2004,” University of Chicago Library, http://uncap.lib.uchicago.edu/view.php?eadid=ICU.SPCL.EPCLARK, accessed February 27, 2009.
46. Letter from Payson Clark, June 14, 1966, at 30, Bill Jacket, L. 1966, ch. 982, SIBL.
47. Ibid., 30.
48. Ibid.,
49. Letter from Harry V. Souchon, June 22, 1966, at 32, Bill Jacket, L. 1966, ch. 982, SIBL.
50. Letter from Payson Clark, at 25.
51. James Goodfriend, “Piracy and Ethics,” Stereo Review, February 1970, 45.
52. James Boyle, The Public Domain: Enclosing the Commons of the Mind (New Haven, CT: Yale University Press, 2008), 9.
53. Letter from Henry Brief, June 28, 1966, at 45, Bill Jacket, L. 1966, ch. 982, SIBL.
54. Letter from Payson Clark, at 26.
55. Memorandum from Louis J. Lefkowitz, July 21, 1966, at 17, Bill Jacket, L. 1966, ch. 982, SIBL.
56. Walter J. Derenberg, “Copyright Law,” Annual Survey of American Law (1968–1969): 431.
57. House Committee on the Judiciary, Prohibiting Piracy of Sound Recordings, 12.
58. Ibid., 18.
59. Ibid., 56.
60. Ibid., 46; see “The $100-Million Market in Bootleg Tapes,” Business Week, May 15, 1971, 132.
61. “Piracy Hearing,” 9–10, 54.
62. House Committee on the Judiciary, Prohibiting Piracy of Sound Recordings, 47.
63. Ibid., 6.
64. Ibid., 56.
65. Ibid., 25.
66. Ibid., 28.
67. Ibid., 4.
68. Ibid., 59.
69. R. Serge Denisoff, Tarnished Gold: The Record Industry Revisited (New Brunswick, NJ: Transaction, 1986), 58–9.
70. Christopher Knab and Bartley F. Day, Music Is Your Business: A Musician’s FourFront Strategy for Success (Seattle: FourFront Media and Music, 2001), 108–10; Steve Albini, “The Problem with Music,” in Commodify Your Dissent: Salvos from the Baffler, ed. Thomas Frank and Matt Weiland (New York: W.W. Norton, 1997), 164–76.
71. “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.
72. House Committee on the Judiciary, Prohibiting Piracy of Sound Recordings, 53.
73. See first use of term in “Plug Payolas Perplexed,” Variety, October 19, 1938, 41, and subsequent discussion in T. W. Adorno, “On Popular Music,” Studies in Philosophy and Social Science 9, no. 1 (1941): 35–7; David Suisman, Selling Sounds: The Commercial Revolution in American Music (Cambridge, MA: Harvard University Press, 2009), 59; Kerry Segrave, Payola in the Music Industry: A History, 1880–1991 (Jefferson, NC: McFarland & Co., 1994), 221; Fredric Dannen, Hit Men: Power Brokers and Fast Money inside the Music Business (New York: Vintage Books, 1990), 52, 103.
74. Dannen, Hit Men, 3–17, 31–57; Denisoff, Tarnished Gold, 264–9.
75. House Committee on the Judiciary, Prohibiting Piracy of Sound Recordings, 69.
76. Ibid., 81.
77. House Committee on the Judiciary, Prohibiting Piracy of Sound Recordings, 57.
78. Joanna Demers, Steal This Music: How Intellectual Property Law Affects Musical Creativity (Athens: University of Georgia Press, 2006), 117, 142.
79. House Committee on the Judiciary, Prohibiting Piracy of Sound Recordings, 75; for more on Hart’s career, see Michael O’Brien, Philip Hart: The Conscience of the Senate (East Lansing: Michigan State University Press, 1995).
80. House Committee on the Judiciary, Prohibiting Piracy of Sound Recordings, 75.
81. Congressional Quarterly Almanac: 92nd Congress 1st Session 1971 (Washington, DC: Congressional Quarterly, 1972), 860.
82. The October 1971 act was titled “An Act to Amend Title 17 of the United States Code to Provide for the Creation of a Limited Copyright in Sound Recordings for the Purpose of Protecting against Unauthorized Duplication and Piracy of Sound Recording, and for Other Purposes”; see Congressional Quarterly Almanac: 92nd Congress 1st Session, 1971, 860; Sound Recording Act of 1971, 85 Stat. 391 (1971).
83. Celia Lury, Branding: The Logos of the Cultural Economy (New York: Routledge, 2004), 108–9.
84. For more on the Kovens’ legal and managerial difficulties, see chapter 4; Linda Mathews, “U.S. High Court Upholds State’s Tape Piracy Ban,” Los Angeles Times, June 19, 1973, A3; William T. Drummond, “Admitted Music ‘Pirate’ Tells How Bootleg Market Started,” Los Angeles Times, July 20, 1971, B1.
85. Interview with Francis Pinckney, Charlotte, NC, July 26, 2007.
86. Howard B. Abrams and Robert H. Abrams, “Goldstein v. California: Sound, Fury and Significance,” Supreme Court Review (1975): 149.
87. Goldstein, 412 U.S. at 560.
88. Ibid., at 570.
89. Ibid., at 570.
90. Brown v. Board of Education of Topeka, 347 U.S. 483 (1954); Griswold v. Connecticut, 381 U.S. 479 (1965).
91. Goldstein, 412 U.S. at 574.
92. Mathews, “U.S. High Court,” A3.
93. Goldstein, 412 U.S. at 571.
94. James Robison, “Record Industry’s No. 1 Enemy—the Bootleggers,” Chicago Tribune, 9 February 1975, 32.
95. “Piracy Hearing,” 38.
96. Bill Anderson, “Tape Cassettes: Bootleggers’ Boon,” Chicago Tribune, May 22, 1973, 10.
97. On the prosecution of Sam Goody, see Jonathan Fenby, Piracy and the Public: Forgery, Theft and Exploitation (London: Frederick Muller Limited, 1983), 81.
98. “Piracy Hearing,” 21.
99. GAI Audio of New York, Inc. v. Columbia Broadcasting System, 27 Md. App. 172, 340 A.2d 736 (Md. App. 1975).
100. Ibid., at 206.
101. Ibid., at 179–80.
102. Ibid., at 177–8.
103. “Suspect in ‘Bootleg’ Case Arraigned,” Los Angeles Times, January 8, 1974, B3.
104. “Piracy Hearing,” 16.
105. William Farr, “City to Crack Down on Phony Music Tapes,” Los Angeles Times, December 16, 1973, B8.
106. “Piracy Hearing,” 19.
107. On one day Schoenfeld visited “electronics stores, novelty stores, discount merchandise stores, record stores, and any other stores advertising or appearing likely to be selling inexpensive 8-track tapes” throughout New York City. Of fifteen scouted in Brooklyn, he found five selling pirate tapes; one of five investigated were doing so in Flushing, Queens; six of ten in Jamaica, Queens; and six of fifteen in Times Square. In lower Manhattan he also found newspaper and tobacco shops selling eight-tracks for $2.79 apiece. “Piracy Hearing,” 6–7.
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.
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