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Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century

Page 39

by Alex Sayf Cummings


  47. Bruce Fries and Marty Fries, Digital Audio Essentials: A Comprehensive Guide to Creating, Recording, Editing, and Sharing Music and Other Audio (Sebastopol, CA: O’Reilly Media, 2005), 72–3; “EAT’M Working with MP3.com,” CMJ New Music Report, June 29, 1999, 29; on typical recording artist royalties, see Christopher Knab and Bartley F. Day, Music Is Your Business: The Musician’s FourFront Strategy for Success (Seattle, WA: FourFront Media and Music, 2007), 108.

  48. Glenn Peoples, “Spotify Is Finally Available in the US—Now What?” July 14, 2011, Billboard.biz, http://www.billboard.biz/bbbiz/industry/digital-and-mobile/spotify-isfinally-available-in-the-u-s-1005278192.story, accessed July 19, 2011; Casey Johnston, “Eager to Share, but Doesn’t Quite Know How: Hands on with Spotify,” Ars Technica, July 19, 2011, http://arstechnica.com/gadgets/reviews/2011/07/nothing-wrong-with-free-hands-on-with-spotify.ars, accessed July 19, 2011.

  49. For a good overview of the service concept, see Stephen A. Herzenberg, John A. Alic, and Howard Wial, New Rules for a New Economy: Employment and Opportunity in a Postindustrial America (Ithaca, NY: Cornell University Press, 1998), 21–2; for the information economy, see Christopher May, The Information Society: A Sceptical View (Oxford, UK: Wiley-Blackwell, 2002), 3–18.

  50. Benkler, Wealth of Networks, 55; Jeffrey Pepper Rodgers, Rock Troubadours (San Anselmo, CA: String Letter Publishing, 2000), 163–4.

  51. Herbie Hancock, preface to John Alderman, Sonic Boom: Napster, MP3 and the New Pioneers of Music (Cambridge, MA: Perseus, 2001), xviii.

  52. Ben Krakow, “Hail to the Thief: Music Blogs and the Propagation of New Music” (unpublished senior thesis, Vassar College, 2009).

  53. Information Infrastrucure Task Force, Intellectual Property and the National Information Infrastructure: The Report of the Working Group on Intellectual Property Rights (Washington, DC: Information Infrastrucure Task Force, 1995), 10.

  54. James Boyle, The Public Domain: Enclosing the Commons of the Mind (New Haven, CT: Yale University Press, 2008), 42.

  55. Jack Temple Kirby, The Countercultural South (Athens: University of Georgia Press, 1995), 39–42.

  56. Boyle, Public Domain, 35.

  INDEX

  2 Live Crew, 205

  50 Cent, 170–1, 204

  999 Uses of the Tape Recorder, 88

  A&M Records v. MVC Distributing (1978), 141

  A&M Records, 142

  ABC (American Broadcasting Company), 48, 69, 127

  Abeles, Julian, 122

  acetate, 41, 55, 63–5, 69, 77, 96

  Acuff-Rose, 205

  Adderley, Cannonball, 78

  Adorno, Theodor, 133

  Aeolian, 28

  AFM (American Federation of Musicians), 36, 127, 131, 139

  Afrika Bambaataa, 164, 165–7

  Aftermath Records, 170

  AGAC (American Guild of Authors and Composers), 121

  All Boro Records and Tapes, 141

  Allegro label, 76, 77

  Allison, Roy F., 72

  “Alone Again, Naturally” (Gilbert O’Sullivan), 205

  Amazing Kornyfone label, 102–3, 105, 153

  Amazon, 159, 209

  American Federation of Television and Radio Artists, 147

  American Talking Machine Company, 13

  Ampex Corporation, 69, 83

  Anchor label, 50

  Anderson, Chris, 209

  Andrews, Dana, 72–3, 82

  Anthology (The Beatles), 105

  Apocalypse Now, 182

  Apollo Company. See White-Smith v. Apollo (1908)

  Apple Computer, 161, 191, 209

  Apple Corps label, 100

  appropriation art, 162, 172, 205–6

  Armour Research Company, 68

  Armstrong, Louis, 40, 55–7, 110, 176

  Arons, Max, 127, 139

  ASCAP (American Society of Composers, Authors, and Publishers), 44–5, 132, 187

  Associated Press (AP). See International News Service v. Associated Press (1919)

  Association of American Publishers, 191

  AT&T, 67–8, 202

  Atari, 180

  Atlantic label, 140, 181

  Auld, Sam, 83–4

  Australia, 59, 60 (fig.), 179 (fig.), 182, 186

  authenticity, 30–1, 40, 106–7, 196

  Author’s League, 123

  “Autograph, The” (J. Cole), 1

  Axelrod, Robert, 160

  Babytone recorder, 42

  Back from Hell (Run-DMC), 164, 197

  “Back to the Commonwealth” (The Beatles), 104

  Baes, Jonas, 196

  Ball, Jared, 171

  Bamboo Industries—Records for Most Jazz Ears label, 78

  Band, The, 97

  Banks, Lloyd, 169

  Barbecue Bob, 59

  Barlow, John Perry, 160–1, 211

  “basement tapes.” See Dylan, Bob; Great White Wonder

  Bayreuth Festival, 76

  BBC (British Broadcasting Corporation), 67–8, 105

  Beach Boys, 153

  Beatles, The, 81, 94, 99–100, 106, 127, 200

  piracy of, 6, 113, 124, 142, 163 and race, 104–5

  Bechet, Sidney, 41, 55, 59, 61

  Bee Gees, 182

  Begun, Semi J., 41–2, 67–8

  Beiderbecke, Bix, 6, 38, 40, 57

  Beineix, Jean-Jacques, 175–6

  Bell Telephone Laboratories, 67, 81

  Ben Folds Five, 8

  Ben-Ami, Daniel, 212

  Benkler, Yochai, 160

  Berardi, Franco “Bifo,” 173–4

  Berkeley Barb, 97

  Berliner, Emile, 4, 13, 20, 30, 70

  Berne Convention, 20, 118–9, 190

  Bharatiya Janata Party (India), 194

  Big Champagne, 208

  “Billie Jean” (Michael Jackson), 206

  Biltmore label, 50

  “Birdland” (Patti Smith), 105

  Biz Markie, 205

  Black Album (Prince), 163

  Blackmun, Harry, 138

  Blaisdell, William, 119

  Blattner, Ludwig, 66–7

  Blattnerphone, 66–7

  Blue Ace label, 50, 59

  blues, 52, 87

  and collectors, 40, 44

  piracy of, 36, 59–60, 176

  Board of Foreign Trade (Taiwan), 184

  Bogus Talking Machine, or the Puzzled Dutchman, The (Griffin Hall), 12–3

  Bohusch, Jan, 112–4, 117, 141–2

  Bollettino, Dante, 56–7, 71, 76, 127

  comparison to later pirates, 86, 94, 106, 176

  impact on legislation, 118

  Bollywood, 185

  Bomp!, 152–3

  Bon Jovi, 163

  Bono, Mary, 203

  Bonus Platta-Pak company, 57

  Bonynge, Robert, 24

  boogie-woogie, 53–4, 56

  bootlegging, 1, 4–8, 35–8, 86–8, 142–3, 150–64, 182–91, 195–6, 212–4

  aesthetic of, 98–100, 207–8

  and counterculture, 7, 103–9, 161–3

  as distinct from piracy, 5–6, 101, 153–4, 205

  in classical music, 31, 36, 48–50, 65, 72–7, 93, 96, 106, 126, 156, 201, 171

  in hip-hop, 151, 164, 166–74, 214

  in jam music, 156–60, 162

  in jazz, 41–4, 50–62, 71, 76, 78, 118

  in rock and roll, 57, 87, 93–117, 139, 150–60, 163, 210

  technology of, 41–2, 65, 71, 85–8, 93–7, 116, 142, 157, 166–8, 182–3

  Bowker, R.R., 18, 26

  Boyle, James, 61, 216

  Bradley, Wynant Van Zandt Pearce, 4, 29–32, 36, 124, 126, 176

  Brand, Stewart, 161

  Brandeis, Louis, 33–4, 137, 204

  Brennan, William, 138

  Brief, Henry, 126, 129

  British Phonographic Industry, 154, 202

  Brown v. Board of Education, 138

  Brown, James, 6, 104, 166, 172

  Brown, Tom, 114–7

  Brucie Bee, 151, 1
65, 167, 169

  Brunswick label, 42

  Brush Development Company, 68–9

  Buchanan, Patrick, 194

  Buck Wild, 167

  Burger, Warren, 136–8, 176

  Burroughs, William, 87–8

  Bush, George W., 212

  Business Software Alliance, 191

  Busta Rhymes, 170

  Buzzcocks, 154

  Cabellé, Monserrat, 77

  Cage, John, 43

  Calvé, Emma, 25

  Cameo label, 57

  Campbell, Clive. See Kool Herc

  Campbell, William, 26

  Canby, Edward Tatnall, 71–3, 95

  Capitol Records, 80, 84–5, 124–5, 201

  Capitol Records v. Greatest Records (1964), 124

  Capitol Records v. Mercury (1955), 79–80, 123, 126

  Capitol Records v. Naxos (2005), 200–1

  Captain Sky, 166

  Caruso, Enrico, 14, 25–6

  Cash, Johnny, 96, 98, 170

  cassette tape. See compact cassette

  Castells, Manuel, 185, 210

  Celler, Emanuel, 131

  Chanel, 192

  Chaney, John C., 28

  Chang, Jeff, 164, 167

  Chatfield, Thomas, 30–2

  Chic, 164, 166

  China, 183, 186–7, 195–6

  Chomsky, Noam, 212

  Chrysler, 82

  Chuck D, 171

  Clark, Payson, 127–9

  Classical music, 87, 93–4

  and ethos of documentation, 106, 156

  and high-fidelity, 72–4

  and Naxos case, 201

  and Victor company, 25, 30–1

  comparison with jazz, 39

  piracy of, 5, 7, 36, 50, 65, 75–7, 175–6

  Clay, Cassius, 104

  Clinton, Bill, 7, 194–5, 211

  Cohan, George M., 174

  Cohen, Leonard, 96, 170

  Cold Crush Brothers, 164

  Colon, Chris, 144

  Columbia Records, 16, 66, 75, 84, 103–4, 109–10, 140, 170, 181

  attitude toward reissues, 38, 43, 51–2

  piracy of, 30, 48–9, 55–7, 99–101

  Combs, Sean “Puffy,” 167, 206

  Commodore Music Shop, 42. See also Gabler, Milt

  Communism, 76, 93–4, 182–3

  compact cassette, 4, 7, 65, 71, 84–8, 94–5, 151–2, 162–4, 181–3, 188–9, 200, 202. See also mixtape

  compact disc (CD), 5, 101, 162–3, 169, 173–4, 180, 196–7, 207

  Compco Corp. v. Day-Brite Lighting (1964), 80–1, 123–4, 137–8

  compulsory license, 27–8, 33, 111, 119, 130, 133–4, 139, 145, 148

  Conklin, Terry, 116

  conservatism, 104, 107, 137–8, 194, 211–2

  Constitution (US), 97

  and state copyright laws, 136–7

  Ninth Amendment of, 81

  on limitations of copyright, 7, 26, 120

  on support of copyright, 3, 19

  Copyright

  and international law, 3, 20, 118, 175, 186–7, 192–5

  and monopoly, 12, 27–8, 33, 124, 133, 136, 138, 146, 148

  common law, 45, 48–9, 80, 125, 146, 201

  Copyright Act of 1909 (US), 12, 21, 26–9, 32–3, 54, 80, 111, 119, 133, 145, 149

  Copyright Act of 1956 (UK), 187

  Copyright Act of 1976 (US), 142, 144–9, 152, 201, 212

  dual system of, 146, 201

  length of term, 3, 18, 26, 124, 128, 145, 149, 203

  origin, 2–3

  penalties for infringement, 22, 125, 141, 143, 149, 177, 197, 200, 203, 207, 211

  Corbett, John, 63, 65

  Council of Europe, 188

  counterculture, 7, 94–117, 130, 152–3, 156, 161, 210, 211

  counterfeiting, 1, 36, 141

  and international market, 183–4, 191–2

  as distinct from bootlegging, 101, 109, 151–4, 205

  definition of, 5–6

  legislation against, 123–4, 129, 149

  country music, 60 (fig.), 65, 97, 142

  Creative Commons, 161–2, 204, 213

  Crosby, Bing, 69

  Crosby, David, 116

  Crosby, Stills and Nash, 116, 131

  Crown label, 35

  Crumb, Robert, 102

  Currier, Frank, 23

  custom pressing, 55, 61, 71, 94, 207

  Custom Recording Company, 102, 133

  cyberlibertarianism, 161

  Dailygraph wire recorder, 67

  Davies, Gillian, 188

  Davis, Hal C., 131

  Davis, Miles, 64 (fig.)

  Day, William, 20, 120

  Dead Kennedys, 202

  Dead Relix, 157

  Deadheads, 156–60. See also Grateful Dead

  Debussy, 72

  Decca label, 43, 52, 69, 75, 84

  Deep Purple, 102

  Def Jam, 173

  Delaunay, Charles, 39

  Demers, Joanna, 204–5

  Denisoff, R. Serge, 106, 117, 142

  Denver, John, 113

  Deutsche Grammophon label, 76

  Diamond Multimedia, 215

  Difranco, Ani, 216

  Dimock, Edward, 80

  “Ding-A-Ling” (Bobby Rydell), 57, 142

  Disney, 211

  Dittolino Discs label, 153

  Diva (Jean-Jacques Beineix), 175

  DJ Clue, 167, 169–70

  DJ Drama, 167, 173

  DJ Kay Slay, 170

  DJ Kool Akiem, 168

  DJ Red Alert, 171

  DJ Whoo Kid, 169

  DJs (hip hop), 6, 151, 162, 164–73, 202, 204, 205, 214

  “Dominic the Impotent Bull” (Elvis Presley), 113

  Doo Wop (DJ), 167

  Doobie Brothers, 150–2

  Doo-Yun, Hwang, 191

  Douglas, William, 138

  Down Beat, 39, 51

  Dr. Dre, 167

  Dresden Opera House, 76

  Dubs, 41–2, 55, 57

  Dunkel Draft, 193–4

  Dunn, Winfield, 125

  Dwork, John R., 160

  Dylan, Bob, 135–6, 152, 158, 162

  and “basement tapes,” 4, 78, 94, 96–8, 163

  bootlegs of, 99–102, 104, 106, 109–10, 207–8 See also Great White Wonder

  “Early to Bed” (Fats Waller), 59

  Eastern Tape, 112

  eBay, 159–60

  E-C Tape, 112, 142

  “Economy of Ideas, The” (John Perry Barlow), 161

  Edison, Thomas

  sound recording innovations of, 1, 4, 12, 66, 200

  on applications of sound recording, 13, 24, 68

  EFF (Electronic Frontier Foundation), 161–2, 204, 211

  eight-track, 7, 84–6, 144

  Eilberg, Joshua, 149

  Ekecs, Geza, 93–4

  Electrical World, 66

  Elektra, 181

  Eliseo, Mario, 144

  Ellington, Duke, 74

  Elvis’ Greatest Shit!! (Elvis Presley), 113

  Emerging Artists and Talent, 215

  EMI (Asia), 195

  EMI. See Capitol Records

  Entertainment Software Association, 191

  Entführung aus dem Serail (Mozart), 76

  Enyart, Jim, 192

  Erlanger, Steve, 189

  Ernest, Roland, 77

  Ervin, Thomas E., 127

  Evans, Walker, 206

  Excelsior Phonograph Company, 25 (fig.)

  Facebook, 8, 202

  Faces, 96

  Fantasy Records, 110, 130

  FBI, 139, 142–4, 153, 191

  Fenby, Jonathan, 184

  Fernando, S. H., 167, 172

  file sharing, 7, 86, 202, 207–8, 215–16

  Fine, Jack. See Kessler, Jack

  Flower (Dylan bootleg), 100–1

  Folkways label, 59, 60 (fig.)

  Fonotipia v. Bradley (1909), 19, 30–4, 35, 50, 126

  Ford, 84

  Ford, Henry, II, 84

>   Fordism, 208

  four-track, 7, 82–3, 85–7

  France, 22, 39, 42, 179 (fig.), 186, 190

  Francis, Jack, 140–1

  Frank, Barney, 211

  Free Music Store (Patti Smith), 108

  Free Software Foundation, 161–2

  Friday Night Lights mixtape (J. Cole), 1

  Friendster, 202

  Fuller, Melville, 20

  Fulton, Richard, 131

  Funkmaster Flex, 167, 170

  Furniss, George W., 22–3

  G&G Sales, 112, 133

  Gabler, Milt, 42, 53

  Gangsta Grillz mixtapes (DJ Drama), 173

  GATT (General Agreement on Trade and Tariffs), 192–6, 198

  Geibel, Adam, 19

  General Electric, 68

  General Motors, 119, 190

  General Music, 144

  Gennett label, 35

  Germany, 36, 66–9, 76, 80, 93, 179 (fig.), 182, 188–90

  Gershwin, George, 27

  “Get Back” (The Beatles), 105

  Get Rich or Die Tryin’ (50 Cent), 170

  Gifford, Livingston, 19

  Gill, John, Jr., 28

  Gilmore and Holding Band, 16

  Giuliani, Rudolph, 168

  Gleason, Ralph, 110, 130

  Globe Phonograph, 15

  Godfather, The, 182

  Godzilla’s American Phonograph Record

  Export Service, 113

  Goldberg, Morton, 121

  Golden, Bill, 82–4

  Goldmine, 153

  Goldsmith, Kenneth, 206

  Goldstein v. California (1973), 86, 118, 136–8, 141, 149

  Goldstein, Donald, 136

  “Good Times” (Chic), 164, 166

  Goodfriend, James, 74–5, 78–9, 128

  Goodman, Benny, 44, 51 (fig.), 57

  Google, 8

  Gortikov, Stanley, 131, 134, 147

  Gould, Joe, 74, 79, 87

  GPL (general public license), 162

  Gramophone label, 201. See also Capitol Records

  Grandmaster Flash, 164–5, 169

  Grateful Dead, 5, 151, 163–4,

  and tape trading, 156–60, 173, 213, 215

  as precursor of Creative Commons, 161–2, 211

  Grauer, Bill, 57

  Grease, 177, 182

  “Great American Rip-Off, The” (IRTA), 148

  Great Depression, 41, 44, 67, 78, 82

  Great White Wonder (Bob Dylan), 78, 103, 113, 118

  criticism of, 109–10

  variations of 97–102, 207–8

  Greatest Records, 124

  Green, Delbert, 141

  Griswold v. Connecticut, 138

  Grokster, 200, 214

  Gronow, Pekka, 95, 180

  Grossman, Jack, 130, 132

 

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