Bootlegging: Romanticism and Copyright in the Music Industry

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Lee Marshall

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  • Theory, Culture & Society

    Theory, Culture & Society caters for the resurgence of interest in culture within contemporary social science and the humanities. Building on the heritage of classical social theory, the book series examines ways in which this tradition has been reshaped by a new generation of theorists. It also publishes theoretically informed analyses of everyday life, popular culture, and new intellectual movements.

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    Acknowledgements

    When I submitted my PhD thesis, from which this current work stems, I had to declare that it was all my own work. Hopefully, this book will make it clear why such a statement was both fallacious and ironic but, if it doesn't, then let these acknowledgements guide you to where full credit is due.

    Without doubt, the towering influence over my development as an academic has been Robert Fine. Since supervising my rather misguided undergraduate dissertation, he has been an inspiring teacher with boundless intellectual generosity. Bob, I salute you, and I hope you think your effort worthwhile. It's not all Bob's work either, however; other intellectual debts are owed. While a student at Warwick, I benefited from the experience of a number of great teachers and I would like to mention two: Margaret Archer for encouraging me to continue my studies, and Jim Beckford, whose style and incision – worthy reflections of the 61 Double winners – are a model for fledgling academics. From my time at the University of East Anglia, many thanks to Tim Dant who helped knock my thesis into something resembling a book, and John Street. I miss our chats and am sorry I couldn't stay around longer to talk. To my new colleagues at the University of Bristol: thanks for being so, well, nice and for providing a stimulating academic environment. Such stimulation is assisted by my membership of IASPM – the International Association for the Study of Popular Music – and my thanks to all of the friends I have there. To Simon Frith, who I now find slightly less intimidating than when I first met him in my viva, my thanks for advice and encouragement in my early career. Ditto Martin Kretschmer. Finally, thanks to Tom Osborne and Martin Willis, the two suckers who volunteered to read the whole manuscript: I'm sure the work is better because of your input.

    This research was completed during the period 1997–2000 with the aid of a research studentship from the ESRC. Thanks to Clinton Heylin for sparing time to answer my questions, and to the bootleggers and collectors who were part of my study. Thanks to my trading friends for comradeship and many, many hours of joyful listening: to feel such communal bonds with those I have never met is rewarding indeed.

    Thanks should go to all of my family and friends but, outside of the Academy, three people stand above all others. My mom and nan have been a constant source of support and encouragement – in pursuit of my studies just like in every other aspect of my life. Finally, my partner, Catherine, whose wisdom and friendship are a continual source of renewal. I could stay with you forever, and never realise the time.

    Part of chapter 7 first appeared in ‘For and Against the Record Industry: an Introduction to Bootleg Collectors and Tape Traders’ Popular Music, 23:1, 2003 (Cambridge University Press).

    Part of chapter 8 first appeared in ‘The Effects of Piracy upon the Music Industry: a Case Study of Bootlegging’, Media, Culture and Society, 26:2, 2004 (Sage).

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