By examining the centrality of Romantic authorship to both copyright and the music industry, the author highlights the mutual dependence of capitalism and Romanticism, which situates the individual as the key creative force while challenging the commodification of art and self. Marshall reveals how the desire for bootlegs is driven by the same ideals of authenticity employed by the legitimate industry in its copyright rhetoric and practice and demonstrates how bootlegs exist as an antagonistic but necessary component of an industry that does much to prevent them. This book will be of great interest to researchers and students in the sociology of culture, social theory, cultural studies and law.

An Overview of Bootlegging

An overview of bootlegging

Heard melodies are sweet but those unheard Are sweeter.1

Bootlegging first emerged in the early twentieth century: Lionel Mapleson, recorded performances from the Metropolitan Opera House in New York between 1901 and 1903. The crude recording equipment given to Mapleson by Thomas Edison could only record a few minutes at a time but his recordings are now considered artefacts of vital historical importance (Heylin, 1994: 28). The first real bootleg era was the 1950s and 1960s when jazz aficionados recorded live performances by many of the jazz greats. These were freely on sale in Greenwich Village but were ignored by the industry who considered them too esoteric to be profitable. The first rock bootleg was issued in 1969 and ...

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