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WD_420/ 2008
(  Satoshi Kinoshita )
| Series: | Works on paper: Drawings 5 | | Medium: | oilstick on paper | | Size (inches): | 25.6 x 17.9 | | Size (mm): | 650 x 455 | | Catalog #: | WD_0420 | | Description: | Signed, date and copyright in pencil on the reverse.
Trademark of Quality -
TMQ, TMOQ or Trademark Of Quality was a bootleg record label that originated in the Los Angeles, California area during the late 1960s and early 1970s. The label was responsible for many underground records of Bob Dylan, Led Zeppelin, Jefferson Airplane, Grateful Dead, The Beatles, Frank Zappa, Rolling Stones, The Who and many other popular rock artists of the era. The major record labels were shocked and dismayed that any anonymous person could obtain or make a bootleg recording of one of their artists and press up records and release them for sale. This ultimately coined the term "Bootleg".
TradeMark of Quality was one of the legendary bootleg labels in the very beginning of the 70s, established in 1970 or 1971 by two bootleggers known as Dub and Ken. They were quality-conscious perfectionists who pressed all their albums on coloured, virgin vinyl, and perhaps the first bootleggers to start doing real, printed picture covers, and later colour picture covers (printed - not inserts in the shrink-wrap).
Releases:
71001 Bob Dylan Stealin'
71002 Bob Dylan John Birch society Blues
71002 Rolling Stones Liver Than You'll Ever Be
71004 Donovan The Ready River
71005 Jethro Tull My God
71006 Bob Dylan While the Establishment Burns
71007 The Beatles In Atlanta Whiskey Flat
71008 Bob Dylan Seems Like A Freeze Out
71009 Bob Dylan Talkin Bear Mountain Massacre Picnic Blues
71010 Franks Zappa / Mothers 200 Motels
71011 Jefferson Airplane Up Against The wall
71012 The Beatles Last Live Show
71013 CSN&Y Ohio Wooden Nickel
71014 Paul Simon The Paul Simon Solo Album
71015 The Beatles Complete Christmas Collection 1963 - 69
71016 Rod Stewart & Faces Plynth
71017 Bob Dylan Royal Albert Hall
71018 Jimi Hendrix Maui Hawaii
71019 Jimi Hendrix Broadcasts
71020 Rolling Stones European Tour 1970
71021 Rolling Stones Beautiful Delilah
71022 Neil Young At The Los Angeles Music centre
71023 Janis Joplin Infinity Blues
71024 The Beatles Get Back Sessions
71025 The Beatles Renaissance Minstrels 1
71026 The Beatles Renaissance Minstrels 2
71027 Bob Dylan VD Waltz
71028 Jimi Hendrix Smashing Amps
71029 Rolling Stones London Roundhouse
71030 Jethro Tull Nothing Is Easy
71031 Blood Sweat And Tears BS&T 5
71032 The Beatles Yellow Matter Custard
71033 Bob Dylan Burn Some More
71034 Bob Dylan Best Of Great White Wonder
71035 Buffalo Springfield, Neil Young, CSN&Y Springfield Roots
71036 Cat Stevens Father & Son
71037 Grateful Dead In Concert
71038 Jefferson Airplane Winterland 1970 / Tapes from The Mothership
71039 The Who Closer To Queen Mary
71040 Pink Floyd Moayyad
71041 Led Zeppelin Mudslide
71042 Jimi Hendrix Good Vibes
71043 Bob Dylan Let Me Die In My Footsteps
71044 Jethro Tull Flute Cake
71045 Bob Dylan Troubled Troubador
71046 John Lennon Telecasts
71047 Leon Russell Session
71048 The Beatles Outtakes 1
71049 Beatles Outtakes 2
71050 Bob Dylan Isle Of Wight
71051 Bob Dylan Blind Boy Grunt
71052 Rod Stewart & The Faces Had me A Real Good Time
71053 Moody Blues Bushbuck
71054 David Bowie In Person
71055 Bob Dylan The Demo Tapes
71056 Pete Townshend The Genius Of …
71057 Rolling Stones Burning At The Hollywood Palladium 1972
71058 Grateful Dead San Francisco
71059 Frank Zappa & Hot Rats At The Olympic
71060 Jimi Hendrix Good Karma
71061 Bob Dylan Don't Look Back
71062 David Bowie In America
71063 Neil Young Bouler, Colorado
71064 Grateful Dead Hollywood Palladium 1
71065 The Beatles Hollywood Bowl 1964
71066 Yes On Tour
71067 Deep Purple Purple For A Day
71068 The Beatles Get Back Session 2
71069 Bob Dylan BBC Broadcast
71070 Led Zeppelin BBC Broadcast
71071 The Who Fillmore East
71072 Neil Young BBC Broadcast
71073 Santana Hot & Alive
71074 David Bowie All American Bowie
71075 Rolling Stones Bright Lights Big City
71076 The Beatles Spicy Beatles Songs
71077 The Who Radio London
71078 Rolling Stones San diego '69
71079 Jimi Hendrix Good Karma 2
71080 Rolling Stones Welcome To New York
71081 The Yardbirds Rarities
71082 Derek and the Dominos Stormy Monday
71083 Bob Dylan Early 60s Revisited
71084 The Kinks Long Tall Sally
71085 Bad Company Boblingen
71086 Rolling Stones European Tour '73
73000 Donovan The Reedy River
73001 The Beatles Renaissance Minstrels 1
73002 The Beatles Renaissance Minstrels 2
73003 Buffalo Springfield Springfield Roots
73005 Bob Dylan While The Establishment Burns
73006 Bob Dylan Burn Some More
73007 Bob Dylan Blind Boy Grunt
73008 Bob Dylan Best Of The Great White Wonder
73009 Grateful Dead Live In Concert
73010 Grateful Dead Silent Dead
73011 Jimi Hendrix Maui Hawaii
73012 Jimi Hendrix Broadcasts
73013 Jimi Hendrix Smashing Amps
73014 Jethro Tull My God
73015 Jethro Tull Ticketron
73016 The Kinks Kriminal
73017 Led Zeppelin Stairway To Heaven
73018 Paul McCartney James Paul McCartney
73019 Moody blues Answer To The Mystery Of Life
73020 Van Morrison A Spawn Of The Dublin Pubs
73021 Rod Stewart Had Me A Real Good Time
73022 Rolling STones Relics
73023 Rolling Stones European Tour
73024 Rolling Stones Burning At The Hollywood Palladium
73025 Rolling Stones Smooth
73026 Teter Townshend The Genuis Of
73027 Johnny Winter Hot & Alive
73028 Neil Young Coming Home
73030 The Beatles The Beatles
73031 Jimi Hendrix Skyhigh
73032 The Beatles Renaissance Minstrels 3
73033 Rolling Stones Get Your Leeds Lungs Out
73034 Bob Dylan Bridgett's Album
73035 Van Morrison Belfast Cowboy
73036 Poco Country Bump
73037 Rendy Newman Live At Paul's Mall Boston
73038 Joni Mitchell Lights out In Georgia
73039 Elton John More rock from Elton
72001 Bob Dylan Great White Wonder
72002 Led Zeppelin Live On Blueberry Hill
72003 Jimi Hendrix Hendrix Alive
72004 Led Zeppelin Going To California
73005 David Crosby & Graham Nash A Very Stoney Evening
73006 Rolling Stones Winter Tours 1973
73007 Led Zeppelin Bonzo's Birthday Party
73008 Grateful Dead Hollywood Palladium 2
73009 Rolling Stones Gimme Shelter
72010 Jethro Tull Forum '73
72011 David Bowie Live At Santa Monica Civic
72012 Alice Cooper You're All Crazier Than I Am
72014 Grateful Dead Filmore West
72015 Jethro Tull Supercharged
72016 Led Zeppelin Three Days After
72017 Rolling Stones Mick's Birthday Party
72018 The Who Jaguar
72019 Led Zeppelin V-1/2
7501 Bob Dylan BBC Broadcast
7502 Jimi Hendrix Broadcasts / Maui Hawaii
7503 Jethro Tull My God / Nothing Is Easy
7504 The Who & Townshend Closer To Queen Mary / Genius Of Pete Townshend
7505 Rolling Stones European Tour 1970 / Burning At The Hollywood Palladium
7506 Frank Zappa 200 Motels / At The Lympic
7507 Bob Dylan While The Establishment Burns / Isle Of Wight
7508 The Beatles Outtakes 1 / Outtakes 2
7509 Jimi Hendrix Hendrix Alive
7510 David Crosby & Graham Nash A Very Stoney Evening
9001 Rolling Stones Cops And Robbers
9002 Bad Company In Concert
61001 Yardbirds Golden Eggs
61002 Bob Dylan Melbourne Australia 1966
61003 Yardbirds More Golden Eggs
62001 The Who Who's Zoo
62002 The Who Tales Of The Who
63001 Bob Dylan Saint Valentine's Day Massacre
8201 Deep Purple Murky Waters
8202 Pink Floyd Nippon Connection
8203 Pink Floyd Circus Days
8204 Jeff Beck Beckfast
8205/6 Paul McCartney Great Dane
8207/8 Rolling Stones LA Fog
References:
Clinton Heylin (1996). Bootleg: The Secret History of the Other Recording Industry. New York: St. Martin's Griffin. ISBN 0-312-14289-7.
-en.wikipedia.org/wiki/Trade_Mark_of_Quality
Bootleg recording -
A bootleg recording is an audio and/or video recording of a performance that was not officially released by the artist, or under other legal authority. The process of making and distributing such recordings is known as bootlegging. A great many such recordings are simply copied and traded among fans of the artist without financial exchange, but some bootleggers are able to sell these rarities for profit, sometimes by adding professional-quality sound engineering and packaging to the raw material.
Bootlegs can consist of recordings of live performances, or material created in private or professional recording sessions. Changing technologies have had a great impact on the recording, distribution, and varying profitability of the underground industry.
Although distinct from unauthorized copying ("piracy") and counterfeiting, as it involves material which has never been offered for commercial release, bootlegging is considered infringement in many jurisdictions. The copyrights for the song and the right to authorize recordings often reside with the artist, according to several international copyright treaties. The recording, trading and sale of bootlegs continues to thrive, however, even as artists and record companies attempt to provide "authorized" alternatives to satisfy the demand.
Definitions:
Some artists consider any release for which they do not receive royalties to be equivalent to a bootleg, even if it is an officially licensed release. This is often the case with artists whose recordings have either become public domain or whose original agreements did not include reissue royalties (which was a common occurrence before the 1960s).
Many bootlegs consist of private or professional studio recordings distributed without the artist's involvement, including demos, works-in-progress or discarded material. These might be made from private recordings not meant to be widely shared, or from master recordings stolen or copied from an artist's home, a recording studio or the offices of a record label. A number of bootlegs originated with FM radio broadcasts of live or previously-recorded live performances.
However, the most common type is the live bootleg, or audience recording, which is created with sound recording equipment smuggled into a live concert. Many artists and most live venues prohibit this form of recording, but from the 1970s onwards the increased availability of portable technology made such bootlegging increasingly easy, and as this technology has improved so too has the general quality of these recordings.
The alternate term ROIO or RoIO, an acronym meaning "Record of Indeterminate Origin", or "Record of Illegitimate Origin", arose among Pink Floyd collectors trying to clarify the differences between counterfeits, pirate copies, live bootlegs, and "ROIOs", meaning recordings whose legal status was difficult or even impossible to determine. The term has spread beyond Pink Floyd fans but its recognition and usage depends largely on the individual community. It is also sometimes used to denote a Pink Floyd recording of any kind.
In the early 2000s, "bootleg" became an alternate term[citation needed] for "mashups" or "bastard pop", a style of remix in which two or more musical recordings are melded into new piece of music. Early examples often copied sound clips without paying royalties to the original artist.
History of bootlegging -
The early years:
Unauthorized recordings can be traced back to the early days of opera, jazz, and blues music. The first recognised rock bootleg in the United States was a double-LP known as The Great White Wonder, for the plain white cover, sleeve and labels. This was a 1969 collection of Bob Dylan recordings and studio out-takes, as well as seven tracks from sessions made with members of The Band (released many years later in The Basement Tapes), put out by a pair known as "Ken" and "Dub". The album was in great demand since these unreleased tracks were otherwise unavailable. Hundreds of other bootleg LPs of Dylan's music, including several volumes of Little White Wonder would be released over the ensuing years. One notable release was Ten of Swords, a 10-LP box set that was issued shortly after the 5-LP Biograph was released in 1985. Unlike most major artists, whose bootlegs were usually recorded in large concert venues, the Dylan bootlegs were typically taken from unreleased songs, demo tapes, or live performances made in intimate settings or during interviews.
Other early bootleg recordings that date from the same time period as The Great White Wonder include Kum Back / The World's Greatest by The Beatles, Live On Blueberry Hill by Led Zeppelin and The Greatest Group on Earth by the Rolling Stones. Soon thereafter, bootleg recordings began to emerge from Britain as well, with an unofficial release of a live recording of Jimi Hendrix at the Royal Albert Hall.[1]
Early live recordings typically contained a great deal of crowd noise, with screams and whistles from audience members close to the microphone sometimes drowning out the performance. Bootleggers gradually found ways to minimize this, sometimes just by choosing their position in the crowd carefully, by elevating the microphone above the crowd on an extensible pole, or by taping it to a light or speaker pole. Others found sophisticated ways of connecting recording equipment directly into the Front of House mixing console or soundboard, with or without the cooperation of the performer's sound crew.
Blank album covers and labels were commonplace in the early years of bootlegging; the album was often identified only by a photocopied page inside the shrink wrap listing the artist and songs, sometimes with a photograph or two. Some albums would have phony labels or covers that listed songs and artists that were in no way related to the actual music on the album. In an attempt to legitimize the practice, many LPs purported to have been made in Italy, West Germany, Australia and other countries so that they could be marketed as "imports" rather than bootlegs.
After having many of their albums available in bootleg, the Who decided to put out their first live album (Live at Leeds) in 1970 with a brown, cardboard looking cover with "The Who Live at Leeds" stamped on the cover to make it appear as though it were a bootleg. The songs were written on the album (by Townshend's hand) to further the joke. The sound quality of this album was actually better and cleaner than most live recordings of rock bands that had been officially released prior to that date.
Many years later, and for the same reason, Aerosmith released their first official live album, Live! Bootleg in 1978. In addition to imitating bootleg cover designs, the album also gives an incorrect track listing (which is also common in bootleg recordings): the song "Draw The Line" is included on the record but does not appear listed.
1970s and 1980s:
During the 1970s the bootleg industry in the United States expanded rapidly, coinciding with the era of stadium or arena rock. Vast numbers of recordings were issued for profit by bootleg labels such as Kornyfone and Trade Mark of Quality.[2] The large followings of bands such as Deep Purple, Led Zeppelin, The Rolling Stones and Pink Floyd created a lucrative market for the mass production of unofficial recordings on vinyl, as it became evident that more and more fans were willing to purchase them. In addition, the huge crowds which turned up to these concerts made the effective policing of the audience for the presence of covert recording equipment virtually impossible.
In Los Angeles there were a number of record mastering and pressing plants that were not "first in line" to press records for the major labels, usually only getting work when the larger plants were overloaded. These pressing plants were more than happy to generate income by pressing bootlegs of dubious legality. Sometimes they simply hid the bootleg work when record company executives would come around (in which case the printed label could show the artist and song names) and other times secrecy required labels with fictitious names. For example, a 1972 Pink Floyd bootleg called Brain Damage was released under the name The Screaming Abdabs.[2]
Bootleg collectors in this era generally relied on Hot Wacks, an annual underground magazine catalog of known bootlegs, for information about recently-released bootleg albums. It provided the true information on releases with fictitious labels, and included details on artists and track listings, as well as the source and sound quality of the various recordings.
The market outlets for bootlegs-for-sale were varied. In the early years, bootlegs could be bought from vendors lurking in the alleys and parking lots around live venues, as well as at swap meets, street markets, record collector shows, and smaller record stores. Mail order sources were advertised by word of mouth, and in many cases uniquely associated with individual bands. There were major markets in Japan and Europe for Led Zeppelin bootleg recordings, Beatles bootlegs, and rarities from The Rolling Stones, Deep Purple, Pink Floyd, KISS, and Queen, among others.
Throughout the 1970s most bootleg records were of poor quality, with many of the album covers consisting of nothing more than cheap photocopies. However, later in the decade a number of unofficial "labels" such as Swinging Pig emerged in Europe, which released limited editions of better quality recordings, with improved album artwork. This trend in enhanced audio and packaging standards continued into the 1980s.[1]
The 1980s saw the increased use of audio cassettes and videotapes for the dissemination of bootleg recordings, as the affordability of private dubbing equipment made the production of multiple copies significantly easier. Cassettes were also smaller, easier to ship, and could be sold or traded more affordably than vinyl. Cassette culture and tape trading, propelled by the DIY ethic of the punk subculture, relied on an honor system where people who received tapes from fellow traders made multiple copies to pass on to others within the community.
For a while, stalls at major music gatherings such as the Glastonbury Festival sold mass copies of bootleg soundboard recordings of bands who, in many cases, had played only a matter of hours beforehand. However, officials soon began to counteract this illegal activity by making raids on the stalls and, by the end of the 1980s, the number of festival bootlegs had consequently dwindled.[1]
According to Clinton Heylin, author of Bootleg: The Rise & Fall of the Secret Recording History, the five most bootlegged artists are The Beatles, Led Zeppelin, The Rolling Stones, Bob Dylan and Bruce Springsteen.[3] Probably the most celebrated bootleg recording is The Black Album by Prince. The album was to have been a conventional major-label release but was pulled back from the market almost immediately after its initial release in November 1987. Bootlegs appeared shortly thereafter from a variety of sources and with widely different sound qualities. Reportedly, over 500,000 copies were sold.
1990s and 2000s:
In the 1990s there was a widespread conversion of many of the older bootlegs onto the compact disc format. Unofficial recordings became more readily available than ever before, resulting in thousands of bootlegs being circulated on CD amongst avid collectors and fans, in many cases of shows which had been originally recorded over thirty years previously. In particular, companies in Germany and Italy exploited the more relaxed copyright laws in those countries by pressing large numbers of CDs and including catalogs of other titles on the inlays, making it easier for fans to find and order shows direct.[1] Similarly, relaxed copyright laws in Australia meant that the most serious legal challenge to unauthorized releases were made on the grounds of trademark law by Sony Music Entertainment in 1993. Court findings were in favor of allowing the release of unauthorized recordings clearly marked as "unauthorised." However, the updated GATT 1994 soon closed this so-called "protection gap" in all three aforementioned countries effective January 1, 1995.[3]
Filling in the vacuum, with the Internet expanding, bootleg websites and mailing lists began to appear, including public websites catering to collectors who exchanged tapes and CDs free of charge, and surreptitious ones devoted to the sale of bootlegs for profit.
The tightening of laws and increased enforcement by police on behalf of the British Phonographic Industry (BPI), Recording Industry Association of America (RIAA) and other industry groups—often for peripheral issues such as tax evasion—gradually drove the distributors of for-profit vinyl and CD bootlegs further underground.[1] Physical bootlegging largely shifted to less regulated countries such as Hong Kong, Russia, and Brazil, with the results distributed through existing underground channels, open market sites such as eBay, and other specialized websites.
However, the late 1990s and early 2000s saw an increase in the free trading of digital bootlegs, sharply decreasing the demand for and profitability of physical bootlegs. The rise of standard audio file formats such as MP3 (although it should be noted that most of the traders, if not all of them, highly discourage trading bootleg recordings encoded by lossy compression schemes - storing the recordings in lossless formats, such as FLAC, is preferred), combined with the ability to share files between computers via e-mail, FTP, instant messaging, and specialized peer-to-peer file sharing networks such as Napster (now defunct as p2p), Limewire, and BitTorrent, made it simpler than ever for bootleg collectors to exchange rarities. Older analog recordings were converted to digital format for the first time, tracks from bootleg CDs were ripped to computer hard disks, and new material was created with digital recording of various types, and all of these types could now be easily shared. One notable change caused by this shift in technology was the unit of exchange: instead of album-length collections or live recordings of entire shows, aficionados often now had the option of searching for and downloading bootlegs of individual songs.[4]
Legal issues -
Bootlegging vs. piracy vs. counterfeiting:
Main article: Copyright infringement
Bootlegging is often incorrectly referred to as piracy but there are important differences between the two terms. Bootlegging is trafficking in recordings that the record companies have not commercially released, whereas piracy is the illegal copying/sale of recordings that are (or have been) available commercially or are planned/scheduled for commercial release. Historically, pirate releases were widespread in the 8-track cartridge format, many with labels spuriously claiming that "all royalties have been paid."
A pirate release is further distinguished from a counterfeit. Counterfeits attempt to mimic the look of officially released product; pirate releases do not necessarily do so, possibly substituting cover art or creating new compilations of a group's released songs. A counterfeit is always a pirate but a pirate is not necessarily a counterfeit.
"Bootlegging" is sometimes also used to refer to the unlicensed file sharing of copyrighted music but the term piracy is usually more appropriate. In the same vein, "bootlegging" has become the default term amongst Japanese anime fans to describe the piracy or counterfeiting of CDs, DVDs, computer and video games, arcade games, and other merchandise. These increasingly sophisticated imitation goods from Hong Kong are much reviled by fans and the industry alike, and many anime fan conventions have adopted a strict non-bootleg policy for vendors and attendees.
Laws and court rulings:
The Berne Convention for the Protection of Literary and Artistic Works has protected the copyrights on literary, scientific, and artistic works since 1886. Article 9 of the Convention states that: Authors of literary and artistic works protected by this Convention shall have the exclusive right of authorizing the reproduction of these works, in any manner or form. [...] Any sound or visual recording shall be considered as a reproduction for the purposes of this Convention.[5]
The World Intellectual Property Organization (WIPO), founded in 1967, is one of the specialized agencies of the United Nations, aiming for the international protection of intellectual property rights. According to Article 6 of the international WIPO Performances and Phonograms Treaty of 1996, all performers own the rights to their own performances: "Performers shall enjoy the exclusive right of authorizing, as regards their performances: (i) the broadcasting and communication to the public of their unfixed performances except where the performance is already a broadcast performance; and (ii) the fixation of their unfixed performances."[6] The WIPO Copyright and Performances and Phonograms Treaties Implementation Act in the United States says "(a), unless authorized by the owners of copyright in the sound recording or [...] in the musical works embodied therein, neither the owner of a particular phonorecord [...] may, for the purposes of direct or indirect commercial advantage, dispose of, or authorize the disposal of, the possession of that phonorecord [...] by rental, lease, or lending, or by any other act or practice in the nature of rental, lease, or lending."[7]
Most artists have made little effort to pursue legal action about bootleg recordings, viewing such "rarities trading" as harmless provided that it is not being done for profit. The benefits of interfering with such trading are fairly minimal compared to the potential ill-will generated against the artist, as the illicit works are generally circulated among the artist's most loyal fans, which have the most interest. Most record companies also have not shown an interest in pursuing or prosecuting small-scale bootleggers, but this could change at any time.
However, in 2004 U.S. District Judge Harold Baer Jr. struck down a 1994 law banning the sale of bootleg recordings of live music, ruling that the law unfairly grants a seemingly perpetual copyright period to the original performances.[8] He dismissed a federal indictment of Jean Martignon, who was running a Manhattan mail-order and Internet business that sells bootleg recordings. The Recording Industry Association of America disagreed with the ruling, saying the decision "stands in marked contrast to existing law and prior decisions that have determined that Congress was well within its constitutional authority to adopt legislation that prevented trafficking in copies of unauthorized recordings of live performances", according to spokesman Jonathan Lamy.[9] In 2007, Judge Baer's ruling was overruled, and the 2nd Circuit of the US Court of Appeals found that the anti-bootlegging statute was within the power of congress. 492 F. 3d 140
Legal alternatives to illicit bootlegging -
Artists and record companies have attempted to find ways to provide authorized alternatives to satisfy consumer demand for bootleg recordings, including the marketing of their own live albums and rarities collections.
Authorized live bootlegs:
An increasing number of artists have decided to allow and encourage live audience recording, although they and their fans generally consider the selling of such recordings—as opposed to keeping them for one's own personal enjoyment or trading them for other audience recordings—to be illegitimate bootlegging. Fans cite the encouragement of these recordings as a key factor in their long-term loyalty to these bands.
In addition, many performers have made joking suggestions to bootleggers presumably in the audience, especially when a new or unusual song is about to be performed. Fans often hopefully cite such comments as evidence of permission to make bootleg recordings.
The Grateful Dead is well known for explicitly allowing their shows to be taped.
Instant live bootlegs:
In the early 2000s, artists responded to the demand for bootleg concert recordings by experimenting with the sale of authorized bootlegs made directly from the unmixed soundboard feeds, or from on the fly multitrack mixes, and thus superior to surreptitious audience recordings which are typically marred by crowd noise. These releases were generally available a few days to a few weeks after the concert.[10]
In the mid-2000s, improving technology in high-speed CD reproduction made some of these "official boots" available to audience members immediately as they leave the concert; some companies can begin selling complete concert CDs less than ten minutes after the end of the show.[11] However, a key patent in the process (that of dividing the single recording into discrete digitally marked tracks during recording) was bought by media giant Clear Channel Communications, which sued smaller competitors for patent infringement to force them out of the business. When Clear Channel divested its live entertainment business into the spin off company Live Nation in 2005, the patents were transferred as well. The patent (U.S. Patent 6,917,566 ) was revoked by the USPTO in 2007 after challenges filed by the Electronic Frontier Foundation.[12]
Commercially released bootlegs:
Many recordings first distributed as bootleg albums were later released officially by the copyright holder; for instance, the release of the 1996 Anthology series effectively killed the demand for many of The Beatles bootlegs previously available. In 2002 Dave Matthews Band released Busted Stuff in response to the Internet-fueled success of The Lillywhite Sessions which they had not intended to release.
References:
1. ^ a b c d e Galloway, Simon (1999). Bootlegs, an insight into the shady side of music collecting. More Music e-zine. Retrieved on 2006-09-23.
2. ^ a b Slugbelch. A Brief History Of Bootlegs. The Pink Floyd Vinyl Bootleg Guide. Backtrax Records. Retrieved on 2006-09-23.
3. ^ a b Heylin, Clinton (2004). Bootleg! The Rise & Fall of the Secret Recording Industry. Omnibus Press.
4. ^ Jordan, Keith. "T'Internet - A Bootleg Fan's Paradise" - The Past, Present and Future of Bootlegs considering the internet. NPF Magazine. November 2006.
5. ^ Berne Convention for the Protection of Literary and Artistic Works, Article 9. World Intellectual Property Organization (September 1886). Retrieved on 2006-09-23.
6. ^ WIPO Performances and Phonograms Treaty, Article 6. World Intellectual Property Organization (December 1996). Retrieved on 2006-09-23.
7. ^ WIPO Copyright and Performances and Phonograms Treaties Implementation Act, Title 17, Chapter 1, § 109 (portions involving computer programs elided for readability).
8. ^ Landau, Michael (April 2005). Constitutional Impediments to Protecting the Live Musical Performance Right in the United States. IPRinfo Magazine. IPR University Center. Retrieved on 2006-09-23.
9. ^ McClam, Erin (September 2004). N.Y. judge strikes down anti-bootleg law. USA Today. Associated Press. Retrieved on 2006-09-23.
10. ^ TheMusic.com Encore Series. Authorized "bootleg" CDs sanctioned and recorded off the soundboard by the artists (2002). Retrieved on 2006-09-23.
11. ^ Instant Live official website. Live Nation (2003). Retrieved on 2006-09-22.
12. ^ EFF Kills Bogus Clear Channel Patent (13 March 2007). Retrieved on 2007-11-29.
Further reading:
* Heylin, Clinton. The Great White Wonders: The Story of Rock Bootlegs. Viking Press, September 1994. (ISBN 0670857777)
* Heylin, Clinton. Bootleg! The Rise & Fall of the Secret Recording Industry. Omnibus Press, 2004.
* Thompson, Dave. A Music Lover's Guide to Record Collecting. Backbeat Books, September 2002. (ISBN 0879307137)
-en.wikipedia.org/wiki/Bootleg_recording
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