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/Interscope Records 069490897–2, 2001. Davy DMX. “One For the Treble.” Tuff City/CBS Associated Records 4Z9 04955, 1984. Def Squad. El Niño. Def Jam 558383, 1998. De La Soul. Buhloone Mind State. Tommy Boy 81063, 1993. Dr. Dre. 2001. Aftermath Records 490486, 1999. . The Chronic. Interscope Records P257128, 1992. L’Ectrique. “Struck By Boogie Lightning.” Reflection Records CBL 128, 1979. Eminem. The Eminem Show. 2002 by Shady/Aftermath 493 290–2, 2002. . Infinite. Bootleg, 1996. . The Marshall Mathers LP. Interscope Records 490629, 2000. . “My Name Is.” Interscope Records 97470

, 195 Blue Coronet (Brooklyn), 116 “Blue Haze” (tune), 59 “Blue ’n Boogie” (tune), 60 Blue Note Club (Chicago), 40 Blue Note Club (Philadelphia), 92–94, 100, 121 Blue Note Records, 59, 77, 147, 164; in feuds with Prestige Records, 91; sale of, 139; Silver’s recordings for, 78– 80, 136–37, 185–86; Silver’s satisfac- tion with, 138–39; and United States of Mind project, 135, 191 “Body and Soul” (tune), 30, 53 “Bohemia after Dark” (tune), 72 Bolden, Walter, 24, 32, 33, 34–35, 36, 37, 41–42, 43 Booker, Beryl, 53 Booker, Billy, 9 booking agents, 172 bootleg records, 164

stops!” Even in our jam sessions, I’d catch snakes with a camera or a tape recorder, bootlegging our gigs, cheating us out of our bread. Our jam ses­ sions were our most sacred times, when we could all congregate after a hard day’s work and feel free to play from our souls. There was no pres­ sure of being hired; we could just play whatever we felt with whomever we wanted. And then somebody would sneak in a tape recorder, while we were blowing our hearts out for free. So I had to stop and threaten them. It was enough to make you want to mash somebody’s nose

in Clark

, no. 3/4 (2010): 267–84. /contribution/user-generated-content-free-labour-and-cultural-industries. Heylin, Clinton. Bootleg: The Secret History of the Other Recording Industry. New York: St. Martin’s, 1994. Hilmes, Michele. “The New Materiality of Radio: Sound on Screens.” In Radio’s New Wave: Global Sound in the Digital Era, edited by Jason Loviglio and Michele Hilmes, 43–61. New York: Routledge, 2013. Hoare, C. A. R. “Programming: Sorcery or Science?” Software, IEEE 1, no. 2 (1984): 5–16. Hodgson, Jessica. “Recorded Music Sales Declines

growing problem over the last twenty or thirty years has been bootlegging—the pirating of albums and live music. Italy is famous for that. Italian bootleggers have put out several Horace Silver albums, and albums by other people, too. And you can’t do a thing about it. They have a law over in Italy that after so many years everything becomes pub- lic domain. Not so here in the USA. In this country, it takes seventy-five years for something to become public domain, and even then you can re- new your rights. But Italy doesn’t honor that; they go by their own law. They

on the companion Web site (audio/video file 24), its own musical entity, an example of what is called a mashup. (Mashups are also called bootlegs, especially in England, and for some who create these works it is the preferred term. To avoid confusion with the phenomenon of unauthorized concert recordings—also called bootlegs—I will use the 166 M U S I C I N 1s A N D 0 s term mashup.) In its most basic form, what practitioners call A+B, a mashup combines elements of two different songs, the vocals of one (A) with the instrumentals of another (B). Mashups

her “enchanting” onstage, though he never developed the same warm rapport with her as did his brother.6 Perhaps in response to her association with revue, Bolton and Wode- house, who worked on the show over the summer, conceived the whole as “a series of block comedy scenes tied together by a plot,” as sketches Oh, Kay! and Other Works 379 each ending with “laughs and a final twist.” They also decided to make bootlegging their theme. The Eighteenth Amendment, ratified in 1919, had long been good for a gag, and a strong strain of anti-Prohibition- ism had run through

, twenty-one men, and six “Schuhpladlers.”15 The first act of the Philadelphia version opens on a street in Dresden, as passersby seek a local speakeasy, 21 (“Fatherland, Mother of the Band”). The action moves to the bar’s quaintly German interior, where American tourists can order wine and beer as well as soft drinks—the lat- ter prohibited in Germany. Golo (Jack Buchanan), a bootlegger (of soft drinks), runs the bar assisted by his gang, including his henchman, Katz (Manart Kippen), and his moll, Gita (Lyda Roberti). Gita entertains the crowd (“The Lorelei”), and Golo


previous year by La Monte Young’s foundational text of repetitive musical minimalism, arabic number (any integer) to Henry Flynt. Young had dedicated his Composition 1960 #10 (“Draw a straight line and follow it”) to Morris, and in 1961 he recorded a performance of arabic number in which he rhythmically pounded 1,698 times on a piano with both forearms as loud as he could. As a work that dramatically foregrounds the labor of composition/performance and just as theatrically resists commodification (Young’s recording, though widely bootlegged, has never been authorized for

, 169, 174 Grokster, 197, 205 Groove-script alphabet, 115 GYBO (Get Your Bootleg On), 170– 71, 172–73 Hall, Marie, 107 “Hardcore Scratching” (I.Emerge), 137–40 Harnoncourt, Nikolaus, 27 Harris, Roy: Four Minutes–20 Seconds, 39–40 Hauck, Werner, 100, Heifetz, Jascha, 2, 25, 26, 30, 38, 48, 99, 104, 107 Hendrix, Jimi, 32; “Crosstown Traf- fic,” 50; “Hey Joe,” 232n93; “Killing Floor,” 232n93 Heterogeneous sound ideal, 162 “Hey Joe” (Jimi Hendrix), 232n93 High Fidelity (Nick Hornby), 14–15 Hindemith, Paul, 40, 109–13, 115, 119–23; Gesang über 4 Ocktaven, 110, 111, 122