Once upon a time, I was deep into collecting bootleg recordings of my favourite bands…and this obsession came from a really good place…at least I thought so…
I’d already bought all the albums and singles, collected a bunch of memorabilia, snapped up the t-shirts, and gone to all the shows…but I wanted more…the only place let to go was unofficial—read: illegal—releases…
Almost everything I accurate was on cd…some were burned discs that I traded for with other hardcore fans…I might go to eBay once in a while…there were a few stores I knew that stocked these discs for special customers…and whenever I went overseas to certain countries were copyright laws were lax—Russia, Indonesia, a few places in the Caribbean—I’d be sure to visit the market stalls to see what they had…I honestly wasn’t trying to rip off or hurt anyone…I just loved these bands so much that I needed to own a copy of everything they did…once, when I talked about my bootlegs on the radio—probably not a smart idea—I got a letter from the head of a recorded industry organization calling me “morally reprehensible” …
But over the years, these hardcopy bootlegs became harder and harder to find, thanks to crackdowns on illegal exploitation of intellectual property, the disappearance of these record stores, and, most importantly, the rise of online file-sharing…by 2008 or so, the physical bootleg market had all but collapsed…I haven’t acquired anything new for my collection for almost a couple of decades now…
But I’ve never lost my fascination for this recordings…where did they come from?...how were they made?...who distributed them?...did they really hurt artists and the industry?...and what kind of legacy did old-school bootlegs leave behind?...
I’ve found some answers to those questions and more…this is another look at bootlegging, part 2…
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Another Look At Bootlegging: Part 2 | Ongoing History of New Music podcast - Listen or read transcript on Metacast
