Democracy of Sound (52 page)

53
. Ressner, “Bootlegs Go High-Tech,” 15.

54
. David Gonzalez, “Pressed by Music Industry, New York Seizes Pirate Tapes,”
New York Times
, December 9, 1990, 46.

55
. Jeff Chang,
Can’t Stop Won’t Stop: A History of the Hip-Hop Generation
(New York: Picador, 2005): 127–8.

56
. S. H. Fernando,
The New Beats: Exploring the Music, Culture, and Attitudes of Hip-Hop
(New York: Anchor Books, 1994), 12–3.

57
. Matt Mason,
The Pirate’s Dilemma: How Youth Culture Is Reinventing Capitalism
(New York: Free Press, 2008), 73.

58
. Chang,
Can’t Stop
, 30.

59
. Ibid., 79.

60
. Shaheem Reid, “Mixtape History,”
MTV News
,
http://www.mtv.com/bands/m/mixtape/news_feature_021003/index8.jhtml
, accessed November 22, 2012.

61
. Troy L. Smith, “The World Famous Brucie Bee of the Legendary Roof Top,”
The Foundation
, Fall 2006,
http://thafoundation.com/brucie.htm
, accessed January 11, 2009, 7.

62
. Fernando,
New Beats
, 6.

63
. Steven Daly, “Hip-Hop Happens,”
Vanity Fair
, November 2005, 250; Chang,
Can’t Stop
, 129–30.

64
. Chang,
Can’t Stop
, 130.

65
. Joanna Demers,
Steal This Music: How Intellectual Property Law Affects Musical Creativity
(Athens: University of Georgia Press, 2006), 91–2.

66
. Fernando,
New Beats
, 225.

67
. Ibid., 47.

68
. Smith, “World Famous Brucie Bee,” 13–4.

69
. Frank Owen, “Street DJs Bring Live Flava Back to Hip Hop,”
Village Voice
, October 25, 1994, 71.

70
. Touré, “Biggie Smalls, Rap’s Man of the Moment,”
New York Times
, December 18, 1994, H42; Michael Marriot, “Long Before He Was B.I.G.,”
New York Times
, March 17, 1997, B2.

71
. DJ Kool Herc, introduction to Chang,
Can’t Stop
, xi.

72
. Joseph G. Schloss,
Making Beats: The Art of Sample-based Hip-Hop
(Wesleyan University Press, 2004), 27–8.

73
. Ibid., 30.

74
. Ibid., 29.

75
. Owen, “Street DJs,” 71.

76
. Ibid., 71.

77
. Reid, “Mixtape History,” 1.

78
. Smith, “World Famous Brucie Bee,” 17–8.

79
. Shaheem Reid, “Mixtapes: The
Other
Music Industry,”
MTV News
,
http://www.mtv.com/bands/m/mixtape/news_feature_021003/index5.jhtml
, 5.

80
.
Mixtape, Inc
., DVD, directed by Walter Bell (New York: Pixel Propaganda, 2005).

81
. Ibid.

82
. Steven Stancell, “FOCUS ON: Funkmaster Flex and Goings On,”
New York Beacon
, February 21, 1996, 28.

83
. Funkmaster Flex,
The Mix Tape, Vol. 1: 60 Minutes of Funk
(Loud Records, 1995).

84
. Charles E. Rogers, “DJ Clue Scores Big with New Album,”
New York Amsterdam News
, December 30, 1998, 19; Reid, “Mixtape History,” 1; Shams Tarek, “Jamaica’s Own ‘Bad Guy’ Making Good in the Music Biz,”
Queens Press
, May 16, 2003,
http://www.queenspress.com/archives/features/2003/0516/feature.htm
, accessed November 17, 2008, 1.

85
. Steve Jones, “Money in the Mixtape,”
USA Today
, April 20, 2006.

86
.
Mixtape, Inc
.

87
. Jared Ball, “FreeMix Radio: The Original Mixtape Radio Show: A Case Study in Mixtape ‘Radio’ and Emancipatory Journalism,”
Journal of Black Studies
20 (2008): 1.

88
. Ibid., 11.

89
. David Gates, “Decoding Rap Music,”
Newsweek
, March 19, 1990, 60.

90
. Owen, “Street DJs,” 71.

91
. Burnett,
Global Jukebox
, 61–2; for more on the relationship between independent and major labels, see Jon Pareles, “The Big Get Bigger,”
New York Times
, March 19, 1990, 3.

92
. Jones, “Money in the Mixtape,” 1.

93
. Fernando,
New Beats
, 242.

94
. Vaidhyanathan,
Copyrights and Copywrongs
, 143.

95
. For an example of DJs as careerists and tastemakers, see “TJ’s DJs Tastemakers Only Conference/Ozone Magazine Awards Official Site,”
TJ’s DJs
, July 25, 2008,
http://www.tjsdjs.com/toa
/, accessed February 14, 2009.

96
. John Yau, “Richard Prince: Spiritual America,”
Brooklyn Rail
, November 2007,
http://www.brooklynrail.org/2007/11/artseen/prince
, accessed February 14, 2009.

97
. Ian F. Svenonius,
The Psychic Soviet
(Chicago: Drag City, 2006), 218.

98
. Ibid., 244.

99
. Hillary Crosley, “DJ Drama Arrested in Mixtape Raid,”
Billboard Biz
, January 17, 2007,
http://www.allbusiness.com/retail-trade/miscellaneous-retail-retail-stores-not/4392944-1.html
, accessed January 11, 2008.

100
.
Mixtape, Inc
.

101
. Tiziana Terranova, “Free Labor: Producing Culture for the Digital Economy,”
Social Text
18 (2000): 42; Franco Berardi Bifo, “Teaching Insurrection,”
Through Europe
, March 17, 2011,
http://th-rough.eu/writers/bifo-eng/teaching-insurrection-franco-berardi-bifo-brera-academy-milan
, accessed June 21, 2011.

102
. Statik Selektah,
Spell My Name Right: The Album
(Showoff Records/Brick Records, 2007).

103
. David Suisman,
Selling Sounds: The Commercial Revolution in American Music
(Cambridge, MA: Harvard University Press, 2009), 59.

Chapter 7

1
.
Diva
, DVD, directed by Jean-Jacques Beineix ([1981]; Troy, MI: Anchor Bay, 2002).

2
. Peter Manuel,
Cassette Culture: Popular Music and Technology in North India
(Chicago: University of Chicago Press, 1993), 30.

3
. “Pakistan to Pirate Books,”
New York Times
, December 10, 1972, 5.

4
. Michael Hardt and Antonio Negri,
Empire
(Cambridge, MA: Harvard University Press, 2000), 287; on domestic and foreign subcontracting, see J. Carlos Jarillo, “On Strategic Networks,”
Strategic Management Journal
9 (1988): 38; Cecilia Green, “The Asian Connection: The U.S.-Caribbean Apparel Circuit and a New Model of Industrial Relations,”
Latin American Research Review
33 (1998): 10–11; and David Harvey,
The Condition of Postmodernity: An Inquiry into the Origins of Cultural Change
(Oxford, UK: Blackwell, 1989) 150–7.

5
. “Twelve Ways to Fight Piracy,”
Journal of Commerce
, December 13, 1990, 14A.

6
. B. Zorina Khan, “Copyright Piracy and Development: United States Evidence in the Nineteenth Century,”
Revista de Economia
10 (2008): 21–54.

7
. “US Trade in Goods and Services—Balance of Payments (BOP) Basis,”
US Census Bureau
, November 21, 2008,
http://www.census.gov/foreign-trade/statistics/historical/gands.txt
, accessed January 5, 2009.

8
. Overall consumer prices increased by about 50% between 1972 and 1977, and by about 60% again between 1977 and 1982. For early 1970s figures, see
Historical Statistics of the United States
(Washington, DC: United States Government Printing Office, 1975). For later data, see
Statistical Abstract of the United States
published yearly by the US Census Bureau.

9
. Laurence Kenneth Shore, “The Crossroads of Business and Music: A Study of the Music Industry in the United States and Internationally,” (PhD diss., Stanford University, 1983), 143.

10
. Gillian Davies,
Piracy of Phonograms
(Oxford, UK: ESC Publishing, 1981), 2.

11
. Shore, “Crossroads of Business and Music,” 152.

12
. Shore, “Crossroads of Business and Music,” 152; Paul Grein, “Unemployment Lines: L.A. Industry Personnel Face Major Challenges to Rebuild their Careers,”
Billboard
, May 19, 1979, 3.

13
. US Bureau of the Census,
1977 Census of Manufactures, Volume II: Industry Statistics, Part 3. SIC Major Groups 35–9
(Washington, DC: Department of Commerce, 1981), 36D–20; US Bureau of the Census,
1982 Census of Manufactures: Subject Series General Summary, Part 1. Industry, Product Class, and Geographic Area Statistics
(Washington, DC: Department of Commerce, 1986), 1–16, 1–17.

14
. Shore, “Crossroads of Business and Music,” 142–3.

15
. Denis de Freitas, “Some Recent Developments in the United Kingdom in the Field of Copyright,”
International Business Lawyer
6 (1978): 508–9.

16
. Pekka Gronow, “The Record Industry: The Growth of a Mass Medium,”
Popular Music
3 (1983): 72.

17
. Mark Coleman,
Playback: From the Victrola to MP3, 100 Years of Music, Machines, and Money
(Cambridge, MA: Da Capo Press, 2003), xv.

18
. Gordon McComb and John Cook,
Compact Disc Player: Maintenance and Repair
(Blue Ridge Summit, PA: Tab Books, 1987), viii, 2; Burnett,
Global Jukebox
, 18–9, 51–2; Coleman,
Playback
, 155–6; Shore, “Crossroads of Business and Music,” 215.

19
. Burnett,
Global Jukebox
, 4; Jim Hollander, “International Markets: Labels Eye the New Frontier,”
Los Angeles Times
, November 4, 1979, M6.

20
. Hollander, “International Markets,” M6; Markos Mamalakis, “The New International Economic Order: Centerpiece Venezuela,”
Journal of Interamerican Studies and World Affairs
20 (1978): 270; Ann Genova and Toyin Falola, “Oil in Nigeria: A Bibliographical Reconnaissance,”
History in Africa
30 (2003): 134; Brian Larkin,
Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria
(Durham, NC: Duke University Press, 2008), 222.

21
. “40 Countries Meet on Piracy in Recording Industry,”
New York Times
, April 5, 1981, 21.

22
. United Kingdom Anti-Piracy Group,
International Piracy: The Threat to the British Copyright Industries
(London: Publishers Association and the International Federation of Phonogram and Videogram Producers, 1986), 29; Gladys and Oswald Ganley,
Global Political Fallout: The VCR’s First Decade
(Cambridge, MA: Program on Information Resources Policy, 1987), 6.

23
. Ganley and Ganley,
Global Political Fallout
, 9; Douglas A. Boyd, “Third World Pirating of U.S. Films and Television Programs from Satellites,”
Journal of Broadcasting and Electronic Media
32 (1988): 157.

24
. Boyd, “Third World Pirating,” 157.

25
. Serge Schmemann, “Video’s Forbidden Offerings Alarm Moscow,”
New York Times
, October 22, 1983, 4.

26
. Schmemann, “Video’s Forbidden Offerings,” 1.

27
. Christopher S. Wren, “Off-Key or Off-Color, Tunes of West Worry China,”
New York Times
, October 28, 1982, A2.

28
. Jonathan Fenby,
Piracy and the Public: Forgery, Theft and Exploitation
(London: Frederick Muller Limited, 1983), 122.

29
. Ibid., 127–8.

30
. Ibid., 124.

31
. Altaf Gauhar and Lee Kuan Yew, “North-South Dialogue,”
Third World Quarterly
1 (April 1979): 3.

32
. UK Anti-Piracy Group,
International Piracy
, 9.

33
. Ibid., 9–10.

34
. Larkin,
Signal and Noise
, 223–4.