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Zusatztext Beautifully crafted, intelligently researched, and cogently argued, Democracy of Sound offers readers a compelling analysis of the changing legal status of recorded music in the United States from the 1870s to the present. Many books have been written about intellectual property; few have done more to make its significance accessible to the general reader. It will appeal not only to specialists in American studies, music, and law, but also to anyone who cares about American popular culture, past and present. Informationen zum Autor Alex Sayf Cummings is Assistant Professor of History at Georgia State University. Klappentext It was a time when music fans copied and traded recordings without permission. An outraged music industry pushed Congress to pass anti-piracy legislation. Yes, that time is now; it was also the era of Napster in the 1990s, of cassette tapes in the 1970s, of reel-to-reel tapes in the 1950s, even the phonograph epoch of the 1930s. Piracy, it turns out, is as old as recorded music itself. Zusammenfassung Democracy of Sound tells the story of the pirates, radicals, jazzbos, Deadheads, and DJs who challenged the record industry for control of recorded sound throughout the twentieth century. A political and cultural history, it shows how the primacy of "intellectual property" gradually eclipsed an American political tradition that was suspicious of monopolies and favored free competition. Inhaltsverzeichnis Introduction Part One: The Birth and Growth of Piracy, 1877-1955 1. Music, Machines, and Monopoly 2. Collectors, Con Men, and the Struggle for Property Rights 3. Piracy and the Rise of New Media Part Two: The Legal Backlash, 1945-1998 4. Counterculture, Popular Music, and the Bootleg Boom 5. The Criminalization of Piracy 6. Deadheads, Hip Hop, and the Possibility of Compromise 7. The Global War on Piracy Conclusion: Piracy as Social Media Notes Index ...
