Bootlegging

Bootlegging is an informal term for smuggling, sale or transport of illicit goods. While it originally described the illegal transport and sale of alcoholic beverages on which excise taxes had not been paid (derived from a method of hiding alcohol in flasks in the shanks of a boot), it now refers more broadly to the transportation or sale of many types of pirated, counterfeit, black market, grey market or parallel import goods.

Bootleg may refer to:

• Bootlegging, the smuggling or sale of illicit items
  • Bootlegging or rum-running, the sale or transport of liquor without regard to legal regulations and taxes (for an Australian context see sly-grog selling)
  • Bootleg liquor or moonshine, illegally produced alcoholic beverages
  • Bootleg recording, an otherwise unavailable audio or video recording distributed without the artist's consent
  • Bootleg role-playing games, illegally copied rulebooks for tabletop role-playing games
  • Bootleg mining, hidden or illegal coal mining
• Bootlegging (business), the secret organization of an innovation process
• Bootleg play, a tactic in American football
• Bootleg turn, a car maneuver
• Bootleg pants, trousers which flare-out at the bottom of the legs and may cover the wearer's shoes
• Bootleg (miniseries), a 2002 BBC miniseries for children
• Bootleg a character from the comic book New Men
• BOOTLEG, an 1995 Australian television program
• Bootleg (film), a 1985 Australian film

Although not technically correct, it may also refer to:

• Pirate copies, unauthorised duplicates of material already commercially available
• Counterfeit merchandise
• Mashups, music which contains unlicensed samples of other music

"Bootlegging" redirects here. For other uses, see Bootleg.

Rum-running is the business of smuggling or transporting of alcoholic beverages illegally, usually to circumvent taxation or prohibition. The term usually applies to transport of goods over water, over land it is commonly referred to as bootlegging.

The term most likely originated at the start of prohibition in the United States (1920–1933), when ships from the nearby island of Bimini transported cheap Caribbean rum to Florida speakeasies.

But rum's cheapness made it a low-profit item for the rum-runners, and they soon moved on to smuggling Canadian whiskey, French champagne and English gin to major cities like New York and Boston, where prices ran high. It was said that some ships carried $200,000 in contraband in a single run — at a time when $50 a week was considered a good wage for an honest worker.

History

Rum runner sloop "Kirk and Sweeney" with contraband stacked on deck

It wasn't long after the first taxes on alcoholic beverages that someone began to smuggle them. The British government had "revenue cutters" in place to stop smugglers as early as the 1500s. Pirates often made extra money running rum to heavily taxed colonies. There were also times when the sale of alcohol was limited for other purposes, such as laws against sales to American Indians in the old West, or local prohibitions like the one on Prince Edward Island between 1901 and 1948.

By far the most famous period of rum-running began in the United States with the 18th Amendment (ratified January 16, 1919) and the Volstead Act (passed October 28, 1919). Prohibition began on January 16, 1920, when the Eighteenth Amendment went into effect.

At first, there was little action on the seas, but after several months the Coast Guard began reporting increased smuggling activity. This was the start of the Bimini–Bahamas rum trade and the introduction of Bill McCoy.

"The Real McCoy"

Rum-runner William S. McCoy

Captain William S. McCoy was a boat builder and excursion boat captain in the Daytona Beach, Florida, area from 1900 to 1920. He was also reputed to be a non-drinker.

With the start of Prohibition he began to bring rum from Bimini and the Bahamas into south Florida. The Coast Guard soon caught up with him, so he began to bring the illegal goods to just outside of the U.S. territorial waters and let smaller boats and other captains take the risk of bringing it into shore.

The rum-running business was very good, and McCoy soon bought a Gloucester knockabout schooner named Arethusa at auction and renamed her Tomika. He installed a larger auxiliary, mounted a concealed machine gun on her deck and refitted the fish pens below to accommodate as much contraband as she could hold. She became one of the most famous of the rum-runners, along with his two other ships hauling mostly Irish and Canadian whiskey, as well as other fine liquors and wines, to ports from Maine to Florida.

In the days of rum running, it was common for captains to add water to the bottles to stretch their profits, or to re-label it as better goods. Any cheap sparkling wine became French champagne or Italian Spumante; unbranded liquor became top-of-the-line name brands. McCoy became famous for never watering his booze, and selling only top brands. This is one of several reputed origins of the term "The Real McCoy."

On 15 November 1923, McCoy and Tomika encountered the U.S. Coast Guard Cutter Seneca, just inside U.S. territorial waters. A boarding party attempted to board, but McCoy chased them off with the machine gun. Tomika tried to run, but the Seneca placed a shell just off her hull, and Bill McCoy's days as a rum-runner were over.

U.S. Coast Guard Cutter Seneca

The Rum Line

McCoy is credited with the idea of bringing large ships just to the edge of the three-mile (5.6 km) limit of U.S. jurisdiction, and there selling his wares to "contact boats," local fishermen and small boat captains. The small, quick boats could more easily outrun Coast Guard ships and could dock in any small river or eddy and transfer their cargo to a waiting truck. Soon others were following suit; the three-mile (5.6 km) limit became known as "the Rum Line" and the ships waiting were called "Rum Row." The Rum Line was extended to a 12-mile (22.2 km) limit by an act of Congress on April 21, 1924, which made it harder for the smaller and less seaworthy craft to make the trip.

The Rum Line wasn't the only front for the Coast Guard. Rum-runners often made the trip through Canada via the Great Lakes and the Saint Lawrence Seaway, and down the west coast to San Francisco and Los Angeles. The French islands of Saint-Pierre and Miquelon, located south of Newfoundland, were an important base used by well-known smugglers including Al Capone and Bill McCoy. The Gulf of Mexico also teemed with ships running from Mexico and the Bahamas to the Louisiana swamps and Alabama coast. By far the biggest Rum Row was in the New York/Philadelphia area off the New Jersey coast, where as many as 60 ships were seen at one time.

With that much competition, the suppliers often flew large banners advertising their wares and threw parties with prostitutes on board their ships to draw customers. Rum Row was completely lawless, and many crews armed themselves not against government ships but against the other rum-runners, who would sometimes sink a ship and hijack its cargo rather than make the run to Canada or the Caribbean for fresh supplies.

The ships

Typical 75-foot CG-100 patrol boat

On the government's side were an assortment of patrol boats, inshore patrol and harbor cutters. Most of the patrol boats were of the "six-bit" variety: 75-foot craft with a top speed of about 12 knots. There were also an assortment of launches, harbor tugs and miscellaneous small craft.

At the start, the rum-runner fleet consisted of a ragtag flotilla of fishing boats, excursion boats, and small merchant craft. But as prohibition wore on, the stakes got higher and the ships became more specialized. Large merchant ships like McCoy's Tomika waited on Rum Row, but specialized high-speed craft were built for the ship-to-shore runs. These high-speed boats were often luxury yachts and speedboats fitted with powerful aircraft engines, machine guns, and armor plating. Rum-runners often kept cans of used engine oil handy to pour on hot exhaust manifolds, in case a smoke screen was needed to escape the revenue ships.

The rum-runners were definitely faster and more maneuverable. Add to that the fact that a rum-running captain could make several hundred thousand dollars a year. In comparison, the Coast Guard Commandant made just $6,000 annually, and seamen made $30/week. These huge rewards meant the rum-runners were willing to take big risks. They ran without lights at night and in fog, risking life and limb. Often the shores were littered with bottles from a rum-runner who hit a sandbar or a reef in the dark at high speed and sank.

The Coast Guard relied on hard work, excellent reconnaissance and big guns to get their job done. To add to the problem, it was not uncommon for rum-runners' ships to be sold at auction shortly after a trial — often right back to the original owners! Some ships were captured three or four times before they were finally sunk or retired. Plus the Coast Guard had other duties, and often had to let a rum-runner go in order to assist a sinking vessel or other emergency.

Another area where the Mob came in handy was bribery and blackmail. Many a police officer or watchman was "convinced" to be absent when a certain boat docked and was unloaded. Policemen in the 1920s made between $20 and $40 a week, and an envelope with a few twenties went a long way. Sometimes the bribe was a portion of the cargo.

The end of Prohibition

On December 5, 1933, the 21st Amendment ended Prohibition, and with it the rum-running business. Most of the rum ships were sold or scrapped, and their crews either went into the merchant marine or the U.S. Navy. Surprisingly, the Navy welcomed the ex–rum-runners as skilled and experienced seamen (some with battle experience), often giving them non-commissioned officer ranks.

The Coast Guard emerged from Prohibition a new service, larger and more effective. Many of the skills they learned battling the rumrunners went to defend the U.S. coastline during the war.

See also

• Bootleg
• Bureau of Prohibition
• Gunrunning
• Moonshine
• Smuggling

External links

• http://www.uscg.mil/hq/g-cp/history/h_rumwar.html
• http://www.uscg.mil/hq/g-cp/history/WEBCUTTERS/Seneca_1908.html
• http://www.providenceri.com/narragansettbay/rum_runners.html#blackduck
• http://www.bootleggers.us

References and further reading

• Malcolm F. Willoughby. Rum War at Sea. Fredonia Books. 2001. ISBN 1-58963-105-6.
• Alastair Moray. The diary of a rum-runner. P. Allan & Co. Ltd. 1929. ISBN 0-317-85068-8Template:Please check ISBN.
• Robert Carse. Rum row.
• Don Miller. I was a rum runner. Lescarbot Printing Ltd. 1979.
• Everett S. Allen. The black ships: Rumrunners of Prohibition. Little, Brown. 1979. ISBN 0-316-03258-1.
• C. W. Hunt. Whisky and Ice: The Saga of Ben Kerr, Canada's Most Daring Rumrunner. Dundurn Press. 1995. ISBN 1-55002-249-0

For other uses, see Bootleg.

A bootleg recording (or simply bootleg or boot) is an audio and/or video recording of a performance that was not officially released by the artist, or under other legal authority. 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 copyright infringement ("piracy") and counterfeiting, as it involves material which has never been offered for commercial release, bootlegging is clearly illicit. The copyrights for the song and the right to authorize recordings reside with the artist, according to several international copyright treaties, and the fine print on concert tickets (which generally prohibit recording) is subject to contract law. 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.

The audio cassette greatly increased the distribution of bootleg recordings in the 1980s.

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 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

Unauthorized recordings can be traced back to the early days of opera, jazz, and blues music.

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.

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 LP's 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. Due to the wealth of material of this type, Bob Dylan is probably the most widely bootlegged artist ever.

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 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.

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 ways to connect 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 xeroxed 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 LP's purported to have been made in Italy, West Germany, Australia and other countries so that they could be marketed as "imports" rather than bootlegs.

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. The large followings of bands such as 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 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.

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, Pink Floyd ROIOs, The Beatles bootlegs, and rarities from The Rolling Stones, 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.

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.

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 were 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. 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.

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. 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, 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 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.

The ISO 8601 yyyy-mm-dd (year-month-day) date format is frequently used to label digital files containing bootleg concert recordings, as this format makes it simple to sort bootleg files chronologically.

Legal issues

Bootlegging vs. piracy vs. counterfeiting

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 anime fans to describe the piracy or counterfeiting of CDs, DVDs, computer and video games, arcade games, and other Japanese 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.

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." 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."

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. 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.

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 presumedly in the audience, especially when a new or unusual song is about to be performed. Fans often cite such comments hopefully 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 like They Might Be Giants, Peter Gabriel, Jimmy Buffett, Fugazi, Pearl Jam, Duran Duran and The Who 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.

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; however, a key patent (number 6917566 [1]) 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 led to complaints from smaller competitors. When Clear Channel divested its live entertainment business into the spin off company Live Nation in 2005, it appears the patents were transferred as well. Live Nation subsidiary Instant Live can start distributing concert recordings as little as six minutes after the end of a show.

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.

Artist	Release(s)	Notes
Nirvana	Incesticide (1992) With the Lights Out (2004) Sliver: The Best of the Box (2005)
Bob Dylan	The Bootleg Series Volumes 1-3 (1991) The Bootleg Series Vol. 4 (1998) The Bootleg Series Vol. 5 (2002) The Bootleg Series Vol. 6 (2004) The Bootleg Series Vol. 7 (2005)	Seven volumes (but only five discrete releases).
Frank Zappa	Beat the Boots (1992) Beat the Boots II (1992)	Remastered directly from bootleg discs. Zappa also copied the packaging directly from the bootleg releases, adding no additional material other than a cardboard box.
Prince	The Black Album (1994)	Studio album initially shelved in 1987 and widely bootlegged since.
Led Zeppelin	Led Zeppelin BBC Sessions (1997)	Material from three different 1969 sessions and a 1971 concert from the Paris Theatre in London, recorded by the BBC. Countless bootlegs of these recordings circulated for years before the official release.
The Smashing Pumpkins	MACHINA II (2000)	Released independently to fans on vinyl and the Internet as a gesture of defiance to Virgin Records.
Mike Portnoy	Multiple Dream Theater recordings	Portnoy founded the YtseJam Records bootleg label, and is one of the most vocal pro-bootleg musicians despite his band not having a clear audience taping policy.
Sex Pistols	Spunk (2006)	Bootleg of demos originally released in 1977, officially released by Sanctuary Records in 2006.
The Velvet Underground	Bootleg Series Volume 1: The Quine Tapes (2001)	Recorded by Robert Quine at assorted shows in 1969.
Swans	most live releases	Most Swans live albums began as bootleg recordings made by band members.
Pink Floyd	P*U*L*S*E DVD	Special features include Bootlegging the Bootleggers, assembled from video provided by Pink Floyd historian Vernon Fitch, combined with official soundboard recordings, and edited together.

See also

• Magnitizdat, for live recordings of banned bards and musicians in the Soviet Union

Further reading

• Heylin, Clinton. The Great White Wonders: The Story of Rock Bootlegs. Viking Press, September 1994. (ISBN 0670857777)
• Thompson, Dave. A Music Lover's Guide to Record Collecting. Backbeat Books, September 2002. (ISBN 0879307137)

External links

• Etree forum
• Etree Wiki
• Live Music Archive
• Bootleg Trading Article - The Past, Present and Future of Bootlegs considering the internet.

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