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0:39

On December 24, 1877,

0:43

Thomas Edison filed a patent for a new

0:45

invention he referred to as a talking machine.

0:48

For the first time ever, audio

0:50

could be captured, played back, stored,

0:52

shared, and analyzed. When

0:54

asked what the point of his machine was, Edison

0:57

listed some future possibilities. His

1:00

phonograph, as he called it, would

1:02

eventually be used as a method of preserving great

1:04

speeches. It could be used

1:06

for making audio letters, giving dictation. It

1:09

could be a talking clock, a telephone answering

1:11

machine. It could be used for remote learning. And

1:14

way down the list was

1:16

reproduction of music. That

1:19

original talking machine technology has evolved

1:21

greatly over the years, and

1:23

the capture and reproduction of music has

1:25

moved way up on Edison's original list

1:27

of uses. The

1:30

recorded music industry is now worth tens

1:32

and tens of billions of dollars. But

1:35

the phonograph also gave birth to a

1:38

new type of music industry. When

1:40

it first went on sale, copyright laws

1:42

regarding the phonograph and Edison

1:44

cylinders weren't ready. They

1:47

had been drafted and they had been enforced,

1:50

but with the printed word in mind,

1:52

not with audio recordings. So

1:54

this meant that people began making recordings that

1:57

weren't exactly authorized in the proper ways.

2:01

This gave birth to another industry, one

2:03

that worked in the shadows of record

2:05

labels, music publishers, performing rights organizations, and

2:07

all the rest of the legitimate recorded

2:10

music industry. What

2:12

started with secretly recorded Edison

2:14

phonograph cylinders, progressed through reel-to-reel

2:16

tape machines, unauthorized vinyl

2:19

records, cassettes, CDs, and digital

2:21

files, freely traded online. You

2:24

may have some of these recordings in your collection, and

2:26

you may not even know it. The

2:29

original name of such recordings is

2:31

Bootlegs. Here are

2:33

a few things about them that you

2:35

might want to know. This

2:38

is the Ongoing History of New Music It's

2:59

Pearl Jam bootlegging themselves at the

3:02

Molson Center in Montreal on October

3:04

4, That

3:06

was the 49th show of the tour for

3:08

the Binaural album and the first

3:11

gig on the 2nd North American Lake. This

3:13

was also part of a massive release

3:15

of 72 live

3:17

albums that the band

3:19

called Official Bootlegs. Pearl

3:22

Jam was still very much in their rebel

3:24

stage and was determined to work outside the

3:26

standard recording music industry system as much as

3:28

possible. When he was a kid,

3:30

Eddie Vedder was always sneaking tape recorders into

3:32

concerts to make illicit documents of the show

3:34

so he could enjoy the experience again and

3:37

again and again at home. When

3:39

Pearl Jam hit it big, Eddie and the

3:41

band not only allowed fans to make recordings

3:44

at their shows, but also encouraged it. And

3:46

to underscore the point, and to

3:48

provide fans with the best sounding recordings possible, they

3:51

got into this whole official bootleg business. They

3:55

were originally sold as CDs

3:57

in plain, illegal-looking packaging, basically

3:59

a brown cardboard sleeve, and they were

4:01

insanely popular. The band

4:03

immediately set a record for having the most albums

4:06

on the Billboard Top 200 charts simultaneously.

4:10

And the figure I have is that Pearl Jam sold almost

4:12

14 million of these

4:14

releases since they started coming out in

4:16

the fall of 2000. Hello

4:19

again, I'm Alan Cross, and this is part

4:21

one of another look at the world of

4:23

bootleg recordings. And believe me, there is a

4:25

lot to talk about. But

4:27

before we go any further, let's

4:29

identify exactly what our subject is.

4:33

The term bootleg goes back at least

4:35

100 years to the era of prohibition

4:37

when alcohol was illegal in the U.S.

4:40

and for a while in Canada. Looking

4:42

for a bottle of whiskey was like shopping around for

4:45

a kilowatt smack back then. But

4:47

even though the T-totallers and the prohibitionists

4:49

won with the law, at least temporarily,

4:51

the demand for booze did

4:53

not disappear, of course. This

4:56

created an opportunity for criminals and gangsters,

4:58

and they made a lot of money

5:00

by providing illegal liquor. However,

5:03

just like with today's cartels, getting

5:05

the product from its source to

5:07

the customer was tricky. And

5:09

once you, the customer, secured your

5:12

supply, you had to keep it out of

5:14

sight while also keeping it handy. It

5:16

became fashionable to own a curved metal

5:19

flask that held maybe eight

5:21

ounces of hooch. It was curved

5:23

so it fit nicely in the leg of

5:25

a tall boot. You were then able to

5:27

take your bootleg whiskey wherever you

5:29

wanted. Over time,

5:31

the word bootleg was applied to anything

5:33

that was illegally manufactured, distributed, and sold.

5:36

And that eventually included music, which

5:38

was obtained illegally. Physical

5:41

bootleg recordings are different from

5:43

counterfeit or pirated albums. If

5:46

we talk about counterfeit or pirated records, those

5:49

are vinyl records, tapes, or CDs manufactured

5:51

to look as indistinguishable as

5:53

possible from the real thing. It's just

5:55

like knockoff clothing and leather goods by

5:57

luxury brands. At First glance, They

6:00

may look real. But. Once you

6:02

inspect them closely, you may find allied

6:04

defects and mistakes. Because they're

6:06

made with very little overhead and we're

6:08

paying those pesky artist in the royalties,

6:11

Counterfeit records are cheap and they undercut

6:13

legitimate records. A profit margins

6:15

are huge. Counterfeits imparted

6:17

records were big business for the mob

6:20

and America for decades, especially when it

6:22

came to stalking mob control juke boxes

6:24

in the nineteen forties and fifties. There's.

6:26

Still a problem in places like China, Russia.

6:29

Love. with certain places in South America and

6:31

Africa. But that's an entirely different story. Instead,

6:34

we're going to talk about recordings like

6:37

this: As. A long time

6:39

Smashing Pumpkins fan, I was always looking

6:41

for. Unofficial recordings.

6:44

I. Especially loved ones. the

6:46

documented special gigs, If.

6:48

You know, your pumpkins, Your mother Billy Corgan

6:50

broke up a bad for a while and

6:52

it was a final performance on December second.

6:55

Two Thousand had a cabaret metro in Chicago

6:57

South. This is historic right? Somebody needed to

6:59

document that of it. And. Eventually.

7:02

This. Recording made by someone in

7:04

the audience somehow leaked out. Now.

7:27

They're recording was obviously made by somebody in

7:29

the audience with a might try to catch

7:31

the music as best as they possibly could.

7:34

Yes, it is wrong and it's more

7:36

than a little lo fi, but I

7:39

also think it captures the energy of

7:41

a historic live dig. This

7:43

type of bootleg is known as an

7:46

audience reporting for obvious reasons. Another

7:48

type is known as a sound board

7:51

recording. This is when a recording device

7:53

is plugged directly into the sound board

7:55

of the p A which allows for

7:57

clean capture what's happening on stage without

7:59

all the the audience sounds overpowering the

8:01

performance. There's also a third

8:03

type, a bootleg that involves non live recordings, but

8:06

we'll get to that. Bootlegging

8:08

intellectual property goes back centuries and

8:10

lead to the fifteenth century. After

8:12

your hands, Gutenberg invented the printing

8:15

press, offering the first book we

8:17

think. And Fourteen fifty Seven.

8:20

Once. The printing press took off. it became

8:22

easy. Or. Easier for books

8:24

to be made widely available because they

8:26

no longer had to be copied out

8:28

by hand, one at a time. But

8:31

this created a new problem. Who.

8:33

Exactly had the right to copy a

8:35

book or any other bit of written

8:38

word. This led to

8:40

the first copyright laws in the late

8:42

sixteenth and early sixteenth century. These

8:45

laws literally spelled out who had

8:47

the right to copy someone's intellectual

8:49

property. Potter's. Like Shakespeare, for

8:51

example, needed to be protected from being ripped

8:53

off. Shakespeare's nemesis was a printer

8:56

named Thomas Padre who ran off copies

8:58

of Shakespeare's plays and sold them without

9:00

giving him a cat. Sometimes.

9:02

Bobby. It would even sell early drafts,

9:04

unfinished demos, Of whatever Will

9:06

was working on. Copyright

9:09

Protection started with the Printed Word. There was

9:11

a major law passed in England and sixteen,

9:13

sixty two. So. Then expanded out

9:15

to other creations are the following

9:17

decades and centuries. For. Example: When it

9:20

comes to music, Sheet. Music so

9:22

under copyright in the late eighteenth century.

9:25

When Thomas Edison showed up with is talking machine

9:27

about a hundred years later. Copyright

9:29

Law was completely unprepared to deal

9:31

with this new technology. Graders.

9:34

Argued that their audio performances should

9:36

be protected from unauthorized coughing and

9:38

distribution, just as authors were protected

9:40

from someone running of copies of

9:43

their books. Written was

9:45

the first country to recognize

9:47

that sound recordings needed copyright

9:49

protection. The. United States didn't really

9:51

get around to properly dealing with the matter until

9:53

believe it or not, Nineteen.

9:55

Seventy Two. This.

9:58

created some interesting situations. For example,

10:00

a song from 1922 depicted

10:03

as sheet music was in the public

10:06

domain, meaning it was free

10:08

for use and copying by anyone.

10:10

No fees needed to be paid and no

10:12

permission needed to be obtained. However,

10:16

an audio recording of that music

10:18

from that same sheet music and

10:20

recorded in 1922 did

10:23

not enter the public domain until 2022. Now,

10:27

let's talk about recording contracts, something

10:29

that came into being in the early 20th century. When

10:32

an artist signs a contract with a

10:34

record label, it states that the label

10:37

has exclusive rights to whatever the artist

10:39

creates. The label then markets

10:41

and sells that material on the artist's behalf,

10:43

taking a slice of the profits for its

10:45

couple. The bootleg

10:47

problem begins when a third party

10:49

violates that exclusivity. The

10:51

artist's music is distributed and sold for a

10:54

profit by someone who has no legal right

10:56

to do so. That third party

10:59

does not contribute to the costs of making

11:01

that music and seeks to reap nothing

11:03

but profit. The artist is

11:05

not compensated for their time or talent and neither is

11:07

the record label cut in on any profit made by

11:10

this third party. So in other words, bootlaking

11:12

is like fencing stolen. It's

11:33

a tragically hip and not

11:35

from any official woman. Let's

11:38

just leave it at that. The

11:40

godfather of all bootlegging, and when you

11:42

get down to it, the godfather of

11:44

music piracy, was a guy

11:46

named Lionel Mapleson, the official librarian at

11:48

the Metropolitan Opera in New York. He

11:52

was originally a classical musician from London

11:54

who dreamed of being in a world

11:56

famous orchestra one day. But

11:58

that didn't happen. However, he did

12:00

come from a long line of music librarians and

12:02

got a job with the Met in the very

12:05

late eighteen hundreds. And early

12:07

nineteen hundred. He bought an Edison

12:09

talking machine and was immediately smitten.

12:12

That's. What A friend brought him up a teeny. A.

12:14

Brand of Phonograph using Edison's technology that

12:17

was capable of recording up to two

12:19

minutes of audio on wax cylinders. Was.

12:22

About the size of a suitcase. And next, like

12:24

why portable. Madison kept a

12:26

diary. On. March Twenty second, nineteen

12:28

hundred He wrote. For. The presence

12:30

I neither work properly nor each nor

12:32

sleep. I am a

12:34

sonogram maniac always making are

12:37

buying records. Of a

12:39

T Apparatus is simply perfect.

12:42

Maples and immediately saw the potential of

12:44

recording performances at the Met from a

12:47

purse high on a catwalk above the

12:49

state media forty feet above the musicians.

12:52

Not all recordings were kept his maple.

12:54

Some thought it was a sub par

12:56

performance. A recording he erased the cylinders.

12:58

By. Carefully shaving the grooves or the

13:01

wax and we using the sooner.

13:04

There's. Some dispute as to whether he made

13:06

and sold these recordings and secret or if

13:08

he actually sought permission from the Met and

13:10

the musicians. Here's. An example

13:12

of what he captured. This. Is

13:14

a performance of Pasta the Next Chino for

13:16

me. To

13:32

capture the entire opera maples and had to

13:34

quickly swap out a four cylinder for a

13:36

fresh one every two minutes. Made

13:39

Us On made about one hundred and twenty

13:41

of these very fragile cylinder recordings. Over.

13:44

About three years before he suddenly

13:46

stopped. Probably. Because the Met

13:48

found out in wanted to start making and selling

13:50

their own recordings. Still, He kept

13:52

his job as a librarian and stayed in

13:54

that position for fifty two years. While

13:57

Maples and died of a heart attack on December

13:59

twenty first making. Seven. You.

14:01

Ninety Three Nine, many of those

14:03

impossible to mass produce recordings started

14:05

to be converted to Ten inch

14:07

Seventy Eight Rpm records. And.

14:09

Over the years other maples and recordings of turned

14:11

up. If you're curious, there's

14:13

a collection available known as the

14:15

maples and Cylinders, featuring about one

14:17

hundred different performances. Now

14:20

as you heard, cylinder recording machines

14:22

weren't exactly capable of capturing audio

14:24

and anything close to high fidelity.

14:27

But. Magnetic. Tape came along

14:29

and that changed everything for bootleggers and

14:31

pirates. To recap, magnetic

14:34

tape and the reel to reel recorder

14:36

was invented by the Nazis in the

14:38

Nineteen thirties by a company that would

14:40

later manufactured poison gas for use in

14:43

concentration camps. The technology was

14:45

captured by the American Army at the end of

14:47

World War Two and taken back to the states

14:49

by Major Jackman. He created a

14:51

company called Am Facts and sold the idea

14:54

of recording to magnetic tape to Bing Crosby

14:56

for his radio shows. From. There

14:58

it spreads. Recording studios changing forever. The

15:00

way we capture manipulate audio. And

15:03

first, these reel to reel machines were

15:05

big and bulky. But. They were

15:07

way better than earlier devices that use

15:10

steel tape or wires to store the

15:12

data. And. Wasn't long before they

15:14

get smaller and more powerful. And

15:16

this is exactly what jazz fans wanted. Stay.

15:19

Been trying to make live recordings as

15:21

far back as nineteen thirties and as

15:23

the popularity of all flavors of jazz

15:26

became more popular. Bands. Became

15:28

frustrated with the inability of record labels to

15:30

keep up with their demand. That's.

15:32

When Hard Court started making their

15:34

own recordings using their own reel

15:36

to reel machines right there in

15:38

the club. Everybody was

15:40

more or less totally okay with this because. These.

15:43

Early record us: we're not seen

15:46

as bootleggers or pirates, but archivists.

15:48

Who. Were doing the world of jazz. A saver. For.

15:51

Example. A. Lot of the legend of

15:53

Charlie Parker would have been lost. If

15:55

not for someone in the audience recording him.

15:58

Areas. with dizzy gillespie in new york total bootleg

16:00

here. Bootlegs

16:25

made with old wire recorders, old

16:27

acetate cutting machines, and newer reel-to-reel

16:29

machines continued through the 1950s. And

16:33

then, in 1963, a major,

16:36

major technological breakthrough. That's

16:38

where we'll pick things up next. Hi,

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details. This is part

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one of a deep look into the world of

17:44

bootlegging music over the decades. We're

17:47

now up to 1963, and this is

17:49

when Philips, the Dutch electronics company, introduced

17:52

the Compaq cassette, an invention from

17:54

a team led by a guy

17:56

named Leo Otens. The

17:58

cassette was literally a They wheeled to

18:00

reel tape, miniaturized inside a plastic shell,

18:03

four inches across, two and a half inches high,

18:05

and half an inch thick. They

18:08

played and could record on machines that were

18:10

smaller and thus far more portable than

18:12

a reel to reel unit. And

18:14

this made it perfect for sneaking into shows

18:16

to make audience recordings. The

18:19

cassette gave birth to tape trader

18:21

culture, underground networks of music

18:23

fans who made bootlegs and traded copies

18:26

with other bootleggers. This

18:28

was all pre-internet obviously, so all communications were

18:30

done through print ads and the mail. It

18:33

was very uncool to charge for

18:36

your bootlegs. Tape trader

18:38

culture operated on a pay it forward, take a

18:40

penny, leave a penny basis. And

18:43

this became the domain of megafans around the world who

18:45

wanted documentation of every single live

18:48

performance of their favorite acts. They

18:51

weren't bootlegging, they were documenting

18:53

and archiving for the sake

18:55

of the artist's legacy. No

18:57

evil intentions, no exchange of money. A

19:01

lot of acts were the obsession of tape

19:03

traders, but the most famous of them all

19:05

was the Grateful Dead. They

19:07

were almost never heard on the radio, and most

19:09

of their famous live jams never made it to

19:11

any official release. No two shows

19:14

were ever alike. The biggest Deadheads

19:16

wanted all those special in concert moments,

19:18

and there were plenty. By

19:21

1972, there were Deadhead tape exchanges

19:23

run by fans all over the planet. Many

19:26

of the more serious tapers used a

19:28

tape deck called the Nakamichi 550. It

19:31

was small, and it was excellent at

19:33

capturing audio. Back at home, the

19:35

tapers would have multiple cassette machines running at the

19:37

same time to copy the tape that they made

19:39

at the show. Those tapes

19:41

would then be sent out to people on their

19:43

list, often with personalized artwork. Here's

19:46

a sample of what a Dead bootleg, sorry,

19:48

Dead document sounded like. This

19:51

is from a show at Golden Gate Park in San

19:53

Francisco on September 28, 1975. There

20:16

are thousands, thousands

20:19

of dead tapes like that out there. There

20:21

were books and online archives devoted to

20:23

them. And although The Grateful

20:25

Dead originally frowned on fans recording their

20:27

shows, they eventually softened and

20:29

began encouraging them. As

20:31

far as I can tell, The Dead is

20:33

the first band to create taping sessions where fans

20:36

could set up their gear to record the show.

20:39

That happened on October 27, 1984, when The Dead played the Berkeley

20:41

Community Theater. The

20:45

results were pretty good for the tapers who knew what they were doing. Here's

20:47

a bit of a clip. Today

21:06

tons of acts officially allowed taping of

21:08

their shows. I already mentioned Pearl

21:10

Jam, but the list also includes

21:12

the Dave Matthews Band, Fugazi, Iron Maiden,

21:15

Fish, Weezer, Metallica, Sonic Youth, Fiddy

21:17

Sense, Black Crows, Blues Traveler, and

21:19

even Radiohead. Here they are

21:22

at the Glastonbury Festival on June 28, 1997. But

21:45

until the advent of the smartphone, which

21:47

made prohibiting recordings of shows moot –

21:49

I mean, everybody sneaks in a phone

21:51

to a show, right? Most

21:54

acts did whatever they could to keep the live bootlegs

21:56

from not just leaking out, but from

21:58

being made. Bye! Well,

22:01

an act having a bad night did

22:03

not want that performance to

22:05

be documented anywhere. Their

22:08

record label didn't like it that it wasn't in

22:10

charge of these recordings being made.

22:13

And a lot of these recordings didn't stay

22:15

in the tape trader community. They

22:17

were being pressed onto vinyl or CD

22:19

and sold. That

22:21

is copyright infringement and a violation of

22:24

intellectual property law. If

22:26

you're old enough and you used to go to shows, you

22:28

may remember being shaken down by security looking

22:31

for anyone who snuck in any recording equipment.

22:34

This means that tapers had to get

22:36

creative. Some people would break

22:38

down their gear into constituent parts and

22:41

give a piece to different people going to the show. Once

22:44

inside, they'd meet up in a place like the bathroom

22:46

to assemble the recording setup. Others

22:48

shoved everything from recorders and microphones to mic

22:51

stands down their pants and then

22:53

limp into the gig pretending to be disabled. And

22:56

if, let's say, a hockey game was on the night before

22:58

a show, a taper might go to

23:00

the game, hide his gear

23:02

somewhere inside the arena, and

23:04

then retrieve it for a taping session the

23:06

following night, circumventing concert

23:08

security completely. And again, nobody

23:11

bothers with this anymore because of

23:13

smartphones. We're a long way from

23:15

which every single concert ticket was

23:17

printed with the warning, no photographic

23:20

or recording devices allowed. It's

23:22

time to love these. Love,

23:24

love, love. Love,

23:28

love, love these. You

23:31

can't be there, love again. Love,

23:34

love, love these. Love,

23:37

love, love again.

23:41

We'll come back to more on the brutal acres known as tape

23:43

traders in just a sec. Hold on. Becoming

23:46

a proficient tape trader required practice

23:49

and skill. If you're making

23:51

a recording from the audience, you have to

23:53

fight to find the correct spot in the venue. You

23:55

need to be able to pick up what's coming through

23:57

the PA clearly and accurately. want

24:00

to keep the audience noise to its proper level.

24:02

The last thing you want for your tape is the jerk

24:04

next to you who insists on singing along to every song.

24:08

There are other things to think about too. What

24:10

kind of tape do you use? Max-L2s

24:12

and TDK-SA's were among the

24:14

best. As far as I can

24:16

remember. When did you flip the

24:18

tape? How to document the set list? What kind

24:21

of artwork should accompany the tape? Or

24:23

should there be any artwork at all? And

24:25

what gear was used to make the recording? This

24:28

is all very important information. Tape trading

24:30

comes with many rules and much etiquette. As

24:33

much as some acts and record labels

24:35

hated fan-made tapes of shows, we

24:38

have to come back to this idea

24:40

of documenting important in concert events that

24:42

would have otherwise been lost forever.

24:45

Let me give you an excellent example.

24:49

On March 1, 1994, Nirvana played a

24:51

show in Munich, Germany. They played at

24:53

a place called Terminal 1, an old

24:55

airplane hangar. Kurt Cobain

24:58

was not well. He had been

25:00

battling bronchitis and laryngitis. Plus, he was in a

25:02

really bad place when it came to his drug

25:04

addiction and mental health. He

25:06

struggled that night. About

25:08

3,000 people were there to see Nirvana.

25:11

Despite Kurt's situation and a bunch of

25:13

electrical problems, the band played 23 songs.

25:16

And at least one person had smuggled

25:18

in a tape machine. The

25:21

last song of the night was heart-shaped

25:23

box. No one

25:25

had any idea that this

25:27

would be the final time Kurt Cobain would appear on

25:29

stage. In just over a month, he would

25:31

be dead. And had no one

25:33

smuggled in a tape deck, we

25:35

might not have a record of that historical

25:37

thing. Nirvana,

26:03

on March 1, 1994,

26:06

and thanks to a tape trader, we

26:08

have a document of Kurt Cobain's last

26:10

ever live performance. There's

26:13

another type of audience recording that we need to talk

26:15

about, and it didn't involve going to the show at

26:17

all. There was a

26:19

time from the 1970s to at least

26:21

the late 1990s where concerts were routinely

26:24

broadcast on FM Rock radio stations. Sometimes

26:27

an artist would come in and perform live in the studio. Sometimes

26:30

the station would have a live feed coming directly

26:32

from a recording studio or a club. And

26:35

sometimes it was a professionally engineered live

26:37

recording that was then distributed

26:39

from one source to many for

26:42

later playback. For example, on

26:45

November 17, 1970, Elton

26:47

John, who was still very early in

26:49

his career, performed a

26:51

48-minute concert live on WABC

26:53

FM in New York. The

26:56

performance itself came from a recording studio. It

26:59

went over the air in great FM

27:01

radio quality. Many hundreds,

27:03

maybe thousands of people, recorded the

27:05

concert from their radios. The

27:08

result was that the performance was widely

27:10

bootlegged. Elton John's record company

27:12

was so alarmed that just a few

27:14

months later, they were forced to issue

27:17

an official version of the show. Another

27:37

famous bootleg from that era featured David Bowie

27:39

at the Santa Monica Civic Auditorium on October

27:41

20, 1972. This

27:44

was during the Ziggy Stardust tour. He

27:46

was about 70 shows into a

27:48

190-date tour that would cement his

27:50

reputation as a rock icon. Just

27:53

as with the Elton John situation two years earlier,

27:55

the show was originally a radio broadcast for our

27:58

local FM station. And on this night, Bowie

28:01

and the band were in awesome form.

28:03

This became a bootleg and then

28:06

a semi-legal release that was wrapped up in

28:08

all kinds of litigation for a while. And

28:11

finally, an official release came on June 3,

28:13

2000. Let's

28:15

have some of that. I'm going to put that

28:17

head on in the center of your head. I got a

28:19

picture of it right inside it for the bar. Yeah,

28:23

come out. Come out. We're

28:26

going to get up and get it down. Come

28:29

out. Come out. I'm going

28:31

to put that head on. I'm going to put that head

28:33

on. Yeah, get it out. Bowie,

28:37

live in Santa Monica, once an illegal

28:39

bootleg from a radio show and since

28:42

2008, a legitimate release. On

28:44

part one of our look at bootlegging, we've

28:46

covered some definitions. We've covered some

28:48

history, some technology, and the whole concept of

28:50

tape trading. On part two,

28:53

we'll look at different sources of illegal bootlegs,

28:55

their role in file sharing, and the ultimate

28:57

near death of this part of

28:59

music collecting. Meanwhile, let's meet up on

29:01

all the social networks. We can connect

29:03

through my website, which is a journal of musicalthings.com. Please

29:06

feel free to email me anytime through alan

29:09

at alancross.ca. And don't

29:11

forget that there are hundreds of ongoing history podcasts

29:13

available. You can get them wherever you download your

29:15

podcasts. Plus, there's my other

29:17

shop, Uncharted, Crime and Mayhem in

29:19

the Music Industry. These are true

29:21

crime stories about when bad

29:23

things intersect with people in the music

29:25

biz. Again, that's Uncharted, Crime and Mayhem

29:28

in the Music Industry. Get

29:30

it wherever podcasts are downloaded. See

29:32

you next time for the second half of our

29:34

exploration of bootlegging and other illegal recordings. Technical

29:37

productions by Rob Johnston and the Uncles. my

30:00

mother. We know. The

30:02

new season returns. Pillows always

30:04

leave a trail. All new

30:06

CSI Vegas on a new

30:08

night. Sunday on Global.