Notes Acknowledgments Preface The essays collected here attempt to solve a wide variety of puzzles about the mind. Several virtues and vices spring from this fact.
Most socalled 'bootlegs' manufactured in the world in had full 'mechanical' royalties paid to the artist concerned, via the usual copyright-house channels. Likewise, most bootlegs, taped from the audience using sophisticated portable domestic tape-recorders, incur no recording costs to anyone but the taper, who may or may not be in direct cahoots with the bootlegger.
So much for the standard definition of piracy! Bootleg albums, transferred from tape to vinyl or C Dexist as product only when the bootlegger undertakes to create the artifact. The transfer from non-commercial bootlegs tapes to commercial bootlegs LPs or CDs changes the form, not the substance.
The notion that a bootleg exists in direct competition to the product peddled by legitimate record companies is absurd. It certainly gets short shrift from bootleggers themselves: I get v e r y angry w h e n I see people saying the w o r d 'bootleg' w h e nin fact, w h a t they mean is 'counterfeit' or 'pirate'.
I am against counterfeiting, I am against pirating legitimate releases of the r e c o r d company, but if anybody thinks that if I have purchased every single Rolling Stones album in existence, and I have bought all t h e Rolling Stones albums that have been released in England, France, Japan, Italy and Brazil, that if I have an extra o n e hundred dollars in my pocket, instead of buying a 8 Bootleg Rolling Stones bootleg I am going to buy a J o h n D e n v e r album or a Sinead O ' C o n n o r album, they're retarded!
And like the rock artists they emulate, some bootleggers produce good art, some bad. T o m Schultheiss, in his account of the early history of bootlegging, makes a useful distinction by labelling bootlegs 'performance piracy', that is to say, 'the creation of unauthorized recordings not from pre-existing ones, but from unauthorized taping of live performances or radio and TV broadcasts, or utilization of stolen tapes from unreleased studio sessions'.
They are bought by ultra-keen fans, not those looking for a cutprice alternative to pukka product.
And yet if there are deleted or impossible-to-find cuts on legitimate releases somewhere in the world, then bootleggers have considered these fair game for anthologizing indeed the pirating of long-deleted independent singles on 'anthology' albums of the Nuggets variety has long been a mini-industry in itself.
Often, bootlegs are actually hybrids comprising bootleg material interspersed with 'pirated' official cuts. Such instances were relatively common in the days of vinyl, less prevalent in the modern CD era.
Thus bootleggers commit a form of piracy in catering to hardcore collectors, while official companies choose to ignore this area or are simply unaware of the latent demand. In the collectors' marketplace the normal rules of commerce do not apply.
Here, consumers are quite happy to pay considerably more than the price of an official album to purchase alternative takes of songs they already own multiple versions of, or hear a series of false starts and incomplete takes of a song already released in a finished, 'definitive' form.
Both have been heavily bootlegged and, while quite fascinating to hear, remain ancillary to the perfection of the finished 45s. The criteria for what makes a good bootleg are entirely distinct from what might make a good official release.
It becomes a form of rock archaeology, where the quest for revelation often subverts any search for aesthetic content. It is assumed that the multiple layers of backing tracks for 'Good Vibrations' reveal Brian Wilson's working processes at a time when his productions were becoming increasingly complex.
It is this insight that bootleg collectors seek.Part II: Thinking, Intelligence, and Creativity Describe thinking, intelligence, and creativity in your own words. How are thinking, intelligence, and creativity related? Does one’s creativity illustrate anything about his or her thinking processes or level of intelligence?
Describe thinking, intelligence, and creativity in your own words. How are thinking, intelligence, and creativity related? Does one’s creativity illustrate anything about his or her thinking processes or level of intelligence? Oct 28, · NOLLYWOOD NEWS The joy of every parent is to see his or her child walk in his or her footsteps or choose the same career after them but for Nollywood superstar Monalisa Chinda Coker the reverse is the case The mother of one also revealed sh A Level Student Of The Bayelsa State Owned Varsity Niger Delta University Amassoma Identified As.
Does one’s creativity illustrate anything about his or her thinking processes or level of intelligence? Why or why not? Describe thinking, intelligence, and creativity.
SUMMER ENGINEERING MANAGEMENT Answer FIVE questions, taking ANY TWO from Group A, Any TWO from Group B and ALL from Group C. Figures in the bracket indicate full marks. His email address and phone number are all exposed in one of his uploaded photos: http (which wasn't anything novel), but more that it means her scars have healed enough.
Hope to see more posts from her soon! 2. teej 3 there aren't many practical projects, even ones that are highly concurrency dependent, that use Erlang.
And there are.