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This intensification of notions of authenticity means that bootlegging and tape trading may not pose the threat to the official industry that is often assumed.
Through their activities, bootleg collectors and tape traders explicitly contest the commodification of popular music.
This is not to suggest that rap does not have its own forms of authenticity, just not those that give rise to bootlegs.
Once a recording has been made, it will be traded and a few will find their way onto a bootleg.
Collectors generally buy bootlegs from record fairs and mail order outlets.
I now want to explain the sources of the music that is traded and bootlegged.
These outtakes are included on a number of bootleg recordings.
These bootlegs are then sold commercially to a small market of interested people.
The relationship between bootlegging and tape trading is complex and is an extremely important aspect of this area of musical consumption.
When the bootlegging of rock music first began in 1969, the bootleg pioneers were explicitly counter-cultural: their aim was to destroy the record industry.
As these original recordings have been officially released, the resultant collectors' tapes are forms of pirate recording rather than bootlegs.
Tape trading is done because one enjoys music and wants to spread it to others, bootlegging occurs when one wants to make a quick, dishonest, buck.
The difference between bootleg collectors and tape traders is important, not least because, as the above quote illustrates, it is extremely important to the traders themselves.
They should clamp down with more vigour on the illicit selling of bootleg cigarettes in the vicinity of school playgrounds.
I have asked how many licences have been withdrawn from licensed premises because they were retailing smuggled and bootlegged goods.
