Shopping for Legs and Boots: Tori Amos's Original Bootlegs, Fandom, and Subcultural Capital.
Using Tori Amos's Original Bootlegs as a case study, this paper considers the impact of the introduction of an extensive collection of “official” bootlegs in relation to debates around fan communities, music sharing, and genre. Amos's strategic adoption of the term “bootleg” and the strategies emplo...
| Publicado en: | Popular Music & Society Vol. 33; no. 3; pp. 357 - 376 |
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| Autores principales: | , |
| Formato: | Case Study |
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Taylor & Francis Ltd
Jul2010
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=51254109&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 51254109 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03007766 POA jtl: Popular Music & Society issn: 03007766 maglogo: Y pubinfo: dt: Jul2010 vid: 33 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 51254109 10.1080/03007760903523153 ppf: 357 ppct: 19 formats: fmt: – @attributes: type: T – @attributes: type: P size: 124KB tig: atl: Shopping for Legs and Boots: Tori Amos's Original Bootlegs, Fandom, and Subcultural Capital. aug: au: Farrugia, Rebekah Gobatto, Nancy su: Amos, Tori, 1963- Original Bootlegs (Music) Music industry Sound recording piracy sug: subj: Amos, Tori, 1963- Original Bootlegs (Music) Music industry Sound recording piracy ab: Using Tori Amos's Original Bootlegs as a case study, this paper considers the impact of the introduction of an extensive collection of “official” bootlegs in relation to debates around fan communities, music sharing, and genre. Amos's strategic adoption of the term “bootleg” and the strategies employed to market her official bootlegs to the Toriphile fan community work to blur the boundary between the value of the “authentic” and mass-produced music releases. Additionally, the Original Bootlegs contribute to the music industry's discursive and material cooptation of the term “bootleg.” By choosing to call these releases “bootlegs” Amos ultimately undermines—and in the process destabilizes—the bootleg as a genre. pubtype: Academic Journal doctype: Case Study src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Popular Music & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Popular Music & Society holder: Taylor & Francis Ltd dt: @attributes: year: 2010 holdings: @attributes: islocal: N |
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