lawsuits against, 158–61, 165, 225–26
Napster and, 160, 167
prerelease leaks and, 157–58
quality and distribution problems with, 165–67, 171–72
torrent technology and, 166–70, 226–27
Philips corporation
format wars and, 19–20, 59, 67, 94, 97, 134
mp2 promotion by, 20–25, 53
PolyGram division of, 32–33, 78, 82
Seagram purchase of PolyGram from, 82–85, 101
Physical Graffiti (album), 48, 199
Pink Moon (album), 205–6, 240
piracy, origin of term, 278n
Pirate Bay torrent site, 168–71, 173, 184, 207, 209, 240, 242–43, 252
Pirate Party, formation of, 242–45
PlayStation piracy, 108, 186
PolyGram division of Philips corporation, 32–33, 78, 82–85, 101, 111–12
EDC takeover of, 191–92, 215
marquee releases at, 136
PolyGram Kings Mountain manufacturing plant
closing of, 253
compact disc production at, 27–29
Glover’s employment at, 32–33, 175–76
Interscope distribution deal with, 73, 78
“No Theft Tolerated” standard at, 32
security system at, 67–68, 103–5, 135–39
smuggling activity at, 35, 67, 103–8, 135, 149–51, 176–88
Universal’s acquisition of, 84–85, 101–3
polyphase quadrature filter bank, 19–21
Popp, Harald, 13, 53, 56–59, 88, 93–95, 97–98, 130–31, 134
portable music players, 125–27
Prabhu, Jay, 194–96, 203, 252, 257
prerelease leaks
Oink’s Pink Palace and, 209–14
Scene involvement with, 72–73, 139–41, 144–45, 184–88
sources for, 144–45, 157–58, 176–77, 185–88
streaming technology and, 261–62
Pressplay online music store, 119, 157, 228
Project Hubcap lawsuits, 159–60, 166, 193, 225–26
psychoacoustic compression technology
AAC applications, 60, 88, 96–98
Brandenburg’s development of, 60, 88
competing research in, 7–17, 128
human speech and, 16
mp2 use of, 5, 20–25
mp3 use of, 7–16, 53–58
MPEG evaluation of, 17–19, 53
studio engineers’ reaction to, 91–92
Zwicker’s contributions to, 7–16, 18–19
publishing rights as revenue stream, 234–38, 260–61
Rabid Neurosis. See RNS
radio play statistics, 43, 196–200
recording industry
collusion in, 114
Congress and, 119–21
decline of, 83–85, 189
Morris’ career in, 42–51
mp3 development and, 56–57
Napster and, 114–21
payola scandal in, 196–97
performance targets and short-term results in, 123–24
profitability in 1990s of, 79–80
resistance to technology in, 90–93
Recording Industry Association of America (RIAA)
Brandenburg’s meeting with, 90–92
lobbying activities of, 90–91
Napster and, 115, 121
Project Hubcap lawsuits and, 159–61, 193, 225–26
surveillance of the Scene by, 161–63, 217
record stores. See music retailers
Reyes, Jonathan, 203, 249
Reznor, Trent, 77, 208
Rhapsody, 253, 261
Rhone, Sylvia, 191, 202
RIAA vs. Diamond Multimedia Systems, 121, 125–26, 157, 165, 192
RiSC_ISO piracy group, 147–48
Rivera, Domingo, 255–57, 262
RNS
albums leaked by, 72–73, 139–41, 144–45, 184–88
audience demographics for releases by, 179–80, 215–16
command structure of, 105–8, 140–44, 149–51, 178–79, 181–88
counterintelligence campaign of, 182–88
dominance of piracy by, 176–88,
215–17, 252
law enforcement surveillance of, 180, 194–203, 249–52
nullification of illegal activities of, 255–58
Oink’s Pink Palace competition with, 211–14
RIAA surveillance of, 162–63
shutdown of, 216–22, 248–52
Rolling Stone magazine, 181–82, 202–3, 221
Rosen, Hilary, 115–16, 118–20, 159–60
Rowling, J. K., 211–14
royalty payments to musicians, 235–38
Saehan International, 93, 95, 97, 259
satellite dish, prerelease leaks using, 185–86
Saunders, Patrick
albums released by, 179
as “Da_Live_One,” 178–79
Glover’s contact with, 219–20
as informant, 250–51, 254, 256–57, 262
RNS involvement of, 178–79, 181, 217
surveillance of, 248–49
Scarface (artist), 148–49
“The Scene,” 88–89
aging out of members of, 216–17
Glover’s association with, 105–9, 139–40, 175–77, 184–88
journalism investigations into, 181–82
law enforcement surveillance of, 147–48, 162–63, 180, 193–203
leaks from, 184–88
movie bootlegging and, 146–51, 165
NFO files released by, 140–41
organizational structure of, 72, 105–8, 140–46, 180–88, 262
pirating protocols developed by,
139–40, 148
rival groups within, 176–79
topsite servers for, 107–9, 146
torrent tracking, 169, 173
Scorpions (band), 19, 59
Seagram corporation, 75–77, 81–82, 101, 118, 122–23, 155, 157
Seitzer, Dieter, 7–9, 11–13, 15–16, 22, 88, 259
Shumaker, Mark, 193–94
Sims, Chaney, 150–51, 175
Snoop Dogg, 34, 48–50, 77–78
software piracy, 71–72, 186
Sony corporation
decline of recording industry and,
192, 215
mp3 technology and, 60, 93
music piracy and, 85, 154, 189
Napster and, 119
portable music players and, 127
Project Hubcap lawsuits and, 159
sound quality, 7–16, 19, 89–92, 128
Spitzer, Eliot, 196–98, 200
Spotify, 253, 261
Stahler, Jacob, 194–96, 262
Stein, Alex, 241–42
streaming of music
Adar’s vision for, 56–57
advertising and, 230–38
growth of, 260–61
recording industry adoption of, 253, 261
recording industry early disregard of, 56–57. 89–92
Seitzer’s patent application for, 8
Svartholm Warg, Gottfrid, 169, 242–43
Tai, Simon
albums leaked by, 143–45
lack of charges against, 251, 262
RNS involvement of, 143–45, 216–17
as “RST,” 143
Telos Systems, 53–55, 87
Tha Carter albums I, II, and III, 154, 179, 200, 226
Thomas, Jammie, 225, 243
Thomson SA corporation, 17, 57–60, 94, 127
“360” deals, 234–35
Thriller (album), 84, 234
Time Warner corporation
AOL merger with, 122, 154–55, 189
Morris and, 37, 40–42, 45, 47, 50–51, 75–77, 228
rap music and, 47–50, 78
“Tom’s Diner” (song), 16–18, 59
topsite servers
FBI “Fatal Error” false topsite, 194
Glover’s membership on, 183–88
Scene’s use of, 107–9, 146–51, 180
torrent technology, 166–74, 193, 205–14, 218, 226–27, 239–43
Total Request Live, 197–98
Tower Records, 114, 154
Tuesday rippers as prerelease source, 144–45, 157–58
Tupac Shakur (artist), 48–50, 73–74,
77–79, 191
2 Live Crew (rap group), 50, 120, 191
typisch Deutsch culture, 6, 13, 24–25