Editing Bootleg recording (section)

===Pre-1960s===
According to the enthusiast and author [[Clinton Heylin]], the concept of a bootleg record can be traced back to the days of [[William Shakespeare]], when unofficial transcripts of his plays would be published.{{sfn|Heylin|1994|p=17}} At that time, society was not particularly interested in who had authored a work. The "cult of authorship" was established in the 19th century, resulting in the first [[Berne Convention]] in 1886 to cover copyright. The US did not agree to the original terms, resulting in many "piratical reprints" of sheet music being published there by the end of the century.{{sfn|Heylin|1994|pp=20–21}}

[[Film soundtrack]]s were often bootlegged. If the officially released soundtrack had been re-recorded with a house orchestra, there would be demand for the original audio recording taken directly from the film. One example was a bootleg of [[Judy Garland]] performing ''[[Annie Get Your Gun (film)|Annie Get Your Gun]]'' (1950), before [[Betty Hutton]] replaced her early in production, but after a full soundtrack had been recorded.{{sfn|Heylin|1994|p=37}} The [[Recording Industry Association of America]] objected to unauthorised releases and attempted several raids on production.{{sfn|Heylin|1994|p=31}} The Wagern-Nichols Home Recordist Guild recorded numerous performances at the [[Metropolitan Opera House (39th St)|Metropolitan Opera House]], and openly sold them without paying royalties to the writers and performers. The company was sued by the [[American Broadcasting Company]] and [[Columbia Records]] (whom at the time held the official rights to recordings made at the opera house), who obtained a court injunction against producing the record.{{sfn|Heylin|1994|p=32}}

Saxophone player and [[Charlie Parker]] fan [[Dean Benedetti]] famously bootlegged several hours of solos by Parker at live clubs in 1947 and 1948 via tape and disc recordings. Benedetti stored the recordings and they were only rediscovered in 1988, over thirty years after Benedetti had died, by which time they had become a "jazz myth." Most of these recordings were later released officially on [[Mosaic Records]] in the 1990s.<ref>{{Cite news |last=Watrous |first=Peter |date=1990-12-23 |title=POP VIEW; The Legendary, Lost Recordings Of Charlie Parker |url=https://www.nytimes.com/1990/12/23/arts/pop-view-the-legendary-lost-recordings-of-charlie-parker.html |access-date=2024-05-22 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>