Discover the most popular and inspiring quotes and sayings on the topic of Bootleg. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Bootleg Quotes And Sayings by 97 Authors including Emily March,Jello Biafra,Luise Rainer,Michael J. Marx,Charlie Worsham for you to enjoy and share.
Any resemblance to actual
So basically the understanding on these so-called reissues is that they were done behind my back, without my permission, and the band informed me that I would no longer be paid on them at all.
The best imitation in the world is not half as good as a poor original.
A fake is a copy, a duplicate, a facsimile of an original. The professional coach is authentic - the real deal.
'Rubberband' is a lot of things, but it's not a flashy record.
There is no intellectual or emotional substitute for the authentic, the original, the unique masterpiece.
This girl was so authentic she probably had a trademark stamped on her ass.
There's two different disks recorded at two different shows. And they're two very different shows. The San Francisco disk was in front of 450 people and was a real professional show where people did their best stuff. So to some people that's going to be their favorite disk.
Life summed up with a marketing slogan: Limited Edition!
It's mafia,Mitch and illegal as hell.
Don't do piracy. Piracy is a crime.
I like the movie 'Das Boot,' the German film made in the '80s. I found out it was a series that was made into a film for the U.S.
When a band becomes as truly iconic as the Velvet Underground, there will often be a box set released, overburdened with mediocre material that dilutes what was fine left on its own.
If it has to be put in a box, it's a country record. But it's hard to do that, because it is inspired and influenced by the history of music in two different people's backgrounds. I think the focal point for many is the harmonies, and I think that is what is special and unique about it.
There haven't been many credible electronic covers records.
"I'm a new song and you're just a remix."
Be your own limited edition.
As a student in Beijing in 1996, I sometimes marveled at the sheer obscurity of the movies that somehow made it onto pirated discs in China.
You may imitate, but never counterfeit.
They've got the singles and some people have burnt them from different web sites and stuff. So it was something that we talked about for a long, long time, and I just wanted to make sure that this remix album to be really special.
He who would pry behind the scenes oft sees a counterfeit.
A knockoff is not as easy to spot when it comes to love.
We've put songs out on singles and weird little packages that only the real vinyl-philes care about.
I'm not going to lie; I'm not a huge remix person.
I'm definitely a boot-scootin' kind of guy.
Universal was absolutely marvelous about sitting down with me and listening to my input. It wasn't something where they chose a bunch of songs that were best sellers. They did a marvelous job on the packaging. It's a beautiful tribute.
I'm not gone remix a record I don't got no love for.
What makes a movie now is a package, a brand, a remake or some preexisting material.
The CD image remains heart-sinkingly abysmal compared to the majesty of the LP sleeve. These things count.
Sometimes, reissues can be revelatory, or put the original record in a different light, but those are rare.
Music isn't selling like it used to, but the one thing you can't steal or download is a live show experience or a T-shirt.
The boot, which was dull black and square-heeled, the motorcycle boot of persons who did not own motorcycles but wore the boots of those who did.
It's a remake of a film called Inferno Affairs. It's a Hong Kong film, and if we come anywhere close to what they did in the original, we're going to have a hot property on our hands, because Inferno Affairs is a great piece.
When you record for a label, they own that material in perpetuity, meaning that they can release, chose not to release , or repackage it any way they so choose ... with or without the permission of the artist.
Knock-offs may look good, but they never last as long as the real thing.
The fact differentiates the fake.
Record labels have enjoyed a 100-year monopoly of selling plastic and now they're up against a different format.
Buzz so big I could probably sell a blank disc.
I put 'Ghost' online hoping to make a couple hundred bucks, but then the next day, I took meetings with five different record companies.
My sister and I were not allowed expensive clothes. We so badly wanted these Fila sneakers as kids, but my mother took us down to the flea market and got imitation ones. Look at the early Destiny's Child videos. You'll see.
my problem isn't piracy, it's obscurity
I asked, looking at the jukebox, now totally out of place, like a British police call box on the deck of the Titanic.
You put an old Misfits record on, and it sounds like it came out yesterday.
The band geek has liquor?
There are a lot of stuff on the record that I am thinking is generic but actually it is just as good as everybody else who is putting stuff out at the time.
I did a cover of the James Bond theme, and I felt like such a fraud, because the original is so good.
Back in the pre-internet age there were pirate publishers, especially in the third world, who would print physical copies of books, sell them, and never inform the author/their agent/their publisher just trousering the money. I think we can agree that this was piracy?
If they haven't heard it before it's original.
Obscure, like muddy waters.
A good imitation is the most perfect originality
Fake is as old as the Eden tree.
Critics don't buy records. They get 'em free.
Occasionally, I will come across something that has lost its label over the years - maybe the client didn't want to declare the dress at customs and took the label out - but I'll recognize it from an image that I've seen in Vogue, or a little thumbnail sketch.
The record was only released in the UK, and then when the idea for the remixed album came about, which was an idea that I've had for the longest time, I said this would be great song to remix as well, and so we did it.
DUST includes rarities, demos, unreleased songs and instrumentals, live recordings, and more.
Vinyl is great, I made a lot of vinyl, but I don't want new vinyl that's from digital sources, because that's a rip off.
People are doing what they can these days and looking for creative ways to sell music.
You know, we have a long history of covering different periods of this band's development with a live record ... a sort of live thing that would be done for three or four records, and that was the intention with this particular package.
J. Cole's 2014 'Forrest Hills Drive.' The album, artwork, and director of that album was a huge influence on the visuals for 'Homecoming King.'
By packaging a full album into a bundle of music with ringtones, videos and other combinations and variations, we found products that consumers demonstrably valued and were willing to purchase at premium prices. And guess what? We've sold tons of them.
The most common format of music on an iPod is 'stolen.'
The genius of vinyl is that it allows - commands! - us to put our fingerprints all over that history: to blend and chop and reconfigure it, mock and muse upon it, backspin and skip through it.
volumes of Once Upon a Christmas Wish On SALE for only 99 cents each.
If you were to sell your character, would you get full retail or would it go for a bargain-basement price?
There was a moment when Prince did rock & roll with a sponge-y seductive sound. I think that's what was in our head for 'Get On Your Boots.' But actually, the song is much more punk rock.
An authentic and ingenious account of the ingeniously counterfeit in art and in life.
Untitled. Unfinished. UNRELEASED
Genre? What's that?Genre-- June Winton
If it sells, it's art.
We need to differentiate between commercial piracy - where criminal organisations produce illicit DVDs on a huge scale - and domestic, unauthorised filesharing, which may or may not be detrimental to overall sales.
We sit down with a copy of Rolling Stone from the early eighties to argue about whether Face Dances by the Who (John's choice) or Emotional Rescue from the Stones (my choice) was the lamest sellout album for a super group.
I'm not sure why anybody makes a physical CD anymore when the costs are so much lower to just throw it up on iTunes. And it doesn't seem that making a hard copy of something prevents pirating any less. I mean I'm amazed that they still do that.
The new Squarepusher album as well, although it is proper headf*** industrial. Not one for a pool party in Ibiza!
the LP sleeve acquires the same scuffs, knocks and wrinkles as its purchaser. It engenders the same affection as the ageing groove. Reflective
I had an all-Fear of Music iPod, just versions of the 11 songs from the record. No other songs allowed.
It is always better to be an original than an imitation.
Personally, I'm not too fond of remakes.
My songs are like cheap Neil Young copies.
When you'd buy vinyl, you'd have this lovely-sized object with a lovely picture, and you'd read the lyrics and usually there was something artistic that went with it.
Fuck the original.
I was a Christmas present that was delivered unwrapped.
The perfect soundtrack for my personal hell.
There are more copies than originals among people.
A digital download is not as visceral as buying a CD, removing the shrink-wrap, putting the disc in your player, and pouring through the booklet of lyrics and liner notes. The digital age has removed us from the tactile experience of what it meant to listen to an album.
You bought something. You shopped!"
"I didn't shop. I purchased what is likely stolen merchandise, or gray-market goods. It's potential evidence.
My gift is my song
Look: I download music illegally, if I really want it. But I always then buy the record - I support art.
Back to basics Rock & Roll capturing the beauty and simplicity of punk
Being a cover artist is not like being a real artist. That's just copying what someone else did.
Underground dance music - in the nicest way possible - it's amateur
simulacrum, but a policewoman in disguise.
Because you know, truth is, I don't give a shit about some scratched-up vinyl Rahsaan Kirk, Ornette Coleman sound-like-a-goose-trying-to-fuck-a-bicycle bootleg pressing from the rare Paris concert of 1967. I spend five minutes listening to that, I'm like to want to slap somebody. I
Is there anything more plausible than a second hand?
Vinyl is the real deal. I've always felt like, until you buy the vinyl record, you don't really own the album. And it's not just me or a little pet thing or some kind of retro romantic thing from the past. It is still alive.
Authenticity is invaluable; originality is non-existent.
It's weird that remixes have been associated so much with dance music. I think it's just kind of box-standard to put a beat behind it saying it's a remix.
Some people remaster their records six, seven times, remix it three, four times, spend a million hours, then they always go back and hear a demo of it and they'll say, 'Aw that sounds so much better than the final mix.'
Digital books and music are often different from their physical counterparts in that consumers buy licences to a work, revocable under an ongoing contract, rather than their own copies.
What genre it falls under is only of interest later.
An original first pressing of Coltrane's Giant Steps,