Footnotes

1. Wicke 1997
2. Wicke 1997
3. Wicke 1997
4. Wicke 1997
5. Wicke 1997
6. Perrow 1986, p.183
7. Wicke 1997
8. Perrow 1986, p.183
9. Perrow 1986, p.183
10. Perrow 1986, p.184
11. Perrow 1986, p.187
12. Perrow 1986, p.185
13. Schulze 1995, p.129
14. Wicke 1997
15. http://www.ifpi.org/music_stats/index.html
16. Wicke 1997
17. http://www.universalstudios.com/music/
18. Wicke 1997
19. http://www.ifpi.org/music_stats/index.html
20. http://www.ifpi.org/music_stats/index.html
21. Wicke 1997
22. http://www.ifpi.org/music_stats/index.html
23. http://www.ifpi.org/music_stats/index.html
24. example of Grönemeyer: Chaos (1993); Der Musikmarkt, 16/94, p.22. Quoted from: Peter Wicke 1997. http://www2.rz.hu-berlin.de/inside/fpm/cdpreis.htm Although the example is fairly old and restricted to the German market, it can be regarded in its outlines as a typical structure for the international CD production today.
25. Recording Industry Association of America: http://www.riaa.com/stats/st_pr.htm##_top
26. http://www.rand.org/publications/RM/baran.list.html
27. Zakon
28. Hafner, Katie and Lyon, Matthew: "ARPA Kadabra - Die Geschichte des Internet", dpunkt-Verlag. Original title: "Where wizards stay up late - the origins of Internet". Quoted from: http://www.dpunkt.de/arpa-kadabra/geschi1.html
29. Rost&Schack 1993
30. http://www.w3.org
31. Steinhau 7.3.99
32. http://www.forrester.com/ER/Press/ForrFind/0,1382,0,FF.html
33. Genocide
34. http://www.cselt.stet.it/mpeg/about_mpeg.htm
35. Riggs 1998
36. Riggs 1998
37. Genocide
38. Riggs 1998
39. Kasbohm 2/99, p.103
40. RIAA: http://www.riaa.com/piracy/pir_gl.htm
41. Kreile&Becker
42. Hintz 16.4.99
43. Hintz 16.4.99
44. http://www.riaa.com/piracy/pir_gl.htm
45. http://www.riaa.com/piracy/pir_op.htm
46. Steinhau 3/99, p.8.
47. Dvorak 9.3.99
48. Klaas&Tari 3/99, p.71
49. Steinhau 3/99, p.8
50. Klaas&Tari 3/99, p.71
51. http://europa.eu.int/comm/dg15/en/intprop/intprop/copy2.htm
52. http://www.gema.de/publik/brief29/petition.shtml
53. http://europa.eu.int/comm/dg15/en/intprop/intprop/copy2.htm
54. http://www.riaa.com/piracy/pir_op.htm
55. Dibbell 13.5.99, p.98
56. https://www.sdmi.org/dscgi/ds.py/Get/File-359/SDMI99050506R01-Press_Release.doc
57. http://www.liquidaudio.com/company/index.html
58. Adel Dahdal, responsible for the Internet presence of JimmyFun, in a direct interview. 25.5.99
59. Dibbell 13.5.99, p.97
60. Jones 14.5.99
61. Jones 14.5.99
62. https://www.sdmi.org/dscgi/ds.py/Get/File-359/SDMI99050506R01-Press_Release.doc
63. Menon 13.4.99, p.E6
64. Wired. 13.4.99
65. http://www.vqf.com
66. http://www.execpc.com/~real/aac
67. Klaas&Tari 3/99, p.72
68. Liquid notes spring edition
69. Liquid notes spring edition
70. Deutsch 23.1.99
71. Deutsch 23.1.99
72. Jensen 12.3.99, p.37
73. Block 11.3.99
74. http://www.real.com/company/index.html
75. Jones 14.5.99
76. http://www.riaa.com/tech/tech_mp3.htm
77. http://www.wired.com/news/news/business/story/19714.html 17.5.99
78. Jensen 12.3.99, p.34
79. Jensen 12.3.99, p.37
80. Sullivan 8.2.99
81. Jones 14.5.99
82. Jones 14.5.99
83. "Warum soll man stundenlang im Netz nach einem bestimmten Stück suchen, wenn man es gleich nebenan für einen vernünftigen Preis (bei Goodnoise im Schnitt für 0,99 US$) herunterladen kann?" Block 11.3.99
84. Weekly 13.5.99
85. Freund 3/99
86. Jones 14.5.99
87. Weekly 13.5.99
88. Weekly 13.5.99
89. Dvorak 9.3.99
90. Riggs
91. Jensen 12.3.99, p.34
92. Dvorak 9.3.99
93. Jensen 12.3.99, p.37
94. Adel Dahdal in a personal interview. 25.5.99
95. Freund 3/99