Shopping for Legs and Boots: Tori Amos'sOriginal Bootlegs, Fandom, and Subcultural Capital

Abstract

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.

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