Inspired by the culture of bootlegging in the music industry, I am developing formulas for creating jewelry bootlegs. The bootlegs are intended to be lo-fidelity, hybridized forms from the original works that have been thieved from established contemporary art jewelers. Mark Neumann and Anthony A. Simpson discuss in their article, Smuggled Sound: Bootleg Recording and the Pursuit of Popular Memory, that many bootleg tape amateur producers are offering, “an alternative depiction of popular culture” and that their recordings are an “attempt to capture live performances, to collect them as a source of memory and authenticity, and to mediate the events of their lives through means of technological reproduction.” (319) Similarly, I engage with art jewelers’ works that I have found important or admirable in some way and use the bootleg as a format for subverting my relationship to the capital-driven jewelry industry. Empowered by a punk ethos, “led by the aesthetic and acoustic distortions of punk rock, which values the amateur and sloppy play as forms of success” (This Body is not a Temple, written by Christopher Corey Allen).  I see this working style as a form of resistance, as a way to assert power. Working in this way affords myself and others access to engage in these important cultural objects because I have translated them into new forms through lower cost pedestrian materials. These crude reproductions in this developing series have become queer "punk bodies" abject to their originals, ever-hopeful of engaging in contemporary craft conversations around subversive practices..