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For Lawyers & Other Geeks

Notable Cases : Updated!

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Bridgeport Music v. Dimension Films

Decided: June 3, 2005
410 F.3d 792; 2005 FED App. 0243P (6th Cir.); 74 U.S.P.Q.2D (BNA) 1865; Copy. L. Rep. (CCH) P29,017

The Sampled Song: "Get Off Your Ass and Jam" by Funkadelic (Described by the Court as a 2-second, three note guitar sample.)

The Song Containing the Sample: "100 Miles and Runnin'" by NWA

Related Links : Decision : I Got The Hook Up

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Positive Black Talk, Inc. v. Cash Money Records, Inc.

Decided: December 17, 2004
394 F.3d 357, 2004 U.S. App. LEXIS 26372, 73 U.S.P.Q.2D (BNA) 1321; Copy. L. Rep. (CCH) P28,924

The Sampled Song: "Back That Ass Up" by DJ Jubilee

The Song Containing the Sample: "Back That Azz Up" by Juvenile

Related Links : Decision

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Bridgeport Music, Inc. v. WB Music Corp.

Decided: July 22, 2004
376 F.3d 615, 2004 U.S. App. LEXIS 15141, 2004 FED App. 0233P (6th Cir.); 71 U.S.P.Q.2D (BNA) 1729

The Sampled Song: "Get Off Your Ass and Jam" by Funkadelic

The Song Containing the Sample: "99 Problems" by Ice-T

Related Links : Decision

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Newton v. Diamond, et al

Decided: November 4, 2003
349 F.3d 591, 2003 U.S. App. LEXIS 22635, 68 U.S.P.Q.2D (BNA) 1740; Copy. L. Rep. (CCH) P28,692

The Sampled Song: "Pass the Mic" by Beastie Boys

The Song Containing the Sample: "Choir" by James W. Newton

Related Links : Decision

This case spawned the following law review articles:

  • Claiming Infringement Over Three Notes is Not Preaching to the "Choir:" Newton v. Diamond and A Potential New Standard in Copyright Law, 10 B.U. J. SCI. & TECH. L. 177 (2004)
  • Newton v. Diamond: Measuring the Legitimacy of Unauthorized Compositional Sampling - A Clue Illuminated and Obscured, 26 Hastings Comm. & Ent. L.J. 119 (2003)

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Abilene Music, Inc. v. Sony Music, et al

Decided: June 18, 2003
320 F. Supp. 2d 84; 2003 U.S. Dist. LEXIS 10366; 67 U.S.P.Q.2D (BNA) 1356; Copy. L. Rep. (CCH) P28,628

The Sampled Song: "The Forest" by Ghostface Killah, Raekwon, & The Alchemist

The Song Containing the Sample: "Wonderful World" Bob Thiele (a.k.a. George Douglas) and George Weiss, as songwriters. Note: no recording of the song was sampled, however the song was partially performed by the Defendant.

Related Links : Decision

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Toho Co., Ltd. v. Priority Records, LLC, et al

Decided: March 26, 2002
2002 US Dist. Lexis 14093, CV 01-04744-SVW

The Sampled Song: "Godzilla's Theme" from the release, The Best of Godzilla 1954-1975

The Song Containing the Sample: "Simon Says" by Pharoahe Monch

Decision not currently available

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Williams v. Broadus, et al

Decided: August 24, 2001, Decided
60 U.S.P.Q.2D (BNA) 1051

The Sampled Song: "The Symphony" by Marley Marl (as well as, "Hard to Handle" performed by Otis Redding)

The Song Containing the Sample: "Ghetto Symphony" by Snoop Dogg

Related Links : Decision

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Armstrong v. Virgin Records, Ltd.

Decided: April 3, 2000, Decided
91 F. Supp. 2d 628; 2000 U.S. Dist. LEXIS 4316; 54 U.S.P.Q.2D (BNA) 1539; Copy. L. Rep. (CCH) P28,099

The Sampled Song: "Planetary Citizen" by Mahavishnu Orchestra

The Song Containing the Sample: "Unfinished Symphony" by Massive Attack

Related Links : Decision

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Fantasy, Inc. v. La Face Records

Decided: November 10, 1998, Decided
1998 U.S. Dist. LEXIS 20931; 49 U.S.P.Q.2D (BNA) 1148

The Sampled Song: "Mr. Big Stuff" by Jean Knight

The Song Containing the Sample: "Switch" by TLC

Decision not currently available

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Campbell v. Acuff-Rose Music, Inc.

Decided: March 7, 1994
510 U.S. 569, 114 S. Ct. 1164, 127 L. Ed. 2d 500

The Sampled Song: "Pretty Woman" by Roy Orbison

The Song Containing the Sample: "Pretty Woman" by 2 Live Crew

Related Links : Decision

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Grand Upright Music Ltd. v. Warner Bros. Records, Inc., et al

Decided: December 16, 1991
780 F. Supp. 182, 1991 U.S. Dist. LEXIS 18276, 22 U.S.P.Q.2D (BNA) 1556; Copy. L. Rep. (CCH) P26,878

The Sampled Song: "Alone Again (Naturally)" by Gilbert O'Sullivan

The Song Containing the Sample: "I Need a Haircut" by Biz Markie

Related Links : Decision

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Notable Law Review Articles :

  • "When is A CD Factory Not Like a Dance Hall?: The Difficulty of Establishing Third-Party Liability for Infringing Digital Music Samples", Rebecca Morris, Cardozo Arts & Entertainment Law Journal, 2000, 18 Cardozo Arts & Ent LJ 257.

  • "Rap Music and De Minimis Copying: Applying the Ringgold and Sandoval Approach to Digital Samples", Brett Kaplicer, Cardozo Arts & Entertainment Law Journal, 18 Cardozo Arts & Ent LJ 227.

  • "Digital Sampling and the recording Musician: A Proposal for Legislative Protection", Christopher Abramson, NYU Law Review, 1999, 74 NYU L Rev 1660. (Absurd socialist approach to sampling, arguing that studio musicians should receive royalties. If you ask me, the writer is a lunatic.)

  • "Unauthorized Digital Sampling in Musical Parody: A Haven in the Fair Use Doctrine?", Margaret Watson, Western New England Law Review Association, 1999, 21 W. New Eng. L Rev 469.

  • "A Brief Return to the Sampling Debate", Matthew Passmore, Hastings College of Law Communication and Entertainment Law Journal, 1998, 20 Hastings Comm. and Ent. LJ 833.

  • "Unchained Melody: Music Licensing in the Digital Age", Don Tomlinson and Timothy Nielander, Texas Intellectual Property Law Journal, 1998, 6 Tex. Intell. Prop. LJ 277.

  • "Safe Sound: Protecting Digital Sample-Based products Through Copyright", Eric Leach, Whittier Law Review, 1998, 19 Whittier L. Rev. 805.

  • "Copyright Infringement and Access; Has the Access Requirement Lost Its Probative Value", karen Bevill, Rutgers University Law Review, 1999, 52 Rutgers L. Rev. 311.

  • "Using Law and Identity to Script Cultural Production: Legal Fictions, Copyright, Fan Fiction, and a New Common Law", Rebecca Tushnet, Loyala LA Entertainment Law Journal, 1997, 17 Loy LA Ent LJ 651.

  • "An Artist's Privilege", Niels Schaumann, Cardozo Arts and Entertainment Law Journal, 1997, 15 cardozo Arts & Ent LJ 249.

    Also see :

  • INTELLECTUAL PROPERTY CRIMES, 9 Alb. L.J. Sci. & Tech. 235 (1999)

  • DOES A SONG BY ANY OTHER NAME STILL SOUND AS SWEET?: DIGITAL SAMPLING AND ITS COPYRIGHT IMPLICATIONS., 43 Am. U.L. Rev. 231 (1993)

  • SELF-HELP & CONTRIBUTORY INFRINGEMENT: THE LAW AND LEGAL THOUGHT BEHIND A LITTLE "BLACK-BOX', 11 Cardozo Arts & Ent LJ 905 (1993)

  • Digital Sampling: Creative or Just Plain "CHEEZ-OID?", 42 Case W. Res. L. Rev. 1263 (1992)

  • Multimedia: The Convergence of New Technologies and Tradional Copyright Issues Act, 71 Denv. U.L. Rev. 635 (1994)

  • MUSIC COPYRIGHTS: THE NEED FOR AN APPROPRIATE FAIR USE ANALYSIS IN DIGITAL SAMPLING INFRINGEMENT SUITS, 21 Fla. St. U.L. Rev. 135

  • OH, PRETTY PARODY: CAMPBELL v. ACUFF-ROSE MUSIC, INC., 8 Harv. J. Law and Tec 193 (1994)

  • Thou Shalt Not Steal: Grand Upright Music Ltd. v. Warner Bros. Records, Inc. and the Future of Digital Sound Sampling in Popular Music., 45 Hastings L.J. 359 (1994)

  • FAITH, HOPE & PARODY: CAMPBELL V. ACUFF-ROSE, "OH, PRETTY WOMAN," AND PARODISTS' RIGHTS, 31 Hous. L. Rev. 955 (1994)

  • Law, Art, and the Killing Jar, 79 Iowa L. Rev. 367

  • HEALTHY SAMPLING: DIGITAL MUSIC SAMPLING CREATES HIGH-STAKES CHALLENGES TO EXISTING COPYRIGHT LAW FOR THE RECORDING INDUSTRY, 20 Los Angeles Lawyer 40 (1997)

  • DIGITAL SAMPLING AND THE RECORDING MUSICIAN: A PROPOSAL FOR LEGISLATIVE PROTECTION, 74 N.Y.U. L. Rev. 1660 (1999)

  • MOTION PICTURE COPYRIGHT INFRINGEMENT AND THE PRESUMPTION OF IRREPARABLE HARM: TOWARD A REEVALUATION OF THE STANDARD FOR PRELIMINARY INJUNCTIVE RELIEF, 31 Rutgers L.J. 173 (1999)

  • Copyright Opinions and Aesthetic Theory, 71 S. Cal. L. Rev. 247

  • MORAL RIGHTS AND MUSICAL WORKS: ARE COMPOSERS GETTING BERNED?, 43 Syracuse L. Rev. 1095

  • THE MIGHTY MORPHIN NINJA MALLARD: THE STANDARD FOR ANALYSIS OF DERIVATIVE WORK INFRINGEMENT IN THE DIGITAL AGE, 4 Tex. Wesleyan L. Rev. 1 (1997)

  • ARE SAMPLERS GETTING A BUM RAP?: COPYRIGHT INFRINGEMENT OR TECHNOLOGICAL CREATIVITY?, 1992 U. Ill. L. Rev. 559

  • DIGITAL SAMPLING AND COPYRIGHT LAW IN A SOCIAL CONTEXT: NO MORE COLORBLINDNESS!!, 14 U. Miami Ent. & Sports L. Rev. 218 (1996)

  • "GIVE THE DRUMMER SOME!"ON THE NEED FOR ENHANCED PROTECTION OF DRUM BEATS, 14 U. Miami Ent. & Sports L. Rev. 187 (1996)

  • A PIRATE'S PALETTE: THE DILEMMAS OF DIGITAL SOUND SAMPLING AND A PROPOSED COMPULSORY LICENSE SOLUTION, 11 U. Miami Ent. & Sports L. Rev. 65 (1993)

  • Reexamining Copyright's Incentives-Access Paradigm, 49 Vand. L. Rev. 483

  • UNAUTHORIZED DIGITAL SAMPLING IN MUSICAL PARODY: A HAVEN IN THE FAIR USE DOCTRINE?, 21 W. New Eng. L. Rev. 469 (1999)

  • THE PIRACY GAP: PROTECTING INTELLECTUAL PROPERTY IN AN ERA OF ARTISTIC CREATIVITY AND TECHNOLOGICAL CHANGE, 33 Willamette L. Rev. 245 (1997)

  • "THEY DON'T MAKE MUSIC THE WAY THEY USED TO": THE LEGAL IMPLICATIONS OF "SAMPLING" IN CONTEMPORARY MUSIC., 1992 Wis. L. Rev. 1941
  • more to follow

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