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Only a minimal amount of creativity is required for copyright protection. What that minimum may be has been a recurring issue in copyright litigation, with many battles fought over whether a segment of a song is protectable. In 2003, in the first federal appeals court ruling involving music sampling, the U.S. Court of Appeals for the Ninth Circuit decided that the Beastie Boys' unlicensed use of a sample of a three-note segment ' from flutist James Newton's composition “Choir” in the rap group's recording “Pass the Mic” ' was de minimis and thus not infringing. Newton v. Diamond, 349 F.3d 591 (9th Cir. 2003). But in 2004, the Sixth Circuit decided for a copyright plaintiff, ruling that the unlicensed sampling of any segment of a sound recording, even if digitally altered, (in that case three quick, successive notes from a George Clinton sound recording) automatically infringed. Bridgeport Music Inc. v. Dimension Films, 383 F.3d 390 (6th Cir. 2004).
'Fragmented Literal Similarity' Test Embraced
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The Article 8 opt-in election adds an additional layer of complexity to the already labyrinthine rules governing perfection of security interests under the UCC. A lender that is unaware of the nuances created by the opt in (may find its security interest vulnerable to being primed by another party that has taken steps to perfect in a superior manner under the circumstances.
This article highlights how copyright law in the United Kingdom differs from U.S. copyright law, and points out differences that may be crucial to entertainment and media businesses familiar with U.S law that are interested in operating in the United Kingdom or under UK law. The article also briefly addresses contrasts in UK and U.S. trademark law.
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