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There has been a long-term debate over whether sound recordings can be copyright works made for hire. Sound recordings don't appear in the list of works for hire set out in §101 of the Copyright Act of 1976, though record labels argue recordings can be deemed so as a "compilation" or a "contribution to a collective work," per §101. Twenty years ago, Congress moved to formally designate sound recordings as works for hire via the Intellectual Property and Communications Omnibus Reform Act of 1999 (IPCORA) — though artists were able to convince Congress to repeal the legislation.
In Sony Music Entertainment v. Cox Communications Inc., 1:18-cv-950 (E.D.Va. 2019), several dozen record companies and music publishers sued the Internet service provider both for contributory infringement and vicarious liability based on direct infringement of 7,068 of the plaintiffs' recordings and 3,452 of their songs by the ISP's customers.
To establish ownership of the copyrights at issue, the plaintiffs presented certificates of registration from the Copyright Office, entries from the federal online Copyright Catalog, copies of merger and acquisition agreements, and declarations from company executives. Cox Communications disputed the sufficiency of some of the evidence of copyright ownership, including as to 238 sound recordings claimed by the record companies in copyright registration applications as works made for hire.
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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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