Katz also examines the realm of digital sampling, but he does so with a keen detective’s eye, looking at the practice from the outside-in.  He uses three case studies to show the main uses and techniques employed with digital sampling.  First of which is a “song” created by Paul Lansky with recordings of human voices speaking random words entitled “Notjustmoreidlechatter.”  The complicated issue of speech and music is addressed through this first instance of sampling and Katz identifies the specifications and implications of either one.  Secondly, he compares two pop songs, Camille Yarbrough’s “Take Yo’ Praise” and Fatboy Slim’s “Praise You,” which uses bits of the former in its creation of the latter.  Finally, he breaks down the numerous sampled bits in Public Enemy’s “Fight the Power.”  Public Enemy’s strong political message coupled with the nature of his samplings creates one of the most powerful sample-ridden songs of contemporary music. 

Katz only does so after first clarifying with the reader what exactly sampling is.  This definition has been found in the majority of the sources, but none went on to detail the legal issues as well as Katz.  He also goes on to explore the question of originality and immorality in terms of remixing and sampling.  Nevertheless, his case studies have proven most useful in determining the full extensions of digital sampling in music and his insight into its effect on music today.  He also lightly touches on the various effects parodies have upon the original work, if any, and acknowledges the complexities within the industry when it comes to approval for such works.  This book could possibly be the best source found thus far, seeing as it is not overly specific in its subject matter, yet it explores enough topics in a reasonable level of detail to be reliable. 

This source happens to be a blog entry written by a visiting professor at Washington College of Law who is also on the board of Creative Commons at the college.  The blog is a response to a Sixth Circuit court interpretation of the Copyright Act in the case of Bridgeport Music vs. Dimension Films which stated that artists must either have a license or abandon their sampling.  Carroll then continues to explain a few stipulations in the Copyright Act and their involvement in this court decision, namely Section 114 and Section 106. 

            Carroll analyzes the courts assessment of de minimus in the Copyright Act and how it was originally interpreted in the local Bridgeport court.  In the appellate court, however, Carroll finds fault with the way the court approached its decision, moving straight to Section 114 instead of focusing on Section 106.  He disagrees with their reading of the Act and consequently, their decision to remove de minimus from the realm of sound recordings, stating that he does not believe there is a “statutory basis for the rule announced by the court in this case.”

            Carroll’s stance in the Creative Commons forum at a prominent law school in the United States, as well as his origins in, and knowledge of, international copyright law once again present the material in a newly-cast light.  The case he references is one of much importance to the focus of this final paper and his commentary on the subject is clear and well-formed.  This source provides a very narrow view into one single court decision that acts as a useful spotlight among other more general sources.