Lee Oskar LEVITIN /p/k/a Lee Oskar, as an individual and d/b/a Ikke-Bad Music, Greg Errico, as an individual and d/b/a Radio Active Material Publishing Company and Keri Oskar, an individual v. SONY MUSIC ENTERTAINMENT, a wholly-owned subsidiary of Sony Corporation of America, a New York corporation Mr. 305, INC., a Florida corporation Polo Grounds Music, Inc., a New York corporation Sony Music Entertainment Canada Inc., a Canadian corporation Sony Music Entertainment UK, a British entity of unknown form Sony Music Entertainment Germany Gmbh, a German limited liability company Sony Music Entertainment Australia, Ltd., an Australian limited company Sony Music Entertainment Italy, S.P.A., an Italian corporation Sony Music Entertainment Mexico S.A. DE C.V., a Mexican corporation Sony Music Entertainment España, S.L., a Spanish limited liability company Sony Music Entertainment Korea Inc., a South Korean corporation and Sony Music Entertainment France, a French: entity of unknown form [2015]

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Reference to Lee Oskar LEVITIN /p/k/a Lee Oskar, as an individual and d/b/a Ikke-Bad Music, Greg Errico, as an individual and d/b/a Radio Active Material Publishing Company and Keri Oskar, an individual v. SONY MUSIC ENTERTAINMENT, a wholly-owned subsidiary of Sony Corporation of America, a New York corporation Mr. 305, INC., a Florida corporation Polo Grounds Music, Inc., a New York corporation Sony Music Entertainment Canada Inc., a Canadian corporation Sony Music Entertainment UK, a British entity of unknown form Sony Music Entertainment Germany Gmbh, a German limited liability company Sony Music Entertainment Australia, Ltd., an Australian limited company Sony Music Entertainment Italy, S.P.A., an Italian corporation Sony Music Entertainment Mexico S.A. DE C.V., a Mexican corporation Sony Music Entertainment España, S.L., a Spanish limited liability company Sony Music Entertainment Korea Inc., a South Korean corporation and Sony Music Entertainment France, a French: entity of unknown form (101 F. Supp. 3d 376) strengthens a Entertainment Law answer because the case reflects the principle that Use this case as a source-verified research checkpoint rather than an invented rule statement. The ratio should be extracted from the linked opinion by identifying the legal test applied, the facts treated as decisive, and the court's stated reason for the outcome. Applied to a problem question, the case should be used after identifying the issue as What Entertainment Law issue does the source record raise, and how should a student verify the rule, holding, and factual trigger from the linked opinion? The stronger essay move is to connect the material facts to the court's holding, then explain whether the present facts support the same conclusion or justify distinguishing the authority.