ABKCO Music & Records Inc. v. Chimeron LLC

517 F. App'x 3
CourtCourt of Appeals for the Second Circuit
DecidedFebruary 21, 2013
Docket12-759-cv
StatusUnpublished
Cited by2 cases

This text of 517 F. App'x 3 (ABKCO Music & Records Inc. v. Chimeron LLC) is published on Counsel Stack Legal Research, covering Court of Appeals for the Second Circuit primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
ABKCO Music & Records Inc. v. Chimeron LLC, 517 F. App'x 3 (2d Cir. 2013).

Opinion

SUMMARY ORDER

Appellant ABKCO Music & Records Inc. (“ABKCO”) initiated this action in the district court on April 12, 2010, seeking a declaration that, as of December 31, 2008, it was not indebted to Chimeron LLC (“Chimeron”) under a series of recording and distribution agreements entered into in the 1960s by the music group Herman’s Hermits (“the Hermits”), record producers Mickie Most and Reverse Producers Corp. (“Reverse”), and distributor MGM Music & Records, Inc. (“MGM”). Chimeron counterclaimed, seeking damages for breach of contract. The claims proceeded to trial and, on February 1, 2012, the jury rendered a verdict in favor of Chimeron, finding ABKCO liable for breach of contract and awarding $150,000 in damages. The district court accordingly entered judgment for Chimeron on February 10, 2012, in the amount of $150,000 plus interest. ABKCO now appeals, raising numerous objections to the proceedings below. We assume the parties’ familiarity with the underlying facts and procedural history.

ABKCO argues, first, that the district court erred when it denied a pre-trial motion to prohibit Chimeron from introducing evidence relating to royalty payments allegedly owed prior to October 6, 2002. According to ABKCO, any such evidence would be relevant only to claims barred by New York’s six-year statute of limitation for contract actions. See N.Y. C.P.L.R. § 213(2). The district court denied the motion, explaining that “the royalty agreement is silent as to the timing of the parties’ performance,” and therefore requires performance within a “reasonable time.” (A 144.) Because “[djetermining what constitutes a reasonable time for performance requires consideration of [several] factors,” and is therefore a “fact-intensive inquiry,” the district court concluded that it was “not appropriate for resolution on a motion in limine.” (Id.)

“We review a district court’s evidentiary rulings for abuse of discretion, and will

reverse only for manifest error.” Cameron v. City of New York, 598 F.3d 50, 61 (2d Cir.2010) (internal quotation marks omitted). A district court abuses its discretion when “(1) its decision rests on an error of law (such as application of the wrong legal principle) or a clearly erroneous factual *5 finding, or (2) its decision — though not necessarily the product of a legal error or a clearly erroneous factual finding — cannot be located within the range of permissible decisions.” Zervos v. Verizon N.Y., Inc., 252 F.3d 163, 169 (2d Cir.2001) (footnotes omitted). ABKCO claims that the district court’s denial of its motion in limine was an abuse of discretion for two reasons. Both are without merit.

First, ABKCO maintains that the ruling was premised on an erroneous factual finding, namely that the May 31, 1966 agreement between MGM and the Hermits, which the parties refer to as the “Frimp Agreement,” specified no time for performance. ABKCO points out that the Frimp Agreement expressly requires semi-annual royalty payments. ABKCO misconstrues the district court’s ruling, which referred not to the “Frimp Agreement,” but to the “royalty agreement.” The “royalty agreement” was a term defined in Chimeron’s opposition to the motion in limine to mean the Hermits’ November 23, 1964 agreement with Mickie Most (“Artist Agreement”), as amended by agreement on May 21, 1966 (“Amendment Agreement”). Neither the Artist Agreement nor the Amendment Agreement specified a time for performance. ABKCO argues that, nonetheless, the Frimp Agreement was the only agreement relevant to the dispute, as ABKCO had succeeded to MGM’s rights and interests under that agreement. This argument is not supported by the record, which shows that MGM never owned the Hermits’ recordings, but distributed them pursuant to a limited license that expired by the terms of its 1964 and 1966 agreements with Reverse, and its 1975 settlement with Allen Klein, ABKCO’s former principal, and various ABKCO entities. MGM therefore had no outstanding rights or obligations to which ABKCO could succeed. More importantly, ABKCO maintained throughout the proceedings below that it was successor to Reverse, which was in turn successor to Most. Therefore, the Artist and Amendment Agreements, to which Most and Reverse were parties, rather than the Frimp Agreement, to which MGM was a party, appear to govern the current relationship between ABKCO and Chimeron. Accordingly, the district court’s finding that “the royalty agreement is silent as to the timing of the parties’ performance” (A 144) is not clearly erroneous.

ABKCO next argues that evidence pertaining to the question of “reasonable time for performance” should not have been presented to the jury because “waiting nearly forty (40) years to demand performance is far too long under any set of facts.” (Appellant’s Reply Br. 19.) ABKCO forgets that Chimeron complained not of a single injury dating back to the 1960s, but of ABKCO’s alleged failure to pay royalties earned on sales occurring over a number of decades beginning in the 1960s, but lasting until the present day. The jury was entitled to find that ABKCO was obliged to make payments that came due periodically during that time, and each failure to pay would constitute a separate breach. See Sirico v. F.G.G. Productions, Inc., 71 A.D.3d 429, 896 N.Y.S.2d 61, 66 (1st Dep’t 2010) (“While the statute of limitations bars much of Sirico’s breaeh-of-contract cause of action, her claims for royalties, if any, earned during the six years before this action was commenced, is viable at this preliminary stage, as it accrued each time FGG allegedly breached its recurring obligation.”); Beller v. William Penn Life Ins. Co. of N.Y., 8 A.D.3d 310, 778 N.Y.S.2d 82, 85 (2d Dep’t 2004) (“ ‘[Wjhere a contract provides for continuing performance over a period of time, each breach may begin the running of the statute anew such that accrual occurs continuously and plaintiffs may assert claims *6 for damages occurring up to six years prior to the filing of the suit.’ ”), quoting Airco Alloys Div. v. Niagara Mohawk Power Corp., 76 A.D.2d 68, 430 N.Y.S.2d 179, 186 (4th Dep’t 1980).

Even assuming arguendo that forty years was an unreasonable time for performance as a matter of law, not all of the royalties Chimeron claimed it was owed would necessarily have become due prior to October 6, 2002. 1 In order to grant ABKCO’s motion and preclude all evidence pertaining to claims that accrued prior to October 6, 2002, the court would have had to determine which alleged payment obligations reasonably should have been made before that date. That, in turn, would have required a fact-intensive inquiry into “the facts and circumstances of the ... case,” including “the nature and object of the contract, the previous conduct of the parties, the presence or absence of good faith, the experience of the parties and the possibility of prejudice or hardship to either one.” Ben Zev v. Merman, 73 N.Y.2d 781, 783, 536 N.Y.S.2d 739, 533 N.E.2d 669 (1988).

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517 F. App'x 3, Counsel Stack Legal Research, https://law.counselstack.com/opinion/abkco-music-records-inc-v-chimeron-llc-ca2-2013.