Artists Rights Enforcement Corp. v. Estate of King

224 F. Supp. 3d 231, 2016 U.S. Dist. LEXIS 171459, 2016 WL 7192093
CourtDistrict Court, S.D. New York
DecidedDecember 12, 2016
Docket16-CV-1121 (JPO)
StatusPublished
Cited by1 cases

This text of 224 F. Supp. 3d 231 (Artists Rights Enforcement Corp. v. Estate of King) is published on Counsel Stack Legal Research, covering District Court, S.D. New York primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Artists Rights Enforcement Corp. v. Estate of King, 224 F. Supp. 3d 231, 2016 U.S. Dist. LEXIS 171459, 2016 WL 7192093 (S.D.N.Y. 2016).

Opinion

OPINION AND ORDER

J. PAUL OETKEN, District Judge:

Plaintiff Artists Rights Enforcement Corporation (“AREC”) brings suit against the Estate of Benjamin E. King, personally known as Ben E. King, by its administrator Terris Cannon (the “Estate”), as well as Betty King, Terris Cannon (in his personal capacity), Benjamin E. King, and Angela Matos (the “King Family’) (collectively, “Defendants”), seeking declaratory and injunctive relief to enforce two contracts between AREC and the deceased, Ben E. King. Defendants move to dismiss pursuant to Rule 12(b)(6) of the Federal Rules of Civil Procedure. (See Dkt. No. 19.) For the reasons that follow, the motion is granted in part and denied in part.

I. Background

The following facts, unless otherwise noted, are taken from the complaint (Dkt. No. 1 (“Compl.”)), and are presumed true for the purposes of this motion.

Ben E. King was a renowned musician, best known as the singer and co-writer of “Stand By Me,” which broke the top ten in the charts in 1961 and 1986 and is considered one of the top “Songs of the Century.” (Id. 3.) He also eo-wrote “There Goes My Baby.” (Id. ¶ 11.) Both “Stand By Me” and “There Goes My Baby” (collectively, the “King Songs”), are the subject of valid copyrights. (Id. )

On July 31, 2014, King executed a letter, memorializing an agreement with AREC regarding the prospective sale of the rights to the King Songs (the “Sale Agreement”). (Id. ¶ 12; Dkt. No. 20-3.) The Sale Agreement provides, in relevant part:

The work we have agreed you will perform for me will include (a) administering, as more specifically set forth below, my share(s) of the United States copyrights in the songs referenced above as may be recovered for me by my attorneys and/or (b) negotiation of the sale of my shares of the United States copyrights in any recovered songs referenced above as I may determine that I wish to sell.

(Compl. ¶ 13; Dkt. No. 20-3 at 2.) The Sale Agreement further details the terms of AREC’s contingent fee in exchange for these services (Compl. ¶ 14):

[Yjou will be entitled to receive ten percent (10%) of the total amount I receive from the sale of each share of the United States copyright in each recovered song I co-wrote that you arrange to sell. However, if I, at my sole option, decide to keep my ownership share of any or all of such recovered songs rather than sell them, you shall be entitled to receive ten percent (10%) of my ownership share and ten percent (10%) of all monies I receive as co-publisher of the recovered song or songs ....

(Dkt. No. 20-3 at 2.) Finally, the Sale Agreement appointed AREC as King’s attorney-in-fact for these purposes and stated that if King “want[ed] to conduct an audit” in the future, AREC would “recommend a royalty auditor for [him] to use,” whom he could accept or reject. (Compl. ¶¶ 15-16; Dkt. No. 20-3 at 2-3.)

Shortly after executing the Sale Agreement, on August 1, 2014, and September 3, 2014, King served termination of transfer notices for the songs “There Goes my Baby” (for which an amended notice was [234]*234served on August 22) and “Stand By Me,” respectively (the “Termination Notices” or “Notices”). (Compl. ¶¶ 22-23; Dkt. No 20-1; Dkt. No. 20-2.) The Notices also listed parties whose transfer rights would be terminated, including Sony/ATV Tunes, LLC (“Sony/ATV”). (Dkt. No. 20-1 at 3; Dkt. No. 20-2 at 3.) According to the operative Notices, the effective date for the termination of transfer was August 31, 2016, for “There Goes My Baby” (Dkt. No. 20-1 at 4) and will be April 18, 2017, for “Stand By Me” (Dkt. No. 20-2 at 5).

On December 15, 2014, King and AREC executed a second letter, in which King retained AREC’s “professional services” to begin an audit of Sony/ATV “regarding royalties previous paid” for the King Songs (the “Audit Agreement”). (Dkt. No. 20-4 at 2; see Compl. ¶ 17.) The Audit Agreement provides that AREC “will retain the accounting firm of Prager Metis to perform the audit and shall advance, at [AREC’s] sole risk, all of the costs of the audit” and makes clear that AREC will provide the series “on a purely contingent basis after recovery of [the] recoupable costs; that is [AREC] shall be entitled to receive thirty three and one third percent (33 1/3%) of the net amount” recovered from Sony/ATV. (Dkt. No. 20-4 at 2.) The Audit Agreement also states that King was “retaining” several lawyers “in connection with the matters hereunder.” (Id.)

On January 9, 2015, pursuant to the Audit Agreement, AREC retained Prager Metis to start an audit of Sony/ATV. (Compl. ¶ 19.) In April 2015, per the terms of the Sale Agreement, AREC negotiated the sale of “certain rights” in the King Songs to Music Sales Group. (Id. ¶ 18.)

King died on or about April 30, 2015. (Id. ¶ 25.) Six months later, the King Family retained legal counsel to terminate the Sale Agreement and the Audit Agreement (collectively, the “Agreements”). (Id.) The King Family’s counsel also notified “third parties with whom AREC was negotiating” that the Agreements were “not enforceable” and instructed Prager Metis to “cease communications with AREC.” (Id. ¶¶ 25, 27, 28.) Around November 2015, the King Family’s lawyers “demand[ed] that the audit be discontinued” and told AREC that the Agreements were terminated. (Id. ¶ 27.) AREC alleges that the King Family violated AREC’s grant of rights in the King Songs and ultimately aimed to “create a bidding war for the King Songs and then capitalize on AREC’s work ... for their own financial benefit and gain.” (Id. ¶¶ 26, 29.)

On February 12, 2016, AREC filed the instant lawsuit. (See Compl.) AREC seeks a declaratory judgment that “the Agreements continue in full force and effect.” (Id. ¶ 37.) AREC further seeks an injunction to prevent Defendants from “dishonoring the contractual obligations” under the Agreements, making claims to AREC’s interests in the songs, or otherwise denying AREC’s rights and privileges under the Agreements. (Id. ¶ 45.) Defendants, in turn, moved to dismiss the action under Federal Rule of Civil Procedure 12(b)(6). (See Dkt. No. 19.)

II. Legal Standard

To survive a motion to dismiss pursuant to Federal Rule of Civil Procedure 12(b)(6), “a complaint must contain sufficient factual matter ... to state a claim to relief that is plausible on its face.” Wilson v. Merrill Lynch & Co., 671 F.3d 120, 128 (2d Cir. 2011) (quoting Ashcroft v. Iqbal, 556 U.S. 662, 678, 129 S.Ct. 1937, 173 L.Ed.2d 868 (2009)). “A claim has facial plausibility when the plaintiff pleads factual content that allows the court to draw the reasonable inference that the defendant is liable for the misconduct alleged.” Id. (quoting Iqbal, 556 U.S. at 678, 129 S.Ct. [235]*2351937).

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Bluebook (online)
224 F. Supp. 3d 231, 2016 U.S. Dist. LEXIS 171459, 2016 WL 7192093, Counsel Stack Legal Research, https://law.counselstack.com/opinion/artists-rights-enforcement-corp-v-estate-of-king-nysd-2016.