Braden Copeland v. Home Grown Music, Inc.

CourtCourt of Appeals of Georgia
DecidedMarch 16, 2021
DocketA20A1721
StatusPublished

This text of Braden Copeland v. Home Grown Music, Inc. (Braden Copeland v. Home Grown Music, Inc.) is published on Counsel Stack Legal Research, covering Court of Appeals of Georgia primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Braden Copeland v. Home Grown Music, Inc., (Ga. Ct. App. 2021).

Opinion

FIRST DIVISION BARNES, P. J., DILLARD, P. J., and PIPKIN, J.

NOTICE: Motions for reconsideration must be physically received in our clerk’s office within ten days of the date of decision to be deemed timely filed. https://www.gaappeals.us/rules

DEADLINES ARE NO LONGER TOLLED IN THIS COURT. ALL FILINGS MUST BE SUBMITTED WITHIN THE TIMES SET BY OUR COURT RULES.

March 5, 2021

In the Court of Appeals of Georgia A20A1721. COPELAND v. HOME GROWN MUSIC, INC.

DILLARD, Presiding Judge.

Braden Copeland was an early supporter and financial backer of his friend

Zachry Brown’s eponymously named “Zac Brown Band.”1 Indeed, he provided the

band with several crucial loans in 2006 without any written agreement. But in short

order, Copeland and the band’s corporate identity, Home Grown Music, Inc.,2 entered

into an agreement memorializing the terms of their financial relationship. This

agreement provided that—in exchange for his investments—Copeland would share

1 The Zac Brown Band is an award-winning “American country/rock band based in Atlanta, Georgia.” https://en.wikipedia.org/wiki/Zac_Brown_Band (last visited on February 17, 2021). 2 For ease of reference, we will refer to Home Grown Music, Inc. as “HGM” throughout the opinion. in the band’s potential future success via a percentage of the royalties from music and

merchandise sales. And Copeland’s faith in the Zac Brown Band was richly rewarded

just a few years later when the group signed with a major record label and

immediately rocketed up the country music charts with the song “Chicken Fried.”

Unfortunately, Copeland’s relationship with the band eventually soured when he

began to believe HGM was failing to pay him royalties that he was entitled to under

their agreement. So, he sued HGM for breach of contract and lost. The trial court

disagreed with Copeland’s interpretation of the agreement, and granted summary

judgment in HGM’s favor. Copeland appeals, arguing that genuine issues of material

fact remain as to whether he is entitled to royalties on the sales of individual

recordings under the agreement. He also claims entitlement to attorney fees and

prejudgment interest for HGM’s failure to pay him royalties on the sales of

merchandise that it acknowledged were due to him under the agreement. Finally,

Copeland maintains that the trial court erred in awarding HGM litigation costs. For

the reasons set forth infra, we affirm the trial court’s grant of summary judgment to

HGM, but partially reverse its award of costs.

2 Viewed in the light most favorable to Copeland (i.e., the nonmoving party),3

the record shows that he and Brown became friends in late 2005, after meeting while

Copeland was conducting due diligence for a commercial real estate transaction. As

a friend and fan of the Zac Brown Band, Copeland began helping Brown fund his

group in February 2006 by providing a series of loans. And by July 2007, despite

having no written agreement for repayment at that time, Copeland had provided over

$73,000 to assist the Zac Brown Band with expenses such as touring, hiring studio

musicians and mixers, booking studio time, and recording the group’s first major-

label studio album—The Foundation.

As early as the previous summer, Copeland and Brown discussed converting

the loans into an investment toward the band’s potential future success. Specifically,

rather than simply repaying the loans, Brown would grant Copeland a share in the

royalties generated by sales of the band’s music and merchandise. And toward that

end, on August 22, 2006, Copeland drafted a letter to Brown and HGM, outlining the

details of their proposed agreement. This letter agreement was revised several times

over the course of a year, with assistance from HGM’s attorney, and the final

3 See, e.g., Swanson v. Tackling, 335 Ga. App. 810, 810 (783 SE2d 167) (2016).

3 agreement was signed by Copeland and Brown, as president of HGM, on September

7, 2007.

The agreement was divided into two sections, with each section contemplating

a rather distinct means by which the album would be distributed and sold.

Specifically, the first section outlined the method by which revenue would be shared

prior to the band entering into any contract with a record company. In relevant part,

that section of the agreement provided:

To repay the Investments and in consideration of making the Investments, you and I agree that:

A. until you elect in your sole discretion, to enter into an exclusive recording agreement with a Record Company (as defined below), the Investments shall be repaid as follows:

i. in respect of net sales by you of records embodying the entire Album independently, i.e., sales by you directly to the consumer (such as at live shows or from your Internet website) or through a so-called “distribution” or “P&D” arrangement between Home Grown Music and a distributor (such as Caroline, RED, ADA, Fontana, Redeye, Navarre or the like) (“Independent Sales”), I will receive, payable monthly:g

1. Fifty percent (50%) of the Net Receipts from such sales, up to a maximum of $5.00 per physical Record sold and up to $3.50 per

4 digitally downloaded Record sold, payable monthly, until the total Investments are repaid in full.

...

ii after the Investments are repaid in full, in respect of net sales by you of records embodying the entire Album, or individual recordings from the Album, i.e., individual downloads of recordings from the Album, by Independent Sales, I will receive, on a prospective basis, payable monthly: (1) $.20 (twenty cents) per record sold, whether in the form of physical record or digitally downloaded record, embodying the entire Album; and (2) $.015 (one-and-one-half cents) per download sold of an individual recording from the album.

The second section contemplated the band entering into a contract with a record

company and, in relevant part, provided:

B. in the event that you elect to enter into a recording agreement with a Record Company:

i. the outstanding balance, if any, of the Investments shall, unless otherwise agreed by you and me in writing, be repaid to me as follows:

1. one hundred percent (100%) of the outstanding balance of the Recording Investment will, unless otherwise agreed by me, be reimbursed from the “recording fund” or “recording budget” payable by the Record Company;

5 ...

ii. in respect of net sales by you of records embodying the entire Album via a third party record label (i.e., other than you) (a “Record Company”), you will pay me, or cause me to be paid, a royalty (the “Override Royalty”) on net sales of full-priced top line records embodying the Album by the Record Label through normal retail channels in the United States in the amount of two percent (2.0%) of SRLP (or an equivalent royalty in “pennies” where your royalty is calculated as a percentage of wholesale price or published price to dealers). The Override Royalty on other sales (including foreign sales) will be reduced (but not escalated), adjusted and paid in the same proportion, and at the same times, as is your basic “all in” royalty. The Override Royalty will not be payable until all recoupable recording costs (as such term is defined in the agreement with the Record Company) incurred in connection with the Album have been recouped by you at the net artist rate (i.e., your basic “all in” royalty less the royalties payable to producers, mixers and me) and thereafter the Override Royalty will be payable on a prospective basis only. . . .

Free access — add to your briefcase to read the full text and ask questions with AI

Related

T & R Custom, Inc. v. Liberty Mutual Insurance
488 S.E.2d 705 (Court of Appeals of Georgia, 1997)
Fresh Floors, Inc. v. Forrest Cambridge Apartments, LLC
570 S.E.2d 590 (Court of Appeals of Georgia, 2002)
Consulting Construction Corp. v. Edwards
427 S.E.2d 789 (Court of Appeals of Georgia, 1993)
Walker v. Gwinnett Hospital System, Inc.
588 S.E.2d 441 (Court of Appeals of Georgia, 2003)
Braner v. Southern Trust Insurance
335 S.E.2d 547 (Supreme Court of Georgia, 1985)
Anderson v. Anderson
552 S.E.2d 801 (Supreme Court of Georgia, 2001)
Ferdinand v. City of East Point
687 S.E.2d 617 (Court of Appeals of Georgia, 2009)
Colonial Bank v. Boulder Bankcard Processing, Inc.
563 S.E.2d 492 (Court of Appeals of Georgia, 2002)
Grange Mutual Casualty Co. v. Kay
589 S.E.2d 711 (Court of Appeals of Georgia, 2003)
David G. Brown, P. E., Inc. v. Kent
561 S.E.2d 89 (Supreme Court of Georgia, 2002)
Reahard v. Ivester
371 S.E.2d 905 (Court of Appeals of Georgia, 1988)
Latham v. Faulk
454 S.E.2d 136 (Supreme Court of Georgia, 1995)
Garrett v. Women's Health Care of Gwinnett, P.C.
532 S.E.2d 164 (Court of Appeals of Georgia, 2000)
Bartelt v. CONVERGENCE. COM CORP.
652 S.E.2d 897 (Court of Appeals of Georgia, 2007)
Pulte Home Corp. v. Woodland Nursery & Landscapes, Inc.
496 S.E.2d 546 (Court of Appeals of Georgia, 1998)
City of Atlanta v. International Ass'n of Firefighters, Local 134
239 S.E.2d 353 (Supreme Court of Georgia, 1977)
Steel Magnolias Realty, LLC v. Bleakley
622 S.E.2d 481 (Court of Appeals of Georgia, 2005)
Hudson v. Housing Authority
935 A.2d 395 (Court of Appeals of Maryland, 2007)
Cowart v. Widener
697 S.E.2d 779 (Supreme Court of Georgia, 2010)

Cite This Page — Counsel Stack

Bluebook (online)
Braden Copeland v. Home Grown Music, Inc., Counsel Stack Legal Research, https://law.counselstack.com/opinion/braden-copeland-v-home-grown-music-inc-gactapp-2021.