Bridgeport Music, Inc. v. Tufamerica, Inc.

District Court, S.D. New York·Decided September 10, 2023·No. 1:19-cv-01764·Unknown

Opinion

UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK

BRIDGEPORT MUSIC, INC. and WESTBOUND RECORDS, INC.,

Plaintiffs / Counterclaim- Defendants ORDER

- v - 19 Civ. 01764 (PGG)

TUFAMERICA, INC. d/b/a TUFF CITY

RECORDS, and KAY LOVELACE

TAYLOR, individually and on behalf of the

Estate of LeBaron Taylor,

Defendants / Counterclaim- Plaintiffs.

PAUL G. GARDEPHE, U.S.D.J.:

This is a copyright ownership dispute in which Plaintiffs Bridgeport Music, Inc. and Westbound Records, Inc. seek a declaratory judgment that (1) Plaintiffs are the rightful owners of certain musical compositions authored by George Clinton (the “Compositions”); (2) Defendants do not have any valid ownership claims in the Compositions; and (3) Plaintiffs have not infringed upon any copyrights allegedly owned by Defendants in the Compositions. (Cmplt. (Dkt. No. 1)) Defendants TufAmerica, Inc. and Kay Lovelace Taylor have brought counterclaims for (1) a declaratory judgment that TufAmerica is the rightful owner of the Compositions; (2) copyright infringement; and (3) an accounting regarding the damages caused by Plaintiffs’ alleged unauthorized commercial exploitation of the Compositions. (Am. Ansr. (Dkt. No. 32) ¶¶ 53-69) A jury trial is scheduled for October 2, 2023. (Dkt. No. 109) Plaintiffs moved for summary judgment on their claims and on Defendants’ counterclaims. (Pltf. Sum. J. Br. (Dkt. No. 91)) In a July 26, 2023 Memorandum Opinion and Order (the “Summary Judgment Opinion”), this Court granted Plaintiffs’ motion for summary judgment as to Defendants’ counterclaims, finding that the counterclaims are time-barred. (Sum. J. Opin. (Dkt. No. 106) at 31)1 Plaintiffs’ motion was otherwise denied. (Id. at 32) Defendants have moved for reconsideration pursuant to Local Rule 6.3 (Dkt. Nos. 112-113), while Plaintiffs request that this Court “conditional[ly] dismiss[] Plaintiff’s claims in

this action under . . . Purdy v. Zeldes, 337 F.3d 253 (2d Cir. 2003), and its progeny.” (Dkt. No. 111) Defendants join in Plaintiffs’ request for a conditional dismissal, in the event that their motion for reconsideration is denied. (Pltf. Recon. Br. (Dkt. No. 113) at 4 & n.1) For the reasons stated below, Defendants’ motion for reconsideration will be denied, and Plaintiffs’ request for conditional dismissal will be granted, subject to the Court’s receipt of an appropriate stipulation from the parties. BACKGROUND I. FACTS2 Plaintiffs are affiliated music companies based in Detroit, Michigan, and

distributed soul and funk music in the late 1960s and early 1970s. Plaintiffs were founded and are owned by Detroit music producer Armen Boladian. (Sum. J. Opin. (Dkt. No. 106) at 2) Defendant TufAmerica, Inc. is a record label incorporated in New York. Dr. Kay Oliver is the widow of LeBaron Taylor. LeBaron Taylor, who died in 2000, was a music producer, radio disc jockey, and record company executive. He owned Revilot Records, a Detroit-based record label that went bankrupt in the late 1960s. (Id.)

1 The page numbers of documents referenced in this Order correspond to the page numbers designated by this District’s Electronic Case Files (“ECF”) system. 2 The Summary Judgment Opinion sets out the background to the parties’ dispute in detail, and the Court assumes familiarity with that decision. Renowned funk musician George Clinton – a non-party to this lawsuit – is the author or co-author of the Compositions: (1) “The Victor” a/k/a “Baby I Owe You Something Good”; (2) “Good Old Music”; (3) Let’s Make It Last”; (4) “I’ll Wait” a/k/a “I’ll Stay; (5) “Can You Get To That” a/k/a “What You Been Growing”; and (6) “The Goose (That Laid the Golden

Egg).” (Id.) The parties agree that Clinton recorded music for Revilot in the late 1960s prior to Revilot’s bankruptcy and pursuant to a 1965 agreement between Clinton and Revilot (the “Revilot Agreement”). (Id. at 2-3) Defendants cite to five copyright registrations dated between 1967 and 1968 as evidence of their ownership of the Compositions. (Id. at 3-4) After Revilot entered bankruptcy in the late 1960s, Clinton began recording music for Plaintiff Westbound Records. The Compositions – except for “The Goose” – were then re- recorded by Clinton and his band, Funkadelic, and released on various Westbound Records albums during the 1970s. (Id. at 4) “The Goose” was recorded by Clinton and another band, Parliament, and released by non-party Casablanca Records in 1974. (Id.)

Plaintiffs have not alleged that they purchased any copyrights in Compositions or sound recordings from Taylor, Revilot, or any other affiliated entity. Plaintiffs have instead submitted a series of agreements, dated between 1967 and 1991, in which Clinton, his publishing company, Malbiz Music, and certain co-writers assigned ownership in the Compositions – except as to “The Goose” – to Bridgeport Music and exclusive recording rights to Westbound Records (the “Bridgeport/Westbound Agreements”). (Id. at 4-5) Plaintiffs further allege that on October 18, 1991, they purchased the rights to “The Goose” from a third-party record label. (Id. at 6) Plaintiffs registered the six Compositions with the Copyright Office between the 1970s and early 1990s. (Id. at 7-8) In the 1970s, Bridgeport Music also registered the Compositions with Broadcast Music, Inc. (“BMI”), which sells blanket licenses for millions of musical compositions. As a result of registering the Compositions with BMI, Bridgeport Music has been receiving royalties for the Compositions since that time. (Id. at 9) Defendants do not dispute that Taylor did not receive any royalties from BMI in

connection with the Compositions. (Id.) It is likewise undisputed that Taylor was aware of Westbound Records’ sound recordings of the Compositions; as a disc jockey in Detroit, he was provided with those recordings to play on the radio. (Id.) Taylor died in 2000 and is survived by Oliver and his four children. In 2011, Oliver contacted Aaron Fuchs, the owner of Plaintiff TufAmerica, to discuss selling the estate’s rights in the Compositions to TufAmerica. Although Oliver possessed tape recordings of the Compositions, she did not have documents demonstrating that she held rights in the Compositions. Indeed, when Fuchs asked Oliver if she “had any paperwork that went along” with the tapes, she said that she did not. (Id. at 9-10) In an August 9, 2011 agreement (the “TufAmerica Agreement”), TufAmerica

paid Oliver $6,500 for a 50% ownership interest in all “worldwide copyright, renewals and/or other rights in and to all musical compositions, sound recordings, and audiovisual records solely owned or controlled by [Oliver, Taylor’s estate, and all companies owned or controlled by LeBaron Taylor’s Estate, including Revilot Records]. . . .” (Id. at 10) On August 15, 2011, after executing the TufAmerica Agreement, Oliver told her attorney that she wanted the following language in the TufAmerica Agreement to be deleted: “[Oliver] warrants and represents that she has valid signed agreements with each and every artist, producer and songwriter and any other copyright holder and/or rights owner associated with these copyrights and that those agreements transfer all right, title, and interest to [Oliver]. . . .” Oliver felt “uncomfortable” making these representations because she had “no written documents [with respect to the Compositions], just the tapes.” Her attorney then instructed TufAmerica to remove that language from the TufAmerica Agreement. (Id.) In a December 11, 2017 letter to Plaintiffs – issued more than six years after

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Bridgeport Music, Inc. v. Tufamerica, Inc., (S.D.N.Y. 2023).

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