Cortes-Ramos v. Martin-Morales

Court of Appeals for the First Circuit·Decided June 12, 2026·No. 24-1805·Published

Opinion

United States Court of Appeals For the First Circuit

No. 24-1805 LUIS ADRIÁN CORTÉS-RAMOS, Plaintiff, Appellant,

v.

ENRIQUE MARTIN-MORALES, a/k/a Ricky Martin, Defendant, Appellee,

JOHN DOE; RICHARD ROE, and their respective insurance companies, Defendants.

APPEAL FROM THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF PUERTO RICO

[Hon. Silvia L. Carreño-Coll, U.S. District Judge]

Before

Barron, Chief Judge,

Thompson and Aframe, Circuit Judges.

Juan R. Rodríguez López, with whom Rodriguez López Law Offices, P.S.C. was on brief, for appellant.

Benjamin S. Akley, with whom Maria E. Martinez-Casado, Maria D. Trelles-Hernandez, Pietrantoni Mendez & Alvarez LLC, David C. Rose, and Pryor Cashman LLP were on brief, for appellee.

June 12, 2026

THOMPSON, Circuit Judge. Today, we consider another chapter in the perpetual quest of plaintiff/appellant Luis Adrián Cortés-Ramos ("Cortés" to save keystrokes) for good ol' fashioned copyright justice. He's again sued defendant/appellee Enrique Martin-Morales, whom our readers more likely know as Ricky Martin, the famous Puerto Rican singer. (We'll just call him "Martin.") And (as suggested by our use of "another chapter," "perpetual quest," and "again") this isn't the first time Cortés has ended up before us in his David-versus-Goliath copyright battle -- in fact, it's his fifth appeal in twelve years across three cases arising from the same core facts.1 So we'll assume the reader's familiarity with Cortés's past endeavors as our able colleagues have elsewhere described them -- all available in the stacks of the Federal Reporter, Third Series -- and pick up where they left off.

A long while after we last revived a previous rendition of this case (a version later dismissed without prejudice, after which Cortés refiled), a magistrate judge recommended granting summary judgment to Martin. Over Cortés's manifold objections,

1 The two more recent appeals involved Cortés's cases against Martin. See Cortés-Ramos v. Martin-Morales, 956 F.3d 36 (1st Cir. 2020); Cortés-Ramos v. Martin-Morales, 894 F.3d 55 (1st Cir. 2018). The prior two appeals arose out of the same facts, but there, Cortés was litigating not only against Martin but also Sony Corporation. See Cortés-Ramos v. Sony Corp. of Am., 889 F.3d 24 (1st Cir. 2018); Cortés-Ramos v. Sony Corp. of Am., 836 F.3d 128 (1st Cir. 2016).

the district court adopted that recommendation in full and then invalidated Cortés's copyright registration certificate.

Yet it took those sweeping actions without giving Cortés the benefit of a chance to pursue discovery, despite his repeated pleas for such an opportunity. Cortés appeals on that ground (as well as some others), and we agree with him on the discovery issue, so we vacate and remand for more litigation, yet again. Read on to see why.

HOW WE GOT HERE (FOR A FIFTH TIME)

We'll groove past the core story of the case and skip right into more recent developments (and there are plenty).2 But

2 For the curious, here's the capsule form of the facts (taken from another Cortés appeal):

In 2013, [Sony] co-sponsored the "SuperSong"

contest [with Martin]. The contest invited entrants to compose, record, and submit an original musical composition and accompanying music video. According to the contest's rules, the winning composition would potentially be included on the 2014 Fédération Internationale de Football Association ("FIFA") World Cup Official Album.

On January 2nd, 2014, Cortés-Ramos entered the contest by uploading a song and accompanying music video to the contest's website prior to the submission deadline of January 6, 2014.

On January 8, 2014, Cortés-Ramos was notified by email that he was selected as one of twenty finalists, and, on January 15, 2014, Cortés-Ramos received an email from a representative of one of the contest co-sponsors that requested that, in connection with his entry in the contest, he sign several documents and return the documents to Sony.

because (as the reader will later see) Cortés's arguments often focus on procedural history, we beg the reader's patience as we slow down the music and waltz gently through everything that's led us here.

A. Since Last Time

Our last decision (issued more than five years ago)

considered the previous district court's dismissal of several of Cortés's claims at the motion-to-dismiss stage. See Cortés-Ramos v. Martin-Morales, 956 F.3d 36, 39 (1st Cir. 2020). Though we affirmed dismissal of Cortés's state-law claims, we partially vacated the district court's order and remanded on one issue. Id. at 45. We wanted "to allow the district court to consider whether to dismiss the [federal] copyright claim without prejudice or to allow [Cortés] to supplement his complaint under Rule 15(d) to allege registration," an essential element of that claim. Id. at 45.

Cortés-Ramos signed the documents before a notary public and returned them.

On February 10, 2014, a different entrant was announced as the winner of the contest. On or about April 22, Martin released a song and music video entitled "Vida" [which Cortés alleges] . . . is similar to the music video that he had submitted as an entrant in the contest.

Cortés-Ramos, 894 F.3d at 56–57.

Since then, the parties have been busy. Cortés moved several times to amend his complaint -- which, again, alleged a federal claim of copyright infringement -- to include new details of his recent copyright registration. Martin opposed, arguing (among other things) that amendments would be futile because the papers that Cortés signed when he entered the SuperSong Contest conclusively ended the case in Martin's favor; alternatively, Martin said that the district court for the District of Puerto Rico had no personal jurisdiction over him.

After considering the parties' arguments, the district court entered an order dismissing the remaining copyright claim without prejudice -- i.e., in a manner that would allow Cortés to refile a complaint stating the proper elements. Why? It's a bit complicated. In 2019 (during the lifespan of the previous case), the Supreme Court held that the Copyright Act of 1976 "bars a copyright owner from suing for infringement until registration has been made." Fourth Est. Pub. Benefit Corp. v. Wall-Street.com, LLC, 586 U.S. 296, 302 (2019) (cleaned up). But the effective date of Cortés's Certificate of Registration was March 1, 2017 -- "almost a year after the Complaint in the instant case was filed" (the district court's words, our emphasis). Because the district court interpreted Fourth Estate to require that a registration be approved before a plaintiff filed suit, it held that permitting Cortés's amendment to his complaint "would

validate the filing of a suit in violation of the requirements set [out] in Section 411(a)." Dismissing without prejudice (thereby allowing Cortés to refile after the registration had happened) would cure that defect, so that's what the district court did.

Cortés then filed his third lawsuit thus far (that's today's case). He (again) alleged that Martin infringed on his federal copyright by producing, distributing, and displaying what Cortés sees as a substantially similar song and video. Along with that, Cortés alleged that he was fraudulently induced into entering the contest. And he now included details about the registration, too.

After answering and adding two counterclaims seeking to invalidate the registration (more on those later), Martin moved for a judgment on the pleadings. He argued that the documents incorporated by the complaint (and attached to his answer) showed that Cortés had assigned any and all rights he had in the video to Sony.

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