Elliott v. Williams

CourtDistrict Court, S.D. Florida
DecidedMay 18, 2021
Docket9:20-cv-81280
StatusUnknown

This text of Elliott v. Williams (Elliott v. Williams) is published on Counsel Stack Legal Research, covering District Court, S.D. Florida primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Elliott v. Williams, (S.D. Fla. 2021).

Opinion

UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF FLORIDA

CASE NO. 20-81280-CIV-ALTMAN/Brannon

MELISSA ARNETTE ELLIOTT, also known as Missy Elliot,

Plaintiff, v.

TERRY WILLIAMS,

Defendant. ____________________________/

ORDER

Melissa Elliot, commonly known as “Missy Elliot,” is a famous singer, songwriter, and recording artist. In our case, though, she’s the Plaintiff, suing Terry Williams, a music producer she rehearsed with in the mid-1990s. At its core, her lawsuit is about ownership—specifically, ownership over the songs she rehearsed at Williams’s home studio in Philadelphia. But we needn’t delve into the merits of this dispute because there’s already a federal judge in Pennsylvania who’s been handling this same case—the same songs, the same Philadelphia studio, the very same personalities—for years. And so, whether under the “first-filed rule” or the transfer statute, 28 U.S.C. § 1404(a), this case must be transferred to the Eastern District of Pennsylvania where it belongs. BACKGROUND From 1993 to 1995, Elliot performed with “Sista,” an R&B group. See First Amended Complaint (“FAC”) [ECF No. 9] ¶ 13. In 1994, Sista released an album called 4 All the Sistas Around Da World, for which Elliot was credited as a songwriter. Id. ¶ 18. In addition to performing and recording with Sista, Elliot also wrote her own lyrics and then rehearsed those lyrics with other artists, producers, and sound engineers. Id. ¶¶ 20–22. To help Elliot hear how her lyrics sounded with musical accompaniment, the producers often played her “sample” (or pre-recorded) beats and allowed her to record herself singing over those arrangements. Id. ¶ 22. The purpose of the sessions, though, was not to wed her lyrics to the producer’s background music; it was, rather, for Elliot to get a sense of the arrangements she preferred and to hear how her lyrics sounded against a musical backdrop. Id. ¶¶ 28, 33–35, 37. Williams was one of the producers Elliot worked with in the mid-1990s. During that time, Elliot “sporadically” visited his home studio in Philadelphia,1 where she rehearsed her lyrics alongside

his sample beats. Id. ¶ 24. Elliot alleges that, while Williams may have used some of his own beats and backtracks during those sessions, many of those beats were samples he hadn’t created. Id. ¶ 25. Elliot also claims that Williams “never contributed to or provided input on [her] independently created lyrics, vocal arrangements and melodies,” that she never entered into any kind of agreement with Williams, and that she never intended to share any authorship rights with him. Id. ¶¶ 27, 29, 38, 39, 41. At some point between 1993 and 1996, Elliot wrote the lyrics to a song called “Heartbroken,” which was eventually recorded by another artist, Aaliyah. Id. ¶¶ 30–31. Elliot ultimately received songwriter credits for eight songs that appeared on Aaliyah’s album—including “Heartbroken.” Id. Twenty years later, in January of 2017, a woman named Constance Gary contacted Elliot’s talent-management company and offered to sell Elliot eight musical tracks on behalf of a “friend.” Id. ¶¶ 44–45. Elliot’s attorneys responded to the solicitation, and Gary later represented to the attorneys that the “friend” was Williams. Id. ¶¶ 45–46. In a subsequent letter, Gary told Elliot’s attorneys that,

just the day before, she’d realized that the chorus in one of the eight tracks was “identical” to the “Heartbroken” chorus. Id. ¶¶ 50–52. In her next few letters, Gary threatened to sue Elliot for copyright infringement and suggested that Elliot should settle the matter “discreetly” as a way of avoiding bad

1 Elliot appended to the FAC an order from the parallel litigation in Williams v. Elliot, No. 2:18-cv- 05418-NIQA (E.D. Pa. Feb. 6, 2020), ECF No. 69. That order indicates that Williams’s home studio was in Philadelphia. See id. at 1 n.1. press. Id. ¶¶ 53–57. Gary eventually demanded $5 million for the songs in Williams’s catalog. Id. ¶¶ 60–62. This correspondence between Gary and Elliot’s attorneys lasted until about August 31, 2017. Id. ¶ 62. Four months later, on January 11, 2018, an attorney named Albert J. Olizi, who “formerly represented” Williams, sent his own letter to Elliot’s lawyers—this time with a list of 34 unpublished songs that featured Elliot’s vocal performances. Id. ¶ 63. In the letter, Olizi made clear that Williams was offering to sell those 34 songs to Elliot. Id. On July 12, 2018, Olizi sent Elliot’s attorneys those

34 recordings. Id. ¶ 67. On November 14, 2018, Williams sued Elliot (and several others) in Pennsylvania state court, advancing a farrago of state and federal claims—including breach of contract, unjust enrichment, quantum meruit, accounting, constructive trust, and one count under the federal Declaratory Judgment Act. Id. ¶¶ 39–69. Elliot promptly removed the case to the Eastern District of Pennsylvania, where Williams filed an amended complaint, adding federal copyright claims. Id. ¶ 73. Although the court initially dismissed the claims against Elliot, id. ¶ 75, Williams ultimately2 obtained leave to file the now-operative Fourth Amended Complaint against Elliot and her co-defendants, see Williams v. Elliot, No. 2:18-cv-05418-NIQA (E.D. Pa. Nov. 16, 2020), ECF No. 91 (the “E.D. Pa. Complaint”). In the E.D. Pa. Complaint—the facts of which should sound familiar—Williams alleges that, from 1993 to 1996, he owned a home music studio in Philadelphia where he often worked with Elliot. Id. ¶¶ 1–2. He adds that he and Elliot “were equal contributors to the writing of lyrics and music, co-

producing several songs composed” during that time, and that they recorded several songs on two digital audio tapes. Id. ¶ 3. One of those songs, he claims, was “Heartbroken.” Id. ¶ 4. Williams also avers that the pair had an agreement to share in any profits they earned from the songs they recorded at the studio, and that they, in fact, jointly published and profited from some of those songs. Id. ¶¶ 8–

2 To keep our story moving, we’ve skipped a few amended complaints, several motions to dismiss, and at least two motions for leave to amend. 11. He insists that, without informing him, Elliot contracted with third parties (now the co-defendants in the Pennsylvania action) to create “derivatives” of his and Elliot’s joint works. Id. ¶ 12–15. Twenty years later, Williams continues, he contacted Elliot “as a courtesy”—and with an eye towards selling his rights to the recordings the two had created together. Id. ¶ 23. In reviewing his material during those correspondences (he says), he discovered, for the first time in 20 years, that one of his songs was identical to Aaliyah’s 1996 hit “Heartbroken”—and that three other songs in his

catalog bore a close resemblance to three songs Sista had published in 4 All the Sistas Around Da World. Id. ¶¶ 24–25. Elliot’s attorneys responded to these initial communications, and her business manager eventually instructed Williams to contact Elektra, which owned the rights to the songs Williams was claiming for himself. Id. ¶¶ 23, 30–31. In Count V of the E.D. Pa.

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

Related

Save Power Limited v. Syntek Finance Corp
121 F.3d 947 (Fifth Circuit, 1997)
Sculptchair, Inc. v. Century Arts, Ltd.
94 F.3d 623 (Eleventh Circuit, 1996)
Mutual Service Insurance v. Frit Industries, Inc.
358 F.3d 1312 (Eleventh Circuit, 2004)
Horizon Aggressive Growth, L.P. v. Rothstein-Kass, P.A.
421 F.3d 1162 (Eleventh Circuit, 2005)
William S. Manuel v. Convergys Corporation
430 F.3d 1132 (Eleventh Circuit, 2005)
Dudnikov v. Chalk & Vermilion Fine Arts, Inc.
514 F.3d 1063 (Tenth Circuit, 2008)
Serco Services Company, L.P. v. Kelley Company, Inc.
51 F.3d 1037 (Federal Circuit, 1995)
Hobbs v. Don Mealey Chevrolet, Inc.
642 So. 2d 1149 (District Court of Appeal of Florida, 1994)
Supreme International Corp. v. Anheuser-Busch, Inc.
972 F. Supp. 604 (S.D. Florida, 1997)
Milberg Factors, Inc. v. Greenbaum
585 So. 2d 1089 (District Court of Appeal of Florida, 1991)
Orseck v. Servicios Legales De Mesoamerica S. De R.L.
699 F. Supp. 2d 1344 (S.D. Florida, 2010)

Cite This Page — Counsel Stack

Bluebook (online)
Elliott v. Williams, Counsel Stack Legal Research, https://law.counselstack.com/opinion/elliott-v-williams-flsd-2021.