In Re Digital Music Antitrust Litigation

592 F. Supp. 2d 435, 2008 WL 4531821
CourtDistrict Court, S.D. New York
DecidedOctober 9, 2008
Docket06 MDL 1780 (LAP)
StatusPublished
Cited by9 cases

This text of 592 F. Supp. 2d 435 (In Re Digital Music Antitrust Litigation) 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
In Re Digital Music Antitrust Litigation, 592 F. Supp. 2d 435, 2008 WL 4531821 (S.D.N.Y. 2008).

Opinion

*436 OPINION

LORETTA A. PRESEA, J.

This multidistrict litigation involves allegations that Bertelsmann, Inc., SONY BMG Music Entertainment, Sony Corporation of America, Capitol Records, Inc. dba EMI Music North America, EMI Group North America, Inc., Capitol-EMI Music, Inc., Virgin Records America, Inc., Time Warner Inc., UMG Recordings, Inc., and Warner Music Group Corp. (collectively, “Defendants”) conspired to fix or maintain artificially the prices of Digital Music. Plaintiffs are fifteen individuals (collectively, “Plaintiffs”) from nine states who seek to represent a putative nation-wide class of purchasers of Digital Music. Defendants move [dkt. no. 75] to dismiss the Second Consolidated Amended Complaint (“SCAC”) under Rule 12(b)(6) of the Federal Rules of Civil Procedure and, in the alternative, to strike certain portions of the SCAC pursuant to Rule 12(f). 1 Plaintiffs move [dkt. no. 104] to amend one paragraph of the SCAC to add certain allegations. 2 For the reasons that follow, *437 Defendants’ motion is GRANTED, and Plaintiffs’ motion is DENIED.

I. BACKGROUND

According to the SCAC, Digital Music is music that is manufactured as a digital file. (See SCAC ¶2, In re Digital Music, 06 MDL. 1780 (filed June 13, 2007) (hereinafter “SCAC”).) It is delivered in two allegedly interchangeable formats: on compact discs (“CDs”) and through the internet (“Internet Music”). (See id. ¶41.) The SCAC defines the relevant market in this action as the market for sales of all Digital Music (both CDs and Internet Music) in the United States; Defendants, described as the four largest record companies in the United States, allegedly control in excess of 80% of that market. (See id. ¶ 40.)

In general, the SCAC alleges that Defendants conspired to inflate and maintain at supracompetitive levels the price of Digital Music. (See id. ¶ 126.) They achieved this by fixing a high price for and restraining the availability of Internet Music {id. ¶66), which, in turn, buoyed the price of CDs “despite declining costs of production associated with the introduction of new technologies” {id. ¶ 126; see also id. ¶ 105). Explains the SCAC: “[a]cting alone, no defendant could sustain the su-pracompetitive prices for CDs prevailing in the market. This inability to charge high CD prices, as market factors made consumer demand for CDs more elastic over time at the prices charged by Defendants during the conspiracy, gave Defendants motive to conspire.” {Id. ¶ 83.)

Defendants’ manipulation of the market for Internet Music is described in two phases of conduct. The first phase centers on two joint ventures — “MusicNet” and “pressplay” — created by Defendants to distribute their Internet Music. {Id. ¶ 67.) 3 The second phase alleges manipulation through Defendants’ business dealings with third-party licensees. {Id. ¶ 99.)

A. The First Phase: The Joint Ventures

The SCAC appears to include principally two allegations concerning the joint ventures. First, it alleges that the joint ventures directly restricted the wide-spread distribution and use of Internet Music by charging supracompetitive prices and imposing unpopular digital rights management (“DRM”) rules on the Internet Music they sold to consumers. {Id. ¶¶ 75-78; see id. ¶ 81 (“Defendants collectively refused to utilize or license a system that was convenient, not burdened with use restrictions and competitively priced.”).) 4 According to the SCAC, Defendants enforced those price and use restrictions through their use of most-favored nations clauses (“MFNs”) and “side agreements,” where-under each Defendant would license its songs to the joint ventures at a price not lower than the price secured by any other Defendant. {Id. ¶¶ 92-94, 96-97.) 5 Thus, *438 “Defendants’ collusion in setting high prices for Internet Music, as well as their collusion in imposing unfair and one-sided terms on its use, made Internet Music less attractive to consumers, allowing Defendants to sell CDs at supracompetitive prices.” {Id. ¶ 82.)

Second, the SCAC alleges that the joint ventures were shams that were designed solely to “provide[] Defendants with opportunities and forums to meet and further conspire to cooperate to maintain the prices and terms for Internet Music.” (Id. ¶ 87.) This follows, alleges the SCAC, from the fact that certain aspects of the joint ventures’ business model were contrary to the economic self-interests of each individual Defendant. Thus, “[a]ny one of the Defendants might have removed these unpopular DRM and gained additional market share and profits and most or all would have but for the conspiracy, just as independent labels not party to the conspiracy sell DRM-free Internet Music.” (Id. ¶ 76; see also id. ¶ 78 (“[Rjather than pursue their individual interests by competing with each other, the new method of distribution was used as a pretext for Defendants to meet and conspire.”).) Plaintiffs allege that the same was true of the way Defendants structured their compensation from the joint ventures: because Defendants were not paid on a per-song basis, their “economic incentives were to charge monopoly prices for Internet Music rather than compete with one another on price.” (Id. ¶ 89.) Thus, instead of legitimate business entities, the joint ventures were merely “vehicles through which the Defendants effectively exchanged price information, policed their cartel and imposed restrictive licensing arrangements that retarded the growth of Internet Music.” (Id. ¶ 98.) 6

The SCAC further alleges that Defendants attempted to conceal many of the joint ventures’ allegedly anticompetitive practices. (Id. ¶ 113.) For instance, Defendants — through the joint ventures — allegedly “conspired to mask their anticompetitive conduct by pretex-tually establishing rules to prevent antitrust violations, ignoring them, and then using these sham rules to convince the United States Department of Justice [ (“DOJ”) ] to drop the investigation it launched in 2001.” (Id. ¶¶ 90, 91.) Defendants also allegedly attempted to conceal the use of MFNs in their agreements with the joint ventures because “they knew they would attract antitrust scrutiny by DOJ and others” {id. ¶ 93); one such MFN — between EMI and Mu-sicNet — was allegedly memorialized as a “side-letter” agreement “because ‘there are legal/antitrust reasons why it would be a bad idea to have MFN clauses in any, or certainly all, of these agreements’ ” (id. ¶¶ 94-95).

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Bluebook (online)
592 F. Supp. 2d 435, 2008 WL 4531821, Counsel Stack Legal Research, https://law.counselstack.com/opinion/in-re-digital-music-antitrust-litigation-nysd-2008.