Meredith Corp. v. SESAC, LLC

87 F. Supp. 3d 650, 114 U.S.P.Q. 2d (BNA) 1209, 2015 U.S. Dist. LEXIS 20055, 2015 WL 728026
CourtDistrict Court, S.D. New York
DecidedFebruary 19, 2015
DocketNo. 09 Civ. 9177(PAE)
StatusPublished
Cited by7 cases

This text of 87 F. Supp. 3d 650 (Meredith Corp. v. SESAC, LLC) 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
Meredith Corp. v. SESAC, LLC, 87 F. Supp. 3d 650, 114 U.S.P.Q. 2d (BNA) 1209, 2015 U.S. Dist. LEXIS 20055, 2015 WL 728026 (S.D.N.Y. 2015).

Opinion

OPINION & ORDER

PAUL A. ENGELMAYER, District Judge:

Named plaintiffs Meredith Corporation, The E.W. Scripps Company, Scripps Media, Inc., and Gray Television Group, Inc. (“plaintiffs”) have moved for an order certifying a settlement class and approving the proposed settlement of this case and the proposed plan to allocate the settlement proceeds among the class. Plaintiffs also move for attorneys’ fees and expenses. In an order dated October 31, 2014, the Court preliminarily approved the settlement; plaintiffs thereafter provided notice to class members as to the ■ settlement terms.

On February 18, 2015, a fairness hearing was held, at which the Court stated that it intended to rule shortly. The Court today is issuing an order granting in its entirety the relief sought by plaintiffs. This Opinion and Order sets out the Court’s reasons for certifying the settlement class, approving the settlement and the plan of allocation, and granting the applications for fees and costs.

1. Background1

A. Plaintiffs’ Challenge to SESAC’s Blanket Licenses

This complex antitrust litigation has spanned more than five years and involves claims that SESAC, a performing rights organization (“PRO”), engaged in anti-competitive practices in issuing collective (or “blanket”) licenses to the rights to perform the copyrighted music of its members or affiliates. Plaintiffs brought suit on November 4, 2009 on behalf of a class of local commercial television stations that alleged that, since 2008, SESAC had taken steps to make illusory any alternative to the blanket license it sells, which gives a licensee the right to play the music of all SESAC affiliates. Plaintiffs alleged that, by insulating this “all or nothing” license from competition and effectively forcing local television stations to purchase it,2 SE-[655]*655SAC was able to set an exorbitant price for its blanket license, even though the stations have no interest in purchasing the rights to SESAC’s entire repertory. Plaintiffs alleged that SESAC and its affiliates thereby violated § 1 of the Sherman Act, 15 U.S.C. § 1, by combining to unlawfully restrain trade; and § 2 of the same Act, id. § 2, by conspiring to monopolize the market for the performance rights to the musical works within SESAC’s repertory. Plaintiffs also asserted a monopolization claim against SESAC under § 2.

As described more fully in the Court’s decision on SESAC’s motion for summary judgment, see Meredith Corp. v. SESAC LLC, 1 F.Supp.3d 180 (S.D.N.Y.2014), plaintiffs’ claims turn on the process by which local television stations obtain the performance licenses necessary for them to lawfully broadcast programs, which contain copyrighted music. Almost all television programs, especially third-party programming,3 contain music protected under federal copyright law. To broadcast programs that contain such music while complying with federal copyright law,4 a television station must first acquire a license from the musical work’s copyright holder to publicly perform that musical work.

For various practical reasons,5 local television stations have historically obtained performance licenses from PROs.6 In the United States, there are three PROs: the American Society of Composers, Authors and Publishers (“ASCAP”); Broadcast Music, Inc. (“BMI”); and SESAC, the smallest of the three. Because these PROs have repertories of copyrighted music that are exclusive of one another, together, their repertories account for virtually every copyrighted musical work in the United States and its territories.

In negotiations with the PROs regarding performance rights, local television stations have been represented by a nonprofit association, the Television Music License Committee (“TMLC”). ASCAP and BMI are each subject to consent decrees entered following litigation with the United States Department of Justice (“DOJ”). The terms of these consent decrees have been designed, inter alia, to protect the interests of music licensees, by safeguarding them from the risk that the PROs would offer no practical alternatives to the blanket license while charging prohibitive fees for that license. To that end, the consent decrees have established a “rate [656]*656court” in this District that sets fees for performance licenses when the PRO and the licensee cannot agree. They have also required that the PRO’s right to issue performance licenses to members’ music be non-exclusive, and that alternative means of licensing such music be made realistically available to would-be licensees.

SESAC has never been subject to such a consent decree. Until 2007, SESAC and the TMLC had successfully negotiated industry-wide blanket licenses or had arbitrated the terms of such licenses pursuant to a contractual duty to arbitrate disputes. However, negotiations for an industry-wide license for the period beginning January 1, 2008 broke down in late 2007, and SESAC, which no longer was under a contractual duty to arbitrate, began dealing with local television stations individually. Plaintiffs’ lawsuit alleged that, once freed to set terms on its own, SESAC increased its blanket licensing rates by 10% over the prior license period, despite an overall drop in demand for SESAC’s licensed music during this period, while putting in place a series of licensing practices, which, in practice, made it impossible or uneconomical for local television stations to obtain from SESAC anything but its blanket license.

During 2008, several TMLC representatives and plaintiffs’ expert, Professor Adam Jaffe, met with the Antitrust Division of the DOJ, and urged the DOJ to sue SESAC for violating antitrust laws. The DOJ, however, closed its investigation without taking action.

B. Procedural History of This Litigation

On November 4, 2009, plaintiffs filed an initial Complaint, Dkt. 1, and, on March 18, 2010, an Amended Complaint, Dkt. 25, which alleged that SESAC and its affiliates had conspired to make SESAC’s all- or-nothing blanket license the only viable option for a station to obtain the performance rights to any of SESAC’s affiliates’ music, even though the blanket license’s price was unrelated to a local television station’s actual usage of musical works in SESAC’s repertory. The Amended Complaint contrasted SESAC’s licensing practices with those of ASCAP and BMI, which are significantly restricted as a result of their consent decrees.

On May 17, 2010, defendants moved to dismiss the Amended Complaint, Dkt. 26. On March 9, 2011, the Honorable Naomi Reice Buchwald, to whom this case was then assigned, denied the motion to dismiss, holding that plaintiffs had plausibly alleged violations of §§ 1 and 2 of the Sherman Act. Meredith Corp. v. SESAC, LLC, No. 09 Civ. 9177(NRB), 2011 WL 856266 (S.D.N.Y. March 9, 2011).

On March 23, 2011, defendants answered the Amended Complaint, Dkt. 85, and on April 13, 2011, amended that answer, Dkt. 38.

In May 2011, discovery began, and was extensive. SESAC produced approximately one million pages of documents; plaintiffs produced more than 450,000 pages. More than 50 subpoenas were issued to third parties to produce documents.

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Cite This Page — Counsel Stack

Bluebook (online)
87 F. Supp. 3d 650, 114 U.S.P.Q. 2d (BNA) 1209, 2015 U.S. Dist. LEXIS 20055, 2015 WL 728026, Counsel Stack Legal Research, https://law.counselstack.com/opinion/meredith-corp-v-sesac-llc-nysd-2015.