Reznor v. J. Artist Management, Inc.

365 F. Supp. 2d 565, 2005 U.S. Dist. LEXIS 6805, 2005 WL 927320
CourtDistrict Court, S.D. New York
DecidedApril 22, 2005
Docket04 CIV. 3808(JSR)
StatusPublished
Cited by10 cases

This text of 365 F. Supp. 2d 565 (Reznor v. J. Artist Management, Inc.) 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
Reznor v. J. Artist Management, Inc., 365 F. Supp. 2d 565, 2005 U.S. Dist. LEXIS 6805, 2005 WL 927320 (S.D.N.Y. 2005).

Opinion

MEMORANDUM ORDER

RAKOFF, District Judge.

This case derives from the fifteen-year professional relationship between plaintiff Michael Trent Reznor, the lead singer in the rock band Nine Inch Nails (“NIN”), and defendant John A. Malm, Jr., Reznor’s long-time manager — a relationship that ended in cacophony and discord in late 2003. Reznor charges Malm and his wholly owned management company, J. Artist Management (“JAM”) with fraud, breach of contract, breach of fiduciary duty, and various other claims (ten counts in all); and Malm and JAM in turn assert eight counterclaims against Reznor. Reznor also makes six claims against Richard Szekelyi and his company, Navigent Group, accountants involved in certain of the underlying transactions.

With discovery completed, all parties now move for summary judgment. For purposes of these motions, the relevant facts are as follows: 1

Reznor and Malm met in 1985. Deposition of John A. Malm, Jr., 9/22/04 (“Malm Dep.”), at 7. Reznor was a “bit player” in a Cleveland band called the Exotic Birds, while Malm worked in his family’s machine equipment business by day and by night was a part-time promoter of local music acts, including the Exotic Birds. Deposition of Michael Trent Reznor, 10/12/04 (“Reznor Dep.”), at 20; Malm Dep. at 227-28. Malm caused JAM to be incorporated in Ohio in 1985, Affirmation of John A. Malm, Jr., 11/19/04, ¶ 2, but otherwise operated without much formality and, as of *569 1989, had never managed an artist pursuant to a written management agreement. Id. ¶ 13. Reznor and Malm became friends, and when Reznor left the Exotic Birds and began working on his own, around 1987, Malm informally became his manager, without a written contract. Id. ¶ 3; Reznor Dep. at 91-92.

At first, Reznor had very little income, and Malm paid for such expenses as equipment, recording costs, and even Reznor’s rent. Reznor Dep. at 92-94. However, Reznor’s career took off quickly once NIN was formed. NIN performed its first show in 1988, see Malm Dep. at 17-18, and by later that same year had attracted interest from recording companies. JAM (through Malm) then retained an attorney, Michael Toorock, Esq., to assist in negotiating a record contract between Reznor and TeeVee Toons, Inc. (“TVT”). Declaration of Michael Toorock, 12/2/04 (“Toorock Deck”), ¶ 3. Toorock understood himself to be representing Reznor’s interests and not those of Malm, who was not a party to the negotiations. Id. ¶2. However, he never talked directly to Reznor; all of his communications went through Malm as Rez-nor’s agent. See Transcript, 1/10/05 (“Tr ”), at 5. 2 This was in accord with Reznor’s apparent practice, which was to leave such matters to various agents and professionals. 3

In early 1989, NIN signed a recording contract with TVT, Malm Decl. ¶ 4, and its first album was released that year. Malm Dep. at 171. With Reznor starting to become successful, Malm wanted a formal management agreement, id. ¶ 6, and had Toorock prepare one, id. ¶ 7. This agreement, signed on April 20, 1989 (the “1989 Agreement”), is at the heart of the instant dispute. See 1989 Agreement, attached to Affirmation of Steven Shiftman in Opposition to JAM and Malm, 12/3/04 (“Shiftman Opp.-Malm Aff.”), as Exhibit 1.

Malm asserts that he did not supply Toorock with any of the terms of the 1989 Agreement and that Toorock simply sent him a standard management agreement. Malm Decl. ¶ 7. Toorock, on the other hand, states that while he used as a template a management agreement relating to another client, Toorock Decl. ¶ 4, Malm specified such material terms as duration (five years) and price (a commission rate of 20 percent 4 ). Id. ¶ 3. Toorock further avers that Malm told him that Malm and Reznor had discussed and agreed to those terms, but had not completed discussions of certain other terms, so that the draft Toorock provided was not to be the final one. Id.; Tr. at 4-5. Toorock says he told Malm that he was providing the draft “so that the two of them could see what a management agreement looked like,” and that he did not want to come between Malm and Reznor by representing either of them as discussions continued. Tr. at 6-7. Only “years later” did Toorock discover that his draft had been signed as prepared and had become the 1989 Agreement between Malm and Reznor. Toorock Decl. ¶ 5.

In any event, it is undisputed that Rez-nor and Malm did not, in fact, discuss specific terms before Malm presented the 1989 Agreement to Reznor. Instead, Malm simply asked Reznor whether Rez- *570 nor was “open to the concept” of a management- agreement and Reznor said he was. Reznor Dep. at 179. At Reznor’s apartment in Ohio, on April 20, 1989, Malm showed Reznor the 1989 Agreement, explained basic terms such as the 20 percent commission, said Toorock had drawn up the contract in conformance with industry standards, and assured Reznor that, while Reznor was free to have someone else look at the contract, it was “fair.” Id. at 179-80. Reznor says he “may have glanced through it,” but because of his trust in Malm, he signed the contract right there. Id. at 180. Both parties agree there was no discussion of the terms that now are the subject of this litigation. See Malm Dep. at 175.

As noted, the 1989 Agreement had a duration of five years, during which time JAM was to receive 20 percent of Reznor’s gross compensation, 1989 Agreement ¶¶ 1, 5(a). Under the Agreement, JAM was obligated to “confer with, counsel and advise [Reznor] in all matters pertaining to [his], career,” including “general practices in the Entertainment Industry regarding such matters as [JAM] has knowledge, such as compensation and privileges extended for similar artistic services.” Id. ¶ 3(a). The contract also permitted JAM to direct lawyers and'accountants to work on Reznor’s behalf. Id. ¶ 4(a). In return, JAM was to be paid its 20 percent commission on any contracts or engagements then in existence, any entered into or negotiated during the agreement’s term, any extensions of such contracts, and any proceeds from any copyrights in music composed during the agreement. Id. ¶ 5(b). 5 JAM’s commissions were to be paid “as and when said Gross Compensation is received by [Reznor],” id., and was to be payable to JAM “immediately upon payment or credit to [Reznor].” Id. ¶ 5(d).

In 1991, Interscope acquired Reznor’s recording contract from TVT, Malm Aff. ¶ 9. As part of the transfer, new agreements were reached that obligated Reznor and NIN to record seven albums distributed by Interscope (of which, as noted, three are still to be produced). Malm Dep. at 24(MJ; Reznor Decl. ¶ 3. In addition, In-terscope agreed to allow Reznor and Malm to form their own record label. See Reznor Letter of June 13, 1991, attached to JAM Defs.’ Rule 56.1 Statement (“JAM Rule 56.1 Statement”) as Exhibit 6.

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Bluebook (online)
365 F. Supp. 2d 565, 2005 U.S. Dist. LEXIS 6805, 2005 WL 927320, Counsel Stack Legal Research, https://law.counselstack.com/opinion/reznor-v-j-artist-management-inc-nysd-2005.