Riscili v. Gibson Guitar Corp.

605 F. Supp. 2d 558, 2009 U.S. Dist. LEXIS 25231, 105 Fair Empl. Prac. Cas. (BNA) 1831, 2009 WL 792304
CourtDistrict Court, S.D. New York
DecidedMarch 26, 2009
Docket1:06-cv-7596
StatusPublished
Cited by1 cases

This text of 605 F. Supp. 2d 558 (Riscili v. Gibson Guitar Corp.) 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
Riscili v. Gibson Guitar Corp., 605 F. Supp. 2d 558, 2009 U.S. Dist. LEXIS 25231, 105 Fair Empl. Prac. Cas. (BNA) 1831, 2009 WL 792304 (S.D.N.Y. 2009).

Opinion

MEMORANDUM OPINION AND ORDER

RICHARD J. HOLWELL, District Judge:

Plaintiff Patrick “Daniel” Riscili, a gay man, was fired by Gibson Guitar Corp. (“Gibson”) after he complained about a eoworker who mocked his sexual orientation at a company-sponsored after work function. The parties disagree about why. While Riscili sees a link between his complaints and his later termination, Gibson contends that Riscili was fired because he could not adjust to its entrepreneurial corporate culture. Gibson has moved for summary judgment. For the reasons that follow, Gibson’s motion is denied as to Riscili’s retaliation claim, but granted as to Riscili’s discrimination claim.

I. BACKGROUND

Viewed in the light most favorable to Riscili, see Anderson v. Liberty Lobby, Inc., 477 U.S. 242, 255, 106 S.Ct. 2505, 91 L.Ed.2d 202 (1986), the record shows the following.

A. Parties

Riscili worked as an “entertainment representative,” first at Baldwin Pianos (“Old Baldwin”) and then at Gibson. (Def.’s R. 56.1 Stmt. ¶¶ 1-2.) His job principally involved lending pianos to musicians or musical venues as a means of promoting the Baldwin Pianos brand. Riscili, for example, negotiated contracts with musical venues whereby Gibson agreed to provide free pianos in exchange for exposure to a national audience. (See, e.g., Riscili Depo. 17-18, 23.) Gibson, a Delaware corporation that has its principal place of business in Nashville, Tennessee, manufactures and markets musical instruments. (-See Notice of Removal, at 2 (Sept. 20, 2006).) The other named defendants are divisions of Gibson. (Def.’s R. 56.1 Stmt. 1 n. 1.)

B. Gibson’s Purchase of Old Baldwin

Sometime in the fall of 2001, Gibson purchased Old Baldwin in bankruptcy. (Def.’s R. 56.1 Stmt. ¶ 2.) Shortly thereafter, Gibson hired several Old Baldwin employees including Riscili into positions similar to those they held at Old Baldwin. (Id. ¶ 6.) At first, Riscili worked out his apartment in New York and reported to Joe Vitti, another employee hired from Baldwin. (Riscili Depo. 46^47.) Vitti, in *561 turn, reported to Gibson’s CEO, Henry Juszkiewicz. (Def.’s R. 56.1 Stmt. ¶ 7.)

In the summer of 2002, both Riscili and Vitti began reporting to Pat Foley, the world director of Gibson’s artist division. (Def.’s R. 56.1 Stmt. ¶ 8.) At about the same time, Riscili began working out of the “Hit Factory” building on 54th Street in Manhattan. (Id.) Although Old Baldwin had been forced to leave this building because of its failure to pay rent, Riscili, at Juszkiewiez’s request, arranged for Gibson to open á showroom and offices there. (Riscili Depo. 58.) A few months after Riscili moved to the Hit Factory, he began reporting to Nina Miller, the manager of Gibson’s Entertainment Relations division. (Def.’s R. 56.1 Stmt. ¶ 12.) Two other entertainment representatives, Lou Vito and Jimmy Archey, also worked out of the Hit Factory, as did Archey’s wife, Diane Mahiques, Gibson’s New York office manager. (Id. ¶ 10.) Miller apparently did not work out of the Hit Factory. (See Riscili Depo. 93-94.)

The record suggests that at least until the beginning of 2003, Riscili was well regarded by his peers and supervisors. On August 29, 2002, for example, Juszkiewicz sent Riscili an email in response to Riscili’s “Daily Report” of the previous day that stated: “Dan: You are continually doing great work. Very much appreciated by every[one]. Thank you !!!” (Ex. C. to Decl. of Karim H. Kamal (May 5, 2008) (paragraph breaks omitted).) Nina Miller, Riscili’s supervisor during the events at issue in this lawsuit, testified that Riscili was good at doing the things he had done when he “was employed by Baldwin Piano before they were acquired by Gibson.” (Miller Depo. 13.)

C. The Events of April 2, 2003

On April 2, 2003, Riscili represented Gibson at a reception sponsored by the company to celebrate the opening of the movie What a Girl Wants. (Riscili Depo. 68.) Michael John LaChiusa, a librettist and client of Gibson’s who is gay, accompanied Riscili to the reception. (See id. at 75; Ex. B to Decl. of Karim H. Kamal, at 2-3 (“LaChiusa Stmt.”).)

At some point between 8:00 and 9:00 p.m., LaChiusa and Riscili were talking to Lou Vito, two or three members of a band, and the band members’ “lady friends.” (Riscili Depo. 78-79.) LaChiusa left the group. (LaChiusa Stmt. 2.) Shortly thereafter, LaChiusa caught Riscili’s eye and indicated that something was happening behind Riscili’s back. (Riscili Depo. 78-79.) Riscili turned around to find Vito imitating him in a derogatory manner. (Id.) LaChiusa stated that “[he] saw directly behind Danny this Vito mimicking with hand movements and facial gestures indicating in no uncertain terms and a derogatory fashion that he was mocking the fact that Danny was gay.” (LaChiusa Decl. 2.) Riscili testified that Vito’s imitation of him “was exaggerated and it was very offensive.... [T]he joke was on me and he was doing it in front of his band, who I just met and I had been in conversation with ... for the past, you know, five minutes.” (Riscili Depo. 81.) Offended and feeling that he was in a homophobic environment, LaChiusa left the reception. (LaChiusa Stmt. 3.) After attempting to say goodbye to Juszkiewicz, Riscili also left. (Riscili Depo. 84.) He did not confront Vito, because he didn’t want to make a scene in front of Gibson’s clients. (Id. at 84.)

D. Subsequent Events

When Riscili arrived at work the next day, the officer manager, Diana Mahiques, asked him how the reception went. (Id. at *562 87-88.) 1 Riscili told her what happened, but asked her not to report Vito’s behavior to Gibson management since he preferred to confront Vito informally. (Riscili Depo. 93.) Despite the request, Mahiques reported the incident to Nina Miller, who was both Riscili’s and Vito’s supervisor. (Id. at 93-94.) According to Riscili, Miller called him and asked him what he intended to do. Riscili told her he would address the matter privately with Vito. Miller said she would get back to him. (Id. at 94, 97.) Miller testified that she has no recollection of this phone call. (Miller Depo. 57.)

Later that day, Vito came to Riscili’s office and told him that he did not intend to offend him. (Riscili Depo. 95.) Riscili, thinking Vito was a “fool,” told him something to the effect that “we got to work together, Lou, you know, this was offensive.” (Id.) Vito apologized, but Riscili did not find him sincere. (Id. at 96.)

News of Vito’s behavior and Riscili’s response spread quickly through Gibson’s offices. Later in the day, a coworker from Gibson’s Los Angeles office called Riscili and told him “we hear Lou’s up to it again” — an apparent reference to Vito’s history of offensive behavior toward gay employees. (Id.

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

Related

Carmody v. Village of Rockville Centre
661 F. Supp. 2d 299 (E.D. New York, 2009)

Cite This Page — Counsel Stack

Bluebook (online)
605 F. Supp. 2d 558, 2009 U.S. Dist. LEXIS 25231, 105 Fair Empl. Prac. Cas. (BNA) 1831, 2009 WL 792304, Counsel Stack Legal Research, https://law.counselstack.com/opinion/riscili-v-gibson-guitar-corp-nysd-2009.