Zelus Group LLC v. Amaru Entertainment Inc

CourtDistrict Court, N.D. Texas
DecidedFebruary 22, 2023
Docket3:22-cv-01281
StatusUnknown

This text of Zelus Group LLC v. Amaru Entertainment Inc (Zelus Group LLC v. Amaru Entertainment Inc) is published on Counsel Stack Legal Research, covering District Court, N.D. Texas primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Zelus Group LLC v. Amaru Entertainment Inc, (N.D. Tex. 2023).

Opinion

UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF TEXAS DALLAS DIVISION RONALD BRENT; ZELUS GROUP, § LLC; and LESLIE WARE; § § Plaintiffs, § § v. § CIVIL ACTION NO. 3:22-CV-1281-B § AMARU ENTERTAINMENT, INC., § § Defendant. § MEMORANDUM OPINION AND ORDER Before the Court is Defendant Amaru Entertainment, Inc. (“Amaru”)’s Motion to Dismiss or Transfer Action (Doc. 25) and Plaintiffs Ronald Brent; Zelus Group, LLC (“Zelus”); and Leslie Ware’s Motion to Strike Reply Brief (Doc. 34). Amaru seeks to dismiss Plaintiffs’ First Amended Complaint for lack of personal jurisdiction or, in the alternative, to transfer venue to the Central District of California. See generally Doc. 25, Mot. Dismiss. Because the Court finds that it lacks personal jurisdiction over Amaru, the Motion to Dismiss (Doc. 25) is GRANTED, and Plaintiffs’ claims are DISMISSED WITHOUT PREJUDICE. Additionally, because the Court does not rely on the allegedly new argument in Amaru’s reply, the Motion to Strike Defendant’s Reply Brief (Doc. 34) is DENIED AS MOOT. I. BACKGROUND This case is about the ownership and copyrights of a painting—but not just any painting. The dispute surrounds the painting used as an album cover for the late rapper, Tupac Shakur. Plaintiffs allege a chain of ownership in the painting and seek declaratory judgment against Amaru, the operating entity of Tupac Shakur’s late mother’s estate, which claims it is the rightful owner of the painting. The key issue on the Motion to Dismiss is whether Plaintiffs can properly hale Amaru before the Court because that painting is now located in Dallas. In the mid-1990s, Death Row Records (“DRR”) hired Ronald Brent, a prominent artist known as “Riskie,” to create art for various album covers. Doc. 24, First Am. Compl., 1 10. One of those paintings depicted Tupac Shakur (“Tupac”) hanging on a cross. Id. {1 11. Deemed the “Makaveli Painting,”’ the image was used as the album cover for Tupac’s 1996 album, Don Killuminati: The 7 Day Theory:

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Doc. 26, Rothschild Decl., 1 10. Later that year, Tupac Shakur was murdered. Doc. 26, Whalley Decl., 12. But his prominence has lived on. Doc. 26, Rothschild Decl., 11 4.

‘ The Court will use “Makaveli Painting” or “the Painting” to refer to the physical painting and “Makaveli Image” or “the Image” to refer to the image generally. -2-

Today, the Painting is in Dallas, Texas, and several parties lay claim to both the physical painting and its copyright. Plaintiffs Brent, Zelus, and Ware tell one tale of ownership. They allege that Brent retained ownership of the Makaveli Painting until 2012, when he sold it to a

third party, Mazuree Ali. Doc. 24, First Am. Compl., ¶ 19. In 2021, Ali then sold the Painting to Zelus. Id. ¶ 20. Later that year, Zelus “contracted with Heritage Auctioneers & Galleries, Inc. (‘Heritage’) to market and publicly auction the Makaveli Painting.” Id. ¶ 21. And, ultimately, Leslie Ware was the winning bidder. Id. ¶ 27. By contrast, Amaru contends that Brent never “owned” the Makaveli Painting or Image to begin with. See Doc. 25, Mot. Dismiss, 5. Rather, because Brent was an employee for DRR, Amaru alleges that ownership of the Painting and Image stayed with DRR. Id. Then, in 2013,

Amaru, along with Tupac’s late mother, Afeni Shakur, filed an action to recover Tupac’s DRR recordings and related material, including album artwork. Doc. 26, Rothschild Decl., ¶¶ 5–6. Ultimately, according to Amaru, the purported holder of the DRR materials quitclaimed and assigned the recordings and artwork to Amaru on January 1, 2022. Id. ¶ 7. The parties’ dispute came to a head in May 2022, when Amaru learned that Heritage had listed the painting for online auction. See Doc. 26, Rothschild Decl., ¶ 9; Doc. 24, First Am.

Compl., ¶ 22. Believing it was the rightful owner, Amaru, through counsel, sent a letter to Heritage demanding that the auctioneer withdraw the Painting. Doc. 24, First Am. Compl., ¶ 22. Several days later, Amaru received an email from Zelus identifying itself as the consignor of the painting. Id. ¶ 23; Doc. 26, Rothschild Decl., ¶ 20. After several emails between the parties regarding ownership, Zelus and Amaru simultaneously filed two parallel actions in the Northern District of Texas and the Superior Court of California.2 Doc. 28, Resp., 2. While the parallel disputes were ongoing, Heritage held the auction, and Ware won the Painting. Id at 2–3. Ware has possessed the Painting, which is currently in his Dallas home, ever since. Id.

Plaintiffs make two claims. First, Brent seeks a declaratory judgment regarding his ownership in the Makaveli Image’s copyright. Doc. 24, First Am. Compl., ¶¶ 29–34. Second, all Plaintiffs seek a declaratory judgment regarding ownership of the Makaveli Painting, namely that (i) Ware is the sole and exclusive owner of the Makaveli Painting, (ii) Amaru does not have any ownership interest in the Makaveli Painting, (iii) Brent was within his legal rights to sell the Makaveli Painting, and (iv) Zelus was within its legal rights to sell the Makaveli Painting. Id. ¶¶ 35–40. Amaru moves the Court to dismiss the case for lack of personal jurisdiction or, in

the alternative, to transfer the case to the Central District of California. Doc. 25, Mot. Dismiss. II. LEGAL STANDARD3 Courts have long recognized two categories of jurisdiction—jurisdiction over persons and jurisdiction over property. The first, known as in personam or “personal jurisdiction,” refers to a court’s power over a defendant’s personal rights. See Jurisdiction, Black’s Law Dictionary (11th ed.

2019). The second, known as in rem jurisdiction, refers to a court’s power to adjudicate the rights to a given piece of property. Id. The in personam and in rem classifications, however, may not exhaust all the situations giving rise to jurisdiction. Hanson v. Denckla, 357 U.S. 235, 246 (1958).

2 The California case was subsequently removed to federal court and later transferred to this district. See Amaru Ent., Inc. v. Heritage Cap. Corp., No. 3-22-CV-2677-B (N.D. Tex. transferred Dec. 1, 2022) (Boyle, J.). 3 Because the Court finds that it lacks personal jurisdiction over Amaru, it does not address the standard for transfer of venue. And the difference between in rem and in personam jurisdiction is not always clear. Indeed, a third category—known as quasi in rem jurisdiction—often describes a set of cases residing somewhere in between in rem and in personam jurisdiction. See 4A Charles Alan Wright &

Arthur R. Miller, Federal Practice and Procedure § 1070 (4th ed. 2022) (“A quasi-in-rem action is basically what the name implies—a halfway house between in rem and in personam jurisdiction.”). For personal jurisdiction over a defendant, the due process requirements are well established. First, a nonresident defendant must have purposefully availed itself of the benefits and protections of the forum state through “minimum contacts” such that it should reasonably anticipate being haled into court there. Burger King Corp. v. Rudzewicz, 471 U.S. 462, 474–75

(1985). Second, the exercise of jurisdiction over the defendant must “not offend traditional notions of fair play and substantial justice.” Int’l Shoe Co. v. Washington, 326 U.S. 310, 316 (1945) (internal quotations omitted). A defendant’s contacts with a forum state may give rise to either general or specific personal jurisdiction. Lewis v. Fresne, 252 F.3d 352, 358 (5th Cir. 2001).

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Bluebook (online)
Zelus Group LLC v. Amaru Entertainment Inc, Counsel Stack Legal Research, https://law.counselstack.com/opinion/zelus-group-llc-v-amaru-entertainment-inc-txnd-2023.