Plaintiffs’ Motion for Summary Judgment Case No. CV07-03314 PSG (MANx) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Richard S. Busch (TN Bar No. 014594) (pro hac vice) [email protected]KING & BALLOW 315 Union Street, Suite 1100 Nashville, TN 37201 (615) 259-3456 Facsimile: (615) 726-5417 Paul H. Duvall (State Bar No. 73699) [email protected]KING & BALLOW 9404 Genesee Avenue, Suite 340 La Jolla, CA 92037-1355 (858) 597-6000 Facsimile: (838) 597-6008 Mark L. Block (State Bar No. 115457) [email protected]GLASER, WEIL, FINK, JACOBS, & SHAPIRO, LLP 10250 Constellation Blvd., 19th Floor Los Angeles, CA 90067 (310) 553-3000 Facsimile: (310) 556-2920 Attorneys for Plaintiffs F.B.T. Productions, LLC and Em2M, LLC UNITED STATES DISTRICT COURT CENTRAL DISTRICT OF CALIFORNIA F.B.T. PRODUCTIONS, LLC, et al., Plaintiffs, v. AFTERMATH RECORDS doing business as AFTERMATH ENTERTAINMENT, et al., Defendants. ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) Case No. CV 07-03314 PSG (MANx) MEMORANDUM AND POINTS AND AUTHORITES IN SUPPORT OF PLAINTIFFS’ MOTION FOR SUMMARY JUDGMENT Date: January 5, 2009 Time: 1:30PM Place: Roybal, Courtroom 790 Honorable Philip S. Gutierrez Discovery Cut-Off: Nov. 3, 2008 Final Pretrial Conference: Jan. 12, 2009 Jury Trial: Feb. 3, 2009 Case 2:07-cv-03314-PSG-MAN Document 175-2 Filed 12/03/2008 Page 1 of 30
Court papers for Eminem suit on download royalties.
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Plaintiffs’ Motion for Summary Judgment Case No. CV07-03314 PSG (MANx)
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Richard S. Busch (TN Bar No. 014594) (pro hac vice)[email protected] KING & BALLOW 315 Union Street, Suite 1100 Nashville, TN 37201 (615) 259-3456 Facsimile: (615) 726-5417
Paul H. Duvall (State Bar No. 73699) [email protected] KING & BALLOW 9404 Genesee Avenue, Suite 340 La Jolla, CA 92037-1355 (858) 597-6000 Facsimile: (838) 597-6008
Mark L. Block (State Bar No. 115457) [email protected] GLASER, WEIL, FINK, JACOBS, & SHAPIRO, LLP 10250 Constellation Blvd., 19th Floor Los Angeles, CA 90067 (310) 553-3000 Facsimile: (310) 556-2920 Attorneys for Plaintiffs F.B.T. Productions, LLC and Em2M, LLC
UNITED STATES DISTRICT COURT CENTRAL DISTRICT OF CALIFORNIA
F.B.T. PRODUCTIONS, LLC, et al.,
Plaintiffs, v.
AFTERMATH RECORDS doing business as AFTERMATH ENTERTAINMENT, et al.,
Defendants.
)))))))))))))))))))
Case No. CV 07-03314 PSG (MANx)MEMORANDUM AND POINTS AND AUTHORITES IN SUPPORT OF PLAINTIFFS’ MOTION FOR SUMMARY JUDGMENT
Date: January 5, 2009 Time: 1:30PM Place: Roybal, Courtroom 790 Honorable Philip S. Gutierrez
Nimmer on Copyright § 8.12[B][1][a] (2008)………………………………9
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Plaintiffs’ Motion for Summary Judgment 1 Case No. CV 07-03314 PSG (MANx)
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I. INTRODUCTION
Plaintiffs F.B.T. Productions, LLC (“F.B.T.”) and Em2M, LLC (“Em2M”)
(collectively, “plaintiffs”)1 respectfully submit this memorandum of points and
authorities in support of their motion for summary judgment. As shown below,
summary judgment in favor of plaintiffs is appropriate on all claims in this action.
On the First and Third2 Counts, the clear and unambiguous language of the
relevant recording agreements state:
On masters licensed by us or our Licensees to others for their manufacture and sale of records or for any other uses, your royalty shall be an amount equal to fifty percent (50%) of our net receipts…
(Plaintiffs’ Statement of Undisputed Facts (“SOF”) ¶ 1 (emphasis added).)
Despite attempting to camouflage their agreements with third parties as
something other than licenses, defendants have indisputably licensed plaintiffs’ master
recordings for such “uses” by way of permanent digital downloads and Mastertones,
but have not paid plaintiffs pursuant to this provision. To the extent extrinsic evidence
is considered, such evidence indeed supports this conclusion, and summary judgment
on Counts One and Three in favor of plaintiffs is appropriate.
On the second cause of action, it is undisputed, and defendants admit, that
defendants have improperly calculated the allocation of certain costs as between
Eminem and plaintiffs, resulting in an underpayment to plaintiffs of $159,332. (Id.
¶ 2.) Defendants acknowledged this underpayment in writing yet refuse to remit the
amount owed to plaintiffs. (Id. ¶ 5.)
1 Plaintiffs are entities made up of the individuals who discovered and signed the superstar rap artist Marshall B. Mathers, III p/k/a Eminem (“Eminem”). (SOF ¶ 3) As discussed herein, plaintiffs claim an entitlement to additional royalties payable for the use and exploitation of master recordings of performances by Eminem (the “Eminem masters”) through contracts with defendant Aftermath Records d/b/a Aftermath Entertainment (“Aftermath”), a joint venture made up of 1) Interscope Records, a California general partnership; 2) Interscope Records, an unincorporated division of UMG Recordings, Inc.; and 3) ARY, Inc. (collectively, “defendants”). (Id. ¶ 4.) 2 Count 3 asks the court to enter a declaratory judgment holding that the 1998 and 2003 Agreements among plaintiffs and defendants obligate defendants to pay royalties equal to fifty percent (50%) of their net receipts from the licensing by defendants or defendants’ Licensees of the Eminem Masters to Music Download Providers and Mastertone Providers. (Doc. No. 100 ¶¶ 53-56) Summary judgment on this count is appropriate for the same reasons it is appropriate on Count 1, which asks for a judgment of breach of contract on the same basis. (See Id. ¶ 37-43.)
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Plaintiffs’ Motion for Summary Judgment 2 Case No. CV 07-03314 PSG (MANx)
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II. STATEMENT OF FACTS
A. Aftermath/F.B.T. Agreements
1. 1995 Agreement between F.B.T. and Eminem
Jeff and Mark Bass are the individuals who, in approximately 1995, discovered
the budding rapper Marshall B. Mathers, III p/k/a Eminem (“Eminem”) and signed
him to their production company, F.B.T. Productions. (SOF ¶ 6.) F.B.T. had been
formed in or around 1995 and was unaffiliated with any large or well-established
entity in the music business. (Id. ¶ 7.) Pursuant to their agreement, F.B.T. was
engaged to produce records containing master recordings of performances by
Eminem. (Id. ¶ 8.) Joel Martin serves as the managing agent of F.B.T. and has been
granted a share of F.B.T.’s royalties payable under its agreements with and involving
Eminem. (Id. ¶ 9.) Mr. Martin is the sole member of plaintiff Em2M, LLC and
assigned it his royalty share. (Id. ¶ 10.)
2. The 1998 Agreement
Eminem’s debut album, Infinite, was released in approximately 1996 but was
not commercially successful. (Id. ¶ 11.) Eminem was little known as a rap artist
Detroit and was represented by Paul Rosenberg, a lawyer fresh from law school with
little professional experience in the music industry. (Id. ¶ 12.) As of 1998, Mr.
Rosenberg had never negotiated a contract with a major record label. (Id. ¶ 13.)
Eminem remained in relative obscurity until coming to the attention of Jimmy
Iovine, head of Universal Music division Interscope Records, and the well-known rap
artist and record producer Andre Rommel Young, Jr., p/k/a Dr. Dre. (Id. ¶ 14.) Mr.
Martin and Jeff and Mark Bass pooled funds to arrange a trip to Los Angeles to meet
with Interscope Records executives, and Dr. Dre decided to offer Eminem a record
deal. (Id. ¶ 15.) Dr. Dre “wanted Eminem signed quickly,” and Aftermath and
Interscope’s representatives presented him with a form based on prior Aftermath
agreements. (Id. ¶ 17.) Although drafts show that Eminem was able to negotiate
some increased advances, royalty rates remained largely unchanged throughout the
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negotiation process, and the recording agreement (the “1998 Agreement”) was
finalized in “four or five days.” (Id. ¶¶ 18-19.) No other record label was negotiating
for Eminem’s services at that time. (Id. ¶ 20.)
The 1998 Agreement provides a royalty rate for “full-price records sold in the
United States” by defendants that varies between 12% (for “records other than LPs”)
to 20% (for LPs 4 through 7, after escalation) of the Suggested Retail List Price. (Id.
¶ 21.) For licenses of the Eminem masters to third parties, Paragraph 4(c)(v) of the
1998 Agreement states, on masters “licensed” by defendants or their licensees to
others “for their manufacture and sale of records or for any other uses, your royalty
shall be an amount equal to fifty percent (50%) of our net receipts from the sale of
those records or from those other uses of the masters” (the “Master License”
provision). (Id. ¶ 22 (emphasis added).)
Master License provisions are contained in many artist recording agreements,
the purpose of which is to provide a higher royalty rate when the record company
licenses the master recordings to third parties, since in such situations the record
company does not incur the expensive incremental costs associated with
manufacturing and distributing potentially millions of records associated with a
release. (Id.) The Master License provision is a catch-all intended to apply to all
licensed uses of the master recordings not specifically provided for in the recording
agreement, as shown by the fact that, on its face, this provision applies to licenses for
the “manufacture and sale of records” and for “any other uses.” (Id. ¶¶ 1, 24.) The
record company drafts this provision as broadly as possible. (Id. ¶ 25.) This
provision is essentially “non-negotiable,” especially in the case of a new artist without
a competing record company bidding for his services. (Id. ¶ 26.)
3. The 2000 Novation
An agreement dated September 27, 2000 (the “2000 Novation”) altered the
legal relationship among F.B.T., Eminem and Aftermath to give Aftermath a direct
relationship with Eminem. (SOF ¶ 28.) Plaintiffs retained a right to royalty income
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Plaintiffs’ Motion for Summary Judgment 4 Case No. CV 07-03314 PSG (MANx)
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under this agreement; Aftermath agreed to render separate accountings to FBT and
Eminem, and the 2000 Novation specified the royalty share of each. (Id. ¶¶ 29-30.)
The 2000 Novation also increased the royalty rates payable for certain sales of
records, removed or modified the reductions on some configurations (e.g., CDs), and
amended various other provisions of the 1998 Agreement. (Id. ¶¶ 32-33.) The 2000
Novation made no changes to the Master License provision and made no reference to
permanent downloads or any other digital configuration.3 (Id. ¶¶ 34-35.)
4. The 2003 Agreement
A new term artist agreement dated July 2, 2003 was entered into between
Aftermath and Eminem (the “2003 Agreement”) which, by its terms, terminated the
term of the 1998 Agreement. (SOF ¶ 37.) By this time, Eminem had been a superstar
recording artist for several years, having released hugely successful records in 1999,
2000 and 2002; Eminem had also starred in the movie 8 Mile and a number of songs
by Eminem were featured prominently in the movie. (Id. ¶ 38.)
The 2003 Agreement made a number of changes, increasing advances and
royalty percentages as befit Eminem’s increased stature. (Id. ¶ 39.) Although F.B.T.
was no longer “furnishing the services” of Eminem (as it had been in 1998), due to the
2000 Novation, both F.B.T. and Joel Martin (for Em2M) remained royalty
participants. (Id. ¶¶ 40-41.) Although certain royalty rates, such as those for sales of
LPs were increased in the 2003 Agreement, the structure and wording of the royalty
provisions was not altered. (Id. ¶ 43.) The Master License provision went
substantively unchanged.4 (Id. ¶ 44.)
3 While Compact Discs are digitally encoded (as opposed to the “analog” encoding on, for example, vinyl records) (SOF ¶ 36), the phrase “digital configuration” and similar phrases such as “digital uses” are used herein to apply only to digital formats intended for transmission over the internet or mobile phone networks. 4 Certain paragraphs were renumbered, and the Master License provision now fell in paragraph 5(c)(v). (SOF ¶ 44.) Also, the reference to “NRS” Licensees was deleted; defendants have explained that the reference to “NRS” in the 1998 Agreement was inconsequential. (Id. 45.)
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Yet, by 2003, as discussed more fully below, UMG Recordings, Inc.5 had
entered into its initial license agreement with Apple Computer, Inc., for iTunes, and
was therefore aware of the impact such licenses would have on its royalty obligations.
(Id. ¶¶ 47-48.) Therefore, beginning in early 2003, UMG and its affiliated labels,
including defendants in this action, began requiring that all new recording
agreements with artists contain a provision expressly specifying how royalties would
be paid for the licensing of that artist’s master recordings for permanent download,
conditional or limited downloads, and streams. (Id. ¶ 49.). During the negotiation of
the 2003 Agreement with Eminem, however, there was no discussion of what royalty
rates would apply to digital uses of the Eminem masters, whether permanent
download, Mastertone, streaming, or anything else, and no additional language
proposed by UMG similar to what they required in other artist contracts. (Id. ¶ 50.)
Instead the Master License provision of the 1998 agreement remained in the 2003
agreement unchanged. (Id. ¶ 44.)
Rand Hoffman is the head of Legal and Business Affairs of defendant
Interscope Records, drafted and negotiated the 2003 Agreement on behalf of
Interscope, and was defendants’ 30(b)(6) witness in this action on various topics. (Id.
¶ 51.) Mr. Hoffman testified in this action that there were no discussions during
negotiations as to whether the Master License provision applied to digital downloads.
(Id. ¶ 52.) He admits, however, that the Master License provision would indeed apply
to permanent downloads if the agreements between defendants and the download
providers are licenses. (Id. ¶ 53.)6
a. The 2004 Amendment
An amendment was made to the 2003 Agreement as of November 1, 2004.
(SOF ¶ 56.) The amendment only modified the 2003 Agreement and therefore only
5 Defendant Interscope is an unincorporated division of UMG Recordings, Inc, see supra at 1 fn1. 6 Mr. Hoffman claims, however, that the unspoken intent of the parties was that the provision would not apply. An email produced by Mr. Hoffman after discovery closed contradicts that contention. (SOF ¶¶ 54-55.)
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applied to releases occurring after the date thereof. (Id. ¶ 57.) The amendment
increased the advance for an upcoming LP, changed the share of plaintiffs’ passive
income participation, and altered some royalty rates in relation to the so-called
“escalation” provision.7 (Id. ¶ 58.) With regard to such escalations, the amendment
provided that for full-price records sold in the United States, “[s]ales of Albums by
way of permanent download shall be treated as USNRC Net Sales for the purposes of
escalations…” (Id. ¶ 59 (emphasis added).) Eminem’s representative Mr. Stiffelman
requested this change to clarify how permanent downloads of albums would be treated
when determining escalations. (Id. ¶ 61.) It was only discussed that full album sales
by way of permanent downloads would count toward escalations. (Id. ¶ 63.) The
amendment left the Master License provision unchanged.
B. Digital Downloads and Other Third Party Uses
By 1998, UMG had created a specialized department to explore the nascent
digital marketplace for music, but the market was still undeveloped and little legal
commerce in music over the internet was taking place. (SOF ¶ 64.)
By July 2003, when the 2003 Agreement was entered into, the digital
marketplace had matured significantly. (Id. ¶¶ 65-66.) Several recording industry
attempts, including initiatives by defendants and their parent Universal Music Group
(“UMG”), to release music in digital formats had been attempted but failed or
produced only limited consumer interest, such as Farm Club, Full Audio, Music Net
and Pressplay. (Id. ¶ 67.) As a result, UMG was actively seeking digital licensing
relationships with third parties such as Apple, Cingular, Sprint and T-Mobile, to whom
UMG could license its master recordings, and who had the technology and
infrastructure to then reproduce and make downloaded music available to consumers.
(Id. ¶ 68.) Apple’s iTunes Music Store launched in 2003 and quickly became the
7 Recording agreements frequently raise the royalty rate for sales of a given album when certain sales levels are reached. (SOF ¶ 60.) Here, for example, the 1998 Agreement provided for a royalty rate of 18% on the first 500,000 copies of LPs 1 through 3 sold, 18.5% for sales between 500,000 and 1 million, and 19% for sales in excess of 1 million. (Id. ¶ 62.)
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largest source of legal permanent downloads on the internet, via its licensing
agreements with record labels. (Id. ¶¶ 69-70.)
C. Types of digital downloads
iTunes and many other companies offers to consumers, through their licenses
with record labels, what are known as “permanent downloads” – digital copies of
master recordings that, once downloaded, reside permanently on an end-user’s
computer (or iPod, etc.).8 (SOF ¶¶ 71, 73.). In general, iTunes, for example, receives
a digital file from the record label pursuant to its licensing agreement (discussed in
more detail below), encodes the digital file with Digital Rights Management
technology (“DRM”), reproduces that digital file, and maintains it on its servers and
the servers of yet another third party (“Akamai”) so that the file is available when an
end user wishes to purchase it from iTunes for permanent download. (Id. ¶ 74.)
Although the DRM limits, for example, how many computers the user can then put a
given song on, the user need not pay any more money or sustain a relationship or
account with iTunes to retain access to the songs he has downloaded. (Id. ¶ 75.)
“Streaming” of music is a process whereby a user can listen to a song but no
copy is created on his local machine. (Id. ¶ 76.) The service receives the master
recording from the record label and manufactures and reproduces it in the same way
as discussed above with respect to permanent downloads (id. ¶ 77), but the user can
only listen to the song more-or-less contemporaneously with its transmission. (Id. ¶
78.) It is not possible to listen to a stream, or to re-listen to a song that has just been
streamed, without connecting to the provider. (Id. ¶ 79.)
“Conditional downloads” are a form of actual download, with the restriction
that a user must maintain a subscription to a given service in order to be able to
download songs, or continue to listen to songs downloaded. (Id. ¶ 80.) The process
8 While other companies also offer permanent downloads of music, iTunes is by far the industry leader. (SOF ¶ 72.)
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of making the songs available to end users by the third party licensee is the same as
discussed above with respect to permanent downloads. (Id. ¶ 81.)
“Mastertones” are a category of digital uses covering more than one product
and are typically short clips (approximately 30 seconds) of a master recording that
plays on a mobile device to signal an incoming telephone call. (Id. ¶ 82.) Most
common are Mastertones that a user purchases and permanently downloads from a
provider, and which are functionally similar to a permanent download. (Id. ¶ 83.)
Other forms of Mastertones – for example, T-Mobile’s “ringback tones” play not for
the purchaser but rather for a third party who calls the purchaser, and are stored on a
central server and “streamed” to the caller. (Id. ¶ 84.) Again, the Mastertone
provider receives the master recording from the record label and makes it available to
users in the same manner as that discussed above for permanent downloads. (Id. ¶ 85.)
D. UMG’s Contracts with Third Party Permanent Download and Mastertone Providers
Since approximately 2001, UMG has entered into licensing agreements with
various third parties granting those entities the rights to reproduce and distribute UMG
music to consumers over the internet in the forms discussed above. (SOF ¶ 86.)
In this litigation, UMG has produced approximately eighty agreements granting
various entities these rights to reproduce and sell UMG’s music (including the
Eminem masters) as permanent downloads and Mastertones. (Id. ¶ 87.)9 Although the
contracts differ somewhat, most are similar in terms of the rights granted to the third
parties and their general structure. (Id. ¶ 89.) Defendants have confirmed that the
process by which digital files are transferred to the third party digital download
providers and then offered and reproduced for end-users, are largely identical. (Id. ¶
90.) Due to these similarities and to limit the burden on the Court, a few select
9 The remaining 120 or so agreements are for conditional downloads, streaming, and other services. (SOF ¶ 88.)
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agreements are discussed herein, which are representative of the other contracts and
relationships at issue. (Id. ¶ 91.)
1. iTunes Permanent Download Agreement
On December 13, 2002, UMG and Apple entered into an agreement (the
“iTunes Agreement”), 10 under which UMG licenses to Apple numerous rights. (SOF
¶ 92.) UMG specifically grants Apple the right “to make available to End Users
Downloads of Universal Sound Recordings” and “to make Reproductions of the
Universal Sound Recordings solely insofar as they are necessary to the Performance
or Download of the Universal Sound Recordings.” (Id. ¶ 95.) Exhibit A to the iTunes
Agreement, titled “Additional Terms and Conditions” states that nothing in the
agreement gives Apple any ownership interest in the Universal Sound Recordings,
including any copyright ownership interest. (Id. ¶ 96.) Other provisions give UMG
the right to terminate the agreement at any time and to demand that iTunes cease
selling some or all of the master recordings licensed to it (Id. ¶ 97.).11 Other
provisions reserve to UMG “any and all rights not expressly granted” and provide
other limitations in the rights granted to Apple (e.g., territorial limitations). (Id. ¶
102.) The agreement provides that upon termination, Apple “shall be required to
immediately cease using the Universal Sound Recordings on the Service,” must return
any physical CDs received from Universal and must destroy all digital files
embodying Universal Sound recordings. (Id. ¶ 103.) For each song (or album) “sold”
by iTunes, Apple must pay UMG a “wholesale price” of the larger of $0.70 for each
individual song download and $7.00 for each download of a full album, or 70% of the
price Apple charges to its customers. (Id. ¶ 104.) This fee also serves as consideration
“for each compliant Reproduction made by Apple of a Universal Sound Recording.”
10 The 2002 Apple agreement was “amended and restated” dated April 28, 2006. (SOF ¶ 93.) The provisions discussed above did not change substantively. (Id.) 11 Thus, it is indisputable that Apple does not have any “first sale” rights, which a purchaser (as opposed to a licensee) would have if it purchased a CD from a record label. See 17 U.S.C. § 109(a); 2 Melville B. Nimmer & David Nimmer, Nimmer on Copyright § 8.12[B][1][a] (2008); Shuptrine v. Brown, No. 81-5628, 1983 U.S. App. LEXIS 13307 * 6 (6th Cir. March 14, 1983) (citing States v. Wise, 550 F.2d 1180 (9th Cir. 1977), cert. denied, 434 U.S. 929); Kenswil Dep. at 129:21-130:17.)
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(Id. ¶ 105.) Apple retains the sole right to set the price at which it will offer
permanent downloads to users. (Id. ¶ 106.)
The iTunes service operates on an “on demand” basis: when a user selects a
song to download and pays Apple for that song, the sound recording file is replicated
and transmitted to the user, resulting in a copy on the user’s computer. (Id. ¶ 107.)
Apple does not maintain an inventory that is “depleted” when a user downloads a file
and cannot “run out” of copies (as a store selling physical product might). (Id. ¶ 108.)
Although the iTunes agreement is careful to avoid characterizing itself as a
“license,” other provisions of the contract show the parties viewed it as such. For
example, paragraph 2(h) of Exhibit A to the agreements, “No Further Licensing or
Obligation,” states that “Except for the rights granted by Universal to Apple in section
1 of the Agreement, no further rights are granted to Apple in or under the
agreement…” (Id. ¶ 109.) The iTunes “Terms of Service” agreement similarly refers
to content “owned by Apple and/or its licensors.” (Id. ¶ 110.)
Steve Jobs, CEO of Apple, discussed his company’s relationship with UMG as
that of a “license” in an essay titled “Thoughts on Music” dated February 6, 2007.
(Id. ¶ 111.) He explained Apple’s need to “license rights to distribute music from
others,” mentioning Universal and the other large record companies, and Apple’s
subsequent success in “licens[ing] their music to distribute legally over the Internet.”
(Id. ¶ 112) Although he consistently referred to Apple “licensing” music from “the big
four music companies” (Id.), when deposed in this case he claimed not to know
whether his company’s relationship with Universal was, in fact, a license. (Id. ¶ 113.)
Mr. Cue, Vice President of iTunes, has also characterized Apple’s relationship
with UMG (and other rights-holders) as a license. In a written statement submitted to
the Copyright Royalty Board, Mr. Cue repeatedly states that iTunes has “licensed”
“millions of songs” from copyright holders, and explains that “royalty payments”
pursuant to these “licensing agreements” are the most significant cost faced by iTunes.
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(Id. ¶ 114.) Yet, like Mr. Jobs, Mr. Cue professed not to know whether the iTunes
Agreement was a license when deposed. (Id. ¶ 115.)
It is undisputed that, contractually, no title to any UMG master recordings or to
the digital audio files embodying those recordings passes to Apple, nor does title pass
to any third party permanent download provider. (Id. ¶ 116.)12
2. Mastertone Agreements
In approximately 2003, UMG began negotiating with various third party entities
who wanted to offer UMG songs to consumers for use on mobile phones as
Mastertones. (SOF ¶ 120.) UMG entered into agreements with the major cellular
telephone network carriers, including Sprint, Nextel, Cingular, and T-Mobile. (Id. ¶
121.) These contracts were primarily drafted by representatives of the third party
Mastertone Providers and presented to UMG on a “take it or leave it” basis due to the
superior bargaining position of the Mastertone providers. (Id. ¶ 122.) These
agreements are similar with one another, and UMG grants similar if not identical
rights to each Mastertone provider.
Most of these agreements, unlike the permanent download agreements
discussed above, explicitly state they are granting the Mastertone provider in question
a “license” to reproduce and distribute Mastertones embodying UMG music (among
other things). (Id. ¶ 123.). The only one of the agreements referenced above between
UMG and a Mastertone provider that does not explicitly call the grant of rights from 12 Defendants claim that Apple is not a licensee, but instead, supposedly, a “reseller” of UMG master recordings, much like a Best Buy or a Tower record store. (SOF ¶ 117.) Unlike a reseller, however, it is undisputed in this action that (1) nowhere does the agreement call Apple a reseller (id. ¶ 118); (2) title to the digital file supplied by defendants to Apple does not transfer to Apple (id. ¶ 116); (3) Apple reproduces the master recordings, and maintains such reproductions on its servers, which requires a license, while a reseller like Best Buy or Tower does not (id. ¶ 107); (4) Apple has no “first sale” rights (see supra at 9 fn11); and (5) since UMG sells nothing to Apple, and Apple has no obligation to pay Apple anything unless and until an end user downloads a song, there is no sale between UMG and Apple, much less a resale to a consumer. Although no support is found in any of the agreements, in response to this litigation, representatives of UMG and Apple have concocted the claim that the sale from UMG to Apple, as well as the supposed resale to the consumer, occurs simultaneously at the time of the download. (Id. ¶ 119.)
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UMG a “license” is the agreement with T-Mobile, the only one for which UMG was
able to negotiate certain wording. (Id. ¶¶ 124-125.) However, the initial draft of the
agreement did refer to this grant as a “license,” but the word “license” was changed to
“authorization” and “right” in a March 18, 2004 revision by UMG, clearly in order to
attempt to camouflage the agreement as something other than a license. (Id. ¶ 127.)
T-Mobile did not oppose or question this change because they “did not feel it was
material.” (Id. ¶ 128.) All of these “grant of rights” provisions, including that in the
T-Mobile agreement, explicitly grant the rights to reproduce and distribute UMG’s
intellectual property. (Id. ¶ 129.)
Other provisions in these contracts also contain indicia of a license. All of the
agreements make it clear that all intellectual property rights in the UMG recordings
(and the Mastertones embodying those recordings) are reserved to UMG and no
ownership rights therein are granted. (Id. ¶ 130.) They are also all for a limited term
and most explicitly state the Mastertone providers’ rights in the UMG content expire
upon termination. (Id. ¶ 131.) UMG keeps tight control over its content subject to
these agreements as shown by provisions giving UMG the right to unilaterally request
the removal of any of its recordings from the Mastertone services. (Id. ¶ 132.)
The Mastertone agreements, like the iTunes Agreement described above,
provide for recurring and ongoing benefits to UMG: payments based on the quantity
and price of the Mastertones delivered to subscribers. (Id. ¶ 133.) For each
Mastertone delivered to a subscriber UMG is owed the greater of $1.00 or 50% of the
price charged consumers. (Id. ¶ 134.)
E. UMG’s Royalty Treatment of Revenues from Digital Uses
In approximately late 2002 – at approximately the same time the iTunes
agreement was being negotiated – UMG made the company-wide decision to pay
royalties for permanent downloads reproduced and distributed by third party providers
under the royalty provision applicable to defendants’ sales of physical product, not
under the Master License provision. (SOF ¶ 135.) At about the same time, and before
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the 2003 Agreement was entered into, UMG, again on a company-wide basis, altered
its standard form artist contract to expressly treat permanent downloads under the
“record” royalty provision. (Id. ¶ 136.)
In contrast to its royalty treatment of permanent downloads, UMG treats
income from streaming and conditional download agreements (which they refer to
collectively as “subscription” agreements) as licenses of master recordings, and pay
royalties under the Master License provision. (Id. ¶¶ 137-138.) UMG provides the
same audio files to its third party partners whether they are destined for use via
streaming, conditional download or permanent download. (Id. ¶ 139.)
For all of these digital uses UMG has only minimal costs: no manufacturing,
packaging or distribution costs. (Id. ¶ 140.) If any of these costs (or something
analogous to them) exist, the third party digital download providers incur them, not
UMG.13 (Id. ¶ 141.) There is absolutely no legitimate explanation for the unilateral
decision by UMG to treat permanent downloads and Mastertones by third parties as
sales of records by UMG but conditional downloads and streams as licenses, since the
agreements with the third parties in both cases are virtually identical. (Id. ¶ 142.)14
1. The Letter from Music Industry Attorneys
UMG’s unilateral royalty decision did not go unnoticed by music artists and
their representatives and, on March 24, 2004, approximately 27 attorneys representing
both prominent artists and record companies in the music industry signed a letter to
13 For this reason, the “new medium” deduction specified in the 1998 and 2003 Agreements is also inapplicable to digital downloads. The “new medium” deduction is included in artist contracts with the anticipation that new technologies may have increased costs for the record company. (Id. ¶ 144.) Because the licensing of masters to third parties results in the third parties bearing all such costs, applying the deduction in this circumstance would be contrary to the intent of the contracting parties. (Id.) It is uncontested that UMG does not take this deduction either for conditional downloads and streams (which are paid under the Master License provision) or permanent downloads and Mastertones. (Id. ¶ 145.) 14 UMG witness David Weinberg, who negotiated many of UMG’s agreements with the digital providers, when asked what made conditional downloads and streams “license” but not permanent downloads and Mastertones, could only offer the res ipsa reasoning that “one involves the sale of records, the other does not.” (SOF ¶ 146.) Yet, Mr. Weinberg also acknowledged that the Master License provision would apply to masters licensed to third parties for use on a compilation album that is sold by that third party. (Id. ¶ 147.) The question of whether the permanent download and Mastertone contracts involve “sale of records” is irrelevant since the master licensing provision at issue herein explicitly provides that it applies to licenses for the manufacture and sale of records or for any other uses.” (Id. ¶ 1.)
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the heads of the major record labels.15 (Id. ¶ 148.) The signatories to this letter
included Mr. Gary Stiffelman, who represents Eminem and negotiated the 2003
Agreement on his behalf, Mr. Peter Paterno, who represents Aftermath and negotiated
all of the relevant agreements with Eminem in this case on Aftermath's behalf, and
other prominent attorneys representing artists, labels and producers. (Id. ¶¶ 149-150.)
In their letter, the attorneys took issue with this royalty treatment, arguing royalties for
these uses should be paid under the provisions in artist contracts analogous to the
Master License clause at issue here. (Id. ¶ 148.)
F. UMG’s Characterization of Its Arrangements
Although UMG is careful to avoid use of the word “license” in most of its
agreements with permanent download providers,16 its representatives continually refer
to UMG’s actions as “licensing” their music in public statements. (SOF ¶ 155.) For
example, in sworn written testimony given before the Copyright Royalty Board,
Lawrence Kenswil, who is an attorney and Universal’s Executive Vice President of
Business Strategy, formerly the head of Universal eLabs, refers to UMG’s actions as
“licensing” sound recordings and “digital rights.” (Id. ¶ 156.)17 Jimmy Iovine, head
of defendant Interscope Records, is quoted in a magazine article as referring to
Apple’s need to “secure licenses from…the labels” and made similar references to
labels “licensing” music for various uses in a videotaped interview. (Id. ¶¶ 158-159.)
In addition, in an action proceeding in the Eastern District of Michigan in which
defendant Aftermath is a named party, Aftermath has admitted and argued that it
15 The "major" record labels as of March 2004 consisted of Sony Music Entertainment, Warner Music Group, EMI Recorded Music, Universal Music Group and BMG Entertainment. (SOF ¶ 153.) BMG and Sony have since been combined into a single company. (Id ¶ 154.) These companies all made similar decisions with respect to the royalty treatment of permanent downloads at approximately the same time. 16 With the exception of the T-Mobile agreement, UMG has had less success in excluding this word from their Mastertone agreements. (SOF ¶¶ 123-124.) When questioned about this, Mr. Weinberg explained that these agreements were largely presented on a “take it or leave it” basis (id. ¶ 122) meaning UMG did not have the opportunity to negotiate the removal of the word “license.” 17 Although Mr. Kenswil claimed that in this sentence, “electronic distribution” included only “customized radio, subscription services, video streaming,” and not permanent downloads or Mastertones – i.e., only the forms that UMG concedes are licenses– he claims that the phrase “electronic distribution” used on the very next page in the same statement does include permanent downloads. (SOF ¶ 157.)
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licenses the compositions which are embodied in the Eminem masters to Apple for use
on the iTunes service. (Id. ¶ 160.) If the musical compositions are being licensed, the
master recordings embodying those compositions must also be licensed.
G. UMG’s Royalty Treatment of Third Party Compilation Albums
It is undisputed that any income UMG receives for the license of one or more
Eminem masters for use on a third-party compilation album would be accounted to
plaintiffs under the Master License provision, despite the fact that the third party
would sell physical CDs containing the Eminem master (along with other songs).
(SOF ¶ 174.) There are a number of similarities between UMG’s licensing of master
recordings for use on compilation albums and the permanent download and
Mastertone agreements described above.
First, royalties due UMG under a compilation album license are a percentage of
the retail price. (Id. ¶ 175.) The retail price of the final product is set by the third
party licensee, not UMG. (Id. ¶ 176.) A compilation license also grants the third party
similar rights to the agreements specified above: to reproduce, distribute and sell the
master recording. (Id. ¶ 177.) UMG provides a copy of the master recording to the
third party licensee in whatever format the licensee requests, possibly including
digital. (Id. ¶ 178.)
Compilation licenses contain limitations similar to those discussed above,
specifying that the rights granted are limited to the specific configurations requested
(and may include the right to distribute the album via permanent download or other
digital means), cease upon termination or shortly thereafter,18 and title to neither the
master recording nor the embodiment of the master passes to the third party. (Id. ¶¶
179-184.)
H. The Royalty Audit
18 At least some of UMG’s compilation licenses appear to allow a “sell-off period” after termination so that remaining inventory is not a total loss to the licensee. (SOF ¶ 187.)
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A royalty audit conducted by the Gary Cohen Corporation on behalf of
plaintiffs and Eminem covering the period January 1, 2002 to June 30, 2005 showed
UMG was paying plaintiffs royalties on permanent downloads and Mastertones based
on the royalty rate applicable to full price records sold by defendants in the United
States instead of the rate under the Master License provision. (SOF ¶ 191.) This
royalty treatment resulted in an underpayment of over $650,000 to plaintiffs and
Eminem through June 30, 2005, the period covered by the audit. (Id. ¶ 193) Through
April 2008, this underpayment has reached at least $1,340,754. (Id. ¶ 194.)
The audit revealed numerous other accounting inconsistencies separate and
apart from the digital issue discussed above. (Id. ¶ 195.) Defendants’ written
response to the audit, a letter dated May 8, 2007, denied almost all the claims in the
audit, including the digital claim described above, but admitted an underpayment to
F.B.T. of $159,332 stemming from incorrect allocation of costs as between Eminem
and plaintiffs. (Id. ¶ 196.) UMG’s 30(b)(6) witness in this action admits that the
$159,332 is owed to plaintiffs, and could not articulate any potential set-off amounts.
(Id. ¶ 197.)
ARGUMENT
III. GENERAL STANDARD FOR SUMMARY JUDGMENT MOTIONS.
A motion for summary judgment should be granted if there is no genuine issue
as to any material fact and the moving party is entitled to judgment as a matter of law.
See Fed. Rule Civ. Proc. Rule 56; Wilson v. City of Fountain Valley, 372 F. Supp. 2d
1178, 1183 (C.D. Cal. 2004). While any inferences drawn from the evidence
presented will be viewed in a light most favorable to the nonmoving party, the party
seeking summary judgment bears only the initial responsibility of showing there is no
genuine issue for trial, before the nonmoving party must introduce evidence. Wilson,
at 1183. Moreover, the moving party is not initially required to introduce evidence
negating an element on which the non-moving party will bear the burden of proof at
trial. Id. The moving party need only point out to the Court that, on at least one such
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element, no evidence supports the non-moving parties’ case. Id.; see also Barnett v.
Centoni, 31 F.3d 813, 815 (9th Cir. 1994).
Thereafter, the nonmoving party may not rest upon the mere allegations or
denials of his pleading but rather must set forth specific facts showing that there is a
genuine issue for trial. Wilson, at 1183. Furthermore, "the mere existence of some
alleged factual dispute between the parties will not defeat an otherwise properly
supported motion for summary judgment; the requirement is that there be no genuine
issue of material fact." Anderson v. Liberty Lobby, Inc., 477 U.S. 242, 247-248, 106
S. Ct. 2505, 91 L. Ed. 2d 202 (1986).
IV. IF UMG HAS LICENSED THE EMINEM MASTERS, PLAINTIFFS ARE ENTITLED TO ROYALTIES BASED ON 50% OF UMG’S NET RECEIPTS
A. The Plain Language of the 1998 and 2003 Agreements Entitles Plaintiffs to 50% of UMG’s Net Receipts for Licensed Uses of the Eminem Masters
As the initial step in contract interpretation under California law,19 [w]here the
language of a contract is clear and not absurd, it will be followed. Cal. Civ. Code,
§ 1638.
However, if parties dispute the meaning of contractual language, "the first
question to be decided is whether the disputed language is 'reasonably susceptible' to
the interpretation urged by the party. If it is not, the case is over." People ex rel.