Opinion ID: 787030
Heading Depth: 4
Heading Rank: 1

Heading: Mechanical License

Text: 18 Bridgeport repeatedly emphasizes that there was evidence that the Home Invasion album continued to be sold and offered for sale after May 4, 1998. 4 There is no claim, however, that UPIP was directly involved in the manufacture, distribution, or sale of the album. Nor is there evidence from which a rational trier of fact could conclude that UPIP ever granted a mechanical license for use of the composition 99 Problems on the Home Invasion album. UPIP became a co-owner of the composition more than a year after the album's release and has flatly denied ever granting a license for the use of the composition. Specifically, UPIP offered the affidavit of Edward Arrow, a vice-president of copyrights, attesting that there is no record that UPIP ever issued any mechanical, performance, synchronization, sheet/music or other licenses, or distributed or otherwise exploited sheet music for the musical composition 99 Problems. Arrow also stated that UPIP never controlled the sale, distribution, or public performance of the Home Invasion album; the issuance of blanket performance licenses; or the apportionment of fees generated by such licenses. 19 In addition, UPIP's records showed that it did not receive any mechanical royalties for the sale of 99 Problems. In fact, Anthony Sarageueta, vice-president of royalties, testified that while UPIP would seem to have a right to mechanical royalties, he could not explain without conducting further research why UPIP had not received any such royalties. The burden was on Bridgeport to follow up with further discovery in its attempt to connect UPIP to the distribution and sale of the album. Neither UPIP's status as a co-owner of the composition, nor its contractual right to administer the composition and receive and distribute royalties, is sufficient to create a genuine issue of fact whether UPIP received mechanical royalties. 20 Since Bridgeport failed to make a showing that UPIP granted a license, received any royalties from the sale of the album, or had any connection to the distribution and sale of the album within the limitations period, summary judgment was properly entered in favor of UPIP on the claims of direct and contributory infringement. Similarly, Bridgeport's claim of vicarious liability is based solely on the allegation that UPIP granted a mechanical license to the record label and had the right (through the contracts with Marrow) to administer the composition. The record fails to demonstrate UPIP's connection to, much less the ability to supervise or control, the infringing activity.