Holmes v. Artists Rights Enforcement Corp.

148 F. App'x 252
CourtCourt of Appeals for the Sixth Circuit
DecidedJuly 13, 2005
Docket04-1489
StatusUnpublished
Cited by15 cases

This text of 148 F. App'x 252 (Holmes v. Artists Rights Enforcement Corp.) is published on Counsel Stack Legal Research, covering Court of Appeals for the Sixth Circuit primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Holmes v. Artists Rights Enforcement Corp., 148 F. App'x 252 (6th Cir. 2005).

Opinion

McKINLEY, District Judge.

Rosalind Ashford Holmes and Annette Beard Sterling appeal the district court’s grant of summary judgment in favor of Defendants, Artists Rights Enforcement Corporation; its President, Charles Rubin; the law firm of Summit, Rovins & Feldesman; and one of its attorneys, Ira Green- *254 berg. Holmes and Sterling claim that the district court erred in its interpretation of the contracts between them and Artists Rights Enforcement Corporation. Holmes and Sterling also claim that the district court abused its discretion in denying their Motion to Reconsider both the grant of summary judgment as to Artists Rights Enforcement Corporation as well as the Court’s award of attorneys’ fees to UMG Recordings, Inc. For the following reasons, we AFFIRM the judgment of the district court.

I.

The Appellants, Rosalind Holmes and Annette Beard Sterling, are original members of the Motown Records group Martha and the Vandellas. Martha and the Vandellas, inductees into the Rock and Roll Hall of Fame, recorded a number of hits in the 1960s, such as “Heat Wave” and “Dancing in the Street.” Despite their success, the two members of the Vandellas who bring this action had difficulty obtaining royalty payments allegedly owed to them by Motown Records. In 1984, Holmes and Sterling (collectively the ‘Vandellas”) entered into two separate contracts with Artists Rights Enforcement Corporation (“AREC”) under which AREC and its president, Defendant Charles Rubin, agreed to collect the Vandellas’ royalties. The contracts, which were identical, provided in pertinent part:

I hereby retain you and your firm to act on my behalf in connection with investigation and collection of any and all royalties which are, or may be due and owing to MARTHA AND THE VANDELLAS ...
It is my further understanding that in the event it is desirable or necessary to engage counsel to act on my behalf, that you shall recommend counsel who is satisfactory to me that I shall retain upon such terms as may be agreeable between us and such counsel shall be paid out of your share of the proceeds realized, and in accord with my separate agreement with such counsel.
In return for your services set forth hereinabove, I shall pay you fifty (50%) percent of all sums which may come into your hands or which may be realized as a proximate result of your activities on my behalf ...
Further, I hereby authorize you to receive all funds collected by you hereunder and appoint you my attorney in fact but only for the purpose of depositing them into your special account. Upon the clearing of such funds, you shall then make payment to me, yourself and any third parties including attorneys under the terms of this agreement.

Several years later, Rubin suggested and the Vandellas agreed to hire the law firm of Summit, Rovins & Feldesman (“Summit Rovins”) to pursue a case against Motown. Ms. Sterling’s retainer agreement 1 provided as follows:

For our services, we shall be entitled to receive 33-1/3% of all monies payable to or received by Ms. Sterling on account of sums found due to the date of judgment and, in addition, 25% of all monies due to or received by Ms. Sterling from Motown thereafter----You [AREC] understand that Ms. Sterling and her co-plaintiffs are the clients and that, in case of conflicting advice, we are obliged to follow that received from Ms. Sterling and her co-plaintiffs.

*255 Summit Rovins pursued a case against Motown in Michigan which eventually settled in 1989. In 1992, the lead attorney in that case, Ira Greenberg, left Summit Rovins, which subsequently dissolved, to join the law firm of Edwards & Angelí. Summit Rovins assigned the benefit of the retainer agreement with the Vandellas to Edwards & Angelí. In 1994, apparently because Motown was again not paying sufficient royalties, Edwards & Angelí commenced a new action against Motown in California. That lawsuit also settled.

As a result of the lawsuits, the Vandellas received royalties from Motown and still receive royalties from Motown’s successor in interest, UMG Recordings, Inc. (“UMG”). As recently as 2003, UMG made payments to AREC, which, in turn, was retaining its share and paying the remainder to Edwards & Angelí. In 2003, the Vandellas attempted to terminate their contracts with AREC on the theory that AREC had not done any new work and should not be entitled to continuing payments. To that effect, the Vandellas corresponded with UMG, asking them to make royalty payments to them only. Upon learning of this, Greenberg sent a letter to UMG on behalf of AREC asking UMG to either continue paying AREC or place the funds in escrow pending judicial resolution.

On March 31, 2003, the Vandellas brought suit against AREC, Rubin, Summit Rovins, and Greenberg in Michigan state court. The case was removed to federal court on April 23, 2003, on the basis of diversity jurisdiction. The Vandellas alleged that the contracts with AREC, as “forever contracts,” were terminable at will, that the Defendants had been overpaid, that the contracts were unconscionable, and that the Defendants breached their fiduciary duties. The Vandellas also charged unjust enrichment and constructive trust. The parties filed cross-motions for summary judgment, and on March 3, 2004, the district court granted the Defendants’ motions for summary judgment.

The district court held that the provision of contract with AREC providing that AREC would receive “fifty (50%) percent of all sums which may come into [AREC’s] hands or which may be realized as a proximate result of [AREC’s] activities on [the Vandellas’] behalf’ was not ambiguous. The court held that the provision entitled AREC to 50% of

“all sums” realized by Plaintiffs, with only one limitation — the sums must be realized as a “proximate result” of Defendants efforts. Under this term, the 50% royalty fees could continue even after Plaintiffs terminate the contract, so long as the payment of the royalties is proximately caused by Defendants efforts.

Because the Vandellas offered no evidence of any other intervening cause that brought about the royalty payments, the district court concluded that the royalty payments were proximately caused by AREC. The Vandellas appeal the district court’s grant of summary judgment. 2

*256 The Vandellas also appeal the district court’s decision in a consolidated inter-pleader matter. As discussed above, after the Vandellas had directed UMG to make royalty payments to them only, AREC wrote to UMG and attempted to force UMG to continue making royalty payments to AREC. On March 26, 2003, UMG told AREC that it would account to the Vandellas directly. UMG, however, did not in fact forward the payments to the Vandellas. On March 28, 2003, AREC filed suit against UMG and the Vandellas in New York Supreme Court seeking to force UMG to pay AREC the Vandellas’ royalties. On April 24, 2003, AREC voluntarily dismissed the action. Meanwhile, the Vandellas continued to ask UMG to send any royalties only to them.

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148 F. App'x 252, Counsel Stack Legal Research, https://law.counselstack.com/opinion/holmes-v-artists-rights-enforcement-corp-ca6-2005.