Scipio v. Sony Music Entertainment, Inc.

173 F. App'x 385
CourtCourt of Appeals for the Sixth Circuit
DecidedMarch 3, 2006
Docket05-5134
StatusUnpublished
Cited by2 cases

This text of 173 F. App'x 385 (Scipio v. Sony Music Entertainment, Inc.) 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
Scipio v. Sony Music Entertainment, Inc., 173 F. App'x 385 (6th Cir. 2006).

Opinion

*387 COOK, Circuit Judge.

Plaintiffs, 1970s musicians, allege that a contemporary music group unlawfully “sampled” one of their songs in a 1996 release. Prior to Plaintiffs filing a complaint, the parties negotiated but never executed a settlement agreement (the “1998 Proposed Agreement” or the “Proposed Agreement”). When those negotiations broke down, Plaintiffs filed this action. After five years of litigation, continued settlement discussions, and negotiations under the guidance of a court-appointed mediator, Defendants eventually moved for summary judgment, alleging that Plaintiffs through their conduct had ratified the Proposed Agreement. The district court granted Defendants’ motion, holding that Plaintiffs did ratify the pre-litigation agreement, that such agreement constituted an accord and satisfaction, and that, in addition, Plaintiffs should be equitably estopped from further pursuing their claims. This appeal followed. We determine that the Proposed Agreement was never ratified and that Plaintiffs should not be equitably es-topped from pursuing their infringement claims. Accordingly we reverse the district court’s grant of summary judgment to Defendants.

I. Factual and Procedural Background 1

A. Negotiations Concerning the Proposed Agreement

Plaintiffs (alternatively, the “Scipio Plaintiffs”) are Steve Scipio and Patrick Patterson, members of the early 1970s British funk group Cymande; Cymande Music, a joint venture entered into by Scipio and Patterson; and Leosong Copyright Service (“Leosong”), the administrator of Cymande Music. Around 1972, Cymande released a musical composition entitled “Dove;” 2 Plaintiff Leosong is the administrator and licensor of all rights in “Dove” outside the United States; and Copyright Management, Inc. (“CMI”), a non-party, was (for the relevant periods) the administrator and licensor of all rights in “Dove” in the United States. Defendants (alternatively, the “Fugee Defendants”) include the members of the contemporary music group The Fugees, Sony Music Entertainment, Inc., (“SMEI”), and various other music publishers. The complaint alleges that The Fugees infringed the Scipio Plaintiffs’ copyrights 3 in “Dove” by sampling with *388 out authorization sections of the song in the title track of The Fugees’ 1996 album, The Score 4 The plaintiffs also alleged fraud, unfair competition, and “reverse passing off’ in violation of § 43(a) of the Lanham Act, 15 U.S.C. § 1125(a).

In 1997 and 1998, the parties conducted extensive negotiations culminating in the Proposed Agreement, under which the parties would have jointly owned the rights to “The Score”: Plaintiffs receiving 75% of the song’s royalties, and Defendants 25%. The negotiations broke down, in part because Plaintiffs alleged that the Fugee Defendants failed to disclose to them during negotiations that “The Score” contains a second unauthorized sample— one from artist Dennis Coffey’s “Scorpio.” (The Proposed Agreement required SMEI to warrant that “The Score” “[did] not infringe upon the rights of any other party.”) In addition, Defendants failed to respond to Plaintiffs’ demands for a worldwide accounting of profits obtained from the release of The Score. The Proposed Agreement was never executed.

B. Defendants’ and Plaintiffs’ Conduct Immediately Following the 1998 Negotiations

Defendants’ Conduct. In April 1998, for reasons that remain unclear given the parties’ failure to reach an agreement, SMEI began forwarding to CMI—Plaintiffs’ agent and the administrator of “Dove” in the United States—payments derived from domestic exploitation of “The Score.” In addition, immediately following the negotiations, Defendants gave notice to the foreign collection societies to reduce their claim to foreign royalties of “The Score” from 100% to 25%. This enabled Plaintiffs to collect the remaining 75% of “The Score’s” foreign royalties without conflict, since, according to deposition testimony, when there are conflicting claims to a work, foreign collection societies will retain the disputed funds in escrow.

Plaintiffs’ Conduct with respect to Domestic Royalties. In April 1998, CMI opened an escrow account on behalf of Plaintiffs at the Music Row branch of Nationsbank (later, Bank of America) to maintain the domestic royalty payments it was receiving from Defendants pursuant to the Proposed Agreement (the “Nations Escrow”). Defendants’ payments were deposited in the account, beginning with a check in the amount of approximately $400,000. The Nations Escrow was in CMI’s name, and Terry Smith (Plaintiffs’ primary agent at CMI) and James Zwickel (Plaintiffs’ counsel) were the sole authorized signatories of the account. Any withdrawals from the Nations Escrow required the authorization of both Smith and Zwickel. Defendants lacked any control over the account.

Plaintiffs’ Conduct with respect to Foreign Royalties. In March 1998, Plaintiff Leosong registered a claim with the foreign collection societies for 75% of the royalties from foreign exploitation of “The Score.” Also in March, Defendants reduced their claim on the foreign royalties to 25%. By September, when a third party withdrew its claim for the royalties, Leosong’s claim to the 75% was the only other claim. Plaintiffs have thus far collected over £134,000 in foreign royalties.

C. Plaintiffs’ Posture in the Complaint

The Scipio Plaintiffs filed this action in February 1999. The complaint acknowl *389 edged that in connection with the prelitigation negotiations Defendant SMEI, on behalf of all defendants, had already paid approximately $400,000 into the Nations Escrow. SMEI had attached to the payment a statement that the check represented a payment for all units sold, equal to 100% of the mechanical royalties due by SMEI at the maximum compulsory rate; however, according to the complaint, the amount was based only upon a “partial accounting”—of units sold within the United States—rather than the full accounting of worldwide sales that Plaintiffs allegedly had requested.

Importantly, paragraph 69 of the complaint noted that neither SMEI nor Plaintiffs “[were] entitled to distribute [the Nations Escrow] funds unless and until there exists an executed agreement in writing establishing the rights of the respective parties to the profits of ‘The Score.’ ” The same paragraph also noted that the parties had negotiated the Proposed Agreement, but that such agreement provided that it would not be effective until executed by all parties to it.

The complaint represented that all funds theretofore paid by SMEI to CMI—i.e., all funds in the Nations Escrow—would be tendered to the court. None were.

D. Status of the Domestic Royalties

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

Related

Cite This Page — Counsel Stack

Bluebook (online)
173 F. App'x 385, Counsel Stack Legal Research, https://law.counselstack.com/opinion/scipio-v-sony-music-entertainment-inc-ca6-2006.