Diddy, Snoop Dogg, and Others Hit With Copyright Lawsuit

A high-profile Copyright Law dispute has emerged, naming Sean “Diddy” Combs, Snoop Dogg, and the estates of The Notorious B.I.G. and Angie Stone as defendants. The lawsuit, filed by David Bravo and Jean Albert Renaud, alleges that the tracks “Nasty Girl” and “I Wanna Thank Ya” incorporate unauthorized elements from their 1980 composition, “Skatin’,” originally performed by Eumir Deodato. The plaintiffs contend that the foundational harmonic, rhythmic, and melodic structures of their work were utilized without proper authorization or compensation.

Bravo and Renaud, who claim to have co-written and produced “Skatin’,” assert that portions of their track were used to support new vocal and rap performances. To bolster their claims, the plaintiffs have included an assessment from musicologist and record producer Thomas Z. Shepard, who reportedly identified significant similarities between the compositions. The legal filing specifically links Combs, the estate of The Notorious B.I.G., and Nelly to the 2005 hit “Nasty Girl,” while the estate of Snoop Dogg and the estate of Angie Stone are associated with the 2004 track “I Wanna Thank Ya.”

The litigation also names producer Jazze Pha as a defendant and directs sharp criticism toward Sony Music Publishing. The complaint accuses the publisher of failing to protect the interests of the original songwriters, alleging that the company ignored its obligations after determining that pursuing a claim regarding “Nasty Girl” presented a conflict of interest due to its existing relationships with other involved parties.

Sony Publishing deliberately turned a blind eye to the unauthorized use of Plaintiffs’ four-bar foundational backing track. This flagrant disparity highlights that Sony Publishing’s refusal to protect Plaintiffs’ copyright was not an administrative oversight, but a calculated decision to maximize the profits of its other lucrative clients at the direct expense of Plaintiffs.

According to the filing, Bravo and Renaud did not discover the alleged unauthorized use until May 2024. This case has reignited long-standing industry debates regarding music sampling, the protection of intellectual property, and the ethical responsibilities of music publishers in safeguarding the work of their creators.