Freedom Williams Faces Federal Lawsuit Over C+C Music Factory Name

A collage of C+C Music Factory album covers traces the group’s recording history from “Gonna Make You Sweat” in 1990 through “Anything Goes!” in 1994 and the self-titled “C+C Music Factory” in 1995. Co-founder Robert Clivillés is suing Freedom Williams over rights to the group’s name and federal trademark.

The dispute asks a surprisingly complicated question about one of the biggest dance acts of the early ’90s: Who has the right to call something C+C Music Factory?

The argument over who gets to use the C+C Music Factory name has moved from interviews, trademark proceedings and social media into federal court.

Robert Clivillés, who created the hitmaking dance act with the late producer David Cole, filed a nine-count lawsuit against rapper Freedom Williams and two companies associated with him, accusing them of improperly exploiting the C+C Music Factory name.

Clivillés filed the complaint Aug. 14 in U.S. District Court for the Eastern District of New York (Case No. 1:26-cv-04981). He is representing himself.

The defendants are Williams, Freedom Williams Entertainment LLC and Big Mac Entertainment LLC, along with 20 unidentified defendants.

Clivillés alleges trademark infringement, false designation of origin, fraud on the U.S. Patent and Trademark Office, unfair competition, unjust enrichment, fraud, defamation and breach of contract. He is also asking the court to cancel the federal trademark registration held by Freedom Williams Entertainment.

The filing seeks at least $10 million in compensatory damages. Clivillés asks the court to treble that amount under the federal Lanham Act, which would bring that portion of his requested award to at least $30 million. He is additionally seeking punitive damages, defendants’ profits, costs and injunctive relief.

No court has awarded him any of that money.

At the center of the case is a name familiar to anyone who was near a radio, dance floor or MTV in 1991.

Clivillés argues that the two C’s refer specifically to himself and Cole.

“The name C+C Music Factory stands for Clivillés and Cole Music Factory,” the complaint says.

He contends that Williams was a featured rapper and vocalist on C+C recordings rather than a founder or owner of the act and therefore never acquired the right to turn the group name into his own performing brand.

Williams’ side disputes that conclusion.

Attorney Charles F. Schmitt, who has represented Freedom Williams Entertainment in trademark matters, told Billboard that the new claims are meritless and that Williams is the lawful owner of the registered mark. Schmitt also argues that an earlier trademark challenge brought by Clivillés was dismissed with prejudice and that Clivillés should not get another attempt to undo the registration.

That earlier case makes the current dispute considerably more complicated than a simple fight between a founder and a former performer.

Freedom Williams Entertainment owns federal Registration No. 4775972 for the mark C & C MUSIC FACTORY, covering entertainment services.

USPTO records show the company applied for the mark in October 2014. The registration was issued July 21, 2015 and has since been maintained.

Clivillés challenged it before the Trademark Trial and Appeal Board in December 2016. That proceeding never produced a decision deciding who originally owned the name.

Instead, the board issued an order in May 2018 after Clivillés failed to file his trial brief. When no response was filed to that order, the board entered judgment against him and dismissed the cancellation proceeding with prejudice on June 25, 2018.

Clivillés emphasizes in his new complaint that the board did not decide the underlying ownership allegations on their merits.

Williams’ attorney emphasizes the other half of the equation: The proceeding was nevertheless dismissed with prejudice.

Whether that earlier judgment prevents Clivillés from pursuing some or all of his present claims is now one of the legal issues hanging over the federal case.

The fight has roots stretching much further back.

Clivillés and Cole emerged from New York’s dance-club scene and became an in-demand production and remixing team before launching C+C Music Factory around 1990.

Their debut album, “Gonna Make You Sweat,” became one of the defining crossover dance records of the period.

Its title track, “Gonna Make You Sweat (Everybody Dance Now),” featured Williams’ rap and Martha Wash’s powerhouse vocal. It topped the Billboard Hot 100 for two weeks in February 1991, while the album later climbed to No. 2.

“Here We Go (Let’s Rock & Roll)” and “Things That Make You Go Hmmm...” extended the run, with Williams prominently featured on both.

The structure of C+C Music Factory was never as straightforward as a traditional band standing together behind microphones.

Clivillés and Cole were its central production team, while different rappers and singers appeared across its records. Contemporary coverage routinely identified Williams as the rapper associated with the group, while Columbia releases billed tracks such as “Gonna Make You Sweat” as C+C Music Factory featuring Freedom Williams.

The act’s history also includes one of the era’s best-known disputes over performer credit.

Wash sang the explosive vocal heard throughout “Gonna Make You Sweat,” but Zelma Davis appeared lip-syncing that part in its original music video. After Wash objected and sued, MTV added an on-screen notice distinguishing Wash’s vocals from Davis’ visual appearance.

Long before the current trademark case, Williams had his own legal dispute with Clivillés and Cole.

In 1992, Williams filed a $10 million lawsuit alleging the producers had cheated him out of royalties and breached obligations connected with his recording and management agreements.

Williams subsequently pursued a solo career.

Cole died in New York in January 1995 at 32. Clivillés continued working as a producer, songwriter and remixer.

The current complaint alleges that Williams later began performing concerts under the C+C Music Factory name and eventually obtained trademark registrations without Clivillés’ authorization.

Williams has publicly offered a different account.

In a 2019 interview, he said he had continued performing and representing the music when Clivillés was no longer touring with him and defended his decision to secure the trademark.

The dispute flared publicly again this year.

After Williams became associated with a planned Freedom 250 concert series in Washington, D.C., Clivillés used social media to distance himself from Williams’ participation and comments and argued publicly that Williams did not speak for the C+C Music Factory legacy.

Clivillés threatened legal action in June.

Ten days after that warning, according to the new complaint, Big Mac Entertainment released “Into the Future,” a new recording marketed on digital services under the C+C Music Factory name alongside Williams and Mark Walker. 

The June 12 release is independently listed by digital music services under C+C Music Factory, Freedom Williams and Walker, with Big Mac Entertainment as the label.

Clivillés cites that release as evidence that what had been a long-running dispute over live appearances had expanded into new recordings.

He is asking the federal court to stop Williams and the other defendants from using the C+C Music Factory name for performances, recordings and other commercial activity.

He also wants Registration No. 4775972 canceled, “Into the Future” and other disputed recordings removed from digital services, and administrative control of the long-running C+C Music Factory Instagram account transferred to him.

Clivillés filed a separate motion seeking a temporary restraining order and preliminary injunction on the same day as the complaint.

None of those requests should be confused with a court ruling.

At this stage, they are Clivillés’ allegations and requested remedies, and Williams disputes his underlying claim to the name.

Thirty-five years after C+C Music Factory made “Gonna Make You Sweat” unavoidable, the new lawsuit is not really asking a court to decide who audiences remember from the record.

Williams’ voice is part of that history. So are Wash’s vocals, Davis’ image and the work of numerous singers and musicians who passed through what was deliberately constructed as a “music factory.”

The legal question is narrower — and potentially much harder.

Who owns the name on the factory door?

Rock the Bells Sets Thanksgiving Weekend Show With LL Cool J, SWV and Lil’ Kim

LL Cool J, SWV, Lil’ Kim and Method Man & Redman lead the lineup for the 2026 Rock the Bells Festival, scheduled for Nov. 29 at Prudential Center in Newark, New Jersey. (Rock the Bells)

Rock the Bells has found a way to put LL Cool J, SWV, Lil’ Kim, Method Man & Redman, The LOX, LeToya Luckett and David Banner on the same Thanksgiving weekend bill.

The festival returns to Prudential Center in Newark, New Jersey, on Nov. 29, with a lineup spanning several distinct periods of hip-hop and R&B, organizers announced Monday.

LL Cool J leads the bill alongside SWV, Lil’ Kim and Method Man & Redman.

D-Nice will curate another portion of the show featuring Luckett, Banner and The LOX — Jadakiss, Styles P and Sheek Louch.

Additional artists are expected to be announced later.

Rock the Bells and the Black Promoters Collective are producing the event. The concert is scheduled for the Sunday of Thanksgiving weekend and will close out Hip-Hop History Month. Doors open at 6 p.m., with the show scheduled for 7.

“There’s something special about seeing artists and fans from different generations come together under one roof,” LL Cool J said in the announcement.

That description is unusually literal in this case.

SWV’s presence keeps the bill from becoming an all-rap nostalgia package, while the D-Nice segment effectively builds a second miniature lineup inside the larger show.

The LOX bring the Bad Boy and Ruff Ryders eras. Luckett adds a direct link to Destiny’s Child and her later solo R&B career. Banner represents the Southern rap explosion that changed the genre’s center of gravity during the 2000s.

Ticketmaster independently lists LL Cool J, Lil’ Kim, Method Man & Redman, SWV, D-Nice, Luckett, The LOX and Banner on the Nov. 29 event page.

The first ticket window begins Tuesday.

An exclusive presale starts Aug. 18 at 10 a.m. Eastern and ends Thursday, Aug. 20, at 10 a.m. Eastern.

Local, venue and promoter presales begin Thursday at 10 a.m. and run through 11:59 p.m. Eastern.

General sales begin Friday, Aug. 21, at 10 a.m. Eastern through Ticketmaster.

Organizers say more performers and community-focused programming will be announced before the festival.

For now, the lineup already amounts to a compact timeline of the music Rock the Bells was created to celebrate.

Netflix Drops ‘A Different World’ Trailer as Dwayne and Whitley’s Daughter Heads to Hillman

Maleah Joi Moon stars as Deborah Wayne in Netflix’s “A Different World” sequel, which follows the daughter of Dwayne Wayne and Whitley Gilbert during her freshman year at Hillman College. The series premieres Sept. 24.

Hillman has a new freshman class, but the Wayne family is back where it started.

Netflix released the full trailer Monday for its “A Different World” sequel series, showing Maleah Joi Moon as Deborah Wayne, the youngest daughter of Dwayne Wayne and Whitley Gilbert, trying to build a college life separate from two parents whose names already mean something on campus.

The 10-episode series premieres Sept. 24.

Kadeem Hardison returns as Dwayne and Jasmine Guy as Whitley, placing one of Black television’s best-known sitcom couples on the other side of the college experience this time around.

Their daughter is the student.

Netflix describes Deborah as free-spirited, well-intentioned and rebellious. She arrives at the fictional historically Black Hillman College for freshman year but quickly discovers that being the child of two prominent alumni makes it difficult to begin with a blank slate.

The trailer shows Dwayne and Whitley maintaining a close watch on her life, something Deborah appears determined to escape.

Her new circle includes roommate Rashida, played by Alijah Kai; Kojo, played by Chibuikem Uche; Amir, played by Jordan Aaron Hall; Hazel, played by Kennedi Reece; and Shaquille, played by Cornell Young IV.

Shaquille provides another direct link to the original cast.

He is the son of Ron Johnson, Dwayne’s longtime friend, with Darryl M. Bell returning as Ron. Deborah and Shaquille also arrive at Hillman with romantic history of their own.

The connections do not stop there.

 

Debbie Allen appears as Deborah’s academic adviser, Dr. Langhorne, while also serving as an executive producer and directing the premiere.

Allen’s involvement carries particular weight because she helped shape the original series after its first season. Netflix says she produced 122 episodes and directed 83 during its original run.

The trailer confirms an unusually deep roster of returning alumni.

Cree Summer is back as Freddie Brooks. Jenifer Lewis reprises Professor Davenport. Jada Pinkett Smith returns as Lena James.

Netflix has also announced Ajai Sanders as Gina Deveaux, Karen Malina White as Charmaine Brown, Charnele Brown as Dr. Kimberly Reese Boyer, Dawnn Lewis as Jaleesa Vinson-Taylor and Glynn Turman as Colonel Bradford Taylor.

That makes the project something more specific than a remake built around the title of an old sitcom.

This is a continuation of the original characters’ lives.

“It’s not just nostalgia. It’s like, ‘Where are they now?’” Allen told Netflix.

The distinction matters for a series whose original audience is being asked to watch Hillman through the eyes of its characters’ children.

“A Different World” ran for six seasons on NBC from 1987 to 1993. While the series was a comedy, it routinely moved beyond dating and dorm-room stories to address race, class, politics, HIV/AIDS, war and other subjects rarely centered in prime-time shows built around young Black characters at the time.

The sequel will consist of 10 single-camera half-hour episodes, according to Netflix. Felicia Pride, whose credits include “Bel-Air” and “Grey’s Anatomy,” serves as showrunner and executive producer. Original writers Gina Prince-Bythewood and Reggie Rock Bythewood also return as executive producers.

The new cast has some notable throwback connections of its own.

Cliff “Method Man” Smith plays Coach Coles, while Tichina Arnold appears as Darlene Duvall. Raven Goodwin is Dr. Brooklyn Boyer.

Netflix says the trailer also teases an appearance by R&B singer Summer Walker.

And the show has already recruited another major name from ’90s Black pop culture for its music.

Brandy recorded the new version of the “A Different World” opening theme. Original cast member Dawnn Lewis, who co-wrote the song, is also among the actors returning.

Aretha Franklin performed the best-known version during the original show’s run.

That gives Netflix a delicate assignment.

The original “A Different World” was not simply popular because viewers liked Hillman. For many Black viewers, it made an HBCU campus the center of a national network television series at a time when that environment was rarely depicted with that depth.

The sequel cannot recreate what that meant in 1987.

It can, however, answer a question the new trailer embraces directly: What does Hillman look like when the students who once had to figure out adulthood for themselves are now the parents, professors and alumni watching another generation do it?

We find out Sept. 24.