Blab Music
C+C Music Factory Co-Founder Sues Freedom Williams for $30 Million Over Trademark, Defamation, and Fraud Claims
On August 14, 2026, a courtroom drama erupted when Robert Clivillés, one of the original architects of the 1990s dance sensation C+C Music Factory, filed a $30 million lawsuit in a New York federal court against rapper Freedom Williams.
Clivillés’ pro‑se complaint lists a litany of accusations, including trademark infringement, defamation, fraud, unjust enrichment, unfair competition, fraud on the United States Patent and Trademark Office (USPTO), trademark cancellation, and false designation of origin. The suit also names indie label Big Mac Entertainment as a defendant.
C+C Music Factory was founded in 1989 by Clivillés and producer David Cole. The group’s catalog features chart‑dominating hits such as “Gonna Make You Sweat (Everybody Dance Now)” and “Here We Go (Let’s Rock & Roll).” Freedom Williams joined the act as its lead rapper and contributed to several singles, but the complaint insists that he was never a co‑founder. According to Clivillés, Williams performed under the C+C name without authorization after leaving the group in 1992 and again from 1996 onward.
The trademark trail is central to the case. Williams registered the mark “C AND C MUSIC FACTORY” in 2003, had it canceled in 2012, and applied for a new mark “C&C MUSIC FACTORY” in 2014. Clivillés argues that Williams misrepresented himself as the sole owner of the trademark, while an agreement with Cole’s estate, he claims, grants him exclusive, authorized use of the name.
A spark that ignited the lawsuit was a seven‑minute video posted by Williams to the official C+C Music Factory Instagram account on May 29, 2026. Filmed while Williams sat on a toilet, the clip contains remarks that the complaint says invoke Adolf Hitler, use repeated racial slurs, and direct vulgar and sexually degrading language at the public. Clivillés had no prior warning of the remarks and launched a competing official account to publicly disavow Williams’ conduct.
Beyond the video, the complaint alleges that Williams released a single under the C+C name through Big Mac Entertainment and has performed shows under the C+C Music Factory banner without permission since the late 1990s. The case was filed in the United States District Court for the Southern District of New York, and Clivillés’ pro‑se complaint cites the video, the trademark filings, and the unauthorized performances as the basis for the $30 million damages sought.
DMN reached out to Williams for comment but has not received a response. The lawsuit is currently pending, and no settlement or court ruling has been announced.
The dispute underscores the legal challenges that arise when former members of a legacy act seek control over a brand name. It also illustrates how social‑media statements can trigger litigation when they are perceived to harm a party’s reputation or infringe on trademark rights.
Until a court decision is made, the status of the C+C Music Factory brand remains uncertain for both parties. The outcome will determine whether Williams can continue to use the name and whether Clivillés can enforce his claim to the trademark.
Clivillés’ pro‑se complaint lists a litany of accusations, including trademark infringement, defamation, fraud, unjust enrichment, unfair competition, fraud on the United States Patent and Trademark Office (USPTO), trademark cancellation, and false designation of origin. The suit also names indie label Big Mac Entertainment as a defendant.
C+C Music Factory was founded in 1989 by Clivillés and producer David Cole. The group’s catalog features chart‑dominating hits such as “Gonna Make You Sweat (Everybody Dance Now)” and “Here We Go (Let’s Rock & Roll).” Freedom Williams joined the act as its lead rapper and contributed to several singles, but the complaint insists that he was never a co‑founder. According to Clivillés, Williams performed under the C+C name without authorization after leaving the group in 1992 and again from 1996 onward.
The trademark trail is central to the case. Williams registered the mark “C AND C MUSIC FACTORY” in 2003, had it canceled in 2012, and applied for a new mark “C&C MUSIC FACTORY” in 2014. Clivillés argues that Williams misrepresented himself as the sole owner of the trademark, while an agreement with Cole’s estate, he claims, grants him exclusive, authorized use of the name.
A spark that ignited the lawsuit was a seven‑minute video posted by Williams to the official C+C Music Factory Instagram account on May 29, 2026. Filmed while Williams sat on a toilet, the clip contains remarks that the complaint says invoke Adolf Hitler, use repeated racial slurs, and direct vulgar and sexually degrading language at the public. Clivillés had no prior warning of the remarks and launched a competing official account to publicly disavow Williams’ conduct.
Beyond the video, the complaint alleges that Williams released a single under the C+C name through Big Mac Entertainment and has performed shows under the C+C Music Factory banner without permission since the late 1990s. The case was filed in the United States District Court for the Southern District of New York, and Clivillés’ pro‑se complaint cites the video, the trademark filings, and the unauthorized performances as the basis for the $30 million damages sought.
DMN reached out to Williams for comment but has not received a response. The lawsuit is currently pending, and no settlement or court ruling has been announced.
The dispute underscores the legal challenges that arise when former members of a legacy act seek control over a brand name. It also illustrates how social‑media statements can trigger litigation when they are perceived to harm a party’s reputation or infringe on trademark rights.
Until a court decision is made, the status of the C+C Music Factory brand remains uncertain for both parties. The outcome will determine whether Williams can continue to use the name and whether Clivillés can enforce his claim to the trademark.
