Rydah - WestBank Boyz Featuring Brittnee Camelle

Oprah Winfrey Network Sued Over Chicken Wing Show

Production company says it got to 'Wingmen' first

Oprah Winfrey Network/Paperny Entertainment

The title of a one-hour special on the Oprah Winfrey Network (OWN) debuting Saturday night has got a producer working with a chicken wing entrepreneur steaming hot.

OWN's show is titled Wingmen and features two best friends from Columbia, South Carolina and their small-town food truck business selling stuffed chicken wings.

This has prompted a trademark lawsuit from Rags to Rick Productions, which is involved in an online reality TV show titled Wing-Men featuring the life of Rick Smiciklas, described "an entrepreneur with little to his name when he opened his first chicken wing restaurant in 1999, who now owns a chain of chicken wing restaurants with over 100 locations."

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The pilot of Wing-Men premiered on Dec. 5, with supposedly more episodes to come.
But the bucket isn't big enough.

Rags to Rick says it owns trademarks in Canada for both "Wingmen" and "Wing-men" and has filed applications in the United States. The filings are in the entertainment category.

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According to the complaint filed in Illinois federal court , "OWN's use of the title WINGMEN for the OWN Program, and use of the WINGMEN mark to promote same, is likely to cause confusion, mistake or deception among members of the public given that both the OWN Program and the Productions Program Series are programs featuring the antics of entrepreneurs in the chicken wing business."

Although the complaint probably comes too late to stop the show, the plaintiff demands that the judge be a wing-man and issue an injunction. Read the complaint here.

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A spokesperson for the network says it hasn't been served with the lawsuit yet.

The food genre of TV shows appears to cook up these types of trademark lawsuits every once in a while. Past lawsuits involved TLC's Cake Boss and Food Network's Tough Cookies.

Paul Giamatti to Star in 'Straight Outta Compton' as NWA Manager (Exclusive)

by Borys Kit , Aaron Couch

The actor will play Ruthless Records co-founder Jerry Heller

Paul Giamatti has closed a deal to star in Straight Outta Compton, The Hollywood Reporter has learned exclusively.

The actor will play Jerry Heller, manager of the pioneering rap group N.W.A.

F. Gary Gray is directing the Universal biopic about the West Coast rappers, with original members Ice Cube and Dr. Dre as well as Matt Alvarez and Tomica Woods-Wright producing. Will Packer and Scott Bernstein are exec producing.

Heller was already a major figure in the music scene before working with N.W.A. He represented acts ranging form Journey to ELO to REO Speedwagon and  helped Pink Floyd and Elton John in their early American tours. He cemented his musical legacy when he co-founded the label Ruthless Records with Eazy-E. Heller signed and managed N.W.A. and oversaw their rise. However, when the band broke up with Ice Cube and Dr. Dre's departures, Heller was fingered by some as being a Yoko Ono figure and the cause of the group's disbandment for mishandling monies.

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Ice Cube's son O'Shea Jackson Jr. is playing his father in the film, with Jason Mitchell taking the part of Eazy-E and Corey Hawkins starring as Dr. Dre. The project is set in the mid-1980s and chronicles how five young men channeled their experiences growing up in Compton into brutally honest music.

Giamatti, who was nominated for a supporting actor Oscar for 2005's Cinderella Man, is repped by UTA. His manager is Perri Kipperman and his legal representative is Robert Offer.

Universal is releasing Straight Outta Compton Aug. 14, 2015.

T.I. Goes In: MC on Iggy Azalea, Ambitious Album Trilogy and Young Thug

By David Drake 

Kevin Winter/Getty Images for BET

"She's tal-en-ted." T.I., typically polite and always loquacious, was speaking as if I'd asked the dumbest question in the world, pausing between each syllable. 

"She has hit records. Broke the record for the most weeks at Number One for a female rapper. She sells millions of singles. She sells out her shows. She has a cult following, where fans drive from miles to see her."

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Then again, maybe I had asked the dumbest question in the world, inquiring about Iggy Azalea's success as if it were concocted, rather than a given. The Grand Hustle CEO, artist, executive, reality TV show star and people's hero is an ideal interview, insightful and generous, elaborating on his point of view in great depth. Iggy Azalea, who he signed in 2012, has an undeniable smash record with "Fancy." That this has caused controversy in certain corners seems to mystify him: It's his job to find talent, and that's exactly what he did.
But there's a lot more going on in T.I.'s world these days. He has two hit singles – "No Mediocre" with Iggy and "About the Money" with Young Thug – an album trilogy on the way, a label with a diverse range of artists, from B.o.B. to Trae the Truth, and an upcoming fifth season of T.I. & Tiny: The Family Hustle. 

Sitting down at VH1's offices, the rapper, businessman and reality star spoke about that upcoming season, what it's like for his kids to learn the family business and how Chief Keef and Soulja Boy changed the way young artists approach their careers.

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How much do you involve the kids in the creation of the show? What have they learned?I think they've learned how to present themselves to the world. I think that's something that I want to instill in them. The way you present yourself to the world is the way you will be perceived. If you take yourself seriously, people will take you seriously. If you goof off and you take yourself as a joke, people will take you as a joke. What you put into it is what you will get out of it. That was something I always wanted to make sure was known above all. Regardless of what industry they were in, where their passion leads them. That quality is ever-present in whatever world they could find themselves in.

Let's talk about your music career. "About the Money" is a big single right now. What do you like about Young Thug? How'd you connect with him?He's dope, he's genuine, he's a guy who doesn't compromise his thoughts or feelings or expression for the popular vote. I think he dares to be different, regardless of who likes it or not. If what he presented to the world was exactly what he was when you met him, then that means he'd be exactly what everyone expects him to be. And I don't know an artist that presents himself as being exactly what everyone expects him to be.

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He's consistently finding new things to teach the industry about him. Everything is a surprise now. Oh, he wears extremely tight clothes. Then you meet him. Oh, well, he's from the projects for real – he sounds just like my cousin who's from the projects. And oh, he can really rap! He's really talented. Everything is a surprise. Which makes it new, fresh, and exciting for the consumer.

And me as an executive, that's "ching-ching." I don't care what you say about him. I think that he's dope. He comes in the studio with me and he can do 10 songs. I work fast. Every time I go in and knock mine out, he's ready to walk in and knock his out. He ain't even put out an album yet. And if he can keep up with me, that's something worth saluting. And also just him maintaining a sense of individuality and not being afraid or ashamed to be who he is. That to me is impressive in a youngster.

What is the focus of your attention right now?This album. This album or should I say these three albums, because this album has kind of turned into a trilogy. The music, we already have it, it's already done. We just have to really platform it, promote it, market it, and strategically apply it. But this album, we hope to make a film that will consist of three short stories. And each of these three short stories will combine six or seven videos from these three albums. And it would star me playing characters. But these characters would find themselves in situations that would allow the music to narrate the circumstances.

It's extremely ambitious and could be very costly. But I feel like it's your ninth album and you've got to use your seniority and your success and your relationships and resources, you've got to use them to do something significantly different. Or else you're just another motherfucker putting out an album.

"The same thing L.A. Reid and Jay Z saw in Rihanna is what I saw in Iggy."

I do have to ask – I'm curious about Iggy Azalea. She's had a very controversial...Why? Why is it? I would like for you to raise a significant reason why it should be any more controversial than any other rapper. "Fancy" is a hit record. "Fancy" would have been a hit record whoever did it. It's just that she was the first one to think to do it.

Are you still involved with her career? What's your role?She's a Grand Hustle artist and a Hustle Gang Member.

Have you met a person that finds her style of performing to be weird or abrasive to them?None that will say it to my face. And if they would, they won't get any hostility coming from me. I'm just going to approach it with logic and reason. Just explain yourself. Make this shit make sense to me, especially if they are a black person. Because black people have stood up for equality, for justice, for being treated fairly, for whatever they choose to do, and we have had to break down barriers in caucasian dominated areas. From Tiger Woods in golf, to I'm sure there's a black man somewhere playing hockey. And whenever it happens, it's always the same thing. Black people are like, "That's not fair. They're not allowing them the same opportunities, just because of their color." So why would we stand in judgment, when someone else is in the same position we have found ourselves in, why would we not treat them the way that we want to be treated?

When you first discovered her, what stuck out to you?It was the vision that she had for herself. The killer instinct of quality. The same thing L.A. Reid and Jay Z saw in Rihanna is what I saw in Iggy. I think as executives, it's our job to spot that kind of intangible star shit and harness it and nurture it and cultivate it and present it to the world. That's our job.

What's the biggest challenge as an executive in the industry right now?Man, getting the youngsters to accept the idea of artist development. To get them to not look at the way Chief Keef did it, or to not look at the way Bobby Shmurda's doing it, or the way Soulja Boy did it. To say, listen man. You can't plan on that to happen. If you are trying to prepare yourself and prepare for success, there is a formula. There are things that come before you just being tossed into the stratosphere. To get young artists to accept that process is difficult.

I think with the Internet and the technology and the ways that people now have a way to present themselves to the industry, it bypassed the whole gatekeeper process. Back then, when Russell Simmons said something was going to be a hit, and you believed it because it was Russell Simmons, and he wasn't going to present nothing to you that was wack.

Over time, that went away. So now it's just like, OK, y'all say I'm not ready? So what. Fuck what you say. Put my shit up on YouTube. Now when people click on their computer for free – for free! – costs them nothing, they just click on it. They could be laughing, they could not like it. Just because they clicked on it. If you get enough of those, that bypasses me saying, you ain't ready yet. In some cases, that is the absolute best thing. In other cases, it clogs up the pipeline, and they take up space for cats who really do deserve to be heard. So I mean, it's the gift and the curse.

SOURCE: http://www.rollingstone.com/music/features/t-i-goes-in-mc-on-iggy-azalea-ambitious-album-trilogy-and-young-thug-20140815#ixzz3AYylWd4q 

Nelly Isn't Midwest Swingin' W/ Mike Brown Riots: "We Should Have Waited To Strategize"

by Cyrus Langhorne

Midwest rap veteran Nelly is the latest hip-hop artist to speak out in light of last weekend's fatal shooting of teenager Mike Brown and offered up some caution for St. Louis rioters.

 

Although upset by Brown's controversial death, Nelly said people should realize resorting to violence is not the best move.

Nelly tells TMZ ... "I understand the frustration, but we have to strategize before we overreact ... We don't get no do-over on sh*t like this, so we have to do it right the first time." The rapper adds, "Ain't nothing happen no different that hasn't been happening ... At the end of the day, we should have waited to strategize first and take all the right steps to organize." (TMZ)

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Yesterday, Roc Nation's J. Cole directly addressed Brown's death with the release of a new tribute song.

In the wake of the police shooting that left African-American teenager Michael Brown dead, J. Cole responds by penning a powerful and emotional plea. Over a bare bones beat, the Roc Nation MC cries out for freedom and justice. "All we wanna do is take the chains off / All we wanna do is be free," sings a grief-stricken Cole. "Rest in Peace to Michael Brown and to every young black man murdered in America, whether by the hands of white or black," said Cole. "I pray that one day the world will be filled with peace and rid of injustice. Only then will we all Be Free." (Rap-Up)

Along with performing with a Mike Brown shirt, rap star Jeezy has relied on social media to to speak out on the teen's death.

"It's a shame in today's Society we have to protect our loved ones from those who are sworn to protect us. We have to stand strong together and let our voices be heard across the nation. We will not tolerate innocent children being slain. Michael Brown may you rest with the Angels!!! #saveourchildren #St.Louisstandup," Jeezy captioned to a photo of Mike Brown.

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"St.Louis was Luv!! #justiceformichaelbrown #saveourchildren"

"I had to see it for myself!! The answer is not tearing down our own neighborhoods and communities, the answer is goin to the source of the problem in numbers. So many numbers that they know they don't have a chance. We want justice not chaos!! #ferguson #st.louis #saveourchildren #justiceformichaelbrown," Jeezy captioned August 13. (Jeezy's Instagram)

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President Barack Obama spoke on behalf of himself and First Lady Michelle and acknowledged the widespread attention Brown's death caused Tuesday (August 12).

"The death of Michael Brown is heartbreaking, and Michelle and I send our deepest condolences to his family and his community at this very difficult time. As Attorney General Holder has indicated, the Department of Justice is investigating the situation along with local officials, and they will continue to direct resources to the case as needed. I know the events of the past few days have prompted strong passions, but as details unfold, I urge everyone in Ferguson, Missouri, and across the country, to remember this young man through reflection and understanding. We should comfort each other and talk with one another in a way that heals, not in a way that wounds. Along with our prayers, that's what Michael and his family, and our broader American community, deserve." (Statement)

Damon Dash Makes Move to Collect Money From Lee Daniels' Films

By Eriq Gardner, 

Damon Dash believes he is owed money from several of Lee Daniels' film and television projects, including The Butler. 

The Roc-a-Fella Records co-founder has gone to New York Supreme Court as a first step toward filing a complaint against the Oscar-nominated director.

A summons filed by Dash in New York Supreme Court on Wednesday (Aug. 14) outlines claims of breach of contract, breach of the duty of good faith and fair dealing, promissory estoppel, unjust enrichment and conversion. Dash believes that his written and oral agreements with the producer/director covered such projects as The Butler, Precious, The Paperboy, The Woodsman, Shadowboxer and Tennessee.

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Last week, Dish told one hip-hop site that he invested $2 million so that Daniels could produce The Woodsman a decade ago. Dash said that he never got money back despite promises. The summons alleges that Dash has been deprived of compensation, producer credits and ownership rights.

Although TMZ and other news outlets have reported that a $25 million lawsuit has been filed, that's not quite accurate. Instead, the summons provides notice of Dash's claims and provides Daniels with an opportunity to demand he be served with an actual complaint. If he fails to appear in New York court, then Dash will seek a default judgment of $25 million, producer credits on all Lee Daniels' films and TV projects, plus further attorney's fees.

A spokesperson for Daniels had no comment about the litigation.

Dash isn't just targeting Daniels either.

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He's also going after Simone Sheffield and Canyon Entertainment on claims of tortious interference and defamation.

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According to the summons, these defendants got between Dash's alleged oral and written agreements with Daniels. No details are provided.

As to the defamation claim, Sheffield is said to have published false statements to third parties in the film and TV industry about Dash being the subject of a looming incarceration. A default judgment would carry requested damages of $1 million.

Dash is being represented by attorneys at the Bhushan Law Group.

Did the California Labor Commissioner Just Shake Up the Music Industry?

By Eriq Gardner

Every so often, California's requirement that talent agents be licensed mucks up relationships in the entertainment industry. 

On Monday, the California Labor Commissioner promulgated a decision that has the potential to be a huge disrupter in the music business, changing how artists, producers and record labels co-exist with each other.

The dispute involves a record producer named Steve Lindsay, who has done work for the band Guster and the trumpeter Chris Botti, and allegedly owed money to his former personal management firm, the Marie Management Group (MMG).

After the firm sought to collect money from Lindsay, the California Labor Commissioner held a hearing about whether agreements set up for Lindsay violated the Talent Agencies Act, a statute adopted by the California legislature in 1978, which says only licensed talent agents can procure employment for clients.
There's a great exception to this rule, however.

Up until now, the TAA hasn't had as much an impact in the music business as other sectors in entertainment thanks to an exemption set up in 1982 for the procurement of recording contracts.

But what happens if a manager sets up a deal between a recording artist and producer? The exemption applies, right? No, says the Labor Commissioner in its newest ruling.

When Lindsay was being represented by MMG, he was being handled by Bennett Kaufman, who lined up opportunities for Lindsay to produce albums. Notably, when Lindsay did work for Guster, the producer and band formed a direct contractual relationship with each other. The record company, Sire Records, was not a party to this contract. The same was true on the contract that governed Lindsay's work for Botti. Sony Music wasn't a part of that deal either.

So what?

MMG argued that the contracts were connected to the production of recordings, and so, the exemption applied. To hold otherwise, MMG argued, would "send shockwaves through the industry and disturb long-held, highly developed rules and territory between managers and agents, not to mention a flurry of new claims by artists or non-artists involved in a recording contract."

The Labor Commissioner isn't buying that argument. From the decision (which can be read here):

"Because based on limited legislative history it appears the intent of the recording contract exemption was to exempt the act of negotiating recording contracts between artists and the recording companies. Here the Guster and Botti agreements are agreements made directly between a producer and the artist. In short, the record company is not a party to these contracts. These contracts are essentially contracts between two artists for services. And consequently, we choose not to expand the purview of the Act's exemption to encompass contracts for personal services between artists and producer/artists."

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This violation of the TAA was determined to be so significant that the Labor Commissioner decided to void the entire personal management agreement between Lindsay and MMG. This is significant because MMG likely wanted most of all to collect a percentage of the sale of Lindsay's jointly-operated publishing company. That was part of the overall dispute, but the Labor Commissioner finds that MMG's securing of a publishing agreement for Lindsay was  akin to getting him involved in a co-venture or partnership -- outside of the scope of the TAA. In other words, if it wasn't for the Guster and Botti deals, MMG would be owed money, but the Labor Commissioner rules against severing those engagements.

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Here are the ramifications in English: Record producers and artists can't simply contract with each other. At least, not if managers want to securely collect their commissions. There's going to have to be changes to the dynamic. Perhaps record labels become a party to the deals. Or maybe producers work for the labels instead of providing services directly to the artist. Time will tell. Bryan Freedman, who along with Steve Stiglitz at Freedman & Taitelman represented Lindsay, calls the ruling a "game-changer for the music industry."