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The Queen of Compton Ladyyy is Taking Over Music and TV

By
Sync Staff
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Ladyyy

Ladyyy, hailing straight from Compton, California, is a powerhouse. Known for her sharp lyrics and magnetic stage presence, she’s carving her own path in the music world. But beyond her title as the “Queen of Compton,” there’s a deeper story of hard work, personal growth, and a deep connection to the community she loves.

Her big break came when she appeared on Judge Sole Lundyn’s show, a courtroom-themed platform where artists don’t just perform—they battle for respect. Ladyyy didn’t just rise to the challenge; she owned it, making waves and earning the respect of fans and peers alike. That moment pushed her even further into the spotlight, making it clear that she’s a star on the rise.

Outside of music, Ladyyy is making moves on TV as well. She’s the host of Compton Baddies, a show that celebrates the fierce, unapologetic women of Compton. As the “Lady of the Hour” for Season Two, her energy and personality shine, showing that she’s not just an artist, but a leader and role model. Through her role, she’s empowering other women to embrace their strength and individuality.

Musically, Ladyyy continues to prove she’s got something special. Her tracks like “The Intro” and “For Me” tell stories about her grind and her love for Compton. But it’s her collaboration with Nisha J on “Roll Wit It” that’s really catching fire, becoming an anthem for anyone who knows what it means to hustle and push through obstacles. Her latest release, “Fake Shit,” featuring T-Rulah, is another banger that blends real talk with a fresh sound, sending a clear message about staying authentic in an industry that’s not always what it seems.

Through it all, Ladyyy stays grounded, never losing sight of her roots. Whether she’s dropping new music or stepping in front of the camera, her goal is clear: to lift up her community and inspire others to be true to themselves. As her influence grows, she’s bringing her city and her supporters along for the ride, reminding everyone that success is sweeter when you stay real.

Want to know more about Ladyyy’s journey? Check out the full feature in the October issue of SyncNation magazine—available now!

“Take Over” A Celebration of Empowerment, Resilience, and Sisterhood

By
Sync Staff
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takeover
takeover
takeover

In a world where passion intertwines with purpose, and empowerment knows no boundaries, a remarkable force has emerged—a collective of four extraordinary women who are changing the game. This is “Take Over,” a lifestyle brand that embodies the resilience, ambition, and unwavering spirit of women who are redefining success on their own terms.

Lakeisha, the visionary behind Frost Cosmetics, is a beacon of all-natural beauty. With a mission to empower women to embrace their inner and outer radiance, Lakeisha’s brand is more than just skincare; it’s a movement that encourages women to stand tall in their natural beauty, exuding confidence and grace. Her commitment to authenticity and holistic beauty makes Frost Cosmetics a brand that not only enhances appearances but also nourishes the soul.

Simona leads Syncnation, a magazine company that does more than publish stories—it amplifies voices. Under her leadership, Syncnation has become a platform that celebrates diversity and provides equal opportunities for all, especially in the realms of entertainment and community engagement. Simona’s work reflects a deep commitment to inclusivity and the belief that everyone has a story worth telling. Syncnation is a space where voices that often go unheard are given the spotlight they deserve.

Nakea, the entrepreneurial powerhouse behind Rebuild Your Laugh, channels her energy into making a positive impact on society. As the CEO of this nonprofit organization, Nakea is dedicated to giving back, touching lives, and spreading joy. Her work is rooted in the belief that laughter and kindness are powerful tools for healing and transformation. Through her tireless efforts, Nakea is proving that one person’s dedication can ripple out to affect change in countless others.

Annette, the dynamic force behind In The Know 360, is redefining the media landscape. Her talk show and PR company shine a spotlight on stories that matter, bringing inspiring voices to the forefront and challenging perspectives that push the boundaries of the status quo. Annette’s passion for storytelling is matched only by her commitment to truth-telling, making her a crucial player in the world of media and public relations. In The Know 360 isn’t just about reporting news—it’s about shaping the conversation and sparking meaningful change.

Together, these four women represent the essence of “Take Over.” Their journey is a powerful testament to the transformative power of ambition, authenticity, and an unwavering belief in the limitless potential of every individual. “Take Over” is more than just a brand—it’s a movement that encourages women everywhere to rise, thrive, and conquer. It’s a celebration of the strength found in sisterhood, the resilience born from challenges, and the boundless possibilities that arise when women support each other.

As “Take Over” continues to make its mark, it’s clear that this collective is not just here to participate—they’re here to lead. This is where dreams are realized, boundaries are shattered, and women are empowered to take control of their destinies. In the world of “Take Over,” empowerment is not just a goal—it’s a way of life.

Shaboozey Faces Legal Battle with Former Label Kreshendo Entertainment

By
Sync Staff
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Shaboozey
Shaboozey

Over Contractual Dispute Amidst Massive Success of “A Bar Song (Tipsy)”

In a dramatic turn of events, breakout country star Shaboozey, known for his hit single “A Bar Song (Tipsy),” finds himself embroiled in a heated legal battle with his former record label, Kreshendo Entertainment. Just days after the artist filed a lawsuit against Kreshendo and Warner Chappell, the label has retaliated with its own lawsuit, accusing Shaboozey of using “fraud” and “bad faith” to avoid his contractual obligations.

Kreshendo Entertainment, in a complaint filed on August 23 in Los Angeles court, claims that while they released Shaboozey (Collins Obinna Chibueze) from his record deal in 2019, they retained significant rights to his music. These rights included a 50% stake in all of the singer’s compositions and a percentage of profits from his masters. According to Kreshendo, these stipulations were meant to compensate the label for the investment and support they provided when Shaboozey was an unknown artist.

However, Kreshendo now alleges that Shaboozey has “elected a strategy of fraud and misrepresentation” to deprive the label of their contractual rights. The label’s attorneys from Reed Smith argue that Shaboozey had no issues with the terms for years, but his stance changed only after “A Bar Song” became a massive hit, spending seven weeks at No. 1 on the Billboard Hot 100 and marking the longest chart-topping stint for a song in 2024.

Kreshendo’s lawsuit further claims that Shaboozey has breached the termination agreement by failing to pay the required profits and by engaging in legal wrangling with Warner Chappell, which he detailed in his own lawsuit filed earlier in the week. The label asserts that Shaboozey’s statements to Warner, including directing the company to stop paying Kreshendo, were false and an attempt to circumvent his contractual obligations.

Shaboozey’s lawsuit, filed on August 21, accused Warner Chappell of blocking him from exiting a publishing administration deal, allegedly at the behest of Kreshendo. However, Kreshendo’s counterclaims suggest that the real issue lies with Shaboozey’s unwillingness to honor the terms of his agreement with the label that helped launch his career.

As the legal battle unfolds, it casts a shadow over what has otherwise been a breakout year for Shaboozey. “A Bar Song,” a genre-blending track that ingeniously interpolates J-KWON’s 2004 rap hit “Tipsy,” has become a defining anthem of 2024. Yet, the ongoing dispute with Kreshendo Entertainment threatens to derail the momentum of the artist’s rising career.

Outkast Files Lawsuit to Protect Iconic “ATLiens” Trademark from EDM Duo

By
Sync Staff
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OutKast
Big Boi and Andre of OutKast Kevin Winter/ImageDirect

Outkast’s André 3000 and Big Boi Accuse Georgia EDM Duo of Improperly Associating with Their Iconic Brand in Trademark Dispute

Outkast
Big Boi (L) and Andre 3000 of Outkast perform onstage during day 3 of the Firefly Music Festival on June 21, 2014 in Dover, Delaware.
Theo Wargo/Getty Images for Firefly Music Festival

In a move to safeguard their legacy, legendary hip-hop duo Outkast, through their trademark holding company High Schoolers LLC, has filed a federal lawsuit against the Atlanta-based electronic dance music duo ATLiens. The lawsuit, obtained by Pitchfork, asserts that Outkast, comprised of André 3000 and Big Boi, originally coined the term “ATLiens” and has owned the trademark since 1996.

Outkast’s second studio album, ATLiens, released in 1996, became an iconic representation of the duo’s connection to their Atlanta roots, as well as a significant cultural touchstone in the hip-hop community. The lawsuit claims that the EDM duo has infringed on this trademark by adopting the name “ATLiens” without authorization, despite only registering their trademark in 2020, long after Outkast had established the term’s association with their music and brand.

According to the complaint, the attorneys for High Schoolers LLC argue that the EDM duo chose their name to capitalize on the fame and goodwill associated with Outkast’s ATLiens album and brand. They further contend that this has led to consumer confusion and is preventing Outkast from obtaining registrations for their senior “ATLiens” mark.

The lawsuit seeks to prevent the EDM duo from continuing to use the “ATLiens” trademark and calls for the cancellation of their competing trademark, among other legal remedies. Attorneys Abigail J. Remore and Peter E. Nussbaum, representing High Schoolers LLC and André 3000, stated, “This is a basic brand protection issue. Efforts to resolve this matter amicably were unfortunately unsuccessful and Outkast therefore had to file suit in order to protect the valuable name and trademark ATLIENS that it created and has continuously used for nearly 30 years.”

As this legal battle unfolds, it serves as a stark reminder of the importance of trademark protection in the music industry, especially for iconic artists like Outkast, who have indelibly shaped the cultural landscape.

Diddy Strikes Back Fights Lawsuit with Motion to Dismiss Amidst Salacious Allegations

By
Sync Staff
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Getty Images

According to NBC News, Sean “Diddy” Combs is vigorously defending himself against a lawsuit that has thrust him into the spotlight, as his legal team moves to dismiss what they describe as baseless and sensational allegations. The lawsuit, filed by music producer Rodney “Lil Rod” Jones, accuses Combs of sexual harassment, drugging, and making threats during the time Jones worked for him, from September 2022 to November 2023. Jones is seeking $30 million in damages.

The legal dispute took a dramatic turn when an amended complaint in March alleged that Combs was involved in a “RICO enterprise” and a “sex trafficking venture.” These serious accusations, tied to the Racketeer Influenced and Corrupt Organizations (RICO) Act, have raised the stakes, suggesting that Combs was part of an organized criminal activity—a charge typically reserved for addressing organized crime.

Combs’ legal team filed a motion in the U.S. District Court for the Southern District of New York, seeking to dismiss the lawsuit. The motion asserts that the complaint is an attempt to inflate a commercial disagreement into a sensational RICO conspiracy. It criticizes the lawsuit for being vague, particularly in its failure to provide specific dates or instances of the alleged sexual harassment. The motion also dismisses the RICO claims as lacking the necessary criteria to stand in court.

Erica Wolff, Combs’ attorney, did not hold back in her statement, describing the lawsuit as “pure fiction” and “a shameless attempt to create media hype and extract a quick settlement.” Wolff insisted that there was no truth to the allegations of a RICO conspiracy or any other misconduct alleged by Jones.

Combs’ legal strategy also targets Jones’ attorney, Tyrone Blackburn, accusing him of using the lawsuit to generate media attention and pressure Combs into a settlement. The motion references Blackburn’s history of filing cases with apparent jurisdiction issues, pointing out that a previous grievance against Blackburn was referred to the Southern District of New York’s Grievance Committee earlier this year. This referral was made by U.S. District Judge Denise Cote, who noted a “pattern” of such issues in cases handled by Blackburn.

Despite these serious allegations, Blackburn remains resolute, denying any wrongdoing and insisting that the claims made by Combs’ legal team are untrue. The battle between the two sides shows no signs of cooling down, with both preparing for a potentially lengthy legal showdown.

As this high-profile case continues to unfold, it is clear that the outcome will have significant implications, not just for those directly involved but also for the broader entertainment industry and legal community. The next steps in this legal saga will be closely watched, as Combs seeks to clear his name and Jones presses forward with his claims.

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