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Hey Fam,

A few weeks ago, I took my car to the car wash.

Now, I would love to tell you that I am the kind of person who washes her car with enough regularity that one trip through the car wash is sufficient.

I am not.

My car had collected dust, dubris from the season, and whatever else happens when you repeatedly tell yourself, “I’ll wash it this weekend,” and then several weekends quietly pass you by.

So when I pulled up to the attendant, I asked him a simple question: if I went through the wash once and my car was still dirty, could I come around and go through again?

He looked at me, paused, probably saw my desperation…

And finally said, “yes.”

I thanked him, pulled forward, and continued on with my day.

Now, this was not a particularly memorable conversation. There were no contracts. No conference rooms. No one made a counteroffer. I wanted something, I asked whether it was possible, and the person with the authority to give it to me agreed.

Believe it or not, that was still, for all intents and purposes, a negotiation.

And I probably would not have thought about that interaction again had I not been reading Negotiating While Black: Be Who You Are to Get What You Want by Damali Peterman.

Damali's book expanded the way I think about negotiation because she makes clear that negotiation is not simply something we do when discussing a salary, closing a major business deal, or sitting across the table from opposing counsel.

We negotiate constantly—with our families, our friends, our clients, our colleagues, the businesses we patronize, and sometimes, apparently, the nice gentleman working at the car wash.

Once I started thinking about negotiation this broadly, another question emerged for me, particularly as an intellectual property attorney.

If negotiation is really about understanding what you want, what the other person wants, and what each person is bringing to the exchange, what happens when the thing you are bringing is your intellectual property?

For founders, speakers, consultants, educators, creatives, and thought leaders, this matters enormously.

Our expertise often shows up in deals as frameworks, methodologies, keynotes, curricula, courses, content, brands, recordings, and other things we have spent years creating.

Yet we may walk into a negotiation prepared to discuss our fee without being equally prepared to discuss the rights attached to the work itself.

So, in this Founder’s Letter, we are going to talk discuss the power of knowing your negotiation superpowers, knowing the value you bring to the table, and knowing what you actually own before you negotiate over it.

Ready? Let’s get into it.

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But first, Church Announcements!!

This week, the Women of Impact Workshop Series continues with Negotiate for Your Impact, featuring Damali Peterman, author of Negotiating While Black: Be Who You Are to Get What You Want.

We are going to talk about what it means to identify your own negotiation strengths, understand the value you bring to the table, prepare for negotiations without abandoning who you are, and recognize the legal and intellectual property issues that can quietly become part of the deal.

Because whether you are negotiating a contract, a partnership, a speaking opportunity, or your next major business move, the strongest negotiation begins long before someone puts an offer in front of you.

If you have ever wondered whether you are asking for enough—or whether you even know everything you should be asking about—this conversation is for you.

And after that, we have an awesome finale of our series!

September 24 — Women of Impact: I’m in Love with the Coco (Coco Gauff)
Endorsements, image rights, NIL agreements, and personal-brand protection — Coco is building toward her own 1999 right now, and we’ll talk about exactly what she should be locking down.

All upcoming workshops begin at 8:00 a.m. Pacific Time, 11:00 a.m. Eastern Time.

Sign up even if you’re not able to attend—you’ll still get the workshop notes by email:

One of my favorite concepts from Damali's book is her discussion of negotiation “superpowers.”

I think many of us have inherited a very narrow picture of what a good negotiator looks like.

We imagine the person who is fearless, aggressive, quick on their feet, and completely unmoved by tension.

They make the demand, stare the other person down, and somehow never experience the urge to fill an uncomfortable silence.

Perhaps that is someone's superpower.

It does not have to be yours.

Throughout the book, Damali explores different strengths people bring to negotiation, including listening, patience, grit, steadfastness, flexibility, and fearlessness.

What struck me is that these skills do not require someone to manufacture an entirely new personality before entering the room. They simply require us to become more intentional about the strengths we already possess.

For me, listening is a big one.

And I do not mean hearing just enough of what someone says to prepare my response. I mean listening for what is underneath the words: What does this person actually care about? What problem are they trying to solve? What are they afraid of? What information are they giving me that could create another possible solution?

That kind of listening can fundamentally change a negotiation because someone's stated position and their actual interest are not always the same thing.

Patience matters for the same reason.

Damali discusses an example in which an offer was made, a counteroffer followed, and then there was silence. That silence matters because, for many of us, the anxiety created by waiting can become its own negotiating opponent.

We start wondering whether we asked for too much.

We begin explaining our number before anyone challenges it. Sometimes we even make a concession before the other side has asked us to concede anything.

In other words, we start negotiating against ourselves.

Knowing that about yourself is useful information.

So is knowing that you are a deep listener. Or exceptionally prepared. Or flexible enough to see solutions others miss. Or gritty enough not to abandon the conversation simply because it becomes uncomfortable.

And this is also where Damali's discussion of identity and authenticity becomes particularly interesting to me. Preparing for a negotiation does not mean becoming someone else. In fact, I think preparation can make it easier to remain yourself when pressure arrives.

I learned that lesson long before I became an attorney.

When I was studying for the New York Bar Exam, I spent approximately two months preparing academically. But the night before the exam, I also went to the testing center, put my hands on the door, and prayed and manifested that I would pass.

Yes, I had prepared myself for the exam, but in a way that reflected my own faith and identity, I was also preparing myself for the environment I was about to enter.

I did not walk into the exam room pretending to be somebody else. Preparation allowed me to walk in more grounded as myself.

Negotiation can work the same way.

Of course, understanding how you negotiate only gets you so far.

You also need to know what you are bringing to the table.

Damali discusses the importance of understanding your unique value proposition, and this is where my intellectual property lawyer brain really started lighting up.

Because when we ask someone, “What are you good at?” the answer can sound deceptively simple.

Maybe you are an exceptional strategist. Perhaps you have spent fifteen years working inside healthcare organizations and understand organizational culture in a way that most consultants do not. Maybe you developed a process for helping executives make better decisions. Perhaps you have been teaching the same methodology for years and have now refined it into a recognizable framework.

At Firm for the Culture, we work with people who have often spent years—even decades—building this kind of expertise. They do not necessarily begin by thinking, “I am creating intellectual property.”

They begin by doing their work.

Then, over time, something happens.

The experience becomes insight. The insight becomes a repeatable process. The process becomes a framework. The framework becomes a workshop, keynote, curriculum, consulting methodology, course, book, certification, or other body of work.

And eventually, someone else wants access to it.

That is the point at which “What am I good at?” becomes a much more interesting question:

What have I actually built here, and what is it worth?

Knowing your value changes the way you approach negotiation because you stop evaluating an opportunity solely through the number someone places in front of you.

You begin thinking about the problem you solve, the expertise required to solve it, the years it took you to acquire that expertise, and the value the other party receives from having access to it.

This is especially important for women and founders of color who may already be navigating assumptions about our authority, credibility, personality, or what our work should cost.

Knowing your value does not mean every negotiation ends with you receiving every dollar or every term you request. It means you are making the decision from an informed place instead of allowing the other person's offer to define the value of what you built.

And this is where we get to the part that I believe founders overlook all the time.

Knowing what your work is worth is not enough if you do not understand what rights you are actually negotiating.

Let's say you are a speaker and an organization offers you $5,000 for a keynote.

You negotiate the speaking fee, everybody agrees, and you are feeling good.

Then the contract arrives.

The organization wants to record your presentation. It wants the right to use clips from the recording in future marketing. It wants a copy of your slides. Maybe it wants to place the full training inside a paid resource library. Perhaps your presentation includes a proprietary methodology or framework that you use throughout your consulting practice.

Now the negotiation looks different.

Because the question is no longer simply whether $5,000 is a good speaking fee.

The question is: What does the $5,000 buy?

Does it buy your time in the room for sixty minutes? Does it also buy the ability to reproduce your presentation? Does it buy ongoing access to your training? Does it buy the right to use your image? Does it buy permission to distribute your materials? Does it buy some form of exclusivity? And for how long?

Those are not small details sitting somewhere at the back of a contract. They are part of the economic deal.

This is why understanding intellectual property can become such an important part of negotiation for thought leaders.

Your trademark rights may matter when someone wants to use your brand or program name. Copyright may matter when someone wants to reproduce or distribute your original materials. Licensing matters when another person wants permission to use something you own without you transferring ownership altogether. Contracts are where the scope of many of those rights gets negotiated.

None of this means the answer should always be no.

Sometimes allowing an event organizer to record your presentation makes perfect business sense. Sometimes broader usage creates valuable exposure. Sometimes licensing your methodology to another organization is exactly how you scale your impact and create another revenue stream.

The important thing is that you know you are making that decision.

There is a significant difference between strategically licensing a right because the overall deal makes sense and casually giving away a right because you did not realize anyone was asking for it.

This is why I keep coming back to one central idea as I read Damali's book:

You cannot intelligently negotiate rights you do not realize you own.

The check is part of the deal. It is not necessarily the whole deal.

So yes, apparently asking to take my embarrassingly dirty car through car wash twice was a negotiation.

A very low-stakes negotiation, but a negotiation nonetheless.

And oddly enough, that little interaction captures part of what I appreciate about Damali's approach to the subject. Negotiation is not a performance reserved for certain people or certain rooms. It is something we are already doing, often without calling it negotiation at all.

The opportunity is to become more intentional about it.

Know your superpower. Understand how you communicate, listen, prepare, persist, and respond under pressure.

Know your value. Understand what your expertise, perspective, experience, and body of work bring to the table before someone else assigns a number to it.

And know what you own. Because if your business is built around your ideas, frameworks, content, brands, methodologies, or creative work, the negotiation may involve much more than the fee sitting at the top of the contract.

That is also why legal strategy and negotiation are not separate conversations for the founders we serve at Firm for the Culture.

The clearer you are about what you have built, the easier it becomes to recognize what should be protected, what can be licensed, what you are willing to share, and what may require a very different deal.

Before your next opportunity arrives, you should not just know what you want to be paid. You should know what you are being asked to give in return.

Now I want to hear from you: What is your negotiation superpower—and where do you think you could become more intentional about using it?

Drop a comment — I read every one.

Drop a comment—I read every one.

Leave a comment

• You Don’t Belong In The Room.

• Dang, You Going Through Hell Too?

• I Don’t Think You Trust Ryan Coogler

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on in and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

Share

Hey Fam,

Have you ever been in a room somebody thought you didn’t belong in?

That was me at various moments during my time in corporate America.

Picture one scene:

I’m at an intimate IP gathering with some of the biggest heavy hitters in the field — multiple partners from my corporate law firm, foreign thought leaders who are the crème de la crème in the field, and experts presenting on the nuanced differences between the patent application process in China and the States.

Deals are getting made. Matters—entire cases—are moving forward. Tight-lipped negotiations are happening. It’s electric because I know I belong. I’ve fought for my place in the room because I know some people probably don’t think I’m supposed to be there.

Now here’s the thing: I was genuinely interested in the work, and I wanted to explore how my culturally centered understanding of IP was discussed, if at all, in a room of the industry-crowned thought leaders.

A few days before, I told the managing partner as much, expressing my enthusiasm to rub elbows with those who made things happen.

She was not as enthusiastic about having me in the room.

And she told me, in not so many words, that I probably wasn’t going to be able to attend — as the RSVP list was full.

But if you know anything about me, I have a knack for getting into places.

So when she saw me at the exclusive event a couple of days later, her face said everything her words hadn’t.

She was not happy, and she stayed a little cold toward me the entire time I was in the room.

But I was over the moon.

I got access.

I was able to watch the rainmakers actually make it rain.

And I left not just with some of my questions about the field, but an impression I still carry into every room I walk into today: when you’re in these rooms, you best be prepared.

What I Think About When I Share This Story

I see it in the client calls, in the DMs from founders asking whether they’re “ready” for a certain table.

I see it when someone hesitates before walking into a room full of people who look nothing like them, doing business at a scale that feels intimidating.

Here’s what that room taught me, and what I didn’t fully understand until years later: the question was never whether I belonged there.

The question was what I was going to do now that I was in it.

Listen fam, I am not the arbiter of whether you belong in a room.

That’s not my role, and honestly, it’s not anybody’s role but yours.

But as your business grows, understanding why you’re in certain rooms — and how to move once you’re there — is some of the most important work you’ll do in your journey of impact and business.

This applies just as much to a founder walking into an investor pitch as it did to me walking past a managing partner’s disapproval.

So we’re gonna dive into this very subject today:

In today’s Founder’s Letter, we’re going to talk about one of the biggest recurring themes of your entrepreneurial journey: knowing why you’re in certain rooms, knowing what you bring to certain rooms, and making sure you actually deliver on and protect what you pitch in certain rooms.

And of course, we’re going to relate this to the intellectual property that you’re building today as you’re learning to more effectively navigate these rooms.

Ready? Let’s get into it.

Loving This Post?

Show us some love by adding a “❤️” or commenting below; this will make our hearts sing. Also, please share, we want this to get to as many folx as possible.

Leave a comment

Share

But first, Church Announcements!!

Missed our recent live session? Grab the workshop notes below.

This is the last week for the workshop notes from the Queen Latifah workshop to be shared here—grab them here before they move behind the paywall too.

And sign up for our upcoming workshops!

August 20 — Women of Impact: Get Your Freak On (Missy Elliott)
Copyright, creative ownership, and protecting original work.

September 10 — Negotiate for Your Impact
A fireside chat with Damali Peterman on negotiating confidently and protecting your interests.

September 24 — Women of Impact: I’m in Love with the Coco (Coco Gauff)
Endorsements, image rights, NIL agreements, and personal-brand protection — Coco is building toward her own 1999 right now, and we’ll talk about exactly what she should be locking down.

All three upcoming workshops begin at 8:00 a.m. Pacific Time, 11:00 a.m. Eastern Time.

One Click. All Workshops.

We have a new one-click sign-up that allows you to register for the entire Women of Impact series at once.

Sign up even if you’re not able to attend—you’ll still get the workshop notes by email.

This isn’t just about who’s going to be there and whose contact info you’re hoping to walk away with.

It’s about naming, for yourself, why you showed up.

Are you there because it’s a major event in your industry and you’re building relationships?

Because you were invited to speak?

Because you’re simply there to learn?

These are different reasons, and they call for different postures.

There are seasons where I’m a bit quieter in a room — not because I’m shy, but because I’m not chasing splash that day.

Indeed, Firm for the Culture is in what some would call a “building season” right now, and so this means taking a bit of a break from attempting to generate an insane volume of new business while we’re still building the infrastructure that will actually support the people it brings in.

That’s a why.

It’s a valid one that will move the firm and me forward.

Once you know why you’re there, take inventory of what you’re walking in with — because what’s unprotected is what gets taken.

If you’re introducing your pitch and your business name, and you haven’t secured your trademark, you’re exposed the moment you speak.

Someone in that room can walk away with your name, your positioning, your language — all because you talked about your business before your IP was locked down.

This isn’t paranoia.

It’s just how rooms work when the stakes are real and the people in them are sharp enough to recognize a good idea, even when you do not.

The third thing I take inventory of: can I actually act on what I’m gaining from this room, and quickly?

In my experience, nothing kills a deal faster than someone who isn’t ready with the actual service they’re pitching.

Over-promising and under-delivering is one of my biggest pet peeves — professionally and personally.

That doesn’t mean you need to be fully polished before you say a word about your business.

Testing the room, gauging whether people resonate with what you’re offering, is part of the process.

But if the room isn’t filled with people who fit your ideal client profile—or if they may need more than you’re ready to offer right now—it may not be the right room to pitch in.

That doesn’t mean they’ll never be the right audience. It simply means your energy may be better spent connecting with the people who are ready for what you can deliver today.

I think about that managing partner sometimes.

I mean, she was pretty nice overall, lol.

So I think of her less with resentment and more with appreciation and clarity.

What I think about, more than ever, is that she didn’t explicitly say no.

So who was I to say no to myself?

She just assumed I’d read the silence correctly and stay in my seat. I didn’t. And what I found on the other side of that room wasn’t just access — it was proof that the gap between “not invited” and “not allowed” is often smaller than we think.

The rooms you’re walking into now — the investor meetings, the conferences, the panels, the partnerships — they’re asking the same three questions of you that room asked of me.

Why are you here?

What have you protected?

Can you deliver?

The answers determine whether the room remembers you as someone who showed up, or someone who was ready.

So I’ll ask you: when’s the last time you walked into a room someone didn’t think you belonged in?

Drop a comment — I read every one.

Drop a comment—I read every one.

Leave a comment

• Get Your Freak On.

• Has Jay-Z Sold Out?

• All Hail The Queen.

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on in and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

Share

Hey Fam,

What do you do when you’re in between a rock and a hard place?

Do you run or retreat?

Do you fight?

Do you cry (I do, tbh).

Or do you give up?

If you’re anything like me, this season is not a cakewalk, to say the least.

And.It.Is.So.HARD.

For example, I shared something on LinkedIn a couple weeks ago that I hadn’t planned on saying out loud: I’m kind of going through hell right now.

Growing, learning, a lot changing on the inside of me as a result. Old narratives are being challenged on the daily.

And I’m standing toe-to-toe with generational cycles that refuse to relent.

Have you ever felt this way? Can anyone relate?

Going through “hell” isn’t always loud or obvious.

Sometimes, nothing necessarily looks “bad” from the outside, but something inside of you knows you’re called to more.

You know you were made for more—you’re just not quite sure how to reach it.

So it was definitely divine timing that, in the middle of all of this, we were preparing for our recent workshop on Queen Latifah.

Because after hearing her story, we sat in the workshop in awe; we all knew we needed exactly what she was teaching us in this season.

Let me explain.

Because here’s the thing: Queen Latifah’s story is about so much more than Living Single, performing in the film adaptation Chicago, winning a Grammy, receiving worldwide recognition, or building an enduring legacy.

Her story also includes the deaths of loved ones. A carjacking. Drug and alcohol addiction. A winding road with some genuinely catastrophic lows.

And yet, right alongside those lows, she was winning a Grammy, hosting a nationally syndicated talk show, and building a production company that would eventually do business with Netflix and Sony.

You see, life was going to “life” for her too.

And still, she built something that has lasted three decades and counting.

That was the part of her story I realized so many of us needed in this season.

In that workshop, we all needed the reminder that going through hell didn’t mean we also were not building a legacy.

Indeed, the hell and the legacy don’t merely coexist. To some extent, they are synergistic. Sometimes, the very thing putting us through hell is also clarifying who we are, what matters to us, and exactly what we’re building toward.

So during the session, I asked the room the same thing I’m asking you now: What if this season—this “dang, I’m going through hell too” season—isn’t separate from your legacy? What if it is helping to shape it?

If you’re in it right now, I want you to sit with that.

Because here’s a reminder: One does not cancel out the other.

And that brings me to the theory I built the whole workshop around.

Queen Latifah’s breakout moment wasn’t 1989, when she was first signed.

It wasn’t the 2000s, when she was in Chicago.

It was 1999 — the year she stopped just proving herself and started deciding who she was going to be.

For a full decade before that, she had dynamic, undeniable proof: a Grammy, Naughty by Nature signed to her label, and platinum albums filled her catalog.

But proof and protection are two different things, and 1999 was the year she stopped treating them as the same thing.

Somewhere in that stretch, I imagine she realized she couldn’t do this alone and she realized that after the hell of the season she endured.

While she had made it far on talent, determination, and sheer drive—she realized that “drive” isn’t a legal strategy.

So once the proof was established, the question shifted Queen Latifah likely contemplated moved from “Can I do this?” to “What am I actually going to own?”

That’s the gap we’re going to explore here: moving from creation without structure, building without ownership, and a body of work with no legal armor around it — to legacy, conviction, and confidence that you own what you are building.

In this Founder’s Letter, we’re going to trace how Queen Latifah transformed a decade of proof into a legacy she could actually own.

We’ll look at how her 1999 filings and production rights changed the trajectory of her work—and how you can make that same shift from proving what you can build to protecting what you intend to keep.

Ready?

Let’s get into it.

Loving This Post?

Show us some love by adding a “❤️” or commenting below; this will make our hearts sing. Also, please share, we want this to get to as many folx as possible.

Leave a comment

Share

But first, Church Announcements!!

Missed our recent live session?

The full recording of “U-N-I-T-Y” is now available for paid subscribers here:

The workshop notes, though, are still free—grab them here before they move behind the paywall too.

And sign up for our upcoming workshops!

August 20 — Women of Impact: Get Your Freak On (Missy Elliott)
Copyright, creative ownership, and protecting original work.

September 10 — Negotiate for Your Impact
A fireside chat with Damali Peterman on negotiating confidently and protecting your interests.

September 24 — Women of Impact: I’m in Love with the Coco (Coco Gauff)
Endorsements, image rights, NIL agreements, and personal-brand protection — Coco is building toward her own 1999 right now, and we’ll talk about exactly what she should be locking down.

All four workshops begin at 8:00 a.m. Pacific Time, 11:00 a.m. Eastern Time.

One Click. All Workshops.

We have a new one-click sign-up that allows you to register for the entire Women of Impact series at once.

Sign up, even if you’re not able to attend, you’ll still get the workshop notes by email.

Y’all, Queen Latifah went through it.

For a full decade before 1999, the wins and losses accumulated side by side.

Have you ever had a season like that?

Many of the founders and creators I work with have.

They’re being featured on highly popular podcasts and receiving incredible publicity while privately struggling to pay their bills.

They’re celebrating six-figure months while also navigating deep depression.

If I’m being honest, many of our legal sessions are 2 parts legal strategy and 1 part focused on founder mindset, wellness, and simply…venting.

Why? Because the highs and the lows happening at the same time is far more common than you might think.

So the question isn’t always, “Why am I going through this?” Sometimes, this tension is simply part of what it means to be called to build something bigger than yourself.

The better question is: “What am I going to do as a result of this?”

Because even in the middle of it, you still have a legacy to build.

Here’s what 1999 actually looked like on paper, and it moved fast once it moved.

She filed a copyright under Queen Latifah Incorporated for her book, Ladies First, published January 6th of that year.

On September 16th, 1999 — three days after the Queen Latifah Show premiered in national syndication, ahead of Ricki Lake, ahead of Jerry Springer, ahead of Jennifer Hudson’s own eventual run — she filed a trademark for the name Queen Latifah.

Four days after that, a logo mark.

That same fall, she was in The Bone Collector, a $73 million Universal picture opposite Denzel Washington, the collaboration that would later become the seed of The Equalizer.

Queen Latifah did not come to play—and she did not try to do it alone.

She built a team capable of executing the vision she was stepping into. While she prepared to release her book and launch her talk show, her attorneys were working behind the scenes.

She wasn’t conducting trademark searches between takes, nor should she have been. The attorneys of record handled the applications while she focused on building the empire those filings were designed to protect.

The legal work didn’t compete with the building. Having the right team allowed both to move forward at the same time.

And both should be moving forward for you as well.

You still have workshops to run, coaching to give, conferences to attend, keynotes to deliver.

The filing has to sit with a team, not wedged into whatever’s left of your calendar after everything else you’re already carrying.

And Queen Latifah was not done yet.

Over the next two decades, she kept expanding the vision.

She starred as Matron “Mama” Morton in Chicago and earned an Academy Award nomination. She followed that with films like Bringing Down the House, Beauty Shop, Hairspray, The Secret Life of Bees, and Just Wright.

In 2006, she received a star on the Hollywood Walk of Fame. In 2008, she won a Golden Globe for Life Support.

But while the world was watching Queen Latifah perform, her production company Flavor Unit was growing behind the scenes.

In 2013, Flavor Unit Entertainment signed a multi-year first-look licensing deal with Netflix. Under that agreement, Netflix received the first opportunity to license Flavor Unit films following their theatrical release.

Now, let’s pause there—because a first-look deal is not the same thing as assigning everything you create to someone else.

A first-look deal generally gives a company the first opportunity to consider your work. An assignment transfers ownership. The exact rights always depend on the language of the contract, but the distinction matters.

Queen Latifah wasn’t approaching Netflix solely as the talent waiting to be selected.

She was entering the deal through a production company she co-owned, with a body of work and a track record behind her.

This is what building during life’s challenging moments looks like.

And she was just getting started.

She revived The Queen Latifah Show. She starred in and executive-produced Bessie, which won the 2015 Emmy for Outstanding Television Movie. She appeared in Girls Trip. Then, in 2021, she became both the star and an executive producer of The Equalizer.

Her difficult season did not define her. It catapulted her.

The same is true for you too.

You are not protecting your work merely to preserve what you have already built. You are creating the structure that allows your next chapter—and the chapters after that—to become possible.

When I asked the room to describe their 1999 moment in one word, the answers came quickly—and they didn’t all sound like triumph.

“Encompassing.”

“Revelation.”

“Current”—as in, I’m still in it. I haven’t made it to the other side yet.

And for many, “traumatizing.”

Because the moments that transform us do not always arrive wrapped in celebration. Sometimes they leave scars.

Pretending otherwise isn’t honesty—it’s performance.

But every answer pointed to the same thing: a turning point. The moment when you stop asking whether the hard season has disqualified you and start deciding what you’re going to build because of it.

Queen Latifah’s 1999 wasn’t the end of every difficult season. It was the moment she decided that whatever came next, her legacy would not be left unprotected.

So, where are you?

Are you still in your years of proof—building, surviving, and becoming undeniable?

Are you standing at the threshold, knowing something has to change?

Or are you already on the other side, realizing that survival alone is not the same as ownership?

Wherever you are, you have come too far, built too much, and survived too much to leave your legacy unprotected.

What’s your 1999 — in one word?

Wherever you are, you showed up. That’s not nothing.

Drop a comment—I read every one.

Leave a comment

• Get Your Freak On.

• Has Jay-Z Sold Out?

• All Hail The Queen.

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on in and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

Share

Hey Fam,

Admit it.

Some of you don't like Ryan Coogler's choice for the new Black Panther.

But you're still going to watch the movie.

Let me tell you why.

But first, let’s review.

The conversation around Black Panther 3 has been fascinating to watch.

Ryan Coogler took the stage at Comic-Con and revealed David Jonsson as the new Black Panther, stepping into T’Challa’s grown son.

Letitia Wright and Winston Duke stood behind him, both confirmed to return.

But one comment kept standing out to me more than any casting reveal.

Winston Duke, right there on stage, said it plainly: the audience trusts Ryan Coogler.

And that got me thinking.

Why do so many people trust a director before they’ve even seen a single frame of what’s next?

Let me say the quiet part out loud.

We don’t simply trust Ryan Coogler because he’s Ryan Coogler.

We trust him because he’s spent years giving us reasons to.

Think about it…

Fruitvale Station.

Creed.

Black Panther.

Sinners.

One story after another. One win after another. Each one a reminder that excellence leaves receipts.

Winston may not have realized it, but he was talking about intellectual property.

And all because the trust Coogler has cultivated is inseparable from what he has created—and from the impact those creations have had on his community and the culture at large.

That’s why we trust Ryan.

When people say they trust Ryan Coogler, what they’re really saying is: I’ve seen his body of work.

His “receipts,” some may say.

Every film he’s created has become another reason for people to believe in whatever comes next.

Every file he’s created is the very IP that we return to time and again.

And fam, you need to pay attention to that.

Trust isn’t simplt something you ask people for.

It’s something you build.

Project by project.

Client by client.

Product by product.

Every trademark you file.

Every book you publish.

Every podcast you launch.

Every business you build.

Every promise you keep.

It all becomes part of your body of work.

And your ability to adequately protect and steward this work is what builds for long term trust and sustainability.

I’ve sat across from founders who have all of that — the reputation, the following, the years of proof — and none of it legally protected.

And when it’s not protected, someone can take it, change it, and use it to undermine the very trust you’ve built in your community at large.

Creation without structure. Building without ownership. Visibility without protection.

Let’s make sure we don’t go down this path anymore.

In this Founder’s Letter, we’re going to talk through how you obtain and sustain trust in a world where your intellectual property often speaks to your consumers before—and louder than—you ever could.

We’ll explore how your track record becomes collateral, how to negotiate beyond default agreements that were never designed in your favor, and how ownership gives you the leverage to bring others with you.

Ready?

Let’s get into it.

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Show us some love by adding a “❤️” or commenting below; this will make our hearts sing. Also, please share, we want this to get to as many folx as possible.

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But first, Church Announcements!!

Missed last week's live session? The full recording of “U-N-I-T-Y” is now available for paid subscribers here:

The workshop notes, though, are still free—grab them here before they move behind the paywall too.

And sign up for our upcoming worshops!

August 20 — Women of Impact: Get Your Freak On (Missy Elliott)
Copyright, creative ownership, and protecting original work.

September 10 — Women of Impact: Negotiate for Your Impact
A fireside chat with Damali Peterman on negotiating confidently and protecting your interests.

September 24 — Women of Impact: I’m in Love with the Coco (Coco Gauff)
Endorsements, image rights, NIL agreements, and personal-brand protection — Coco is building toward her own 1999 right now, and we’ll talk about exactly what she should be locking down.

All four workshops begin at 8:00 a.m. Pacific Time, 11:00 a.m. Eastern Time.

One Click. All Workshops.

We have a new one-click sign-up that allows you to register for the entire Women of Impact series at once.

Sign up, even if you’re not able to attend, you’ll still get the workshop notes by email.

Coogler’s numbers aren’t a secret.

Fruitvale Station put him on the map in 2013 — made for under $1 million and built entirely on a true story he refused to sensationalize.

Creed proved it wasn’t a fluke, resurrecting a franchise nobody thought had another chapter left in it.

Black Panther grossed $1.3 billion worldwide with seven Oscar nominations, including Best Picture.

Sinners became the most Oscar-nominated film in history, with sixteen nods, after opening to $60 million domestic on an original idea nobody had heard of before the trailer dropped. By his own account, his films have earned Hollywood over $2.5 billion.

That’s not luck or simply a flex.

That’s a portfolio — the same thing that gives a studio, a bank, or a licensing partner something to point to before they’ve read a single new page.

In other words, it’s equity.

Every film he protected and finished became proof the next deal could stand on, which is exactly why Warner Bros. was willing to hand him terms most directors never see.

Then there’s the Sinners deal itself.

Warner Bros. gave Coogler first-dollar gross participation, final cut privilege, and full rights reversion — ownership of Sinners comes back to him outright in 2050, twenty-five years after release.

That reversion clause is rare enough that entertainment attorneys were still debating it in the trades months after the film opened, with some studio executives openly worried it would reset expectations across the industry.

Most creators never ask what happens to their work a quarter-century out. They sign, they cash the check, and the studio owns it forever.

Coogler refused that default.

Why? Because the default contract is almost never in your favor, you have to read and understand what you are literally signing up for.

If you recall, we talked about a dynamic version of this same playbook in “All Hail the Queen” — Flavor Unit Entertainment holding the production rights to The Equalizer while Queen Latifah collected an acting fee on a separate contract entirely.

Different timeline, different medium, same principle: know which position in the deal actually owns the IP, because that’s the position that keeps paying long after the credits roll.

And here’s the piece I think people feel but don’t always name.

Coogler’s ownership is more than a personal upside.

It’s what gave him the standing to hand-pick David Jonsson for one of the most scrutinized roles in franchise history, and to build Michael B. Jordan into a leading man across five films together, starting all the way back at Fruitvale Station when neither of them had the résumé they have now.

Ownership is what let him decide who gets to walk through the door with him — not a casting director, not a studio executive, him.

That’s a different kind of legacy than a box office number.

It’s the difference between building something and building something that builds other people.

I’m genuinely excited to see what Ryan Coogler builds next.

Not because I know what the project will be, but because he’s spent years showing us exactly who he is.

People don’t trust Ryan Coogler because of what he says.

They trust him because of what he’s spent years building — and what he’s done with the leverage that trust bought him.

That’s the power of a strong body of work. It’s not just the thing you point to. It’s the door it lets you open for somebody else.

So here’s my question for you: what’s in your body of work right now that you haven’t protected yet?

Drop a comment—I read every one.

Leave a comment

• Get Your Freak On.

• Has Jay-Z Sold Out?

• All Hail The Queen.

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on it and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

Today, we’re sending a simple email with a simple ask: Sign Up for Our Upcoming Workshop as we Chat About Queen Latifah and IP.

Fam.

QUEEN LATIFAH.

But alas, I’ll start with a story.

When I was in big law, I remember feeling…muted.

Yep, that’s the word. Muted.

As I shared in the below interview with Law 360, feeling “muted” was not limited to my natural hair in Corporate America.

It extended to my mannerisms.

The way I talked.

The way I dressed.

And the way I dared to show up in a space that wasn’t made for me.

This workshop challenges and disrupts the very sentiment that kept me quiet in Corporate Law.

And it is one that is true to my heart.

It honors those women who refused to be muted.

It celebrates their courage to live out loud.

And it discusses, in detail, the legal strategy and IP protection moves it took to get them to places of prominence and success.

And it’s free, in alignment with Firm for the Culture’s commitment to providing free and low-cost workshops to dynamic creatives, entrepreneurs, and movers and shakers like you who deserve to have their creative contributions to the culture protected.

So if you ever thought about the monetary value of your impact.

If you ever thought about how to negotiate without feeling “icky.”

Or if you simply don’t even know what you don’t know and just want to be in the vibes…

Then this workshop is for you.

And yes, it is for all genders. Men, we’re counting on you to show up and show out!

It’ll be great to see you!

Across four workshops, we’re exploring how influential women have protected their work, built powerful brands, and expanded their impact across industries.

Here’s what we have planned:

July 30 — Women of Impact: U-N-I-T-Y (Queen Latifah)

Explore trademarks, licensing, and the strategies behind building a lasting brand.

August 20 — Women of Impact: Get Your Freak On (Missy Elliott)

Learn about copyright, creative ownership, and protecting original work.

September 10 — Women of Impact: Negotiate for Your Impact

Get practical guidance on negotiating confidently, communicating your value, and protecting your interests.

September 24 — Women of Impact: I’m in Love with the Coco (Coco Gauff)

Explore endorsements, image rights, NIL agreements, and personal-brand protection.

Every workshop begins at:

8:00 a.m. Pacific Time

11:00 a.m. Eastern Time

One Click. All Four Workshops.

You can now register for the entire Women of Impact Workshop Series with one click.

And yes—sign up even if you can’t attend live. You’ll still receive the workshop notes, so you don’t have to miss the gems.

Four workshops. Four powerful conversations. One simple registration.

We can’t wait to see you there.

#ForTheCulture

• I want that $300 Kind of Love.

• You Don’t Impress Me.

• Viola Davis: The Graveyard of Unfilled Potential.

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on in and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

Share

Hey Fam,

There is a version of your brand that exists before anyone files a single document.

It lives in the way you deliver your service, the name you chose at 2am, and the framework you’ve spent three years refining.

It exists in the way clients describe you to their friends — using your exact words, your exact phrasing, sometimes your exact name.

That version of your brand is real.

It has value.

And if no one has ever helped you structure it legally, it belongs to everyone.

I am an attorney. I am also a full-time entrepreneur. I know what it feels like to be so deep in building that legal infrastructure feels like a luxury — something you get to once the business feels “real enough.”

I see it often. Founders who have been executing at a high level for years, building something undeniable, operating with absolute intention — and then a partnership conversation surfaces, or a licensing inquiry lands, and suddenly the question isn’t are you talented? The question is what do you own?

The talent was never in question.

The structure was.

We talk a lot about the concept of trusting the process — showing up, staying consistent, executing with discipline.

But there is a version of “trusting the process” that becomes a liability: when the process you’re faithfully executing was never built to protect you.

This is where it gets specific.

A founder registers a business entity and assumes that means her brand name is protected.

It is not.

A business name filed with a state tells you you can do business.

A trademark tells the world — and the law — that the name belongs to you.

A content creator builds a newsletter audience around a distinctive framework and assumes the name is hers because she created it.

That assumption has no legal weight until she files.

A course creator licenses her methodology to a partner and assumes the contract is standard because both parties agreed on the terms.

The terms, however, don’t address what happens to the IP when the partnership ends.

These are not cautionary tales. These are not hypotheticals.

These are my intake sessions from the last couple months.

And in every one of them, the problem wasn’t lack of effort.

It was a process that never included an IP audit.

So we’re going to question, examine, and litigate your processes today.

In this Founder's Letter, we are going to talk about how to evaluate your IP foundation, how to critique what's actually working, and how to rebuild the process to include the legal structure your brand has already earned.

Ready?

Let’s get into it.

Loving This Post?

Show us some love by adding a “❤️” or commenting below; this will make our hearts sing. Also, please share, we want this to get to as many folx as possible.

Leave a comment

Share

But first, Church Announcements!!

Church Announcements: Women of Impact Workshop Series

We have an upcoming Women of Impact workshop series—a four-part exploration of how influential women have protected their work, built powerful brands, and expanded their impact across industries.

July 30 — Women of Impact: U-N-I-T-Y (Queen Latifah)
Explore trademarks, licensing, and the strategies behind building a lasting brand.

August 20 — Women of Impact: Get Your Freak On (Missy Elliott)
Learn about copyright, creative ownership, and protecting original work.

September 10 — Women of Impact: Negotiate for Your Impact
Get practical guidance on negotiating confidently, communicating your value, and protecting your interests.

September 24 — Women of Impact: I’m in Love with the Coco (Coco Gauff)
Explore endorsements, image rights, NIL agreements, and personal-brand protection.

All four workshops begin at 8:00 a.m. Pacific Time, 11:00 a.m. Eastern Time.

One Click. All Four Workshops.

We have a new one-click sign-up that allows you to register for the entire Women of Impact series at once.

Sign up, even if you’re not able to attend, you’ll still get the workshop notes.

The first step isn’t filing anything. It’s taking inventory.

Most founders are further along than they realize — and also more exposed than they realize.

The gap between those two things is where the legal strategy lives.

An IP audit asks: what names, phrases, logos, methodologies, and original works are attached to this business?

Of those, which ones are currently in use?

Of those, which ones have been registered?

Of those, which registrations are still active, maintained, and current?

That last question matters more than founders expect.

A trademark registration isn’t a one-time filing that sits in a drawer.

It requires maintenance — a Declaration of Use between the fifth and sixth year, a renewal between the ninth and tenth, and ongoing attention to whether someone else is now using something that conflicts with your registration.

The process you trusted to protect you may have a gap in it.

Don’t think of it as a failure.

Instead, think of it as a data point.

And knowledge is power.

A process built for speed is not the same as a process built for ownership.

The early-stage instinct — move fast, execute, launch — makes sense.

But the same speed that gets a brand to market also skips the steps that protect it.

File the name when you’re ready.

Register the course when the revenue justifies it.

Circle back to the contract when the relationship is stable.

The problem is that “circle back” often never happens.

And in the meantime, the brand compounds in value — while the legal foundation stays exactly where it was on launch day.

Critiquing the process here isn’t about assigning blame.

It’s about asking honestly: was this process designed to protect me, or was it simply designed to move me forward?

No judgment, I have to ask myself the same question as well.

Because here’s the thing, these two things can look identical in the short run and diverge significantly over time.

The brands that have real enterprise value — the ones that attract investors, licensing partners, and acquisition conversations — are the brands that treated IP protection as infrastructure, not an add-on.

By this point, you may be thinking, do I have to start over? There’s so much to be done!

Now, before you throw your whole business away and start from scratch, hear this:

The rebuild doesn’t require starting over.

It simply requires adding a layer.

For most founders, that layer looks like this: a trademark application for the brand name and any sub-brands that are actively driving revenue; a copyright registration for original works, course content, or creative assets that could be licensed; and a contracts review to make sure that any existing partnerships, collaborations, or client agreements actually reflect who owns what when the work is done.

That’s it as a small start.

We don’t have to build Rome today.

But it does have to be done.

The reason it keeps getting deferred is that it doesn’t feel urgent — until it is.

Until a competitor files for the name you’ve been using for three years.

Until a collaboration dissolves and both parties believe they own the thing you built together.

Until a licensing conversation stalls because the other party can’t verify your chain of title.

The rebuild is a decision.

You are deciding to run a business that is legally structured to match what you’ve already built.

You are deciding that the next version of this brand — the version that lands the partnership, survives the collaboration, and gets acquired at the number you have in your head — exists on a foundation that can hold it.

The original “Do Not Trust the Process” post I wrote in 2023 was about the importance of evaluating your systems — not accepting them on faith, but interrogating whether they’re actually working.

That principle is still true. I still believe it.

But there is a specific version of that principle that lives in this work — in IP law, in brand protection, in the legal architecture of a founder-owned business.

The process you trusted to carry your brand forward may never have been designed to carry your ownership forward.

And ownership is the thing that turns a business into a legacy.

The gap is still closeable. The question is when you decide to close it.

What is one part of your brand — a name, a framework, a body of work — that you know you haven’t legally protected yet?

Drop a comment—I read every one.

Leave a comment

• I want that $300 Kind of Love.

• You Don’t Impress Me.

• Viola Davis: The Graveyard of Unfilled Potential.

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on it and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

Share

Hey Fam,

Now.

Let's talk about a name.

1989 — A nineteen-year-old from Newark, New Jersey named Dana Elaine Owens is releasing her first album.

She has chosen a name for herself. An Arabic word meaning “delicate, sensitive, and kind.”

She puts it on the cover.

She calls the album what the name deserves.

All Hail the Queen.

If you’re not careful, you may think it’s a boast.

But for me, it is a declaration.

And over the next thirty-seven years, that name — Queen Latifah — would appear on Grammy certificates, on a Hollywood Walk of Fame star, on Netflix licensing agreements, on CBS production credits, on a White House invitation honoring her legacy, and on a Rock and Roll Hall of Fame announcement set for November 2026.

So yeah…a declaration.

Because boasting could never…

As an IP attorney, my pride and joy comes from seeing the name “Queen Latifah” appear in two places that most people never think to look.

The United States Patent and Trademark Office.

Serial Number 75800943.

Serial Number 90527132.

One filed in 1999, the other in 2021.

Both owned by QUEEN LATIFAH, INC.

Because, here’s the thing: the name was always the asset.

The filings made it legally true.

All hail the queen.

Last week, we talked about Missy Elliott — the copyright infrastructure she built beneath her catalog, the 400+ songs sampling her work, the lawsuit she filed in 2024 to confirm ownership of what was already hers.

If you missed it, go back and read it here:

This week, we’re diving into a slightly different, but equally consequential, form of protection.

As shared last week, copyright protects what you create.

Trademark protects who you are.

And when I look at Queen Latifah's legacy through a legal lens, the thing that inspired me is not just the Grammy.

Not just the Oscar nomination.

Not just the National Medal of Arts.

It is the corporation.

QUEEN LATIFAH, INC.

She put respect on her name before anyone else did.

The interesting catch?

Queen Latifah did not file those trademark registrations as Dana Owens, as that would’ve put her on the hook for personal liablity if things went awry.

Instead, she created a corporate entity specifically to hold her name as a legal asset — and she did it in 1999, when the internet was still new and most artists were not thinking about this at all.

That is what I think about when I hear this story, and I hope this resonates with you as well.

So let’s enter the Queen’s royal chamber to understand her legacy.

In this Founder's Letter, we are going to walk through three things: Three things we're breaking down in this Founder's Letter: the two trademarks protecting the name itself, what the "Queen Collection" mark teaches us about co-branded licensing when you own your IP, and the deal structure behind The Equalizer that paid her twice — the same playbook Ryan Coogler used for Sinners years later.

Ready? Let’s get into it.

Loving This Post?

Show us some love by adding a “❤️” or commenting below; this will make our hearts sing.

Also, please share, we want this to get to as many folx as possible.

Leave a comment

Share

But first, Church Announcements!!

Church Announcements: Women of Impact Workshop Series

We have an upcoming Women of Impact workshop series—a four-part exploration of how influential women have protected their work, built powerful brands, and expanded their impact across industries.

July 30 — Women of Impact: U-N-I-T-Y (Queen Latifah)
Explore trademarks, licensing, and the strategies behind building a lasting brand.

August 20 — Women of Impact: Get Your Freak On (Missy Elliott)
Learn about copyright, creative ownership, and protecting original work.

September 10 — Women of Impact: Negotiate for Your Impact
Get practical guidance on negotiating confidently, communicating your value, and protecting your interests.

September 24 — Women of Impact: I’m in Love with the Coco (Coco Gauff)
Explore endorsements, image rights, NIL agreements, and personal-brand protection.

All four workshops begin at 8:00 a.m. Pacific Time, 11:00 a.m. Eastern Time.

One Click. All Four Workshops.

We have a new one-click sign-up that allows you to register for the entire Women of Impact series at once.

Sign up, even if you’re not able to attend, you’ll still get the workshop notes.

In 1999, Dana Owens filed a trademark application with the United States Patent and Trademark Office.

As shared above, the applicant was not listed as Dana Owens.

It was listed as QUEEN LATIFAH, INC.

A corporation.

Created specifically to hold the rights.

Serial Number 75800943 — Queen Latifah, entertainment services in the nature of a live musical performer.

And later, in 2021, she filed a second trademark bearing her stage name:

Serial Number 90527132 — Queen Latifah, for televised and recorded audiovisual appearances by a professional entertainer.

Two registrations. Two lanes. Music and screen.

Both filed at different points in her career.

The sequencing matters as much as the filing itself.

By 1999, she already had the Grammy.

She already had the five-season Living Single run.

She had already starred in Set It Off.

She had leverage.

But instead of assuming that leverage was protection, or that recognition was just as good as ownership, Dana went to the Patent and Trademark Office and made the protection official.

What those registrations mean in practice: the name “Queen Latifah” is not just a performing identity.

It is a federally registered legal instrument.

Anyone who uses it without authorization — for a show, a product, a service — is not just trading on a cultural figure’s reputation.

They are infringing a registered trademark. And QUEEN LATIFAH, INC. has the legal tools to stop them and potentially collect damages.

The National Medal of Arts came in October 2024.

The Rock and Roll Hall of Fame Early Influence Award is coming in November 2026. Those confirm what the culture has known for decades.

The trademark registrations have been confirming it since 1999.

In January 2006, Queen Latifah and CoverGirl launched the Queen Collection.

One of the first lines in mass cosmetics created specifically for deeper skin tones. It changed the beauty landscape.

In other words, it walked so Fenty could run.

I remember this like it was yesterday - I was astounded the first time I saw Queen Latifah's commercial with CoverGirl.

I was 17, at the height of my youth, in my last year of high school, getting ready to go to college.

And I just remember seeing Queen Latifah's radiant smile, her honey brown skin, and her unapologetic dynamicism in a way that made me feel that I didn't have to be held in one box.

Because by this point, Queen Latifah was a big deal: she was a rapper, a songwriter, a actor, and a business mogul all around.

But what I didn’t realize until recently was that Queen Latifah held a lot of leverage in the collaboration between her company and CoverGirl.

In fact, she holds the trademark to the very Queen Collection that still drives sales to this day.

What I didn’t understand as a teenager was that I wasn’t just watching a commercial — I was watching ownership.

She wasn’t simply the face of the brand; she was, in part, its owner.

Serial Number 98945868.

And that is not a small detail. That one fact is the difference between being a brand ambassador and being a brand co-owner.

A brand ambassador gets paid for their likeness.

They appear in campaigns, endorse the product, and when the contract ends, they leave — and so does their leverage.

A brand co-owner holds IP.

They have a seat at the table for product creation, development, and distribution decisions.

And when CoverGirl came back in 2022 — more than a decade after her initial run — Covergirl was not just calling a former collaborator.

They were calling a rights holder.

Covergirl described bringing her back as a “no-brainer.” They wanted her involved not just in front of the camera but in product creation, ad development, and dissemination.

That framing matters.

For over two decades, CoverGirl has brought her back to the table.

The trademark is why.

And then there’s the Queen in her acting and production bag.

When The Equalizer ran on CBS for five seasons, Queen Latifah did not collect one check.

She collected two.

Once as the star — the lead performance, the acting fee, the face that drove the ratings for five full seasons. And once as an executive producer through Flavor Unit Entertainment, the production company she co-owns with Shakim Compere.

Flavor Unit, Trademark Serial Number 85618724.

Two contracts. Two revenue streams. Two different legal positions at the same table.

The acting fee is compensation for a service. It ends when the season ends. The executive producer credit through Flavor Unit is a stake in the underlying intellectual property of the show — a position that continues generating as long as the show is licensed, distributed, and syndicated.

If you recall, wewalked through something similar in “I’m a Sinner” — Ryan Coogler’s deal for Sinners, where he structured separate contracts as writer, director, and producer through Proximity Media, plus first-dollar gross participation from ticket one, plus a 25-year copyright reversion clause:

Multiple revenue streams from a single project. And eventually, full ownership.

The Queen Latifah structure is another dynamic version of this.

Coogler’s reversion is time-delayed. He will own Sinners outright — in 2050. The deal is built toward a future claim.

Flavor Unit already holds the production rights today.

When the Netflix exclusive multi-year licensing deal was signed in 2013, that was not Queen Latifah the artist getting a streaming deal. That was Flavor Unit Entertainment entering a content licensing agreement as a company that already owns the rights. The revenue flows to the entity. Not just to the person.

And now Flavor Unit is producing her own biopic. She is not waiting for a studio to commission her life story. The entity that will hold the rights to that story already exists. It has the deals. It has the infrastructure. She is building the camera before she steps in front of it.

In 1989, Dana Elaine Owens called her first album All Hail the Queen.

She was nineteen.

Some might call it arrogance.

I call it manifestation.

And the thirty-seven years that followed were the infrastructure she built to make that statement legally true — not just culturally true.

The management company that nurtured OutKast and LL Cool J.

The production entity that signed Netflix, Audible, and CBS.

The trademark registrations that protected the name across two industries.

The beauty brand trademark that gave her leverage at every table CoverGirl ever set.

And so much more came.

The Grammy came in 1994.

The Hollywood Walk of Fame in 2006.

The National Medal of Arts in 2024.

The Rock and Roll Hall of Fame in November 2026.

They come when the culture can no longer hold out.

But the trademark was filed in 1999.

Twenty-five years before the White House ceremony.

The infrastructure was always first.

All hail the Queen.

If your name — your business name, your brand name, your stage name — is the most valuable thing about what you're building, has it been registered? Does the right entity hold it?

Drop a comment—I read every one.

Leave a comment

• I’m a Sinner.

• Steal Usher's Trademark Strategy

• Don't Be Kendrick. Be Beyoncé.

Want to know where your name actually stands legally? Let's talk — and make sure it isn't just recognized. It's protected.

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on in and share the love.

Thanks for reading

See you next time.

#ForTheCulture

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Hey Fam,

I want to take you to a high school dance studio in the heart of Brooklyn, New York.

The mirrors cover the entire front wall, which means you can see everyone at once — yourself, the person beside you, the person behind you.

There is nowhere to hide.

In this room, picture me, a 14 year old young girl, trying out for my high school dance group.

Actually, don’t picture me. I just knew I couldn’t dance, but my friend convinced me to come and I wanted to support the homie…

But instead, picture this:

The song playing on the loudspeakers — the one the choreographer had chosen for auditions — was “Get Ur Freak On.”

Now, by this point, the song had been out for a few years by then.

But it did not feel like it.

It still felt the way it felt the day it dropped — electric, colorful, completely alive.

Because very few can deny this: Missy Elliott creates masterpieces that, simply put, do not age.

Her music, to this very day, continues to have texture.

It has layers.

It moves in every direction at once.

And in that high school dance studio, the dancers too moved around me, in every direction, just like the song.

All while I was struggling to keep up…

Because, once again…

In the years that followed, I found my calling elsewhere. Step competitions. Singing. Drama. Other corners of the performing arts where my gifts could actually breathe.

But that moment in the dance studio stayed with me the way certain moments do — not because of what I did, but because of what I felt.

Fast forward to 2024.

On October 21st, President Biden stood in the East Room of the White House, honoring thirty-nine recipients — among them Spike Lee, Steven Spielberg, Selena Quintanilla, Queen Latifah, and none other than THE Melissa MISDEMEANOR "Missy" Elliott, who became one of the first rappers in history to receive the National Medal of Arts, the highest honor the United States government gives to an artist.

When I saw this, the first thing I thought about was that dance studio.

The second thing I thought about — because…IP attorney… was Missy’s extensive musical catalog, as well as her impact on the industry as a whole.

This was a powerful moment in Hip Hop history.

Because less than two decades earlier, you could not pay society to take Hip Hop seriously.

And for years, decades even, pioneers like Missy walked so that many more artists could run.

And finally, Missy and many others were getting their just due.

So it makes sense that the culture read this moment as a coronation.

And it was. I am not going to argue with that.

But when I witnessed this moment in history, one word came to mind: legacy.

And not in just what she is producing for future generations, but in what she continues to protect to this very day.

For an artist like Missy Elliott, my mind goes somewhere very specific. It goes to the filings. It goes to the entity structure. It goes to the question of what she actually owns and how she makes certain her ownership stays intact.

Because this is where things shift when you look at this story through a legal lens: the National Medal of Arts does not protect a single recording. It does not register a copyright. It does not establish who gets paid when someone samples your work.

Missy Elliott has been creating, protecting, and producing masterpieces since the early 90’sf — which is how she arrived at that White House ceremony with something many artists at her level do not have: a legal infrastructure built beneath what she created.

So, in honor of the one and only Missy “Misdemeanor” Elliott, get ready for an IP dive into her legacy.

In this Founder's Letter, we are going to talk about the catalog she built while building herself, what it actually means when HUNDREDS of artists sample one’s work, and why, even after everything she built, she still went to court to protect what she created.

And why you should too.

Ready? Let’s get into it.

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But first, Church Announcements.

Speaking of Missy…

We have an upcoming Women of Impact workshop series—a four-part exploration of how influential women have protected their work, built powerful brands, and expanded their impact across industries.

July 30 — Women of Impact: U-N-I-T-Y (Queen Latifah)
Explore trademarks, licensing, and the strategies behind building a lasting brand.

August 20 — Women of Impact: Get Your Freak On (Missy Elliott)
Learn about copyright, creative ownership, and protecting original work.

September 10 — Women of Impact: Negotiate for Your Impact
Get practical guidance on negotiating confidently, communicating your value, and protecting your interests.

September 24 — Women of Impact: I’m in Love with the Coco (Coco Gauff)
Explore endorsements, image rights, NIL agreements, and personal-brand protection.

All four workshops begin at 8:00 a.m. Pacific Time, 11:00 a.m. Eastern Time.

One Click. All Four Workshops.

We have a new one-click sign-up that allows you to register for the entire Women of Impact series at once.

Sign up, even if you’re not able to attend, you’ll still get the workshop notes.

In 1996, Puff Daddy wanted to sign Missy Elliott to Bad Boy Records.

She said no.

Instead, she negotiated a deal to create her own imprint — The Goldmind Inc. — distributed through East West Records, a division of Elektra Entertainment Group.

Goldmind would be her label, her entity, and the legal structure behind everything she was about to build.

That same year, she released Supa Dupa Fly.

Both things, at the same time.

The sequencing here matters.

She did not build the career first and the business after.

She built them together, from the beginning.

So, by the time the world was singing “I can’t stand the rain…” the entity that would hold those rights already existed.

And before she ever stepped into that spotlight as a solo artist, she had already been writing, or what we call in the industry, publishing.

Janet Jackson. Whitney Houston. Aaliyah. Mariah Carey. Destiny’s Child. Beyoncé.

Years before her debut album, Missy Elliott had been building a songwriting and production catalog that would become one of the most valuable in the history of hip-hop.

In 2019, she became the first female rapper inducted into the Songwriters Hall of Fame.

All because her publishing catalog — the compositions she wrote, the melodies she built, the tracks she produced for other artists — became a monumentally lucrative revenue-generating asset.

It has been earning since before most people knew her name.

This is what a catalog looks like as legal infrastructure.

Not just as artistry.

According to WhoSampled, over 400 songs have sampled Missy Elliott’s catalog.

Drake. J. Cole. Cardi B. BIA. Megan Thee Stallion. Brent Faiyaz. Wale. Isaiah Rashad. Skrillex.

Every single time that happens, a publishing royalty is triggered.

Who receives the royalties depends on who holds the underlying rights — specifically, the rights to the composition that was sampled.

And for many of those songs, those rights belonged to Missy.

That is what a properly structured catalog can do. It continues to generate — in studios, in courtrooms, and everywhere in between — because the underlying rights are held by an entity positioned to exercise them.

I ain’t gonna hold you, fam…

I. LOVE. THIS.

The numbers, stats, the data, the filings - everything that lives beneath the cultural story.

Because those numbers, those stories, those filings turn into so much more - the publishing splits.

The mechanical royalties (for CDs, vinyl, streaming, etc.).

The sync licensing fees that flow from a catalog this deep.

And they are worth understanding, because they are not separate from the legacy.

They are the legal architecture of it.

So when a new artist samples “Get Ur Freak On” — and they will — this is more than a tribute.

It is a financial transaction.

Whether Missy Elliott benefits from that transaction comes down to what she owns, how it is documented, and what entity holds it.

This is something I walk clients through regularly.

Why? Because influence and ownership are not the same thing.

Yes, they can coexist — and when they do, it is because someone made a deliberate decision to build both.

And that is what I want for each and every one of you.

You would think that after more than 25 years in the industry, Missy could rest on her laurels and simply enjoy the fruits of her labor.

Think again.

Even with an extensive catalog in hand, Missy still had to file a lawsuit to get her rights recognized.

In 2024, she filed for declaratory relief, asking the court to declare and confirm that she was the sole owner of several early recordings, including songs she wrote for Aaliyah.

Pause.

Let’s take a moment to recognize something important.

Missy fought for these rights well into her career, long after the season where she was young and without leverage.

Long after the Grammys, or the Songwriters Hall of Fame, or the Rock and Roll Hall of Fame, or the National Medal of Arts.

Long after all of it.

Despite all of it.

And perhaps, because of all of it.

Here’s what I am trying to say:

Why? Because copyrights can be canceled. Trademarks expire. Ownership can be challenged.

So if you want legacy, like truly want it (and not just saying it), you have to properly steward your impact.

And that takes strategy. Time. Financial investments and a team with you.

Because, here’s the thing, protecting your legacy is not a one-time event. It is a lifelong, consistent journey of stewardship.

We tell our clients this all the time, and it is hard for a lot of them to hear.

And it makes sense why.

After all, many of us are still learning that IP protects what we’ve created.

That we don’t have to be spotify, meta, or google to have intellectual property worth protecting.

That our courses, our speeches, our books, our diverse contributions matter.

But even after we learn that IP can protect what we create, we are then sold a story that the journey stops at the trademark registration.

That there is little to do after the filings.

And that we are done in our process.

We all see the IG posts, the proud acknowledgments of undergoing a protracted roller coaster journey to get to the finish line of trademark or copyright protection.

But I'm here to tell you this “finish line” is not a finish line at all.

It's a checkpoint — a single mile marker in a much longer race that doesn't end until you've built the habit of protecting, enforcing, and renewing what you've claimed.

Missy knows it.

And it’s time we recognize it as well.

Think of it like buying a house. You cannot just purchase it and walk away — you have to maintain it if you want to pass it down to future generations.

If you want legacy tomorrow, you have to steward it today.

Ownership is not a destination. It is an ongoing practice.

Suffice it to say, I did not make the dance group.

And I think about that sometimes with a kind of gratitude, because the path that opened after that audition was the one I was meant to be on.

The step competitions. The singing. The work that eventually led me to Berkeley Law, to a federal judicial clerkship, and to a firm built around protecting people who create things the world cannot ignore.

But I have never forgotten what it felt like to be in that mirror, listening to a song so layered and alive that the room could barely contain it.

Missy Elliott made that song.

And she went on to make hundreds more songs like it.

She wrote them for herself and she wrote them for some of the biggest artists on earth. She built a label to hold them. She filed the paperwork to protect them. And when someone challenged her ownership of the earliest ones, she went to court.

The Medal of Arts is a beautiful thing. It is the institution finally saying what the culture has known for decades.

However, what it did not do is build the infrastructure.

That part was always on Missy.

And she did it — not once, at the beginning, but continuously, all the way through.

That is what legacy looks like when it is both cultural and legal. And that is the standard I think about every time a founder sits across from me with something brilliant and unprotected in their hands.

The work is not enough on its own. The work plus the structure and the ongoing stewardship — that is what lasts.

Is there something you have built that you have not fully documented or registered yet? And what has been keeping you from taking that next step?

Drop a comment—I read every one.

Leave a comment

• Has Jay-z Sold Out?

• Jollof Rice & Carlton Banks.

• Wait, You Didn’t Go to Spelman?

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on inthat and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

Share

Hey Fam,

If you have ever spent five minutes with me, you already know two things:

• I am an IP attorney

• I am from Brooklyn, New York.

The second one usually comes out first.

And I’m being extra loud in this season.

Why?

Well, there is no better time to be a New Yorker than right now.

The Knicks just had their best season in over five decades.

Jay-Z performed at The Roots Picnic — his first major live appearance in years — and he has been speaking more publicly about what has happened to him, what has shaped him, and what is ahead of him; more words than he hashad in almost a decade.

The city is loud again in the best possible way:

And then came the news that stopped us mid-stride.

Jay-Z is partnering with Target to release a 30th anniversary exclusive edition of Reasonable Doubt — a white double vinyl, redesigned packaging, a collectible insert, and unreleased tracks including the Fool’s Paradise Remix of “Can’t Knock the Hustle.”

Dropping June 26, 2026.

Exclusively at Target:

Record scratch.

I am … torn.

And I know I am not alone.

For those who may not have been following, Target has been at the center of an organized boycott led by Black faith and civil rights leaders for some time now.

In January 2025, around the time of Donald Trump’s second Presidential Inauguration, Target announced it was rolling back the diversity, equity, and inclusion commitments it had made to the Black community following the murder of George Floyd.

The response was immediate.

Black women — led by Minneapolis lawyer and activist Nekima Levy Armstrong, former Ohio state senator Nina Turner, and organizer Tamika Mallory — launched what became a sustained national boycott beginning February 1, 2025.

Pastor Jamal Bryant later joined with a parallel 40-day "Target fast" through his church. The movement was grassroots, Black women-led, and, for many, still very much ongoing.

The message from community organizers has been clear: our dollars go where our values are reflected.

And now Jay-Z — a man who has built an entire public identity around ownership, independence, and doing things on his own terms — is putting the album that started it all behind a Target exclusive:

The internet had thoughts.

As did I.

But here is where I had to pause.

Because the question I kept coming back to was not whether Jay-Z should have done this.

The question I kept coming back to was: is Jay-Z actually the one who made this call?

It was time to put my IP hat on (**cue superhero music**):

So I did.

And what I found in the public records changed the entire picture for me.

Before we get into what I found, there are a few basics that will make this make sense.

Grab a cup of coffee, take a seat, get comfortable.

Because we’re about to do a legal deep dive (and I am so EXCITED!!!).

In this Founder's Letter, we're going beneath the headlines.

Today, we’re looking at the legal mechanics behind the Jay-Z/ Target controversy, who actually holds the power over Reasonable Doubt right now, and what we as founders can creative can learn from all of this.

Ready?

Let’s get into it.

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But first, Church Announcements.

The Firm for the Culture - THE SPEAKER PROTECTION Series

We’ve got a series of workshops, all for you!

Speaking builds visibility.

But it also creates intellectual property.

This series breaks down what actually happens to your ideas, your content, and your rights once you step on stage. From contracts to ownership to licensing, we’ll explore how speaking opportunities can either build long-term value—or quietly take it away.

We’ll cover: how speaking engagements intersect with intellectual property, what speakers often overlook when accepting opportunities, and how to approach speaking as both a visibility and ownership strategy.

What you’ll walk away with: A clearer understanding of how to protect, position, and leverage your content as a speaker—before, during, and after every engagement.

Here’s a preview for your viewing pleasure:

Workshop 4: The Speaker Protection Series: The Contract Clauses You Need

📅 June 25, 2026 at 8:00 a.m. PDT

Growth usually comes with paperwork. Protection comes with awareness.

This workshop focuses on the specific contract clauses that directly impact your control, ownership, and long-term leverage as a speaker.

We’ll cover: key clauses around ownership, licensing, usage, distribution, and how to structure agreements that actually protect your work—not just your participation.

What you’ll walk away with: A clear understanding of the clauses you need in place and how to approach contracts with intention and strategy.

Register for The Speaker Protection Series: The Contract Clauses You Need workshop

For founders who are building brands. Creators who are shaping culture. Entrepreneurs who refuse to be extracted from.

Registration is FREE; in case you’re unable to make it, sign up and you’ll get the free notes.

After event recordings are $20.00 each.

Hope to see you there!

🔗 Sign up here:

• June 25, 2026 - The Contract Clauses You Need workshop

I remember my experience at the On the Run Tour.

I had just taken the New York Bar Exam (which I passed on first try), and I was eagerly anticipating getting out from under the rock I was in for over 3 months.

A few friends of mine, my UC Berkeley fam, purchased the best tickets we could find with a student’s budget.

Nosebleed seats — the ones you grab because it's the only way you're getting in the building — and it did not matter.

Not even a little.

Beyoncé and Jay-Z on the same stage, in the same city, performing songs that had been the soundtrack to half my life.

The energy did not stop at the floor. It climbed. You could feel it from up there, that particular electricity that only happens when artists are fully, unapologetically in their power.

I left that arena convinced — the way you are convinced of very few things — that I had just watched two people who owned every single thing about what they had just done.

The music. The moment. All of it.

If you’ve ever experienced an artist you loved, you know what I’m talking about.

Standing in the crowd, watching your favorite artist move through a set like they were born to do exactly this, and thinking: that is someone who owns their craft.

And you would be right.

But owning your craft and owning your masters?

That is an entirely different thing.

The Law in a Nutshell

The United States Copyright Office draws a distinction that most people never encounter outside of a legal consultation with my firm.

According to the Copyright Office, a musical piece doesn’t have one copyright; it has several.

A musical composition — the melody, the lyrics, the notes on the page — is one copyright.

A sound recording — the actual recorded performance fixed to the master copy — is an entirely separate copyright.

And the Copyright Office states the distinction so beautifully: “Copyright in a sound recording is not the same as, or a substitute for, copyright in the underlying musical composition.”

They are separate works, often with separate owners, and with separate legal protections.

So what does this actually mean?

It means that an artist can write every word of a song, perform it, live it, and build a career on it — and still not own the recording the world knows.

The composition often stays with the songwriter or their publishing entity and it is often registered as a work of Performing Arts, as they are works created to be performed.

The master recording — the recording that gets licensed for commercials, synced to films, streamed on platforms, and as in Jay’s case, pressed onto vinyl — often belongs to the label.

The master recording is often registered as a Sound Recording, because that particular arrangement, those particular voices, and that particular performance in the studio, often on the label’s dime, is what is being protected.

And this, my friends, is why the news is full of artists who are constantly fighting for their masters (cue Taylor Swift):

So where does Shawn “Jay-Z” Carter’s ownership fit into all of this?

“Take “Can I Live,” track two on Reasonable Doubt, as an example.

The Performing Arts registration — number PA0000817504, filed December 3, 1996 — tells you exactly what you need to know:

Authorship: words and music by Sean Carter p.k.a. Jay Z, and Irv Lorenzo.

Work made for hire: No (this part will be VERY VERY important later).

Copyright claimants on the composition: Colgems-EMI Music, Lil Lulu Music, and DJ Irv Music.

So here’s the story of this registration: Shawn Carter wrote the song.

He and his co-author created it.

And the PA registration — the Performing Arts copyright, the composition side of the ledger — reflects that clearly.

So Jay-Z has a stake in the composition through his publishing entity Lil Lulu Music.

So he likely has an ownership stake through that — but it's not a direct, personal holding.

It's held at the publishing company level.

But that Masters Copyright?

Much more complicated.

We dig into that below.

The music industry has a long history of artists — particularly Black artists — signing recording agreements early in their careers that were extraordinarily favorable to labels and extraordinarily unfavorable to the people who actually created the music.

Young.

Hungry.

Often unrepresented or underrepresented.

No leverage. No precedent.

The deal in front of them was the only deal being offered.

Jay-Z signed his deal with Roc-A-Fella Records — the label he co-founded with Dame Dash and Kareem “Biggs” Burke — in the mid-1990s.

Reasonable Doubt was released June 25, 1996. The masters to that album, like the masters to most recording agreements of that era, transferred to the label as part of the deal.

And Roc-A-Fella Records, Inc., according to public documents, still owns the copyright in the masters.

Let’s pause for a second, because I want to make sure you understand what this means, because here is where it gets complicated.

As mentioned, Roc-A-Fella Records, Inc. was co-founded by three people: Jay-Z, Dame Dash, and Kareem "Biggs" Burke.

Jay-Z is not the sole owner of that company.

This means he is not the sole decision-maker over what happens to those masters, including the Target Vynyl deal.

And since their humble beginnings, it’s likely the case that a more extensive Roc-A-Fella corporate board is calling the shots here, with UMG (Universal Music Group) as the distributor.

A lot of hands in the pot, so no one person can act unilaterally here.

In fact, in 2021, Dame Dash tried to sell his ownership interest in Reasonable Doubt as an NFT — without Jay-Z's consent.

Jay-Z had to go to court to stop it. That case is public record (shoutout to my mentor Alex Spiro and my alma mater law firm Quinn Emanuel for handling this case):

And it tells you everything you need to know about how clean — or rather, how messy — the ownership picture inside Roc-A-Fella actually is.

So if a Billionaire Mogul like Jay is not calling the shots, what’s a typical artist to do?

Fortunately for artists, Congress anticipated this dynamic.

The Copyright Act of 1976 includes a provision — Section 203 — that gives authors the right to terminate grants of copyright that were made on or after January 1, 1978, thirty-five years after the execution of the original grant.

The right cannot be waived in advance.

It cannot be contracted away.

It is a statutory right that exists regardless of what the original agreement says.

What it means in plain terms: an artist who signed their rights away at twenty-six can take them back at sixty-one (as long as it was not a work for hire).

The deal is not permanent.

The law literally built in a second chance for artists and creatives alike.

On July 29, 2024, Shawn Carter — personally, as the author — served a Notice of Termination of Grant under 17 U.S.C. Section 203 on Roc-A-Fella Records, Inc. by certified mail, return receipt requested:

The notice was recorded at the U.S. Copyright Office on August 2, 2024.

The list includes Dead Presidents II, Can’t Knock the Hustle, Can I Live, D’Evils, Regrets, Friend or Foe, Bring It On, Cashmere Thoughts, Brooklyn’s Finest, and nine other sound recordings from Reasonable Doubt.

The termination date for most of them? June 25, 2031.

Remember. This. Date.

Okay, you still with me?

Shout out to you for making it this far, because here is where it gets really interesting.

What the §203 termination document confirms is this: Roc-A-Fella Records, Inc. holds the rights to these sound recordings (a lá, the Copyright Office screenshot above (because…receipts)).

Jay-Z would have nothing to terminate if that were not the case.

And here is the critical legal reality the headlines are missing entirely.

Those masters do not revert to Shawn Carter until June 25, 2031.

Until that date, the current rights holder(s) control(s) the sound recordings.

Shawn Carter, as the “author-in-waiting,” does NOT currently have the unilateral right to authorize a Target-exclusive vinyl release of these masters, much in the way Dame Dash didn’t have the unilateral right to sell his share of Roc-A-Fella.

What is likely happening is something far more intentional, and frankly, more nuanced, than a simple sellout.

Because here’s the thing: Jay-Z has re-emerged in 2026 in a way we have not seen in years.

The Roots Picnic performance.

The public reflections.

The anniversary rollout.

The combed out locs (shout out to Cécred).

What this moment likely represents is a coordinated effort — with the cooperation of the current rights holders who have every financial incentive to participate — to drive the value of the Reasonable Doubt catalog as high as possible before the reversion.

The Fool’s Paradise Remix of “Can’t Knock the Hustle” — the unreleased track on the Target vinyl — is also listed on the 203 termination notice.

Jay-Z is not just celebrating the album.

He is, in all likelihood, building the very portfolio he is about to own.

I went to Target.com yesterday:

And there it was — a face I have looked at my whole life.

A young man from the Marcy Houses in Brooklyn, New York, less than 40 minutes from my own stomping grounds.

My borough.

My Brooklyn.

A face that has seen so much, and yet in that photograph, there is still so much ahead of him.

The whole career.

The whole empire.

Thirty years of music that would follow.

And many difficult decisions he never anticipated having to make.

Has Jay-Z sold out?

I do not think that is the right question.

The right question is: who currently owns what, what does the law say, and what does the man at the center of this already understand about where it is all going?

Because here’s the thing, there’s still so much we don’t know here.

We don’t know, for certain, the current ownership structure of Roc-A-Fella.

We don’t know just how big, or how little, Jay-Z’s control and leverage was in this matter.

And because of that, we just don’t know how much accountability belongs to all involved.

But what I know is this:

As a fellow Brooklynite, I am proud of every person who came out of these “concrete jungles” and built something the world could not ignore.

Watching New York have its moment right now — the Knicks, Jay-Z, all of it — does something to me that is hard to put into words.

But I am also an IP attorney.

And when I see a story the culture is reading one way, I cannot help but look underneath it.

The answers — at least the ones the Copyright Office will give you — suggest that Shawn Carter already knew exactly what he was doing.

The question, as always, is whether we understand the legal infrastructure that makes it possible.

What do you think — is this a strategic move or a misstep regardless of the legal picture? And are you still boycotting?

Drop a comment—I read every one.

Leave a comment

• Jollof Rice & Carlton Banks.

• Wait, You Didn’t Go to Spelman?

• She Kept The Name.

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on it and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

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Hey Fam,

I am proud to announce that I made my best pot of Nigerian jollof rice.

Party edition.

For children of immigrants, you already know why that is a LinkedIn-worthy moment.

I thanked Jesus and my Momma accordingly.

But I am an IP attorney.

And I cannot make jollof rice without also thinking about intellectual property.

Blame my neurodivergence; I have fully made peace with it.

So after I posted proof of my biggest accomplishment to date, I added a line almost as an afterthought: recipes can be trade secrets, but they cannot be protected by copyright.

*RECORD SCRATCH*

The responses I received told me that line deserved more than a footnote.

Because the truth is, copyright gets reached for constantly — by founders, by creators, by people who built something real and want to protect it.

But sometimes, believe it or not, copyright simply is not the right tool.

The law has lanes.

Knowing which lane applies to what you built changes everything about how you protect it.

So let us talk about it.

Party Rice & Protection

I sit across from — and on Zoom with — founders and creators every week who have poured themselves into their work.

A recipe perfected over years.

A phrase that became a movement.

A signature move that the internet turned into a meme and a video game turned into a product.

And the question underneath almost every conversation is the same one: Is what I built protected?

The instinct is to reach for copyright.

And I get it — copyright is the protection most creators have heard of, it attaches automatically the moment you create something original and fix it in a tangible form, and it covers a wide range of creative work.

Music, books, visual art, film, software, choreographic works. The list is real.

But copyright has edges.

And the edges matter.

I see this come up often enough that I want to name it clearly: there are things copyright was never designed to protect.

Not because the law does not care about creators, but because other legal tools were built for exactly those things.

The mistake is not reaching for protection.

The mistake is reaching for the wrong instrument.

So let’s make sure you’re using your toolbox wisely.

In this Founder's Letter, we are going to talk about three things copyright cannot protect — recipes and processes, short words and phrases, and individual dance moves — and what the right tool actually looks like for each one.

Ready?

Let’s get into it.

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But first, Church Announcements.

The Firm for the Culture - THE SPEAKER PROTECTION Series

We’ve got a series of workshops, all for you!

Speaking builds visibility. But it also creates intellectual property.

This series breaks down what actually happens to your ideas, your content, and your rights once you step on stage. From contracts to ownership to licensing, we’ll explore how speaking opportunities can either build long-term value—or quietly take it away.

We’ll cover: how speaking engagements intersect with intellectual property, what speakers often overlook when accepting opportunities, and how to approach speaking as both a visibility and ownership strategy.

What you’ll walk away with: A clearer understanding of how to protect, position, and leverage your content as a speaker—before, during, and after every engagement.

Here’s a preview for your viewing pleasure:

Workshop 4: The Speaker Protection Series: The Contract Clauses You Need

📅 June 25, 2026 at 8:00 a.m. PDT

Growth usually comes with paperwork. Protection comes with awareness.

This workshop focuses on the specific contract clauses that directly impact your control, ownership, and long-term leverage as a speaker.

We’ll cover: key clauses around ownership, licensing, usage, distribution, and how to structure agreements that actually protect your work—not just your participation.

What you’ll walk away with: A clear understanding of the clauses you need in place and how to approach contracts with intention and strategy.

Register for The Speaker Protection Series: The Contract Clauses You Need workshop

For founders who are building brands. Creators who are shaping culture. Entrepreneurs who refuse to be extracted from.

Registration is FREE; in case you’re unable to make it, sign up and you’ll get the free notes.

After event recordings are $20.00 each.

Hope to see you there!

🔗 Sign up here:

• June 25, 2026 - The Contract Clauses You Need workshop

Here is the legal reality behind that footnote I dropped on LinkedIn.

Copyright protects expression.

But it does not protect ideas, methods, systems, or processes — even when those ideas are original, and even when those processes took years to develop.

A recipe is, at its basic foundational understanding, a process.

The instructions for how to make Nigerian jollof rice — the sequence of steps, the order of ingredients, the technique — describe a method.

And methods are not copyrightable under U.S. law.

This is sometimes called the idea-expression dichotomy: the underlying idea or process belongs to the world; only the specific, original expression of it can belong to you.

It’s a little complicated, but keep going with me…

Because the making of Jollof Rice, or your world famous chilli, or Tia Linda's dynamic coquito, or Dad's incredible Sloppy Joes — all of these are processes in the eyes of the law… and such processes cannot be registered for or protected by copyright.

BUT…what can be protected is the creative expression surrounding it — the story of how the recipe came to be, the headnotes, the photographs, the prose on the page.

That’s likely why you see the Pinterest ready recipe pages with fifty-leven photos before you see any recipe.

A cookbook can be copyrighted as a whole.

The recipes inside it cannot.

So what does protect a recipe?

So glad you asked.

Trade secret law — and only if you maintain it properly.

A trade secret is information that has economic value because it is not publicly known, and that you take reasonable steps to keep secret.

For example, the classic example is the Coca-Cola formula, which has been kept under lock, managed by a small number of people, never patented, and never publicly disclosed — deliberately — for over 130 years.

Patent would have required full public disclosure in exchange for time-limited protection. Trade secret gives indefinite protection, as long as the secrecy holds.

The moment you publish the recipe — on your blog, in your newsletter, in your cooking class without a confidentiality agreement in place — the trade secret protection is gone.

Disclosure without protection ends it.

So…back to the Jollof Rice.

Nigerian jollof rice has been passed down through generations of families, adapted, perfected, and shared openly.

It has connections to many African countries, including Nigeria, Ghana, and Senegal.

This bold brilliant rice is a gift to the world, and the inspiration behind some of the boldest and vibrant rice dishes of the Diaspora.

And because of this, Copyright law will aim to keep it in the public domain for everyone to enjoy.

When Rice is for the Culture, no individual can claim ownership of the dish itself — and that is both the beauty and the limitation of how the law works.

If you have a proprietary formula, method, or process that drives your business, the question is not whether you want to protect it.

The question is whether you have taken the legal steps to actually maintain that protection.

“Just Do It.”

Three words.

No copyright.

This is one of the most common points of confusion I walk people through. Short words, phrases, titles, slogans, and names are not eligible for copyright protection.

The Copyright Office is explicit: a short combination of words, even an original and creative one, does not contain sufficient expression to qualify as a copyrightable work.

This is not a loophole. It is intentional. If short phrases could be copyrighted, the person who first wrote “good morning” could block everyone else from using it.

The law drew a line, and short phrases landed on the unprotected side of it.

But here is where the lane shift matters.

“Just Do It” is not protected by copyright.

It is protected by trademark — and it is one of the most valuable trademarks in the world.

Trademark law protects words, phrases, logos, and symbols that function as source identifiers — they tell the public who a product or service comes from.

The same applies to your tagline, your program name, your brand phrase.

Copyright is not the right tool.

Trademark is.

And trademark protection requires affirmative steps — selection, clearance, use in commerce, and in most cases, federal registration — to build and maintain.

I see founders sit on a phrase for years, assuming it is protected because they created it, and then discover that someone else has already filed.

So let’s make sure you’re protecting your diverse contributions to the culture.

Your creativity deserves it.

🎶 It’s not unusual to be loved by anyone…

Oh the nostalgia…

And Epic Games, the makers of Fortnite capitalized on that cultural treasure without giving due compensation.

Fortnite had released an emote called “Fresh,” which Ribeiro alleged was a carbon copy of his signature dance move from the show.

He was, at the time, in the middle of attempting to register the Carlton as a copyrighted work.

In February 2019, the U.S. Copyright Office rejected his application. Shortly after, Ribeiro dropped his lawsuit.

The Copyright Office’s reasoning goes to the heart of how copyright treats movement. The Office denied his application saying the Carlton failed to meet the standard of a choreographic work because it was an individual, simple movement.

This is the legal line: there is a difference between a dance move and a choreographic work.

The Copyright Office cannot register short dance routines consisting of only a few movements or steps with minor linear or spatial variations, even if a routine is novel or distinctive.

Choreography is defined as “the composition and arrangement of a related series of dance movements and patterns organized into a coherent whole.”

An individual move — even one that is iconic, widely recognized, and culturally significant — does not clear that bar.

The Ninth Circuit has described individual, stand-alone dance movements as the uncopyrightable “building blocks for a choreographer’s expression, in much the same way that words provide the basic material for writers.”

In other words, you can copyright the arrangement.

You cannot copyright the building block itself.

The “Carlton” is a building block. It is a few movements, performed in a specific way, by a specific person, made famous through television.

But under copyright law, what Ribeiro created was a beautiful moment in cultural history — but unfortunately, not a choreographic work.

This does not mean creators of iconic moves have no options.

It means copyright is not the tool.

Ribeiro’s real leverage may have lived in right of publicity claims — the right to control the commercial use of his own likeness and persona — rather than copyright.

The instrument matters.

I think about this in the context of every creator who built something culturally significant and assumed copyright had them covered.

The Carlton did not fail because it was not original.

It failed because it was not the type of thing copyright was designed to protect.

Recipes, phrases, dance moves.

Three things that feel like they should be protected.

Three things copyright does not reach.

And in each case, a different legal tool — trade secret, trademark, right of publicity — was built for exactly that situation.

The founders and creators we work with are not building generic things.

They are building specific, culturally rooted, deeply personal things.

And the law has tools for that.

The gap is usually not in what was built. The gap is in knowing which instrument to pick up.

This is what we try to bring to every client conversation: not just the filing, but the map.

Where does what you built actually live in the law?

What protects it?

What does it take to maintain that protection? And what happens if you do not?

Copyright is powerful. It is also specific.

And the most dangerous assumption in IP law is that one powerful tool covers everything.

The good news is that the alternatives are real.

Trade secret law, trademark law, right of publicity — these are not consolation prizes.

They are purpose-built tools for exactly the kind of value that copyright does not reach. The work is knowing when to use them.

Because at the end of the day, the recipe was never the problem.

Finding the right type of protection is.

Is there something in your business — a process, a phrase, a signature thing — that you have been assuming copyright covers? Drop a comment — I read every one.

Drop a comment—I read every one.

Leave a comment

• Wait, You Didn’t Go to Spelman?

• You Don’t Impress Me.

• … But is Cardi B Wrong Though?

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on it and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

Share

Hey Fam,

Spelman College just made history.

Seven seniors.

All valedictorians.

All perfect 4.0 GPAs.

Not one. Not two.

Seven — at the same time, at the same institution, in the same graduating class. In 150 years of producing some of the most extraordinary women this country has ever seen, this has never happened before.

And I keep coming back to one line from the coverage. Not the GPAs. Not the history.

This one: “This is what happens when women are resourced, supported, and given an environment built for their success instead of one they have to fight through just to survive.”

That sentence stopped me. Because I know exactly what that feels like from the inside.

I was a valedictorian too.

At the University at Albany, I started in Political Science.

And I loved it — but something kept feeling incomplete.

The frameworks were too narrow. The curriculum wasn’t accounting for the full picture of how power, culture, and society actually work.

So, a friend nudged me toward Africana Studies.

I listened. And that one decision rewired everything.

I studied at the University of Ghana.

I walked through the slave castles. I sat with the history of apartheid in South Africa.

I came to understand — not abstractly, but viscerally — how African Americans and the broader diaspora didn’t just survive America. They built it. And I graduated valedictorian of both majors. Not in spite of adding Africana Studies. Because of it.

The right environment didn’t make me smarter. It gave my intelligence the full framework it had always needed to move.

That’s what I think about when I look at those seven women.

Because here’s the thing, they were always capable of a 4.0.

The question was whether they’d ever be in a room built for what they were capable of.

Spelman answered that question. And they delivered — not just for themselves, but for every Black woman watching who has ever wondered whether the ceiling was the limit or just the wrong room.

Firm for the Culture exists because I believe founders deserve that same answer.

What I see across the desk every week isn’t a talent problem.

It’s an environment problem.

Brilliant, creative, capable people building in legal and structural conditions that were never designed for them.

IP systems that don’t account for the way culture-driven businesses actually operate. Trademark frameworks that treat their industries as afterthoughts. Contracts that protect everyone except them.

And the result is the same thing I would have produced if I’d stayed in a Political Science program that didn’t have room for the full scope of what I was trying to understand.

Competent. Credentialed. But not fully free.

In this Founder's Letter, we are going to talk about what environment actually does to excellence, what it means to finally be in the right room, and why the legal infrastructure you build around your work is either the room that sets you free or the ceiling you keep bumping into.

Ready?

Let’s get into it.

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Show us some love by adding a “❤️” or commenting below; this will make our hearts sing. Also, please share, we want this to get to as many folx as possible.

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But first, Church Announcements.

The Firm for the Culture - THE SPEAKER PROTECTION Series

We’ve got a series of workshops, all for you!

Speaking builds visibility. But it also creates intellectual property.

This series breaks down what actually happens to your ideas, your content, and your rights once you step on stage. From contracts to ownership to licensing, we’ll explore how speaking opportunities can either build long-term value—or quietly take it away.

We’ll cover: how speaking engagements intersect with intellectual property, what speakers often overlook when accepting opportunities, and how to approach speaking as both a visibility and ownership strategy.

What you’ll walk away with: A clearer understanding of how to protect, position, and leverage your content as a speaker—before, during, and after every engagement.

Here’s a preview for your viewing pleasure:

Workshop 4: The Speaker Protection Series: The Contract Clauses You Need

📅 June 25, 2026 at 8:00 a.m. PDT

Growth usually comes with paperwork. Protection comes with awareness.

This workshop focuses on the specific contract clauses that directly impact your control, ownership, and long-term leverage as a speaker.

We’ll cover: key clauses around ownership, licensing, usage, distribution, and how to structure agreements that actually protect your work—not just your participation.

What you’ll walk away with: A clear understanding of the clauses you need in place and how to approach contracts with intention and strategy.

Register for The Speaker Protection Series: The Contract Clauses You Need workshop

For founders who are building brands. Creators who are shaping culture. Entrepreneurs who refuse to be extracted from.

Registration is FREE; in case you’re unable to make it, sign up and you’ll get the free notes.

After event recordings are $20.00 each.

Hope to see you there!

🔗 Sign up here:

• June 25, 2026 - The Contract Clauses You Need workshop

Spelman didn’t produce seven valedictorians because this graduating class was uniquely gifted.

They produced seven valedictorians because they have spent 150 years building an institution where the question was never whether Black women belonged — it was how far they could go once they got there.

That’s a different starting point. And it produces a different result.

I watch this play out in legal practice constantly. Two founders. Similar businesses. Similar creative output. Similar audiences. One has a trademark portfolio, a licensing framework, clearly defined ownership agreements. The other is operating on goodwill and a handshake and the hope that nobody moves in on what they’ve built.

Same talent. Different infrastructure. Completely different exposure.

The one with the infrastructure isn’t more creative. They’re not working harder.

They’re just operating in a legal environment that was built to hold what they’re building. And that changes everything about what they’re able to do next — the partnerships they can enter, the licensing revenue they can generate, the legacy they can pass down.

Nobody told me that Africana Studies would change my life. My friend pointed me in a direction. I took a step. And from that step came Ghana, came the slave castles, came a way of understanding law and culture and power that I could not have built inside Political Science alone.

The pivot didn’t feel significant in the moment. It felt like a course correction. Like finally getting to study something that had room for the full scope of what I was trying to understand.

Founders have this moment too. It usually doesn’t feel like a breakthrough when it’s happening. It feels like a decision. A filing. A consultation. The moment they finally sit down and get the legal foundation built instead of putting it off until something goes wrong.

And then six months later, a year later, five years later — they look back and they can see it. That was the pivot. That was the moment the environment changed. That was when the room finally matched what they were building.

I graduated valedictorian of both majors because I was finally in the right intellectual environment. Not because I suddenly became capable of it. I was always capable of it. The environment just finally had room for what I was bringing.

Those seven women at Spelman know this feeling. They walked into a room that was built for them — and they delivered at the highest level the institution has ever seen.

That’s what I want for every founder I work with. Not just protection. Not just compliance. A legal environment that was actually built for the way they work, the industry they’re in, the creative output they’re producing. One where the infrastructure expands with the brand instead of constraining it.

Because when the room finally fits — when the legal foundation is built correctly, when the trademark portfolio covers the right categories, when the ownership agreements actually reflect how the business operates — the work doesn’t just get protected. It gets free.

And free people build differently.

I think about those seven women often. I think about what it took — not just the studying, not just the discipline — but the decision to be somewhere that was built for their success. To walk into a room and know, at some cellular level, that they belonged there. That the environment was finally equal to what they were bringing.

I think about myself at UAlbany. The friend who nudged me. The step I took. The rooms that opened because of it — Ghana, the law, this practice, this community.

And I think about the founders I sit with every week who are one decision away from that same shift. Not a talent decision. Not a discipline decision. A structural one. A legal one. The decision to finally build the environment that matches what they’re capable of.

The room is available. The question is whether you’re ready to walk into it.

Was there a pivot — a room you almost didn’t walk into — that ended up changing everything? Drop a comment — I read every one.

Drop a comment—I read every one.

Leave a comment

• I want that $300 Kind of Love.

• You Don’t Impress Me.

• Viola Davis: The Graveyard of Unfilled Potential.

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on it and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

Share

Hey Fam,

There is a woman who has been alive long enough to watch the entire world transform around her — twice.

She met her husband Jackie Robinson on a college campus in 1940. She watched him walk onto a baseball field in 1947 and change the country.

She buried him in 1972.

And a year later, her son, Jackie Robinson Jr., died in a car crash at just 24 years old.

Everything around this wife and mother told her to stop trying.

Instead, she got to work.

That woman is Rachel Robinson; she is 103 years old, and is still living life to the fullest.

But the most inspiring part?

The Jackie Robinson name she helped build is still generating revenue, still signing licensing deals, still funding scholarships for the next generation of leaders.

That’s not longevity or luck.

That’s intention and infrastructure.

Let’s break it down.

The Importance of Legacy

Rachel likely wasn’t talking about intellectual property when she spent the last five decades stewarding Jackie Robinson’s legacy.

But I am.

Cause it’s what I am purposed to do :).

Because, here’s the thing: the reason Jackie Robinson’s name still carries weight — still earns, still controls, still protects — is because someone made a legal decision about structure before the world had a chance to move on.

Quieter yet impactful stories like this remind me of why I started Firm for the Culture.

Granted, loud cases exist.

Knock-down, drag-out IP battles that end up in the news.

But the stories we engage as founders are often mundane and quieter than that — but just as high stakes.

The quieter stories are what I see every week sitting across from founders who have built something genuinely remarkable and have not yet made the decisions that determine whether they own it.

I see it in the consultation calls.

I see it in the DMs.

Someone has a name that people recognize, a phrase that’s become synonymous with what they do, a visual identity their audience can spot from across a room.

The brand has equity.

The recognition is real.

And the impact is palpable.

But alas, the infrastructure hasn’t caught up.

The trademark isn’t filed. The licensing terms aren’t defined. The ownership agreements between collaborators were never formalized. The estate plan doesn’t exist.

Rachel Robinson, like many founders, faced that exact moment. After all, her husband is the one and only Jackie Robinson.

But unlike many of us, Rachel made a different decision.

Like the parable of the talents, Rachel chose to multiply what she was given.

And in the end, the dividends are undeniable.

The name is still working fifty years later because someone decided, in grief, in uncertainty, with everything still raw — that she was going to be the steward of that name.

That is the work we aim to bring to every founder we sit with.

In this Founder's Letter, we are going to talk about what Rachel Robinson built, why the legal decisions she made in 1972 and 1973 are still paying out to this day, and what that means for the name and brand you are building right now.

Ready?

Let’s get into it.

Loving This Post?

Show us some love by adding a “❤️” or commenting below; this will make our hearts sing. Also, please share, we want this to get to as many folx as possible.

Leave a comment

Share

But first, Church Announcements.

When’s the last time you simply had a cup of coffee while interacting with Founders and learning about brand protection?

Well, we’ve got a series of workshops, all for you!

Speaking builds visibility. But it also creates intellectual property.

This series breaks down what actually happens to your ideas, your content, and your rights once you step on stage. From contracts to ownership to licensing, we’ll explore how speaking opportunities can either build long-term value—or quietly take it away.

We’ll cover: how speaking engagements intersect with intellectual property, what speakers often overlook when accepting opportunities, and how to approach speaking as both a visibility and ownership strategy.

What you’ll walk away with: A clearer understanding of how to protect, position, and leverage your content as a speaker—before, during, and after every engagement.

Here’s a preview for your viewing pleasure:

Our last workshop of this series!

Workshop 4: The Speaker Protection Series: The Contract Clauses You Need

📅 June 25, 2026 at 8:00 a.m. PDT

Growth usually comes with paperwork. Protection comes with awareness.

This workshop focuses on the specific contract clauses that directly impact your control, ownership, and long-term leverage as a speaker.

We’ll cover: key clauses around ownership, licensing, usage, distribution, and how to structure agreements that actually protect your work—not just your participation.

What you’ll walk away with: A clear understanding of the clauses you need in place and how to approach contracts with intention and strategy.

Register for The Speaker Protection Series: The Contract Clauses You Need workshop

For founders who are building brands. Creators who are shaping culture. Entrepreneurs who refuse to be extracted from.

Registration is FREE; in case you’re unable to make it, sign up and you’ll get the free notes.

After event recordings are $20.00 each.

Hope to see you there!

🔗 Sign up here:

• June 25, 2026 - The Contract Clauses You Need workshop

Jackie Robinson died on October 24, 1972.

He was 53 years old.

Within months — not years, months — Rachel Robinson had incorporated the Jackie Robinson Development Corporation and begun the work of building the Jackie Robinson Foundation.

She renamed the construction company Jackie had led, expanded its mission to build housing for low-to-moderate income families, and simultaneously created a nonprofit infrastructure whose purpose was to preserve his legacy and fund opportunity for the next generation.

She was still in grief. She built anyway.

This matters for a specific reason. The decisions made immediately after a name becomes vulnerable — after death, after a business dissolution, after a brand crisis — determine everything about what that name can do for the next fifty years.

Rachel didn’t wait until the world told her what Jackie’s name was worth. She decided. She structured. She moved.

I love this so much.

Rachel is legal and business strategy execution personified, particulalry under the most difficult circumstances imaginable.

Here is the part of this story that gave me pause during my research.

The Jackie Robinson Estate currently holds seven trademark applications — three registered, four pending.

And the earliest of those was filed in 2023. More than fifty years after Jackie died, they are still actively expanding the portfolio.

In other words, they are still building.

The Jackie Robinson legacy is expanding day by day.

The Jackie Robinson trademarks cover bumper stickers, trading cards, printed materials, notebooks, action figures, baseball bats, baseball gloves, hats, polos, hoodies.

Because legacy is more than simply protecting a name; indeed, names do not give one commercial rights unless shown to be a commercially viable asset.

And trademarks are the means by which this is done.

With trademarks in hand, the Jackie Robinson Estate appointed IMG as its exclusive global licensing agency in a multi-year agreement in 2024.

We’re talking jerseys. Sneaker collaborations. Apparel. Collectibles. Video games.

Brand campaigns built around Jackie Robinson Day on April 15th every year.

Prior licensing programs with Chevrolet, DraftKings, and Chock Full’O Nuts have generated significant revenue — funds that go directly to scholarships and leadership development for students from underserved communities.

The name is working. It is earning. It is controlled. And the family decides who gets to use it, in what context, and on what terms.

That is what a protected IP portfolio makes possible.

Plenty of famous people’s names get exploited after they die. When there is no structure, no foundation, no registered IP, no estate plan with clear ownership terms, the name becomes available.

Other people move in. Other people profit.

And the family — the people who actually lived it, built it, loved it — watch from the outside.

The Jackie Robinson estate tells a different story.

The public exploitation of her husbands’s name did not happen, all because Rachel Robinson made a decision in 1972.

She decided she was going to be the steward of that name.

And then she built the infrastructure that gave that decision legal force.

A foundation. A corporation. A licensing framework. A trademark portfolio that is still being expanded more than five decades later.

This is what reverence looks like — the result of intentional, structured, legally grounded work.

I posted about Rachel Robinson recently — just a moment of honoring what 103 years of living with intention looks like.

The response was overwhelming. Thousands of people stopped to say something about her.

About what she represents. About what it means to still be standing, still building, still purposeful at an age when most of us can barely imagine still being here.

And I kept thinking: they’re responding to the longevity. But what made the longevity possible — what made the name outlive the man, what made the mission sustainable, what made the legacy something that could still generate and still give — was the work she did in the years that nobody was applauding.

The incorporations. The filings. The licensing agreements. The decisions made quietly, with intention, while the world was watching something else.

That is the work we do with founders every day. Not the work that gets the applause. The work that makes the applause mean something ten, twenty, fifty years from now.

The gap between what you’ve built and what you legally own is closeable. The question is whether you decide to close it while you still have time to do it well.

Rachel Robinson did. At 50, in grief, with everything still uncertain. She decided.

The rest is history. Literally.

When is the last time you audited the legal infrastructure behind your brand — not just what you’ve built, but what you actually own?

Drop a comment—I read every one.

Leave a comment

• I want that $300 Kind of Love.

• You Don’t Impress Me.

• Viola Davis: The Graveyard of Unfilled Potential.

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on it and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses:

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Hey Fam,

Before Ryan Coogler was the director of Black Panther, before Creed, before Fruitvale Station won both the Grand Jury Prize and the Audience Award at Sundance, before Sinners became the biggest opening for an original film in years and earned him an Oscar for Best Original Screenplay — before any of it — he was a humble college student on a football scholarship trying to write screenplays in Microsoft Word.

And fam, that format was wrong.

And it wasn’t a good look.

As in the legal field, format is not a preference in screenwriting.

It is the standard.

It is the difference between a script that gets read and one that gets thrown away.

And Ryan could not meet the standard because he could not afford the software that would let him.

His girlfriend at the time— Zinzi Evans, now his wife and creative partner — scraped together $300 and bought him Final Draft, a professional screenwriting software platform.

Nobody covered that moment. Nobody called it historic. It was a Tuesday. It was $300. It was a young woman who believed in something that did not exist yet.

That investment became Fruitvale Station.

Then Creed.

Then Black Panther — over two billion dollars at the worldwide box office.

Then Sinners, where Coogler negotiated something Hollywood had never given a Black filmmaker: full ownership of the film reverting back to him after a few years.

Unheard of. Built on twenty years of creative infrastructure that started with a $300 investment in obscurity.

Zinzi wasn’t only investing in a filmmaker.

She was investing in a future that didn’t exist yet.

And that is the most powerful investment there is.

What I Think About When I Hear This Story

As a full-time entrepreneur and attorney, I sit with founders at every stage of building.

Early stage, when the dream is bigger than the revenue.

Mid-stage, when the momentum is real but the structure hasn’t caught up.

And late stage - this stage breaks my heart a little — it’s often when something extraordinary has been built and the legal infrastructure simply is not there to protect it.

So when I hear this story about Zinzi and the $300, I think about every founder, creative, and inventor who has told me the timing isn’t right yet.

The business isn’t big enough yet. They’ll file when there’s more money. They’ll register when the brand takes off. They’ll structure the ownership when the deal is on the table.

And I understand it. I do.

Trust me, I have said versions of the same thing to myself.

What Does Your Life Look Like?

I want you to stop for a moment.

Not to think about your legal checklist. Not to stress about what you have not done yet.

But just to dream for a second — the way Zinzi must have dreamed when she, as a college student in her own right, handed over that $300 to her football player boyfriend.

What does your business look like five years from now if you make the infrastructure investment today?

Not five years from now when you finally feel ready. Not five years from now when the revenue justifies it. Five years from now if you start now — with the trademark application, the copyright registration, the ownership agreement, the legal foundation that says: I believe in what I am building enough to protect it before anyone tells me it’s worth protecting.

What does it look like when the deal comes and you already own your name?

When the collaboration arrives and you already have the documentation that protects your work?

When the licensing conversation happens and you already understand what you are licensing and what you are not?

And ten years from now — what does it look like if the infrastructure was already in place every time an opportunity arrived?

Not scrambling to catch up.

Not patching holes. Walking into rooms the way Coogler walked into that Warner Bros. negotiation — with enough leverage to own his own film because he had spent twenty years building the creative infrastructure that made that ask possible.

I think about this for the people I work with. And I think about it for myself:

In this Founder’s Letter, we are going to talk about what the $300 actually was, what it looks like to invest before the validation arrives, and what becomes possible — for your business and for your life — when you do.

Ready?

Let’s get into it.

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But first, Church Announcements.

The Firm for the Culture - THE SPEAKER PROTECTION Series

We’ve got a series of workshops, all for you!

Speaking builds visibility. But it also creates intellectual property.

This series breaks down what actually happens to your ideas, your content, and your rights once you step on stage. From contracts to ownership to licensing, we’ll explore how speaking opportunities can either build long-term value—or quietly take it away.

We’ll cover: how speaking engagements intersect with intellectual property, what speakers often overlook when accepting opportunities, and how to approach speaking as both a visibility and ownership strategy.

What you’ll walk away with: A clearer understanding of how to protect, position, and leverage your content as a speaker—before, during, and after every engagement.

Here’s a preview for your viewing pleasure:

Workshop 3: The Speaker Protection Series: Ask Me Anything + IP Basics
(Copyright, Trademark, Patent)

📅 May 14, 2026 at 8:00 a.m. PDT

Before strategy, there has to be clarity.

This session brings everything back to the fundamentals—breaking down copyright, trademark, and patent in a way that’s clear, practical, and directly applicable to speakers and creators.

It’s also an open space to ask real questions based on real situations.

We’ll cover: what each type of protection actually covers, common misconceptions, and how these apply to your content, brand, and speaking engagements.

What you’ll walk away with: A solid foundation in IP and clearer answers to the questions you’ve been trying to figure out.

Register for The Speaker Protection Series: Ask Me Anything + IP Basics (Copyright, Trademark, Patent) workshop

Workshop 4: The Speaker Protection Series: The Contract Clauses You Need

📅 June 25, 2026 at 8:00 a.m. PDT

Growth usually comes with paperwork. Protection comes with awareness.

This workshop focuses on the specific contract clauses that directly impact your control, ownership, and long-term leverage as a speaker.

We’ll cover: key clauses around ownership, licensing, usage, distribution, and how to structure agreements that actually protect your work—not just your participation.

What you’ll walk away with: A clear understanding of the clauses you need in place and how to approach contracts with intention and strategy.

Register for The Speaker Protection Series: The Contract Clauses You Need workshop

For founders who are building brands. Creators who are shaping culture. Entrepreneurs who refuse to be extracted from.

Registration is FREE; in case you’re unable to make it, sign up and you’ll get the free notes.

After event recordings are $20.00 each.

Hope to see you there!

🔗 Sign up here:

• May 14, 2026 - Ask Me Anything + IP Basics (Copyright, Trademark, Patent) workshop

• June 25, 2026 - The Contract Clauses You Need workshop

The $300 for Final Draft was not a glamorous decision.

Zinzi and Ryan were struggling college students. She scraped the money together. He had a football scholarship and a dream that had not proven itself to anyone yet, including perhaps himself. Nobody was watching. Nobody was writing articles about it. It was a small, private, practical act of belief in a future that existed only in the imagination.

That properly-formatted script got into the Sundance Screenwriters Lab. Sundance provided grants and creative support. Forest Whitaker came on as a producer. Fruitvale Station was filmed in just over two weeks in Oakland for under a million dollars. It won the Grand Jury Prize. It won the Audience Award. It became the foundation for everything that followed.

And eventually — twenty years after that $300 — Ryan Coogler sat across from Warner Bros. and negotiated something the industry had never seen.

The $300 was the first link in a chain that ended in ownership.

This is how infrastructure works. It does not announce itself. It does not generate headlines when you file it or register it or put the agreement in writing. It sits quietly underneath the business you are building, waiting for the moment it becomes the most important thing you ever did.

The trademark application you file today is your “$300.” The copyright registration that protects your content. The ownership agreement that documents who built what. The IP structure you put in place before the deal exists — that is the investment that nobody photographs, the one that makes the harvest possible.

Zinzi believed before the industry did.

The Sundance Lab believed before the studios did. Forest Whitaker believed before the box office validated anything. The professors and collaborators at USC believed before the world had seen a single frame of Coogler’s work.

But none of that external belief would have mattered if Ryan had not first believed in his own work enough to financially invest in the work, format it properly, submit it, protect the story rights to Oscar Grant’s life, build the creative infrastructure around it.

Fruitvale Station exists because a law school friend introduced Coogler to the Grant family, who gave the intellectual property rights to tell the story. Not the money. Not the studio. The intellectual property rights. The legal standing to tell this story — that was the first thing that had to be secured. And it was secured not because Coogler was famous, but because he was prepared. He showed that he would properly protect and steward the Grant family story.

All because he showed up with the tools and the intention to handle the work properly.

This is the founder truth that sits with me every day.

You cannot wait for the industry to tell you your brand is worth protecting. You cannot wait for the deal to decide to structure your ownership. You cannot wait for the recognition to file the trademark that should have been filed two years ago.

The belief has to come first. Your belief. In what you built. In what it is worth. In what it deserves to become.

The $300 has to come before the Oscar. Every single time.

The Sinners deal did not happen because Ryan Coogler got lucky.

It happened because he spent twenty years building a track record, a creative infrastructure, a body of work, and a team of collaborators — starting from a properly-formatted script that existed because his girlfriend believed in him enough to spend $300 on the tool that made it possible.

The $300 was the seed. Owning Sinners outright is the harvest.

And here is what I want you to hold: every founder in this community has a version of that arc available to them.

Not the same arc. Not the same industry. Not the same numbers. But the same principle — the seed planted in obscurity, in the unglamorous work that nobody photographs, in the legal infrastructure that sits quietly underneath the business until the moment it becomes everything.

The harvest you want five years from now is already determined by the investment you make today. The ownership you want to walk into a negotiation with — the leverage, the clarity, the legal foundation that says I built this and I can prove it — that starts now. In the quiet. Before the deal. Before the moment makes it obvious.

Zinzi scraped together $300 for a future she could not see yet. She just believed it was coming.

What future are you investing in today?

I think about Ryan and Zinzi Coogler often — not necessarily as inspiration, though they are that, but as architecture. As a blueprint for what it looks like when someone plants the seed before the season makes sense.

Every client I sit with is at some version of that crossroads. The business they have built and the business they could own — fully, structurally, legally — if they made the investment today. Not tomorrow. Not when the revenue justifies it. Not when the timing feels right.

Today. In the obscurity. Before the world has validated anything.

The $300 Zinzi spent did not feel like a turning point. It just felt like $300. That is how infrastructure always feels — small and quiet and slightly inconvenient right up until it changes everything.

The question is not whether your work is worth protecting.

It is. I am certain of it.

The question is whether you believe that enough to make the investment before anyone else tells you so.

What is the investment you have been putting off — the filing, the registration, the legal foundation — that your future self is going to wish you had made today?

Drop a comment—I read every one.

Leave a comment

• DO NOT Sign that Speaker’s Contract

• Patagonia Sues Drag Queen for $1.

• Any Reason These Two Shall Not Be Wed?

Want to know where your business actually stands on that gap?

Let’s talk — and make sure your name isn’t just recognized. It’s protected.

Book a Strategy Session with Firm for the Culture and let’s make sure your name isn’t just recognized—it’s protected.

Need Help Protecting Your Creativity?

If you are unsure—or if you know you need to take action—reach out to us.

We have helped countless founders and creatives safeguard their intellectual property, and we would love to do the same for you.

If you need further guidance, reach out to me and my team at Firm for the Culture.

We’re here to help you navigate the copyright, trademark, and thought leadership journey.

Work With Us

Can’t wait to help you protect your dynamic impact.

And #ThatsAWrap

The Doors of the Church Firm Are Open.

Come on it and share the love.

Thanks for reading

See you next time.

#ForTheCulture

Subscribe for more insights on brand protection, copyright, and strategic IP plays that help diverse founders build lasting businesses: