Conference Speakers

Keynote Speaker: Chris Flame (Hip Hop Producer)

Keynote Speaker: Steve Robertson (Vice President of A&R, Atlantic Records)

Keynote Speaker: Isaac Green (A&R, Columbia Records)

Keynote Speaker: Nick Haussling (A&R, Warner Bros. Records)

Keynote Speaker: "Big Sam" Savvy (GM and A&R Director, Mizay Entertainment)

Joe Alonso (Events Manager, Killer Music Group)

Susan Amat (Founding Executive Director, Launch Pad, University of Miami)

Debra Antney (CEO, Mizay Entertainment)

Timothy Turner Anwar (Founder & CEO, One Dream Entertainment and TalentVisionLive)

Julio Bague (East Coast Creative Director, peermusic)

Derrick Baker (Program Director, 99 Jamz)

Darryl Ballantyne (CEO, LyricFind, Inc.)

Reggie Barriero (Artist Brand Expert, Founder of The Artist Brand)

Tere Batista (Artist Manager, The SPARK Artist Management, LLC, and Entertainment Business Consultant, Tere Batista, P.L.)

David Bercuson, Esq. (David Bercuson, P.A.)

Kevin Black (CEO, U Can Fly Holdings and President, World Star Hip Hop.com)

Lauren Bourgoyne (Production and Marketing Coordinator, Miami Downtown Development Authority)

Gabrielle Bozza (Director of Business Management and Legal Services, The Hub)

BJ Bueno (Author and Branding Expert, The Cult Branding Company)

Bryan Calhoun (VP of New Media and External Affairs, SoundExchange)

Luther "Uncle Luke" Campbell (Hip Hop Icon)

Jacob Cap (Executive Music Group)

Stephen M. Carlisle, Esq. (Stephen M. Carlisle, P.L)

Barry Oliver Chase (The Law Office of Barry Oliver Chase, P.A.)

Leila Cobo (Executive Editor for Latin Content and Programming, Billboard)

Don Cody (CEO, Moses Media, Inc.)

Ted Cohen (Managing Partner, TAG Strategic)

Creepa (winner of MTV's "From G's to Gents")

Don "Thrill Collins" Di Napoli (Co-CEO/Founder of iStandard, Inc.)

Pat DiNizio (Singer, The Smithereens)

DJ Artistic (Jelly radio - internet)

DJ Jayforce (On-Air Personality, WRFG, Atlanta)

DJ Terrah (Mixshow Director, On Air Personality, and Music Director, WTMG Magic 101.3)

Jose Elias (Executive & Artistic Director, Community Arts and Culture)

Michael Feldman (Head Audio/Video Technician, Arsht Center Knight Concert Hall)

John Ferguson (President, Fase 1 Entertainment)

Daniel Foganholi (Lead singer, City of God)

David Frangioni (Engineer, Technologist, President of Audio One & Pro Media Training)

Hillel "Frankie" Frankel (President/CEO, NoVo Artist and Label Representation)

Marshall Freeman (Artist Manager, JamRock Entertainment Group, Inc.)

Eric Galen (Founder & CEO, Music180.com)

Sean Gonsalves-Barriero (Brand Management Architect, MY CMBA)

Lenny Gonzalez (Award winning Director of Photography, Rhino Studios)

India Graves (VP Radio Promotion, Mizay Entertainment)

Kyle A. Green, Sr. (CEO, QS4 Entertainment & Studios)

Warren "Flaw" Griffin, Jr. (Chairman and CEO, Chart Vision, Inc.)

Jason "J Hatch" Hadshian (Co-CEO/Founder of iStandard, Inc.)

Nicole Henry (Acclaimed Jazz singer)

David Isaac (Producer, Mix Engineer, CEO of MixSensei.com)

Marc Jacobson, Esq. (Marc Jacobson, P.C)

Laurie Jakobsen (President, Jaybird Communications)

Allen Johnston (The Music Specialist, consultant)

Jim Jonsin (Grammy Award-Winning Hip-Hop Writer and Producer, and Entrepreneur)

Monica Jordan (A&R Manager, Sony/ATV Music Publishing)

Michael Katz, Esq. (Katz & Associates PL)

Jay King (Industry veteran, musician and producer)

Jason Klein (Dance Music Producer, Remixer, aka Monster Taxi)

Jill Kratish (Director of Programming, Broward Center for the Performing Arts)

Ross LaBrie (Head Audio Engineer, Arsht Center Studio Theater)

Corky Laing (Drummer and Songwriter, Mountain, Cork)

Rhoda Lawrence (Vice President of Universal Music Christian Group, Los Angeles, CA)

Rico Love (Songwriter -- Usher, Omarion, Marques Houston, B5)

Darcel Madkins (President &CEO, Umoja African Arts Company)

Romina Andrea Magorno (Senior Account Executive at Nevarez Communications)

Abesi Manyano (Owner, Abesi Public Relations)

Pete Masitti (Songwriter, producer, and owner of West End Recording Studios)

Vic McLean (President, Virtuous Music)

Tony Michaelides (industry veteran and author of Insights From The Engine Room)

Arthur Mitchell (VP, Business Development, Urban Network)

Vadim Molochnikov (VP Business Development, Custom USB.com)

Andre' Montell (CEO, Amir Gospel)

MonteRosa (Latin Alternative Recording Artist)

Kevin Moyd (Promotions Coordinator/Account Marketing Executive, WMBM)

Sean Pajot (Music Editor, Miami New Times)

Chris Palmer (Managing Partner, Take 6, and Director of UM's Arts Presenting and Live Entertainment Program)

Anthony "Big AMP" Parker (Earthquake Entertainment)

Ivan J. Parron, Esq. (Parron Law: Attorneys and Counselors)

John "JP" Patillo (Vice President, Fase 1 Entertainment)

Jean S. Perwin (Law offices of Jean S. Perwin)

Eddie Phoon (Event Director, USA Songwriting Competition)

Lou Plaia (Co-founder, ReverbNation)

Mark Poiesz (Drummer, Ghost of Gloria)

Maestro Powell (Promotions Director, Sunday Gospel Show host, Mixshow Director, WEDR-FM, Miami)

Elric "E-Class" Prince (Founder and CEO of Poe Boy Music Group)

Jeff Rabhan (Artist Manager, and Chair of the NYU Clive Davis Department of Recorded Music)

John Redmond (President and Owner of Publish This, Inc)

Lolo Reskin (Owner, Sweat Records)

Douglass E. Robertson (Chief Executive Officer, SpunLive, Inc.)

Robert "Leo" Rodgers (Sr. VP & Label Liaison, Bungalo Records)

Frank Rodriguez (Grammy-nominated Engineer, Head engineer at Vanquish Studios, Instructor at SAE)

Roxy Romeo (On Air Personality, Y100 Miami and Z100 Ft. Myers)

Mark Roofe (Mark Roofe (Producer, Engineer, and President of M5 Music Group))

Steve Russell (Singer, Songwriter, Producer and Vocal Arranger)

James Sammataro, Esq. (Shareholder, Kasowitz, Benson, Torres & Friedman, LLP)

Andres Sanchez (Engineer, Instructor and Supervisor at SAE)

Rey Sanchez (Former Musical Director for Chayanne and Program Director of UM's Music Business & Entertainment Industry Program)

Seth Schachner (Founder, Managing Director, Strat Americas LLC, and former Vice President, Digital Business - Latin Region, Sony Music Entertainment Inc)

Allison Shaw (President/Owner Manic Monkee Management)

Roberto Somoza (Managing Member, worldclique CR)

Larry Steele (Host & CEO of Gospel Hallelujah World Wide Radio Network/Station Manager of WPUL 1590 Daytona Beach, FL)

Damon Stewart (President of Urban Music for IGA Talent Management & Consulting Inc.))

Marc Stollman, Esq. (SVP, Legal and Business Affairs, S2BN Entertainment Corporation / Stollman Law P.A.)

Monika Tashman, Esq. (Partner, Hiscock & Barclay, LLP)

TC Thompkins (CEO at Thompkins Marketing & Media Group)

Felipe Tichauer (Recording, Mixing, and Mastering Engineer, Red Traxx Mastering)

Judy Tint (Attorney, Consultant, and Adjunct Professor at NYU)

Pete Wallace (Songwriter and producer)

Pete Warner (Business Affairs, Rainysongs Entertainment - DMGUSA/Urban Network-East -Internet Technology Director)

Erma "Aunt-Tee" Weaver (Aunt-Tee Promotions)

Tandy Weems (Chief Business Offices, XUMANII)

Harold Whaley (V.P. American Basketball Association "ABA" / PD KURN Urban Network radio)

Billy Wiz (CEO, We In The Zone Entertainment, LLC)

Richard C. Wolfe, Esq. (Attorney, Ehrenstein Charbonneau Calderin)

Lin Woods (Gospel Editor, Urban Network)

     

Lance Reddick has built himself quite an auspicious career as an actor: he starred in The Wire as Cedric Daniels, in Oz as Detective Johnny Basil, in the fourth and fifth seasons of Lost, and now in the hit drama Fringe. What you may not know about Lance is he's also quite a singer with some great chops. In fact, Reddick always wanted to be a singer and started acting on the side to help make a living. Now, he returns to his lifelong passion with his new album, Contemplations & Remembrances, which showcases his vocal jazz stylings on a number of fantastic tunes.

Listen to Lance Reddick Here

MusicDish uses a personal and approachable staff, highly informative content delivery, and creative marketing strategies to give the artist the best way to approach & advance in the seemingly inaccessible - and ever changing - music industry.

Eric de Fontenay
President
(718) 278-0662
ecfont [at] musicdish.net

The holidayseason is fast approaching-and Oliver Richman's already got his gift for us picked out: a new holiday themed video of "One Little Christmas Tree," which will debut on YouTube and his website (www.oliverrichman.com) November 15.

Earlier this fall, the 10-year-old triple threat prodigy created major industry buzz with "Defying Gravity," a beautifully produced video of Richman singing the showstopper from the hit musical "Wicked." The YouTube clip has now been viewed over 18,700 times.

Originally recorded by Stevie Wonder, "One Little Christmas Tree" was penned by the singer's late grandfather, legendary Motown songwriter Ron Miller.

Oliver has been entertaining audiences for several years with his powerful voice, energetic stage presence and diverse dancing and acting strengths. The video is designed as a professional introduction to his multitude of talents, just as the early YouTube clips of pop sensation Justin Bieber were instrumental to launching his career.

One of the songs Bieber recorded early on, in fact, was "Someday at Christmas," another classic Stevie Wonder hit written by Ron Miller. The teen star was invited to the White House to sing it for President ObamaFirst Lady Michelle Obama.
and

While Oliver has the charisma, charm and ambition to become a musical force of nature all on his own, there's no denying the musical creativity in his genes. Ron Miller has penned some of the biggest hit songs in history recorded by legendary recording artists around the world, including "For Once In My Life," "Touch Me In The Morning," and "A Place In the Sun," "Heaven Help Us All," "Yester-me, Yester-you, Yesterday," "I've Never Been To Me" and "If I Coud," to name a few. In 2007, Ron was awarded (posthumously) the Heroes and Legends Lifetime Achievement Award in Songwriting.           

Oliver's mother, Lisa Dawn Miller, is a successful singer, writer and producer. His stepfather, Sandy Hackett (son of legendary comedian Buddy Hackett) is a well-known comedian, actor, writer and producer. Sandy and Lisa are the producers of "Sandy Hacketts Rat Pack Show," currently running fulltime on the Las Vegas Strip at the Riviera Hotel & Casino and in theaters across the country.

NAB = NOT ALWAYS BEARABLE
    

On October 25, 2010 the NAB announced that its Radio Board is backing a "limited" performance fee that would range between 0.25% and 1% of a station's net revenue, depending on a provision related to the rollout of radio-activated mobile devices. Under the terms approved by the Board, the Copyright Royalty Board will no longer set rates for broadcast or Internet radio, MusicFIRST must acknowledge and recognize "the unparalleled promotional value" of radio, and an AFTRA issue that would allow streaming of commercials must be resolved.

Upon first reading about the proposed terms I immediately thought that NAB was trying to work against the musicians and artists that comprise MusicFIRST.

Their first requirement of disbanding the Copyright Board's ability to set rates is completely not in the interest of MusicFIRST.  This idea is presented for terrestrial radio broadcast AND Internet streaming.  I believe that the entire industry is headed towards reception of Internet streamed material direct to consumer.  Of course the NAB wants to set their own rates and when they can't agree with the artists they want a special "legislatively mandated rate court." to handle the situation. Without a governing body that regulates, sets rates and procedures the NAB would have no one to control them and their money would keep litigation going on for years. 

The second issue of wanting the US government to make FM chips in cellphones mandatory has nothing to do with the rights of MusicFIRST or artists as a hold.  Once you read the terminology you then understand that this will include ALL radio active mobile devices, which mean computers, cell phones, and anything new that may come around.  My question is WHY?  FM technology is OLD antiquated technology that will be totally phased out within a few years.  What is the real reasoning behind the NAB wanting to impose their will upon the entire music industry?   It must have something to do with the idea of Internet streaming and their ability to control the airwaves, (read MONEY). 

Gary Shapiro, CEO of the Consumer Electronics Association, which represents the mobile phone makers has said "If NAB keeps pushing this agenda, CEA will "continue to point out the following":

"Radio is a legacy horse and buggy industry trying to put limits on innovative new industries to preserve its former monopoly. The industry's refusal to innovate to the benefit of consumers raises questions about the ongoing wisdom of broadcaster use of publicly owned spectrum that could better be used for broadband services that serve the public interest."

And:

"Many local radio stations are unmanned, particularly at nights and on weekends, rendering the alleged emergency alert benefit of FM tuners in mobile phones unreliable and raising questions about the wisdom of permitting such unattended operation."

And:

"At a time when popular new digital media platforms like satellite radio and online music services are required to pay performance royalties to copyright owners, it is unclear that the royalty exemption for broadcast radio stations can be justified. Indeed, fairness requires that the royalty rate paid by broadcasters should be the same as that assessed to online music streaming services and other new technologies."

The payment rate quoted for musical artists of between .25 percent and 1 percent of net stations revenues is entirely too small for the amount of music played that creates revenue within the stations. 

The NAB broadcasters unilaterally cut their digital royalty rates and lowered their terrestrial royalty payment from the agreed upon amounts in July.  The latest version of the Performance Rights Act recommends a performance royalty schedule in which commercial radio stations making $500,000 to $1,249,999 would pay an annual fee of $5,000; stations making $100,000 to $499,999 would fork over $2,500; and those making less than $100,000 would shell out $500.

Those broadcast licensees making $1.25 million or more would pay a rate to be negotiated between radio stations, copyright holders, and the Copyright Royalty Board. In trying to assess the financial impact the PRA would have on those stations, the Government Accountability Office recently suggested a hypothetical rate of 2.35 percent.

The NAB has balls if nothing else, for they have declared that the entire system currently in place must change solely for their own benefit.  The government must stop doing its job on setting rules and rates, AFTRA (American Federation of Television and Radio Artists) must change its rules on separate payment to talent on streaming commercials, and artists should acknowledge the "promotional value" of radio.

What about the money?

With new technology changing the communications field on almost a daily basis, the idea that one trade industry group can bully the music industry is ludicrous. Congress writes the laws, not trade associations like the NAB and Radio is the only platform in the United States that doesn't pay performers.

Wherever the music is played the artist should be paid.