The Board and Committee seats were designated by the MMA and the selections were chosen by two advisory groups.
MLC Operations Advisory Committee: Joe Conyers III (Songtrust), Scott Farrant (Kobalt), Rell Lafargue (Reservoir Media Management), John Reston (Universal Music Publishing), Bill Starke (Sony/ATV) and Michael Lau (Round Hill Music) *remaining digital company seats to be announced
The publisher advisory group included: Kenny MacPherson (Big Deal), Teri Nelson Carpenter (Reel Muzik Werks), Caroline Bienstock (Bienstock Empire, Inc.), Julie Lipsius (Lipservices), John Ozier (ole) and Matt Pincus
Copyright Office. Members of the various boards and committees include representatives from most major music publishers and performing-rights organizations, as well as several songwriter/artists who have been outspoken about creators' rights, including Camper Van Beethoven/Cracker frontman David Lowery, former Letters to Cleo singer Kay Hanley and former "American Idol" judge Kara DioGuardi. The National Music Publishers’ Association, the Nashville Songwriters Association International and the Songwriters of North America today unveiled the board members and endorsements for their Mechanical Licensing Collective submission to the U.S.
MLC Board of Directors: Jeff Brabec (BMG), Peter Brodsky (Sony/ATV), Bob Bruderman (Kobalt), Tim Cohan (peermusic), Alisa Coleman (ABKCO), Scott Cutler (Pulse Music Group), Paul Kahn (Warner/Chappell Music), David Kokakis (Universal Music Publishing), Mike Molinar (Big Machine Music), Evelyn Paglinawan (Concord Music), Kara DioGuardi, Oak Felder, Kevin Kadish and Tim Nichols
We’ve worked for decades for the benefits the MLC will bring songwriters/composers, including licensing their digital mechanical royalties at no cost since the streaming music companies have agreed to fund the collective. The music industry and American songwriters assisted us in ensuring passage of the MMA and we are confident they will agree that the Music Licensing Collective, created by our organizations and NMPA, should be the agency controlling licensing of their copyrights.”” /> NSAI, SONA and NMPA worked on the Music Modernization Act for years, guided its adoption and believe we are the best group in terms of expertise and experience to undertake the challenge of building a new mechanical licensing entity. In a combined statement, the NSAI and SONA said: “Songwriters can go to supportthemlc.com to offer their endorsement of the entity that will oversee licensing of digital mechanical rights for American songwriters.
MLC Dispute Resolution Committee: Alison Koerper (Disney Music), Ed Leonard (Daywind), Sean McGraw (Downtown), Debbie Rose (Shapiro Bernstein), Jason Rys (Wixen Music), Aimée Allen, Odie Blackmon, Gary Burr, David Hodges and Jennifer Schott
The Music Modernization Act (MMA) requires that the MLC is “endorsed by, and enjoys substantial support from, musical work copyright owners that together represent the greatest percentage of the licensor market for uses of such works in covered activities.” According to the announcement, the "overwhelming majority of copyright owners who together represent the majority of musical works in the U.S." have voiced support for the MLC submission, along with performance rights organizations, record labels and other organizations listed below.
MLC Unclaimed Royalties Oversight Committee: Phil Cialdella (Atlas Music Publishing), Patrick Curley (Third Side Music), Michael Eames (PEN Music Group), Frank Liwall (The Royalty Network, Inc.), Kathryn Ostien (TRO Essex Music Group), busbee, Kay Hanley, David Lowery, Dan Navarro and Tom Shapiro
The songwriter advisory panel included: Steve Bogard (NSAI), Dallas Davidson (BMI), Chris DeStefano (NSAI), Bob DiPiero (BMI), Dan Foliart (ASCAP), Adam Gorgoni (SONA), Michelle Lewis (SONA), Paul Williams (ASCAP) and Lynn Gillespie Chater (SGA)
The MLC Board and Committee appointments include:
The MMA was signed into law by President Trump in October, after years of efforts by multiple organizations in the music industry. Additionally, the groups announced the MLC Board and Committee appointments and launched the MLC website, SongConnect.org, as well as a website for all of the songwriters and artists who support the MLC to officially endorse: SupportTheMLC.com. The submission, which will be filed by March 21, creates the collective required by the Music Modernization Act (MMA) to license and administer mechanical rights.
The board and committee members are the best in the business and the vast endorsements come from the many coalition members who were instrumental in the passage of the MMA." The MLC will give songwriters the money they deserve and the transparency they’ve lacked for decades. In a statement, NMPA President & CEO David Israelite said, “Our Mechanical Licensing Collective submission provides a comprehensive roadmap to the Copyright Office to establish the first collective of its kind.

She is repped by Gersh and The Syndicate.
She joins Pedro Pascal in the series, whom Variety reported earlier this week was in negotiations to star. The exact nature of the actress and former mixed martial arts (MMA) star's role in the "Star Wars" series is being kept under wraps.
Taika Waititi, Bryce Dallas Howard, Rick Famuyiwa, and Deborah Chow will direct additional episodes. Disney recently announced that Dave Filoni, who has worked on “Star Wars: The Clone Wars” and “Star Wars Rebels,” will direct the first episode of the series. Karen Gilchrist will serve as co-executive producer. Favreau is also executive producing the show, along with Filoni, Kathleen Kennedy, and Colin Wilson.
Carano first came to national attention for her MMA prowess, compiling a professional record of 7-1 while competing in organizations like Strikeforce and EliteXC. She also appeared in the 2008 reboot of "American Gladiators." As an actress, she starred in the Steven Soderbergh "Haywire" and has also starred in films like "Deadpool," "Fast & Furious 6," and "Kickboxer: Vengeance."
Disney also announced in an earnings call last Thursday that it would be doing a prequel series on the “Rogue One” character Cassian Andor, played by Diego Luna.” />
Gina Carano has been cast in "The Mandalorian," Variety has confirmed with sources.
It follows the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic. Jon Favreau penned "The Mandalorian," which is set after the fall of the Empire and before the emergence of the First Order. It will air on the Disney streaming service, which has officially been dubbed Disney+.

Halle Berry is producing, starring in, and making her feature directorial debut on martial arts drama "Bruised," which is planned for a March start of production.
Riverstone is financing and Erica Lee is executive producing. The film is being developed with the EIS company. Other producers are Basil Iwanyk of Thunder Road Pictures, Entertainment 360, and Linda Gottlieb.
Berry will direct from a script by Michelle Rosenfarb, portraying a disgraced MMA fighter who has to face one of the rising stars of the MMA world and deal with the return of her 6-year-old son to the mother he deserves. She will work with the team that executes fight choreography for the "John Wick" series.
Berry is represented by WME and Management 360. The news was first reported by Deadline Hollywood.” />
Berry appeared in last year’s “Kingsman: The Golden Circle” and the thriller “Kidnap.” She's starring in "John Wick 3" and is attached to play the key defense role in Sony’s remake of the 1985 thriller "Jagged Edge."
Berry first broke into show business in 1989 on the series "Living Dolls" and was cast in her first movie role in Spike Lee's "Jungle Fever." She became the first black woman to win the best actress Oscar for her performance in 2001’s "Monster's Ball."

As in the House, the new Senate bill combines three separate pieces of legislation:
– The Music Modernization Act of 2018, S.2334, introduced by Hatch and Senator Lamar Alexander (R-TN) in January, which updates licensing and royalties as pertains to streaming.
“That the Senate has wisely decided to import the version of the bill that passed the House 415-0 is a strong signal that this bill has achieved the necessary support and consensus in the Senate to have a similar path of passing with a very large margin,” Israelite told Variety, noting there has been no serious opposition among senators. The industry applauded this latest move to update the nation’s music laws.
We look forward to working with the sponsors and the entire community of stakeholders that built accord on this package to make it law.” “Taken together, the elements of this legislation will strengthen and protect the rights and interests of creators — the artists, songwriters and producers whose music enriches our lives – and it will improve engagement between the creative community and the digital services whose businesses rely on their work. “On behalf of the 150,000-plus music creators represented by SoundExchange, we are grateful to Senator Hatch for building this consensus legislative package that will benefit the entire music ecosystem,” SoundExchange president and CEO Michael Huppe said in a statement.
“In this case everybody recognizes that this is a complicated bill and so late in Congress – this is an election year – Judiciary Committee chairman Chuck Grassley (R-IA) and Senator Hatch were very smart to make the decision [to adopt the House bill]. “This is exactly what we were hoping they would do,” Israelite said of the Senate move.
Having opposed the House version, background music company Music Choice as well as SiriusXM are those expected to oppose Senate passage, but they are among a small minority; the industry overwhelmingly supports the bill Hatch called “crucially important” earlier this year, stating, “our music licensing laws are convoluted, out-of-date, and don’t reward songwriters fairly for their work. They’ve also failed to keep up with recent, rapid changes in how Americans purchase and listen to music.”
Mike O’Neill, BMI. This legislation represents an unprecedented collaboration among music creators and users, and represents an historic opportunity to make meaningful music licensing reform which will benefit America’s creative communities." President & CEO, said: “BMI applauds the introduction today, by Senators Hatch and Grassley, of the Music Modernization Act.
– The AMP Act  (or Allocation for Music Producers Act), introduced in March by Senate Judiciary Committee Chairman Chuck Grassley(R-LA) and ranking committee member Dianne Feinstein (D-CA.) with the support of and Senators Bob Corker (R-TN) and Kamala Harris (D-CA).
– The CLASSICS Act (or Compensating Legacy Artists for their Songs, Service, & Important Contributions to Society Act), introduced in February by Chris Coons (D-DE) and John Kennedy (R-LA) to ensure that songwriters and artists receive royalties on pre-1972 songs.
The fact that the bill was introduced prior to the scheduled hearing is also seen as a fast-tracking move. The Senate bill is expected to go into markup and get the full Senate vote next month, and then on the president’s desk to be signed into law.
The fact that the Senate bill, S.2823, is virtually identical to HR 5477 – the House MMA bill passed unanimously on April 25 – signals all systems go for smooth passage and an update to music laws that the industry has been laboring to update for the past decade. Senator Orrin Hatch (R-UT) today introduced the Music Modernization Act.
This legislation is critical to ensuring songwriters have a pathway to fair compensation so they can sustain their livelihoods and create the next great songs. We look forward to the Senate’s vote and eventual passage of the MMA.” We applaud the leadership of fellow songwriter Senator Hatch, along with Senators Alexander and Whitehouse, for spearheading this effort in the Senate and to Chairman Grassley and all other co-sponsors for being champions of American songwriters. ASCAP CEO Elizabeth Matthews said, “After a unanimous vote to pass the MMA in the House, we are thrilled to see such ardent, bipartisan support for music creators in the Senate.
 ” />
“The introduction of the comprehensive MMA in the Senate before the hearing is an important step to ensure all music creators are treated fairly in the law. Songwriters, performers and producers are grateful to Senator Hatch for his leadership,” Recording Academy chief industry, government and member relations officer Daryl Friedman told Variety.
Hatch is a composer and member of ASCAP, with ditties like “The Answer’s Not in Washington” (“…We legislate, we demonstrate, but when all is said and done, the answer’s not in Washington”) and the love ballad “Everything and More,” recorded by country artist Billy Gilman on his 2005 album. Hatch, like his counterpart House MMA champion Bob Goodlatte (R-VA), has announced he will retire at the end of this session, making the Music Modernization Act initiative a swansong for both men.
The bill has been assigned to the Senate Judiciary Committee and has been scheduled for hearing Tuesday.

You’re about to start your new year off with a bang,” the boxer tweeted. Floyd Mayweather is feeling extra petty today and Conor McGregor is on his mind. At the moment Mayweather is winning this ongoing beef between the fight fighters on the mere fact that he defeated McGregor in an actual fight last year and bank hundreds of millions of dollars on top of it. “I already f***ed you up in 2017 now they about to f*** you up in 2018. #FloydMayweather #ConorMcGregor
A post shared by The Shade Room (@theshaderoom) on Jan 10, 2018 at 1:11pm PST

Related Posts It’s still not clear if the boxing legend will come back out of retirement for that one, perhaps he will if the money is right. According to the reporting, McGregor allegedly punched a member of the Irish Cartel sometime last year and there is a hit out on his head for almost a million euros. There are some fresh talks about a followup fight but this time it could be an MMA fight which Conor McGregor is advocating for. On Wednesday, Floyd Mayweather tweeted a rumored story about Conor McGregor having issues with some Irish cartels and that there may be a hit out on his head. Just throw them both away ?? McGregor has since responded to the tweet saying, “I am the cartel.” These two fighters should take this beef off of social media and into the ring, perhaps MMA style this time.

Police pull me over, they ain’t got nothing to say
I told ’em, "I got tints because I’m rich", they said, "Okay", ayy
Gotta pray a lot niggas get shot up everyday, ayy
Heard you got a big body, but a little face, ayy
Got a 41 bezel, it’s 100k, ayy
If I feel a way then I’m gone say it to your face, ayy
If I play the block today, I’ll make 100k, ayy
[Verse 2]
Hold up, talking shit don’t ever get to me
When they see me now, they’d better have that same energy
In abandoned houses, in and out, it wasn’t shit to me
When you see me now, don’t try to act like you remember me
Then look at me now, bitch I’m drowning
And my hoodie Saint Laurent, it’s a thousand
And we come straight out the Bronx, so we wildin’
Shoutout BK, Free Bobby, and Free Rowdy
Free my nigga V12
Holla if you see 12
Febreeze, believe me, it’ll cover the weed smell
I probably got 3 mill, sitting in my email
So much on me, they second guessing what we sell
[Bridge]
So much money on me, fuck it if it’s dirty money
Because I earned it, you get murked if you come searchin’ for me
When the police pulled me over, I had 30 on me
What the fuck I look like with less than 30 on me, nigga
[Chorus]
What the fuck I’m supposed to say? What the fuck I’m supposed to say, ayy
[Chorus]
What the fuck I’m supposed to say? Police pull me over, they ain’t got nothing to say
I told ’em, "I got tints because I’m rich", they said, "Okay", ayy
Gotta pray a lot niggas get shot up everyday, ayy
Hold up
What the fuck I’m supposed to say? [Intro]
(Ness on the beat)
What the fuck I’m supposed to say? Police pull me over, they ain’t got nothing to say
I told ’em, "I got tints because I’m rich", they said, "Okay", ayy
Gotta pray a lot niggas get shot up everyday, ayy
Heard you got a big body, but a little face, ayy
Got a 41 bezel, it’s 100k, ayy
If I play the block today, I’ll make 100k, ayy
If I play the block today, I’ll make 100k, yeah
[Outro]
I make her say a’
I make her say a’
I make her say a’ Police pull me over, they ain’t got nothing to say
I told ’em, "I got tints because I’m rich", they said, "Okay", ayy
Gotta pray a lot niggas get shot up everyday, ayy
Heard you got a big body, but a little face, ayy
Got a 41 bezel, it’s 100k, ayy
If I feel a way then I’m gone say it to your face, ayy
If I play the block today, I’ll make 100k, ayy
[Verse 1]
Yeah, I just might make 100k, yeah
If they put a price on me, I’ll double what they pay, yeah
They say they don’t like me, give a fuck about what they say, yeah
I could take your bitch and make you think about what you say, yeah
I’m gone put her in a leg lock like MMA, yeah
I’m gon’ let her give me head twice if she don’t say shit
If she ever turn sherm on me then she basic
Couple bitches had to swerve on ’em, I updated
You pulled up with her, she ain’t leave with who she came with
She deserve better, you’s a bird, you’s a wasteman
Fuck a umbrella, change weather in my spaceship
Diamonds dancing, I’m two-stepping with my bracelet
So, get the fuck up out my face
I’m just on my way to get this money and I’m late, okay
In the strip club throwing twenties like "I’ll be okay"
100k a day, trap booming like an 808

[Chorus]
What the fuck I’m supposed to say?

[Hook]
I’m a real drank head
Real drank head (x6)
Remember when Tech used to come in a car
Remember Actavis came with a double seal
And I had just poured me a 12 of Wock
You can keep the Qualitest all to yourself
Cause nigga I’m a real drank head, real drank head
You ain’t sipping drank, that shit head
Hoes in my car, asking me for a cup, that’s his bitch
I should’ve known she didn’t sip drink when she said "Qualitest is better than Actavis"
I called cuban for 12 pints of Wock, any other nigga better know that he’s taxing shit

[Verse]
It’s payday everyday
You ain’t tryna fuck, bitch, skate
Can’t come through, ball and no chain
Adios, knock ’em back to 5th grade
And what I’m sippin’ on a milkshake
I’m sharper than a switchblade
All hundreds on me, but I’m on a rampage
My ice kicking ass, no MMA
Yeah, I’m sippin’ hard
I just poured a 12, you be pouring 4’s
You be sipping yellow, you be sipping green
That shit deadly, you need to stick to weed
I got 20 pints up in my closet
They gon’ be down for the week up
This bitch got up in my car
Told the bitch put on a seatbelt
She steady asking how to lift the seat up
Had the nerve to ask me for a lean cup
Where your ass was at for the re-up?
The drank just hit with me a prenup
Bang, bang

[Hook]
I’m a real drank head
Real drank head (x6)
Remember when Tech used to come in a car
Remember Actavis came with a double seal
And I had just poured me a 12 of Wock
You can keep the Qualitest all to yourself
Cause nigga I’m a real drank head, real drank head
You ain’t sipping drank, that shit head
Hoes in my car, asking me for a cup, that’s his bitch
I should’ve known she didn’t sip drink when she said "Qualitest is better than Actavis"
I called cuban for 12 pints of Wock, any other nigga better know that he’s taxing shit

[Verse 2]
I’m up in Houston where this shit came from
Didn’t know about bank accounts, I went and made one
You got red in here, get away from my dope
This bitch too damn playful, spilled drank on my clothes
Love no thotties, I don’t
Hopped out of a Rhino
Your life fugazi, you need to undo
Backspace, typeover
Drank made me go, "I need you" (need you)
If it ain’t purple then I can’t see you (see you)
Bitch just text me saying "I’m gon’ free you when I see you"
I’m a well known nigga, you a Dr. Doolittle
I’m sipping on beetlejuice
Call my camera man, it’s a photoshoot
Me and 20 pints, I pour them by the 2
Bang, bang

[Hook]
I’m a real drank head
Real drank head (x6)
Remember when Tech used to come in a car
Remember Actavis came with a double seal
And I had just poured me a 12 of Wock
You can keep the Qualitest all to yourself
Cause nigga I’m a real drank head, real drank head
You ain’t sipping drank, that shit head
Hoes in my car, asking me for a cup, that’s his bitch
I should’ve known she didn’t sip drink when she said "Qualitest is better than Actavis"
I called cuban for 12 pints of Wock, any other nigga better know that he’s taxing shit

[Hook]
I can’t even lie, that bitch so bad, lil mama so thick
The way she throw it back it’ll make you stutter when you hit

[Verse 1]
I’m just tryna fight it off, ain’t tryna nut too quick
She make me wanna take her, she’s another nigga bitch
A bitch that Gucci Mane can’t get, man that bitch don’t exist
This dick so good, I take it from her, she might slit her wrist
Bling blaww burr, I put diamonds on her clit
Fucked her in the air, yeah she ride me on the jet
His and her fur, yeah I bought my chick a fit
Like Edward Scissorhands, yeah she cut up on that dick
G-g-g-good god, so why she standing back like a pic?
Spaghetti straps in my Maybach, she showing off her tits
She ran off on the plug, so I’ma smash her at the Ritz
S-skeeted in her mouth so now she talkin’ with a lisp

[Hook]
I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit
I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit

[Verse 2]
I told her bring a friend with her but she just brought some twins
Three girls and one Gucci Mane god damn I’m goin’ in
All these Franklins on me man I said my name was Ben
Magic City Monday night, I just threw up a ten
Nigga with a attitude I feel like Cube and Ren
These two ice cubes in my ear they cost a quarter M
That pussy hairy scarin’ me god damn she need to trim
The way that bitch took care of me she might get her a Benz
She suck me til’ it tickle me, slow down the neighbors listening
I got her like ten necklaces, you know my diamonds glistenin’
She fucked me then she shot me with her friends, I think she trickin’ me
Her nigga know about me but god damn he can’t get rid of me
She stutter step, sweet in lingerie
I beat it up like MMA she drank it up like Alizé
Eight latin hoes in my room I feel like it’s the fifth of May
Pull up on the kid, you dig?
But bitch I ain’t got time to play

[Hook]
I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit
I-I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit
I-I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit

[Hook]
I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit

[Verse 1]
I’m just tryna fight it off ain’t tryna nut too quick
She make me wanna take her, she another nigga bitch
A bitch that gucci can’t get, man that bitch don’t exist
This dick so good, I take it from her she might just slit her wrist
Bling blaww burr I put diamonds on her clit
Fucked her in the air yeah she ride me on the jet
His and her fur, yeah I bought my chick a fit
Like Edward Scissorhands she cut up on the dick (damn)
G-g-g-good god so why she standing back like a pic
Spaghetti straps in my Maybach she showing off her tits
She ran off on the plug so I’mma smash her at the Ritz
Skeeted in her mouth so now she talkin’ with a lisp

[Hook]
I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit
I-I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit

[Verse 2]
I told her bring a friend with her she just brought some twins
Three girls and gucci mane god damn I’m goin’ in
All these franklins on me man I said my name was ben
Magic city monday night I just threw up a ten
Nigga with a attitude I feel like Cube and Ren
These two ice cubes in my ear they cost a quarter M
That pussy hairy scarin’ me god damn she need to trim
The way that bitch took care of me she might get her a Benz
She suck me til’ it tickle me, slow down the neighbors listening
I got her like ten necklaces you know my diamonds glistenin’
She fucked me then she shot me with her friends I think she trickin’
Her nigga know about me but god damn he can’t get rid of me
She stutter step, sweet in lingerie
I beat it up like MMA she drank it up like Alizé
Eight latin hoes in my room I feel like its the fifth of May
Pull up on the kid you digg
Bitch I ain’t got time to play

[Hook]
I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit
I-I can’t even lie, that bitch so bad lil mama so thick
The way she throw it back it’ll make you stutter when you hit