Broadcaster Inc.

Richard J. Berman was elected by the Board to serve as its non-executive Chairman in June 2007, having served as C.E.O. of the Company from January 2006-June 2007, and on the Board of Directors since 2002. Since 2001, Mr. Berman has served as a Director and/or Chairman of several public and private companies. Mr. Berman currently serves as Chairman of National Investment Managers, a public company in pension administration and investment management; Chairman of Candidate Resources, a private company delivering HR services over the web, and Chairman of Fortress Technology Systems (homeland security). Mr. Berman is a director of eight public companies: Dyadic International, Inc. (AMEX: DIL), Broadcaster, Inc. (OTC: BCSR.OB), Internet Commerce Corporation (Nasdaq: ICCA), MediaBay, Inc. (Nasdaq: MBAY), NexMed, Inc., National Investment Managers (OTC: NIVM.OB), Advaxis, Inc. (OTC: ADXS.OB), and NeoStem, Inc (OTC:NEOI.OB). He is a past Director of the Stern School of Business of NYU, where he obtained his BS and MBA. He has U.S. and foreign law degrees from Boston College and The Hague Academy of International Law, respectively.

Dave Valentin, who has recorded over 15 albums for GRP, combines together the influence of pop, R&B, and Brazilian music with Latin jazz to create a slick and accessible form of crossover jazz. At age nine, Valentin enjoyed playing bongos and congas. He gigged at Latin clubs in New York from age 12 and it was not until he was 18 that he seriously started studying flute. Valentin's teacher, Hubert Laws, suggested that he not double on saxophone because of his attractive sound on the flute. In 1977, he made his recording debut with Ricardo Marrero's group and he was also on a Noel Pointer album. Discovered by Dave Grusin and Larry Rosen, Valentin was the first artist signed to GRP and he has been a popular attraction ever since. ~ Scott Yanow, All Music Guide

David Sanchez took up the conga when he was eight and started playing tenor at age 12. He graduated from a performing arts high school in 1986, spent a year studying psychology, and then moved to New York City in 1988, having decided to become a musician. Sanchez attended Rutgers University, studying with Kenny Barron, Ted Dunbar, and John Purcell. After a period freelancing in New York with many top Latin players (including Paquito D'Rivera and Claudio Roditi), Sanchez joined Dizzy Gillespie's United Nation Orchestra in 1990, also getting the opportunity to play with Dizzy's small group. Since then he has toured with the Philip Morris SuperBand, recorded with Slide Hampton's Jazz Masters, Charlie Sepulveda, Kenny Drew, Jr., Ryan Kisor, Danilo Perez, Rachel Z, and Hilton Ruiz (among others), and headed his own sessions for Columbia. David Sanchez is a tenor player whose music mixes together Afro-Cuban rhythms with advanced ebop on releases like 1994's Sketches of Dreams and 1996's Street Scenes. Obsession followed two years later and Melaza in mid-2000. ~ Scott Yanow, All Music Guide

Fred Lonberg-Holm is a top cellist in creative music, active in a variety of projects in avant garde music, experimental rock, and modern composition. He studied cello with Ardyth Alton and Orlando Cole, and composition with Morton Feldman, Anthony Braxton and Bunita Marcus. The Delaware-born cellist spent part of his childhood in Sweden, and eventually was based out of NYC for several years, where he performed in and led various ensembles including NYC projects include his quartet PEEP, Anthony Braxton's Creative Orchestra, John Zorn, God is my Co-Pilot, and Anthony Coleman's Selfhaters. He has performed throughout North America in theaters, on radio and television. As a composer, he has had works commissioned by William Winant, the Schanzer Speach Duo, Kevin Norton and more. In the late '90s, Lonberg-Holm relocated to Chicago where he has since become heavily involved in the free music scene. His projects there include the Trio Troppo, with drummer Michael Zerang, leading the improvisational Light Box Orchestra, and Pillow with Zerang, Liz Payne & Ben Vida of Town and Country, and Michael Colligan who plays, among other instruments, dry ice. He also performs and records with Ken Vandermark and Jim O'Rourke and Kevin Drumm, among others, and is a member of the Peter Brotzmann Tentet (a late '90s all-star cast of top young improvisers, hand picked into one ensemble by fiery saxophonist and free jazz legend Brotzmann), which has albums on Chicago's Okkadisk label. In 1999, Pillow's self-titled debut came out on Boxmedia, and Site Specific, a recording of duos with various artists, was released on the Explain label. The downright accessible Terminal 4 came next in 2001, filled with catchy pop melodies. The next year, a trio recording with Glenn Kotche and Jason Roebke paid tribute to jazz cellist Fred Katz. Roebke joined Terminal 4 for the band's lovely follow-up, When I'm Falling. Lonberg-Holm kept up his active pace, on average performing on more than 10 rock, jazz, and avant-garde albums per year, in addition to leading and touring with his own projects. ~ Joslyn Layne, All Music Guide

Fred Van Hove studied theory, harmony, and piano at the Music Academy in Belgium and began playing professionally in 1964. He experimented with various jazz and dance music idioms before adopting free improvisation as his principal mode of expression. Van Hove began playing with saxophonist Peter Brotzmann in 1966. Their collaboration took different forms, eventually settling into a trio format with drummer Han Bennink, which lasted approximately five years. The solo format would become important to Van Hove; he played his first solo concert in 1970. In the early '70s, Van Hove helped found Werkgroep Improviserende Musici (WIM), a musicians' collective dedicated to furthering the interests of improvisers in his home country. Since 1976, Van Hove has played solo accompaniment for silent movies, specializing in films by such groundbreaking directors as Murnau, Griffith, Lang, and Dreyer. In 1978, Van Hove formed Musica Libera Antverpiae (MLA), a group of variable configuration. MLA became one of the pianist's primary performing units. Members of the group and its offshoots have included trumpeter Marc Charig, trombonists Paul Rutherford and Radu Malfatti, violinist Philipp Wachsmann, and percussionist Gunther "Baby" Sommer, among others. He has played in duo with a great many famous players, including soprano saxophonists Steve Lacy and Lol Coxhill, and trombonists Albert Mangelsdorff and Vinko Globokar. Van Hove has been active in Berlin, where he's taught and performed with local musicians; and Japan, where he's toured often since the mid-'80s. He's also performed in a group called the Belgische Pianokwartet (four pianists at two grands), and in a trio with trombonist Johannes Bauer and singer Annick Nozati. Van Hove has also collaborated with poets and painters and held seminars and workshops on improvisation. Van Hove was given the title Cultural Ambassador of Flanders in 1996 by the Belgian government. In 2000, Van Hove embarked on a new project, the Pistri Ensemble, with Wachsmann on violins and electronics, Gunther Christmann on cello and trombone, Joelle Leandre on double bass, and Van Hove on piano and accordion. ~ Chris Kelsey, All Music Guide

Born and raised in Philadelphia, Gerald Veasley is an excellent bassist who has played his share of commercial music but definitely has the chops needed for more improvisatory settings. Veasley was exposed to gospel and R&B as a child and went on to play in various R&B bands in West Philly as a teenager in the late '60s and 1970s. Along the way, he discovered jazz and came to appreciate Weather Report and Return to Forever as much as he appreciated Earth, Wind & Fire and Smokey Robinson. Veasley has cited Jaco Pastorius, Anthony Jackson, and Stanley Clarke as his main influences on electric bass, and has named Oscar Pettiford and Paul Chambers as his favorites on the acoustic bass. Having held the music of Weather Report and Pastorius in such high regard, Veasley was delighted when, in 1988, Weather Report co-founder Joe Zawinul hired him as a sideman. Veasley, who stayed with Zawinul until 1995, signed with Heads Up International in the early '90s and recorded his first album for the label, Look Ahead, in 1992 before providing Signs in 1994 and Soul Control in 1997. Veasley continued with the label, issuing the mellow, smooth album Love Letters in 1999, then returned in 2001 with On the Fast Track, an energetic, funk-inflected return to the grooves of his early career. ~ Alex Henderson, All Music Guide

Australian-born singer-songwriter Richard Davies formed the chamber-pop unit the Moles in Sydney in the late 1980s after growing disenchanted with studying law; concluding that he preferred composing poetry to writing essays for his class assignments, he soon began crafting his first songs. After finding some underground success in their native land as well as the U.S. and Britain, the Moles broke up around the beginning of 1993; Davies soon settled in New York City to begin a solo career, although in 1994 he released his solo debut, Instinct, under the Moles name. Through a mutual friendship with Sebadoh drummer Bob Fay, Davies joined forces with multi-instrumentalist and arranger Eric Matthews to form the duo Cardinal, which released their lush, symphonic self-titled debut to great acclaim in 1994. However, internal strife prompted the group to split soon after, and Davies began his solo career in earnest with 1996's baroque There's Never Been a Crowd Like This; on tour, he was backed by avowed fans the Flaming Lips. The superb Telegraph followed in 1998, and in 2000 Davies signed to the Kindercore label to issue his third solo LP, Barbarians. ~ Jason Ankeny, All Music Guide

A versatile pianist who has been featured in a variety of settings, John Beasley has been an asset to many different projects. He grew up in Texas to a very musical family. His grandfather played trombone in territory bands and was a junior high school band director for 50 years in Arkansas; his mother led bands and taught music, while his father was a jazz educator at North Texas State University. John Beasley began piano lessons at age eight, but did not become serious about music until he was a teenager. He played guitar, drums and saxophone in local rock bands and even oboe in his high school orchestra, but he eventually switched back to piano and started playing jazz. In 1977 his family moved to Los Angeles and Beasley played both jazz and R&B locally. In 1980, he started working and touring with Sergio Mendes, an association that lasted several years. Beasley became a busy studio musician, producing music for several television series. He spent six years as a member of Freddie Hubbard's quintet, toured with Miles Davis in 1989, has gigged in many different situations in the Los Angeles area, and recorded two albums as a leader for Windham Hill Jazz in the early '90s. Cauldron was issued in 1991 and Change of Heart followed two years later. The new millennium also saw Beasley back again, releasing Surfacing in early 2001. ~ Scott Yanow, All Music Guide

John Densmore, of course, was the drummer for the legendary Doors, whom he joined with guitarist Robby Krieger after the two were recruited out of a band called the Psychedelic Rangers. Although Densmore was perhaps the least visible member of the group, his jazz training provided subtle rhythmic shifts away from the rock norm, furthering the band's unique sound. After the Doors' dissolution, Densmore was fairly quiet; he worked with Robby Krieger off and on, both on Krieger's solo albums and with the Butts Band. In more recent years, Densmore penned the acclaimed Riders on the Storm: My Life With Jim Morrison and the Doors, an account of the band's rise and fall from his own perspective. ~ Steve Huey, All Music Guide

A tasteful pianist, John Malachi spent most of his career accompanying top jazz-oriented singers. A self-taught pianist, Malachi's first important musical job was with Trummy Young from 1943-44. He was a member of the classic Billy Eckstine Bebop Orchestra from 1944-45, contributing both piano solos and advanced arrangements. Malachi was back with Eckstine in 1947, toured with Illinois Jacquet in 1948 and then worked with Pearl Bailey in 1950, Dinah Washington in 1951, Louis Jordan in 1951, Sarah Vaughan from 1952-54, Al Hibbler from 1955-58 and Joe Williams. Malachi's later years were spent freelancing in Washington D.C. ~ Scott Yanow, All Music Guide

A household name since the early '70s, John McLaughlin was an innovative fusion guitarist when he led the Mahavishnu Orchestra and continued living up to his reputation as a phenomenal and consistently inquisitive player through the years. He started on guitar when he was 11 and was initially inspired by lues and swing players. McLaughlin worked with Alexis Korner, Graham Bond, Ginger Baker, and others in the 1960s and played free jazz with Gunter Hampel for six months. His first album was a classic (1969's Extrapolation) and was followed by an obscurity for the Dawns label with John Surman, a quintet set with Larry Young (Devotion), and My Goals Beyond in 1970 which was half acoustic solos and half jams involving Indian musicians.

Stewart found his biggest commercial success with the Top Ten album Bombs Away Dream Babies and its single "Gold" in 1979. He released several of his albums and albums by others on his own Homecoming label starting in the 1980s. Airdream Believer appeared on Shanachie in 1995, followed by The American Folk Song Anthology on Delta in 1996. Rough Sketches and the live Bandera were released in 1997 and 1998, respectively, by Folk Era. Stewart signed with Appleseed Recordings in 2000, and his next three albums, Wires from the Bunker (2000), Havana (2003), and The Day the River Sang (2006), all appeared on the Appleseed imprint. ~ William Ruhlmann, All Music Guide

Jazz saxophonist Michael Blake was a member of the the Lounge Lizards from 1990 on, and kept active in a variety of other N.Y.C.-based creative jazz projects. After he was born in Montreal in 1964, his family moved to California for a short time, then settled back in Canada, in Vancouver, BC. While young, Blake attempted learning the violin and piano, but ended up taking to the clarinet. By high school, he was playing tenor saxophone and participating in a variety of performances, festivals, and workshops. At the age of 18, Blake studied harmony at a community college and began working professionally in various lineups. He began getting acquainted with the Vancouver scene after his first year in college, and got to know some of the creative players and composers there. In 1984, he took part in the Banff Jazz Workshop, where he met Cecil Taylor, Kenny Wheeler, Steve Coleman, and more. Blake returned to Banff the next summer, and afterward, received a Canada Council grant to live and study in N.Y.C. He returned to Vancouver at the end of his year away, and led his own quartet which competed at the Alcan Jazz Competition, greatly impressing the judges, but got disqualified on a technicality. So, at the age of 23, Blake returned to N.Y.C., making money by playing in merengue bands, as well as backing a variety of artists from Chubby Checker to Jack McDuff. His big break came in 1990 when John Lurie heard him playing at a downtown club; six months later, Blake joined Lurie's Lounge Lizards and picked up the soprano saxophone. In 1995, he composed the score for the movie Get Shorty. Two years later, Blake's first recording as a leader was released on Intuition, to much critical acclaim. Kingdom of Champa was produced by Teo Macero, and was an incredibly strong debut that incorporated Vietnamese music influences into a jazz album featuring such younger downtown New York greats as Thomas Chapin and Steven Bernstein. Blake has also worked regularly with bassist Ben Allison, and performs on his 1998 and 1999 Palmetto releases. Drift was issued in early 2001. Other projects of Blake's include his Free Association ensemble; a groove quartet, Slow Poke, which toured Canada; his work with Canadian musicians Chris Brown and Kate Fenner (he performs on their CD, Geronimo); and Whipcracker, his project with Scott Harding. Blake has also performed or recorded with Groove Collective, Medeski, Martin & Wood, Tricky, Gil Evans Orchestra, Pinetop Perkins, and the Herbie Nichols Project. ~ Joslyn Layne, All Music Guide

Eclectic and bluesy, Lacy J. Dalton was one of the most distinctive female country singers of the '80s, landing a few hits on the strength of her gritty, nuanced vocals. Dalton was born Jill Byrem in Bloomsburg, PA, in 1948, and grew up in a highly musical family; her first loves were folkies like Bob Dylan and Joan Baez, but she also soaked up country music through her father. She briefly attended Brigham Young University but dropped out and drifted around the country for a time; she eventually went to Los Angeles, then migrated to Santa Cruz, where she performed as a protest-oriented folksinger. During the late '60s, she sang with a Bay Area psychedelic rock band called Office; she also became Jill Croston when she married the group's manager, though, sadly, he died in a swimming pool accident. She went on to reinvent herself as a country performer, adopting the stage name Lacy J. Dalton, and landed a deal with CBS when producer Billy Sherrill heard her demo tape in 1979. Her Top 20 debut single, "Crazy Blue Eyes," helped her win the CMA's Best New Artist Award, and she scored an impressive run of hits over the next three years, highlighted by "Hard Times," "Tennessee Waltz," "Hillbilly Girl With the Blues," the number two smash "Takin' It Easy," "16th Avenue," and "Everybody Makes Mistakes" (all but "Tennessee Waltz" made the Top Ten). Dalton's albums also received strong reviews for their adventurous, borderless taste in material, particularly her self-titled debut. A 1983 cover of Roy Orbison's "Dream Baby (How Long Must I Dream)" was her final Top Ten entry, but she continued to record for CBS through 1987; part of her commercial slide was due to her ambitious stylistic shifts, as she devoted attention to ock-oriented material (1986's Highway Diner, whose "Working Class Man" was a decent-sized hit), lues, and luegrass. She subsequently departed for Capitol, where she recorded four albums through 1992. In 1999, she assembled the Wild Horse Crossing compilation, which featured several new tracks of her own and was released by her own Let 'Em Run foundation, which worked to preserve the wild horses of the west. ~ Steve Huey, All Music Guide

A talented pianist who is able to fit into a typical ECM session but also shows more fire than expected, Michael Cain is thus far best-known for his association with Jack DeJohnette. Cain, who grew up in Las Vegas, began playing piano when he was four and, although he started with classical music, he was always quite interested in improvising too. He studied jazz and classical music at North Texas State University and also studied at USC and Cal Arts. While still attending the latter, Cain performed with Marlena Shaw, Gerald Wilson's Orchestra, Billy Higgins, the New American Orchestra and James Newton's Quartet. In 1990, Cain moved to New York. Soon he was working with the M-Base players (including Greg Osby and Robin Eubanks), he recorded two CDs as a leader (for Candid) and joined Jack DeJohnette's band. In addition to DeJohnette (with whom he has worked and recorded on and off since), Cain has been a part of Anthony Cox's Quartet and played with many top musicians including Dave Holland, John Scofield, Steps Ahead, Gary Thomas, Marty Ehrlich, Ray Anderson and Bobby Previte. Michael Cain, who teaches at the Eastman School of Music, recorded a CD of his own for ECM in 1986 and was commissioned to write music for Bill Clinton's 1997 presidential inauguration gala. ~ Scott Yanow, All Music Guide

Michael Spiro is one of the busiest Latin percussionists in the United States. In addition to producing albums by Latin groups including Orquestra Batachanga, Grupo Beta-Ketu, and Grupo Ilu-Ana, Spiro has recorded and/or performed with such top-notch artists as David Byrne, Alex DeGrassi, Ella Fitzgerald, Gilberto Gil, Giovanni Hidalgo, Dr. John, Bobby McFerrin, Andy Narell, Ray Obeido, Carlos Santana, Shadowfax, Grace Slick, Clark Terry, McCoy Tyner, and Charlie Watts . His compositions have been heard in such films as Soapdish, Henry and June, True Stories, Walker, Eddie Macon's Run, and Dragon: The Life of Bruce Lee. Spiro has made the study of Latin America and its music his life's pursuit. After earning a bachelor's degree in Latin American studies at the University of California, he spent three and a half years working toward a doctorate in Ethnomusicology at the University of Washington. He later served as apprentice to anthropologist Francisco Aguabella. Spiro has continued to explore Latin music, traveling annually to study in Cuba since 1984. He spent two months at a school of samba in Rio de Janeiro in 1986. Spiro has been a faculty or artist-in-residence at the University of Massachusetts, the University of California in Berkeley, and Wichita State University. He currently is a member of the jazz faculty at the University of California in Berkeley. Joined by fellow percussionists David Garibaldi and Jesus Diaz , Spiro has toured in an all-percussion trio, Talking Drums. ~ Craig Harris, All Music Guide

Paul Taylor grew up in Denver, where he took up the saxophone at the age of seven. He played in school bands, and in high school joined a Top 40 band called Mixed Company. Jazz keyboardist Keiko Matsui and her husband, producer Kazu Matsui, discovered him playing at the Catalina Island Jazz Festival and hired him to play in their band. He spent two years with them, and then Kazu Matsui produced his 1995 debut album, On the Horn, which reached the jazz charts and spawned a radio hit in "Til We Meet Again." Pleasure Seeker, his second album, followed in 1997 and was equally successful. Taylor released his third album Undercover on Peak/N-Coded Music in February 2000. ~ William Ruhlmann, All Music Guide

An enigmatic singer/songwriter whose work veered from the bitterly comic to the profoundly spiritual, Richard Shindell gained his first notoriety via the Fast Folk Musical Magazine series (which previously launched then-unknowns like Lyle Lovett and Nanci Griffith as well). A native of Lakehurst, New Jersey, Shindell was a former seminary student whose first musical exposure came while playing guitar in the Razzy Dazzy Spasm Band alongside the young John Gorka; he began composing songs during the late 1980s, quickly earning a word-of-mouth cult following. After a featured appearance on Christine Lavin's 1991 compilation When October Goes, a year later he recorded his Shanachie label debut, Sparrow's Point; Blue Divide followed in 1994, and in 1997 Shindell resurfaced with Reunion Hill. He next teamed with Dar Williams and Lucy Kaplansky in the group Cry, Cry, Cry, issuing a self-titled LP in 1998; the solo Somewhere Near Paterson followed in early 2000. ~ Jason Ankeny, All Music Guide

Robert Powell has been a guitarist for countless projects throughout the '80s and '90s. His pedal steel guitar has appeared on many albums, and he has used various instruments when working on projects with Peter Gabriel, Ustad Salamat Ali Kahn, Jackson Browne, and many others. His first official solo album, Desert Beach, was finally completed in the late '90s. He has continued to perform with other musicians as well as pursue his solo career. ~ Bradley Torreano, All Music Guide

While he might be best known as a guitarist in the British jazz-rock band If, Terry Smith started in the 1960s London jazz scene, though he also gained experience outside jazz by touring with soul singer J.J. Jackson and recording with Georgie Fame. In 1967 he was named Best Jazz Guitarist by a Melody Maker poll, and shortly afterward, he formed a ten-piece band to back pop singer Scott Walker on tour. Walker was also responsible for enabling Smith to record a solo album in 1968, Fall Out. Although Walker produced the LP as well, it was straight-ahead instrumental modern jazz with no strong similarity to the music Smith played as part of his band. Instead, it featured Smith in both ig band and small combo settings, playing high-grade post-bop guitar on a combination of pop standards and (with the small combo) organ-guitar-drums groove-oriented original compositions. Smith then formed If with saxophonist Dick Morrissey, and was with the group for several albums in the early '70s. ~ Richie Unterberger, All Music Guide

Donald L. Perlyn has been an Executive Vice President since September 2000. Prior to our merger with Miami Subs Corporation, Mr. Perlyn was a member of Miami Subs’ board of directors. In July 1998, Mr. Perlyn was appointed President and Chief Operating Officer of Miami Subs and continued to serve in that capacity until our sale of Miami Subs in June 2007. From September 1990 to July 1998, Mr. Perlyn held various positions at Miami Subs, and between August 1990 and December 1991, he was Senior Vice President of Franchising and Development for QSR, Inc., one of Miami Subs’ predecessors and an affiliate. Mr. Perlyn also serves as a director of IMSI, Inc., a software company, affiliated with DCDC, the former owner of Arthur Treacher’s, Inc.

Mr. Binn became a director of IMSI in August 2001. Mr. Binn received his bachelor's degree from the University of California at Los Angeles and is a certified public accountant in California. He is a member of the California Society of Certified Public Accountants and has maintained a practice in Los Angeles, California for thirty-seven years. Mr. Binn serves as a member of the Compensation and Audit Committees.

Kathryn Felice , age 37 . Ms. Felice became a director of Broadcaster in May 2006. She has served as General Counsel of AccessMedia since May 2005. Before joining AccessMedia, Ms. Felice practiced commercial litigation in San Diego, California, representing various technology companies and venture capital groups. Immediately prior, Ms. Felice served as law clerk to the Honorable Louisa S. Porter in the United States District Court for the Southern District of California. During law school, Ms. Felice was a judicial extern to United States District Court Judge Thomas J. Whelan, served on The San Diego Law Review, was a contributing editor for The Journal of Contemporary Legal Issues, and a member of the National Moot Court Tax Team. Prior to attending law school, Ms. Felice served as a director in the West Coast Region of Kaplan Educational Centers, a wholly owned subsidiary of the Washington Post. Ms. Felice earned her Bachelor of Science degree from the University of California at Los Angeles and her law degree from the University of San Diego School of Law.

Robert S. Falcone , age 59 . Mr. Falcone became a director of Broadcaster in February 2002 and has over thirty-seven years of financial management and board experience. Mr. Falcone is currently President and Chief Executive Officer of Catalyst Acquisition Group, a private equity corporate buyout firm. From 2003 to 2004 he served as the Executive Vice President and Chief Financial Officer of BearingPoint, Inc. an international consulting firm serving Global 2000 companies, medium-sized businesses, government agencies and other organizations. From 2000 to 2002 he was chief financial officer for 800.com, a pioneer in consumer electronics Internet retailing. He served as Senior Vice President and Chief Financial Officer for Nike, Inc. from 1992 to 1998, a time when the company grew annual sales to nearly $10 billion. He began his career at Price Waterhouse, LLP where he spent twenty-one years, eight of which as an audit partner. A graduate of Villanova University and a certified public accountant, Mr. Falcone serves on the boards of directors for RadioShack Corporation (NYSE: RSH), and The Nautilus Group (NYSE: NLS). Mr. Falcone serves as the Chairman of the Audit Committee and is the designated audit committee financial expert.