RE:GENERATION MUSIC PROJECT

In theatres nationwide for a special event on February 16, with encore screening on February 23

Running Time: 82 mins

For trailer, clips, downloadable music, and additional artwork, please visit:

http://www.regenerationmusicproject.com

www.facebook.com/regenerationmusicproject www.twitter.com/regenerationmp

National Publicity Contacts: ID-Film MSO-Music Bebe Lerner Alexandra Greenberg 323-822-4824/blerner@id-pr.com 818-380-0400 x223/agreenberg@msopr.com Sheri Goldberg Libby Coffey 646-723-3800/sgoldberg@id-pr.com 818-380-0400 x224/lcoffey@msopr.com Judy Merrick John Ochoa 323-822-4852/jmerrick@id-pr.com 818-380-0400 x230/jochoa@msopr.com

2

SYNOPSIS A catalyst of musical innovation, RE:GENERATION MUSIC PROJECT follows five electronic

DJs/Producers as they collaborate with some of the of the most influential artists of all time from five

different genres. Challenged to bring forth their unique creative vision, DJ Premier, The Crystal Method,

Pretty Lights, Mark Ronson and Skrillex each set out to re-imagine a specific genre of music and create

an original track. The documentary, directed by Amir Bar-Lev (The Tillman Story, My Kid Could Paint

That), celebrates music’s past, present and future by candidly revealing the artists’ creative process as

they use technology to mix the musical styles of generations and bring to light the originality of electronic

music.

3

ABOUT THE FILM    A music-focused entertainment studio and agency founded in 2008 by Coran Capshaw and Dominic Sandifer, GreenLight Media & Marketing is known for the way in which they tell stories around music. As Creative Director Nick Davidge states, “With any project, we’re always trying to find new and interesting ways to work with music—that’s our forte.” The company produces original content and marketing programs for a variety of companies and brands, so when it was approached by Hyundai to create a music platform for the launch of a new sports car for a younger generation, GreenLight set out to do something that had never been done before. They proposed an exciting and unique concept—The RE: GENERATION MUSIC PROJECT. GreenLight partners Sandifer, Davidge and Steve Bender (collectively, the Executive Producers) wanted to make a culturally relevant film about a new generation of music creators to appeal to an audience that is not only influenced by technology, but keeps a pulse on the latest trends. As Bender recounts, “We wanted to make something original that really spoke to a global generation of digital natives. Electronic music is a global phenomenon and has reached an inflection point in the US so we’ve hopefully created something of lasting value not only for music fans, but the brand as well.” With Hyundai’s belief and support of the project, GreenLight was given complete creative freedom to realize their vision and began attracting artists and supporters for the film. They first went to the National Academy of Recording Arts and Sciences (the GRAMMY®s) with their documentary idea. “Evan Greene (CMO of the GRAMMY®s) and I have known one another for some time now, and we brought him our treatment which the GRAMMY®s then got really excited about,” said Sandifer. “The GRAMMY®s are so much about the history and the present in music—but not as much about the future. Our project was about all three, and seemed to really resonate with Evan in terms of where The GRAMMY®s need to go.” Bender added, “Having the support of The GRAMMY®s was something that would excite the artists we wanted to bring on board, and of course, immediately add a level of credibility to our project.” With The GRAMMY®s involved, GreenLight searched for a director who would share their passion for the film. They found their director in Amir Bar-Lev (The Tillman Story, My Kid Could Paint That), who was brought on because of his style and collaborative nature. “As a director, Amir is able to communicate with the people he’s making a documentary about,” said Davidge. In the RE:GENERATION MUSIC PROJECT, GreenLight set out to organically tell a story highlighting technology’s influence on how we have come to experience music differently, and how technology has allowed artists to evolve their process of making new music. GreenLight developed the concept behind the documentary—following five electronic DJs/Producers and capturing their creative process behind re-imagining a specific genre of music with the recording of a new original track. “In essence, we were looking to explore what’s happening with music in this generation,” said Davidge. “We wanted to find a way for these artists to express themselves in an innovative and unusual way.” A fan of electronic music, Bar-Lev was eager to get involved. “Right from the get-go, we had a look in mind for the film that would marry spontaneity and the dynamic nature of documentaries with that lustrous, larger than life sense of reality that comes from commercials and music videos,” said Bar-Lev. When GreenLight began their search for artists in electronic music, talent executives and music supervisors Richard Bishop and Steve Satterthwaite joined the team. With over 40 collective years working in electronica/dance music (EDM) between them having managed and produced many top acts, GreenLight quickly had a sizable list potential and willing principle DJ’s from which to choose. But the team wanted a broad scope of both DJs and producers. “DJ is a broad and evolving term from hip hop to purely electronic, to someone who is more of a producer,” said Davidge. “Technology has heavily influenced how both DJs and Producers work, and because of that, the difference in a DJ and Producer’s process of creating music is a large one. Bar-Lev added, “We never even engaged with the argument that

4

modern DJs are not musicians. And we hope when audiences see the movie, there will be no doubt in their mind of that fact.” As the five DJs/Producers selected for the film, DJ Premier, The Crystal Method, Pretty Lights, Mark Ronson and Skrillex were all excited, but apprehensive about working in a genre that was for the most part, unfamiliar to them. “We gave them each a genre that would challenge them,” said Davidge. “We wanted to capture the most interesting dynamic and were really conscious of making sure that each story was very different.” While the five DJs/Producers were assigned their specific genre, they were each able to select vocalists and musicians to collaborate with. GreenLight’s partnership with The GRAMMY®s allowed the electronic DJs/Producers to work with some of the most influential artists in their respective genres.

• DJ Premier Collaboration DJ Premier was handed the genre of classical music, which he’d had a little experience in before. But the new collaboration saw DJ Premier immersed in the process as he learned to appreciate the narrative structure and architecture of classical music and ultimately conducting an orchestra. “DJ Premier is a legendary hip hop DJ who spins tracks from a wide range of artists in his live sets,” said Davidge. “We chose him for classical music to give him a broad canvas and challenged him to re-imagine the genre.” With the guidance from composer Bruce Adolphe, DJ Premier arranged the pieces of music into a temp track and brought his work to Stephen Webber at the Berklee College of Music. Bruce then turned it into sheet music to be performed by a 58-piece orchestra. “A key moment was when Bruce Adolphe said, ‘You could hunt for the greatest moments in a play or movie, but you have to think about the arc of the story that takes you to that moment’,” said Bar-Lev. “So Premier started listening to classical music and starts building a song that reflected this new understanding.” Joining the collaboration was platinum selling Rap artist, Nas, who wrote a rhyme over the song.

• The Crystal Method Collaboration

The Crystal Method are seasoned artists who’ve had funk and R&B influences in their music before, prompting the GreenLight team to give them the genre of R&B. A longtime fan of Martha Reeves of The Vandellas, The Crystal Method chose to collaborate with the Motown native singer. They came in with a sketch of a beat and intended to write the lyrics based on a meaningful day spent with Reeves exploring the city of Detroit, but when they began the creative process, Reeves wanted to take a more active role in writing the lyrics. “The tension and drama in that story line came from disagreements over lyrics. On both sides you had fantastic musicians with their own ideas about songwriting. They had to find common ground under incredibly pressure-packed circumstances with little time and lots of cameras,” said Bar-Lev. Martha Reeves’ experience also was to also approach the creative process in a more linear way, because her generation didn’t have the technology to complete a track in sections, out of order or overdub and resample vocals like artists can today. Their collaboration showed the challenges artists can face trying to find common ground when they both come from very different backgrounds. The Crystal Method also showed what separates electronic musicians from others—the ability to go back into what’s been recorded and work their magic—turning it into something so different from where it originally stood.

• Pretty Lights Collaboration

In what was arguably the hardest genre to re-imagine, Pretty Lights had no connection to country music and needed a bit of convincing. “Pretty Lights didn’t really want to do country,” said Davidge. “I had to get on the phone with him and tell him it was the best challenge and could potentially be the most interesting collaboration we’d capture.” Country is on the opposite side of the spectrum of what electronic artists are used to, but Pretty Lights found himself becoming drawn in by the haunting and timeless voice of GRAMMY® winner Dr. Ralph Stanley who is perhaps best known for his track “O Death” from the O Brother Where Art Thou soundtrack. In the studio, Pretty Lights found that the 85-year-old grandfather of bluegrass was set in his ways, prompting Pretty Lights to adjust and approach the recording process from a different

5

perspective. “Ralph Stanley was pretty set in his ways,” said Bar-Lev. “But you can’t really blame him for that—he’s in his 80s and one of the patriarchs of bluegrass.” Pretty Lights also collaborated with country singer, LeAnn Rimes and his sessions with both the songstress and Stanley producing memorable vocals.

• Mark Ronson Collaboration

As a producer known for his collaborations, Mark Ronson eased into his genre of Jazz in New Orleans with the help of Erykah Badu, Trombone Shorty, Mos Def, Zigaboo Modeliste and members of The Dap Kings. “What I loved about this collaboration was the vulnerability the artists allowed our cameras to capture,” said Bar-Lev. Together the artists had merely three days to meet each other in the studio, create the song, and then perform it at Preservation Hall. “There was a lot of improvisation, which is a big part of jazz,” said Davidge. “They were able to capture that feeling of New Orleans which is very spontaneous.” At one point, Badu is speaking to Trombone Shorty about gumbo—and that one word, gumbo, inspires her. Badu then immediately brings the song together lyrically from a simple offhand comment. Like a good gumbo, these artists mixed influences with different styles stewed together.

• Skrillex Collaboration

Skrillex had a deep connection to the genre of Rock ‘n’ Roll. A guitarist for an emo rock band before becoming known by his current name, Skrillex had collaborated with Korn and had always been a fan of The Doors. His dream of one day working with the iconic band came true with this project when he recorded with Robby Krieger, Ray Manzarek, and John Densmore. Their collaboration marked the first recording the remaining members of The Doors had worked on in over 30 years. “What was really interesting about this collaboration is that Krieger, Manzarek and Densmore recorded on separate days,” said Davidge. “It was interesting in that, it showed how music in this generation is changing, and the way music is being made has evolved.” Where traditionally the drums would be laid down first, Densmore was able to come in on the second day and get a vibe of what his other band mates had already put down, before collaborating on the track. “Densmore confessed to being skeptical of electronic music,” said Bar-Lev. “So when he arrived, he asked for privacy from the cameras so he could get to know Skrillex and we were told that he wanted to figure out if they had something to collaborate on.” This collaboration gave insight into a new, modern, creative process because when you look at what Skrillex is doing, you get to see how he navigates and creates what has become a global genre for this generation—electronic music.

In directing the documentary, Bar-Lev created an open dialogue with the artists and had conversations with them not just about filming, but about how their song would come together. “We really knew that there was something fundamental about the way music is created that never gets captured,” said Bar-Lev. “So we worked with each artist to come up with a game plan that allowed us to document their process, but also allowed for spontaneity and naturalism.” The film began shooting around the country in July and wrapped in October. “This was a huge project and our shooting schedule was something like 28-30 shoots around different cities in the U.S. in the span of about three months,” said Davidge. “It was often a long and challenging process.” “We asked the artists to work in a pretty compressed time frame, and that heightened the drama,” said Bar-Lev. “That afforded us the opportunity to have someone like Erykah Badu come in and say, ‘Ok—I’ve got to write this piece of music in two hours’. That kind of pressure allowed us to see a genius at work.” Having developed music platforms for many brands over the past four years, GreenLight hopes they have created a film that extends beyond a marketing strategy and examines how technology has changed the way people create and experience music. “What we want people to take away from this film is how music has evolved,” said Davidge. “This documentary is a reflection of how musicians now have every piece of technology they need at their fingertips. But at the end of the day, it doesn’t matter who or what you have in the studio, the language of music transcends generations. I feel we set out to tell a story in an important time in music and hopefully captured that moment.”

6

RE:GENERATION MUSIC PROJECT ORIGINAL SONGS

SKRILLEX — "Breakn' a Sweat" [Featuring Members of The Doors] "Breakin' a Sweat" formally introduces a new generation to psychedelic rock with a little help from three of the genre's pioneers—Robby Krieger, Ray Manzarek and John Densmore of The Doors. The collaboration celebrates a first reunion for the band members since 1978's An American Prayer was recorded at the mecca of alternative culture, Venice Beach, CA. Manzarek's shimmering keyboards recall "Light My Fire," while blazing a decidedly new trail. A tribal beat ushers in a decidedly danceable break from Skrillex as Krieger's guitar cycles in and out of the synth swells. The DJ and producer declares, "I'm breakin' a sweat" while calculated handclaps propel rock 'n' roll to a new plateau. Skrillex's bass wobbles and breaks as the keyboard washes over the electronic soundscape. One final drum buildup from Densmore snaps into a heavy, hypnotic and heartfelt explosion. The song's immortal Southern California groove would certainly make ‘The Lizard King’ proud. THE CRYSTAL METHOD — "I'm Not Leaving" [Featuring Martha Reeves of The Vandellas and The Funk Brothers] Breakbeat maestros, The Crystal Method ventured to the heart of Detroit for this swaggering and sexy combination of R&B, funk, and electro. A guitar riff energizes the verse as Martha Reeves of The Vandellas channels soul ghosts with the prowess of an entire gospel choir. It's here the Motown native finds her lyrical inspiration reflecting on her home as it perseveres in economic turmoil. Together they visit the Ford Theater, the first place Reeves ever sang, as it was in the midst of being demolished and Heidelberg Street, which for the past 25 years, artist Tyree Guyton transformed his childhood home into a block-long art instillation. "Multicolored giant dots festoon a white house, another house is covered with stuffed animals, clocks hang on trees and repainted advertising posters line old fencing," described Andrew Bender of the Los Angeles Times. Legendary Detroit players The Funk Brothers add their classic touch, and The Crystal Method bring all of these elements together into one raucous R&B jam. MARK RONSON — "A La Modeliste" [Featuring Erykah Badu, Trombone Shorty, Mos Def, Zigaboo Modeliste, and Members of The Dap Kings] You can practically smell the gumbo and jambalaya of Bourbon Street as the piano boogie of "A La Modeliste" starts to simmer. Mark Ronson takes old fashioned jazz down a new road with a little help from Erykah Badu, Trombone Shorty, Mos Def, Zigaboo Modeliste, and members of The Dap Kings. Badu touts a smoky register reminiscent of the genre's heyday, while Mos Def injects a slight dose of New York grit into this unabashedly Southern romp. Ronson doesn't skimp on the bells and whistles either, as the track dives deep into traditional jazz instrumentation emanating from legendary drummer Modeliste and sassy brass courtesy of Trombone Shorty. DJ PREMIER — "Regeneration" [Featuring Nas and Berklee Symphony Orchestra] DJ Premier tackled classical music with a little help from Boston's famed Berklee Symphony Orchestra and New York hip hop legend Nas. His expansive production began with him digging through a crate of classical music records from which he separated eleven pieces and then pulled them together for a new song to be rescored and recorded by the Berklee Symphony Orchestra. Enhancing the flourishes of violin is Nas who sums everything up with one word—"Regeneration." The MC's fiery flow ignites another turning point for music, dropping airtight rhymes in between orchestral pockets. Everything subsides into

7

a calming bridge mid- song that bears the mystical elegance of your favorite film score as one last triumphant movement begins. PRETTY LIGHTS — "Wayfaring Stranger" [Featuring LeAnn Rimes and Dr. Ralph Stanley] Denver's Pretty Lights moseyed on down to Nashville in order to craft a remake of Burl Ives' "Wayfaring Stranger," a haunting, hypnotic reinterpretation of country music. It's as if he brought the genre to outer space on a trip hop rocket. An airy guitar strum rises like smoke signals alongside Dr. Ralph Stanley's soulful croon. LeAnn Rimes turns into a 21st century sonic seductress as her vocals resound through a haze of whistling, guitar, and synth beats.

8

ABOUT THE DJS

DJ PREMIER No more than three producers (Dr. Dre, RZA, and Prince Paul) can test DJ Premier's status as the most important trackmaster of the '90s, and no style is more distinctive. Aggressive and raw, a Premier track is an instantly recognizable soundclash of battling loops and heavy scratching — all of them perfectly timed. DJ Premier evoked the sound of Brooklyn better than anyone. Besides helming tracks for Gang Starr since their 1989 debut, Premier's productions appeared on many of the East Coast's most important records: Nas' Illmatic, the Notorious B.I.G.'s Ready to Die, Jay-Z's Reasonable Doubt, Jeru the Damaja's The Sun Rises in the East, and Mos Def's Black on Both Sides. MARK RONSON New York internet radio station East Village Radio's Friday night host Mark Ronson lays claim to one of the most unprecedented careers as a producer, songwriter and DJ. The London-born self-proclaimed hip-hop head is known for his album releases which include 2003's Here Comes The Fuzz, 2007's Radiohead covers album Version, and 2010's Record Collection. In addition, his production credits include such benchmark albums as Adele's 19, Lily Allen's Go and the late Amy Winehouse's Back To Black, the latter of which garnered him three prestigious GRAMMY® Awards (Producer of the Year - Non-Classical, Record of the Year, Best Pop Vocal Album). Most recently he produced Duran Duran's All You Need Is Now and Black Lips' Arabia Mountain. SKRILLEX “I’ve been deep into electronic music my entire life. The first records I ever owned were Fat of Land by the Prodigy and Come To Daddy by Aphex Twin,” raves Sonny Moore, better known as emerging electronic visionary Skrillex. “Marilyn Manson and Nine Inch Nails were also early influences. I’ve been dabbling in making electronic tracks on programs like Fruity Loops since I was 14 years old.” Skrillex is part of a new generation of artists that refuse to be restricted by preconceived notions or outside expectations. Describing his current sound as “a mix of dubstep, electro and glitch all thrown together,” SKRILLEX’s official releases on Big Beat/Atlantic Scary Monsters and Nice Sprites and More Monsters and Sprites reflect all of the above and beyond. On Scary Monsters… the uplifting post-trance synth melodies of' “All I Ask of You” stands in stark contrast to the guttural low-end of the massive electro-dubstep hybrid “Rock N’ Roll (Will Take You To the Mountain).” Following its release on Beatport, the 9-song EP dominated the charts on the site, with the title track claiming the site's #1 slot (the first time a dubstep track has ever done so), eight songs breaking into the top 10, and multiple tracks claiming the #1 slots on several of the site’s subgenre charts, including dubstep, electro house and progressive house. Skrillex achieved similar successes with 2011's More Monsters and Sprites, a collection of remixes and originals that bore the tremendous "Equinox (First Of The Year)", a bracing effort that, coupled with a compelling video concept, achieved over 20 million plays on Youtube. Skrillex has also made a name for himself as a highly sought-after remixer producing officially commissioned remixes for such A-list artists as the Black Eyed Peas, Lady Gaga, and La Roux. What's more, his fledgling startup, OWSLA, has demonstrated a forward-thinking initiative by releasing some of the most exciting EDM in recent memory from Porter Robinson, KOAN Sound, Zedd, The M Machine, Kill The Noise, and more in the span of just a few months. By touring incessantly, embracing social networking to propel the music of his friends, and producing around the clock, Skrillex stands not only at the vanguard of electronic dance music, but the perpetually evolving new music industry as a whole. His achievements were recognized by The Recording Academy in December 2011 when Skrillex was both

9

included on the prestigious BBC Sound of 2012 list and nominated for five GRAMMY® Awards, including “Best New Artist,” an unprecedented first for an electronic musician. THE CRYSTAL METHOD Heralded by the Village Voice as "one of the best live dance acts on Earth," THE CRYSTAL METHOD—who is Ken Jordan and Scott Kirkland—have been known for over a decade for their enduring dance floor anthems ("Now Is The Time," "Keep Hope Alive"), airwave smashes ("Trip Like I Do") and a willingness to collaborate with an array of talent-including rock's elite like Scott Weiland, Matisyahu, New Order's Peter Hook, Emily Haines of Metric and Filter's Richard Patrick. The duo has dominated the remix, film soundtrack, television, gaming and advertising worlds, most recently helping Victoria's Secret drop jaws with music for a TV commercial campaign and collaborating with soundtrack heavyweight Danny Elfman for several contributions to Hollywood blockbuster Real Steel. Their platinum-status debut album Vegas (released in 1997) is one of the biggest-selling electronic albums of all time, landing them in the top five of best-selling electronic acts in America. They scored the film London as well as the themes for TV shows Bones and Third Watch and were the first act to work with Nike for their running soundtrack series. Their most recent album, the GRAMMY® - nominated Divided by Night, was released in 2009. PRETTY LIGHTS Pretty Lights is the musical vision of the ultra-versatile Colorado based producer Derek Vincent Smith. At a time when music lovers from almost all subcultures and genres are finding common ground in the basic form of bangin' beats, Pretty Lights is giving the people what they want—electro organic cutting-edge party rocking beats that fill venues with energy and emotion and send dance floors into frenzies. And the people are responding. Pretty Lights' six albums have been downloaded over 1.4 million times from PrettyLightsMusic.com.

10

ABOUT THE ARTISTS NAS Who better to stir up debate than the man most consider one of the top five emcees in the history of the game? From his brilliant 1994 debut Illmatic, to his mainstream success with It Was Written and his most recent release Hip-hop Is Dead, to his anthems like "Hate Me Now" and "One Mic" and his venomous lyricism on "Ether," Nas' ability to tell stories, educate, make you dance—and make you look—is the stuff of rap legends. Nas is not afraid to tackle subjects like self-empowerment, love, the importance of education and being aware of world issues. Musically, he'll get down and dirty with DJ Premier, ride an R&B beat with Trackmasters or bridge the gap jazz-style with his pops Olu Dara. It is this artistic diversity that Nas hopes will influence the next generation of emcees. JOHN DENSMORE Drummer John Densmore was far more than merely the rhythmic engine of The Doors. Strongly influenced by jazz skinsmen like Elvin Jones and the supple grooves of the Brazilian wave, he brought a highly evolved sense of dynamics, structure and musicality to his beats. Inexorably drawn to music from childhood, Los Angeles-born Densmore honed his sense of dynamics playing with his high school marching band. In the mid-'60s he joined guitarist Robby Krieger in a band called Psychedelic Rangers; shortly thereafter they hooked up with keyboardist Ray Manzarek and Jim Morrison, and an explosive chapter in the development of rock 'n' roll began. A raft of paradigm-shifting recordings and epochal live performances would follow. Morrison's death in 1971 marked the end of an era, though the surviving trio recorded two more albums of songs and an instrumental backdrop for the late singer's recorded poetry. The versatile musician explored reggae and jazz in subsequent projects, wrote books and articles and became active in L.A.'s adventurous theater community. He earned an L.A. Weekly Theatre Award for the music he created for the Tim Robbins- directed stage production Methusalem. He also co-produced the play Rounds, which was given the NAACP award for theatre in 1987. Densmore's autobiography, Riders on the Storm: My Life with Jim Morrison and the Doors, was published in 1991 and was a New York Times bestseller. He's written articles and essays for Rolling Stone, London Guardian, The Nation, and many nationally syndicated newspapers. RAY MANZAREK Ray Manzarek was the architect of The Doors’ intoxicating keyboard sound. Manzarek’s evocative playing fused rock, jazz, blues, bossa nova and an array of other styles into something utterly, dazzlingly new. The group was born in 1965, when Jim Morrison and Chicago native Manzarek—both UCLA film students—met on Venice Beach. The singer’s poetry was a perfect fit for the classically trained keyboardist’s musical ideas, and eventually they decided to form a band. Though several bassists auditioned for the group, none could match the bass lines provided by Manzarek’s left hand. Signed to Elektra Records, The Doors released six studio albums, a live album and a compilation before Morrison’s untimely demise in 1971. Manzarek, Krieger and Densmore released two albums as a trio under The Doors moniker, with Manzarek and Krieger handling vocals. Manzarek next formed the group Nite City, which invited comparisons to Mott the Hoople and Aerosmith; the quintet released its one album in 1977. The surviving Doors reunited to create a musical backdrop for Morrison’s recorded poetry on the 1978 release An American Prayer. Manzarek produced and performed on five of the L.A. band X’s albums, including Los Angeles, which remains one of the high-water marks of the punk movement. The keyboardist has since authored several books, and recorded numerous solo albums. He currently lives in Napa Valley, California. ROBBY KRIEGER With a flair for wicked bottleneck slide, exploratory solos and gutbucket grooves, guitarist Robby Krieger brought a stinging, sinuous intensity to the sound of The Doors. But he was also a key songwriter in the band and penned some of their biggest hits—notably their mesmerizing #1 hit, “Light My Fire.” Before

11

picking up the guitar at age 17, the L.A. native studied trumpet and piano. The inspiration for switching to guitar came not from rock ‘n’ roll, but Spanish flamenco music. His first guitar hero, however, was jazz legend Wes Montgomery. After Morrison’s death in 1971, Krieger, Manzarek and Densmore carried on as a trio. They released two more albums as The Doors before calling it quits in 1973, though they did reconvene a few years later to create music for poetry Morrison had recorded shortly before his death, released as the 1978 album An American Prayer. Krieger went on to enjoy success as a jazz guitarist, recording a handful of records with the Robby Krieger Band in the 1970s and ‘80s Versions (1983) and No Habla (1986) amply demonstrate his versatility. “I think playing guitar is probably one the one thing that gets better with age,” says Krieger. Robby Krieger is listed among Rolling Stone’s “100 Greatest Guitarists of All Time.” ERYKAH BADU Universal Motown artist, Erykah Badu, best known for her eccentric style and cerebral music, is a GRAMMY® Award winning American soul singer and songwriter. Regarded as the Queen of Neo Soul, Badu’s sound—a concoction of soul, hip-hop and jazz—cannot be contained to a single genre. Self-described as a “mother first,” Badu is a touring artist, DJ, teacher, community activist, holistic healer, vegan, recycler, and conscious spirit. Baduizm, Badu’s highly acclaimed debut album, was released in early 1997, went triple platinum and, along with “On & On,” won GRAMMY® Awards at the 1998 ceremony. During the spring of 2010, Badu released her fifth studio album, and second installment of a two-part New Amerykah series. New Amerykah, Part I: Fourth World War, a concept album that was digitally produced and political in tone, debuted at No. 2 on the Billboard 200 chart and Rolling Stone named it one of the year’s best albums. New Amerykah, Part II: Return of the Ahnk, which features lush live instrumentation and taps into Badu’s emotional side by thematically focusing on romance and relationships made its debut at No. 5 on the Billboard 200 chart. MARTHA REEVES It was 1962 that Motown's A&R Director William “Mickey” Stevenson first heard the voice that would become synonymous with "the sound of young America." A young jazz/blues singer with the unlikely name of Martha Lavaille was bringing audiences to their feet at Detroit's famed 20 Grand Nightclub singing songs made popular by singers the likes of Gloria Lynne and Della Reese. He invited her to audition at the new Motown Records headquarters, Hitsville, USA. Though the audition never happened, within a year, Martha had taken the reigns of the company's A&R department and whenever opportunity presented itself, she sang. When Mary Wells couldn't make a session, Martha was called to the mic. With her group, the Del Phi's, she recorded "I'll Have to Let Him Go," and Martha and the Vandellas was born. Martha (along with Rosalind Ashford and Annette Beard) backed Marvin Gaye on his first three releases and sang with him on stage. Soon, however, they emerged from the shadows with "Come and Get These Memories," followed by an enviable string of hits: "Heat Wave," "Quicksand," "In My Lonely Room," "Nowhere to Run," "My Baby Loves Me," "Love Makes Me Do Foolish Things," "I'm Ready For Love," "Jimmy Mack," and, of course, the Motown anthem, "Dancing In The Street." After leaving Motown in 1972, Martha continued to expand her musical horizons, establishing herself as a singer-songwriter in rock, jazz, country, gospel, blues and classical. Singing companions included everyone from the Godfather James Brown and the Boss Bruce Springsteen to opera diva Beverly Sills and gospel king Rance Allen. She headlined a national touring company of the musical "Ain't Misbehaving," and for three years toured the UK in the musical review "Dancing In The Street." Martha has been inducted into the Rock and Roll Hall of Fame, the Vocal Group Hall of Fame and the Alabama Music Hall of Fame. She ranks among Rolling Stone Magazine’s Top 100 Immortal Artists and was named one of the top 30 group lead singers of all time. In 2011, she received the Merit Award from MOJO magazine. Martha Reeves continues to thrill audiences around the world. She has been nominated for a UK Festival Award as “Best Headliner” for the past two consecutive years. Her self-produced 2004

12

CD, Home to You was named one of the year's best by the Asbury Park Press. In 2005, In 2005, Motown released Martha's "Lost and Found" collection, which included the rare Smokey Robinson-penned "Spellbound," her studio recording of "For Once In My Life," and covers of hits by the likes of Aretha Franklin, Vikki Carr, and Sam & Dave. A "Gold" collection was released in March 2006 and "The Definitive Collection" in 2009. (Her 1968 Live at the Copa remains in the vaults, but we hope for a release in the not-too-distant future.) In 2009, Martha completed a four-year run as a member of the Detroit City Council. She is back on the road full time, making sure that no one ever forgets the Motor City. LEANN RIMES Doing the unexpected has almost become expected of LeAnn Rimes. From her hit “Blue” nearly 15 years ago to her impressive new concept album of classic country standards, Lady & Gentlemen, LeAnn has always bravely followed her own inner compass and consistently maintained her musical integrity rather than simply following the musical trends of the day. Listening to her instincts has resulted in album sales of more than 40 million, two GRAMMY® Awards, three Academy of Country Music Awards and 12 Billboard Music Awards. She was the youngest person to ever win a GRAMMY® and was the first country star to win the GRAMMY® for Best New Artist. Widely regarded as one of the finest vocalists in music in the last two decades, she is known for her powerful and flawless voice and a sound that is simultaneously fresh and timeless. LeAnn has also ventured into acting, including the CMT Original movie Reel Love which premiered in November 2011 as well as recently appearing in an episode of Lifetime’s Drop Dead Diva. She has also appeared in the Lifetime movie Northern Lights and the ABC telefilm Holiday In Your Heart, as well as writing several books, including the novel Holiday In Your Heart (on which the ABC project was based), the inspirational book What I Cannot Change, and the children’s books Jag and Jag’s New Friend. But her heart firmly remains in country music. MOS DEF “Mos Def is a name that I built and cultivated over the years. It’s a name that the streets taught me, a figure of speech that was given to me by the culture and by my environment, and I feel I’ve done quite a bit with that name—but it’s time to expand and move on.” DR. RALPH STANLEY Although he needs no introduction, we’ll go ahead and give him one anyway. Raph was born in Dickenson County, Virginia, where he still resides when he’s not on the road. After 55 years in the business, he’s still the best banjo picker and tenor singer in bluegrass music. As a recording artist, he has performed on more than 170 albums, tapes, and CDs. He’s also written many songs himself and with his brother, the late Carter Stanly. Ralph’s played throughout the United States and in many foreign lands, too, including several tours of Japan. In addition to the many honors Ralph has received as a bluegrass musician, including membership on the Grand Ole Opry, he is also a Shriner, a member of the Primitive Baptist Universalist Church, and active in his local community, having served on the Dickenson County School Board. Ralph is married to Jimmi Stanley, and they have two daughters, Lisa and Tonay, and, of course, one son, Ralph II. THE BERKLEE SYMPHONY ORCHESTRA The Berklee Contemporary Symphony Orchestra, based in Boston, MA, is a full symphonic ensemble committed to the art of orchestra playing that honors the past, present, and future. In addition to the great orchestral compositions of the past, this orchestra’s repertoire includes original compositions of faculty and students, contemporary orchestral music from around the globe, and contemporary genres such as film scores and video game music. ZIGABOO MODELISTE

13

Joseph “Zigaboo” Modeliste is a master drummer, rhythm innovator, percussionist, and New Orleans legend. The most highly acclaimed drummer to hail from the Crescent City, Ziggy’s creativity has been a wellspring of funk influence for three decades and inspired many hip-hop tracks. His innovative work as a member of the internationally acclaimed R&B group, The Meters, as well as his side work with artists like Keith Richards, Robert Palmer, and Dr. John, has garnered him an unparalleled level of respect among musicians and fans. He is a master of creating funk grooves and new concepts for funk drumming. Having written over 200 songs individually and collectively with The Meters, his songwriting displays both his musical genius and original funk style. Especially renowned for his syncopated rhythms and his second line funk styles, his work has been sampled many times over from artists such as Musiq, Queen Latifah, Run DMC, NWA, Ice Cube, Salt N’ Pepa, Cypress Hill, EPMD, Public Enemy, A Tribe Called Quest, Beastie Boys, Naughty by Nature, and Tweet, just to name a few. Zigaboo’s songs have been released on over 56 albums nationally and internationally. His tunes have also graced such movies as Two Can Play That Game, Jackie Brown, Drum Line, 8 Mile, Hancock, a Nike Commercial for Footaction, and the TV show Battleground Earth: Ludacris vs. Tommy Lee on Planet Green. Zigaboo’s latest release New Life came out earlier this year is currently available. THE FUNK BROTHERS In 1959, Berry Gordy gathered the best musicians from Detroit’s thriving jazz and blues scene to begin cutting songs for his new record company. Over a fourteen year period they were the heartbeat on “My Girl,” “Bernadette,” “I Was Made to Love Her,” and every other hit from Motown’s Detroit era. By the end of their phenomenal run, this unheralded group of musicians had played on more number one hits than the Beach Boys, The Rolling Stones, Elvis and The Beatles combined—which makes them the greatest hit machine in the history of popular music. They called themselves The Funk Brothers. Forty-one years after they played their first note, a Motown record and three decades since they were all together, The Funk Brothers reunited back in Detroit to play their music and tell their unforgettable story in, Standing In The Shadows of Motown. With the tumultuous sixties as a backdrop, Motown’s unsung heroes take the viewer on a compelling journey in time as they trace the evolution of “The Motown Sound” from its origins in Detroit to its demise in Los Angeles during the seventies. Through the eyes of the riveting characters who ruled Hitsville’s studio by day and the club scene of Detroit by night, we enter a world of unparalleled soul and emotion as The Funk Brothers revisit the sites of their musical roots, triumphs, and eventual heartbreak. TROMBONE SHORTY Troy "Trombone Shorty" Andrews hails from the Tremé neighborhood in New Orleans' 6th Ward, getting his nickname at four years old when he was observed by his older brother James marching in a street parade wielding a trombone twice as long as the kid was high. Since the release of his band's GRAMMY® - nominated 2010 debut album, Backatown, Trombone Shorty & Orleans Avenue have grown creatively while winning hordes of new fans performing nonstop on five continents. Their new album, For True (Verve Forecast), offers substantive proof of their explosive growth, further refining the signature sound Troy "Trombone Shorty" Andrews has dubbed "Supafunkrock." The album includes guests Jeff Beck, Kid Rock, Ledisi, Warren Haynes, Lenny Kravitz and more. Trombone Shorty's performances at and during the New Orleans Jazz Fest are legendary. This past year alone, Troy sat in for a set of free jazz honoring a recently passed mentor before joining Kid Rock on the main stage. This was followed immediately by guesting with cousin Glenn David Andrews in the Gospel Tent before literally running back to the main stage to close the Festival as a special guest of the Neville Brothers. His respect across a broad spectrum and his musical versatility is further evidenced by his performance resumé, playing at events as diverse as Bonnaroo, the Playboy Jazz Festival at Hollywood Bowl, the Montreal, Montreux and Monterey jazz fests, Hardly Strictly Bluegrass in San Francisco, Austin City Limits, Fuji Rock in Japan, Philadelphia Folk Fest, Jam Cruise, assorted Blues Festivals and even a Reggae Festival in Germany.

14

Andrews has also done a ton of TV, appearing on The Late Show With David Letterman, The Tonight Show With Jay Leno, Jimmy Kimmel Live, Good Morning America, Tavis Smiley, NFL Kickoff (joining Dave Matthews Band) and a recurring role on the hit HBO series "Tremé," on which he played himself. Along with appearing on Jeff Beck's Les Paul tribute, he's been a featured guest musician on recent releases from Eric Clapton, Lenny Kravitz, Galactic and Sierra Leone's Refugee All Stars. Last December, Andrews drew accolades as musical director of "Red Hot + New Orleans" at BAM leading and backing an all-star cast of his hometown heroes and friends. THE DAP-KINGS The Dap-Kings, Tom Brennock, Victor Akelrod, Nick Movshon, Neal, Sugarman, David Guy, Homer Steinweiss, are already well known as one of the most exciting acts in the nation with their front woman vocalist Sharon Jones, as well as for both their explosive live shows and their prolific output of gritty studio recordings from their breakout release, 100 Days, 100 Nights, which sold over 150,000 copies worldwide to their 2010 release I Learned the Hard Way, their fourth full-length on Brooklyn’s independent Daptone Records. The Dap-Kings have also recorded with Al Green, NAS, Amy Winehouse, Wale, Mark Ronson, Daniel Merriweather, Robbie Williams and Bebel Gilberto just to name a few.

15

ABOUT THE FILMMAKERS AMIR BAR-LEV (Director) Amir Bar-Lev's directorial debut, Fighter, was released theatrically by First Run Features in the Fall of 2001, aired on IFC, and was named one of the top documentaries of the year by Newsweek, Rolling Stone, and Village Voice among others. Fighter won six international festival awards and was called "brilliant," by The New Yorker, "enthralling" by the New York Times, and "one of the best documentaries of this year or any other" by Rolling Stone. Bar-Lev's second film, My Kid Could Paint That, was released internationally by Sony Pictures Classics in 2007, with broadcast on Starz, A&E and BBC. New York Newsday called it "a mysterious, gripping meta-documentary that reflects upon the thorny, unpredictable process of capturing a real-life story on film at the same time it's trying to figure out what the story is." According to At The Movies With Ebert and Roeper, it was "one of the best documentaries of this or any other year." Bar-Lev traveled to New Orleans nine days after Hurricane Katrina and began filming a young married couple, both crack dealers, with a heroic story of survival during the storm and an uncertain future ahead. Bar-Lev served as co-producer on the resulting film, Trouble the Water, which was a 2009 Academy Award Nominee. Trouble the Water also took the Grand Jury Prize at the 2008 Sundance Film Festival, the Grand Jury Award at Full Frame, received a Special Jury Mention at Silverdocs, won the IFP Gotham Award for Best Documentary, and was nominated for the PGA Documentary award, and the NAACP Image Awards Best Documentary. Most recently, Bar-Lev directed The Tillman Story, a feature documentary about NFL safety Pat Tillman, who joined the Army Rangers in 2002 and was killed in a friendly fire incident two years later. The film was released nationwide by The Weinstein Company in August of 2010. The Tillman Story was named the top documentary of 2010 by The San Francisco Critics' Circle, The Florida Critics' Circle, and The St. Louis Critics' Circle, and was nominated for ten additional critics' circle prizes, the National Board of Review Documentary award, the PGA Documentary award, and the Cinema Eye Audience Choice award. Bar-Lev has produced and executive produced shows for CNN, the Sundance Channel, VH1, MTV, Spike!, and The Weather Channel, as well as directed numerous award-winning short films. He and his wife welcomed their first daughter into the world during the final weeks of editing The Tillman Story. Bar-Lev is currently slated to direct his first scripted feature, a bio-pic about Jerry Garcia of the Grateful Dead. GREENLIGHT MEDIA & MARKETING (Executive Producers) GreenLight Media & Marketing, LLC is a music-focused entertainment studio and agency producing original content and marketing programs for a variety of media companies and brands. GreenLight's clients and partners have included The GRAMMY® Awards, AOL, Fuse, Vibe, Spin, YouTube, Pandora, Hyundai, adidas, American Express, Gillette, Pacifico, Red Bull, Verizon and Constellation Brands, among and others. Based in West Hollywood, CA, GreenLight is an independent agency within a network of sister companies that includes Red Light Management, ATO & TBD Records, ATO Pictures and several major music festivals.

16

PRODUCTION CREDITS

Produced by Jules Daly

Tom Dunlap

Co-Producer Michael Bernstein

Director of Photography

Nelson Hume

Editors Dan Swietlik, ACE

Darrin Navarro

GreenLight Creative Director Nick Davidge

Music Supervision & Talent Producer

Stephen Satterthwaite

Coordinating Producers Jesse Brandt

Marc Werschkul

Co-Executive Producer Richard Bishop

Executive Producers

Dominic Sandifer Nick Davidge Steve Bender

Directed by Amir Bar-Lev

 Featuring

Derek Smith aka Pretty Lights DJ Premier

Mark Ronson Sonny Moore aka Skrillex

The Crystal Method LeAnn Rimes

Dr. Ralph Stanley Nas

Stephen Webber The Berklee College of Music Orchestra

Bruce Adolphe Erykah Badu

Zigaboo Modeliste Yasiin Bey “Mos Def”

Trombone Shorty Victor Axelrod Neil Sugarman

17

Thomas Brenneck Nick Movshon

David Guy Homer Steinweiss

Ray Manzarek Robby Krieger

John Densmore Martha Reeves Dennis Coffey

Members of The Funk Brothers

Talent Producer Stephen Satterthwaite

Line Producer

Lauren Sherman

Production Supervisor Luke Wanagel

Additional Directors of Photography

Arlene Nelson Tony Hardmon

Tom Curran Mott Hupfel Dan Gold

Sound Recordists Kristian Borysevicz

Eric Ledet Steve Miller Caleb Mose

Paul Goudreau Mark Maloof

Mark Mandler

Assistant Camera / DIT Russell Geltman

Associate Producer

Jonny Edwards

Production Coordinator Sodashi Shallow

Gaffers

Chad Cohlmia Paul Breen

Steve Semkiw Nathan Tape Jeffry Atkins Ken Perham

Hector Vasquez

Electric Michael Fitzgerald

18

Daniel John Jonathan Thompson

Additional Camera assistant

Adam Lebenstein

Music Clearances Danny Zook

Todd Sullivan Tracy Lynch-Sanchez Alien Music Services

Archival and Clearance

Shana Swanson

Research Jennifer Bleyer

Chief Financial Officer

Dan Rosenthal

Controller Mary Ngo

Accountant Brian Maesk

GreenLight Accountant

Sam Schuyler

Still Photographer Brian Nevins

Digital

KamranV

Location Manager Brent Gaffan Derek Avila

Legal Counsel

John Hassig (GreenLight legal)

Paul Gutman Elliot Groffman

Post Supervisor

Chris Girard

Titles and graphics MK 12

Production Assistants

Christopher Antes Patrick Artus - Christopher Babb

Jesse Beitler

19

Dylan Bergstrom Anthony Boco

Katharine Brown David Cortes

Gene Diamond Jeremy Galvin Melanie Ihde Mike Imhoff

Daniel Ippolito Rebecca Jurbala

Jeff Mannarini Roxanne Majich Justin Mcintosh

Peter Mori Jeff Nicholson Timothy Olson

Daniella Pacrem Stefano Pennisi Kyle Reinfried Patrick Ritchie Danny Royster

Michael Weybret

PAs Sarah Gengle Derick Green

Amanda Harding

Stock Footage credits Additional Red Rocks time-lapse footage was provided by David Najarian

and Lain Kely courtesy of Radio Edit AV Ltd

Box Video by Krystle Blackburn

MUSIC

“Wayfaring Stranger” Pretty Lights featuring LeAnn Rimes and Dr. Ralph Stanley

Writer Traditional

Derek Vincent Smith

LeAnn Rimes Dr. Ralph Stanley

Recorded at

Ben’s Studio, Nashville, TN Chicago Recording Studio, Chicago, IL

Engineer

Billy Sherrill, Ben’s Studio, Nashville, TN Larry Sturm, Chicago Recording Company, Chicago, IL

Live footage recorded at

Red Rocks Amphitheatre, Red Rocks, CO

20

Studio Musicians Gary Prim, Piano

Randy McCormick, Keys Greg Morrow, Drums Mike Johnson, Steel

B. James Lowry, Guitar Reggie Young, Electric Guitar

David Hungate, Bass James Shelton

LeAnn Rimes appears courtesy of Curb Records

Additional thanks:

Randy Reed Adam Foley

Sheneza Mohammed Mark Hartley

John Nemoy, Curb Records Tracy Moore, Curb Records

Peter Laird Lee Olsen

Norma Morris Sharon Corbitt-House, Ben’s Studio

Scott Cadwallader Phil Salvaggio, Pretty Lights Production Manager

Sophie Reeves, Production Assistant Travis Brigman Vickie Carrico

James Ramirez Ken Downing, Red Rocks Curtis Sobolik, Red Rocks

Fletcher Foster Jason Colton

Gaines Sturdivant Leon Alexander Caroline Diep

Krystle Blackburn Jeannette Murrietta, Denver Arts & Venues

Steve Eisenstein, Denver Arts & Venues Tad Bowman, Denver Arts & Venues

Jeremy Sutherland, Chicago Recording Company. Chris Shepard, Chicago Recording Company

________________________________________________________________________

“A La Modeliste” Produced by Mark Ronson featuring Erykah Badu, Mos Def, Zigaboo Modeliste, Trombone Shorty, and Members of The Dap Kings

Writers

Mark Ronson Erykah Badu

Joseph “Zigaboo” Modeliste, Nick Movshon Victor Axelrod

Thomas Brenneck

21

Produced by Mark Ronson

Mixed by

Tom Elmhirst at Metropolis Studios London

Publishers EMI Music Publishing

Universal Music Publishing Defend Music (Kobalt Music Publishing)

Polydemic Productions (Lever and Beam, LLC) Kobalt Music Publishing Jomod Music Publishing

Erykah Badu

Joseph “Zigaboo” Modeliste Trombone Shorty

Victor Axelrod, Piano Thomas Brenneck, Guitar

Nick Movshon, Bass Neal Sugarman, Saxophone

David Guy, Trumpet Homer Steinweiss

Yasiin Bey ‘Mos Def’

Recorded at Piety Street Studios, New Orleans, LA

Live recording at

Preservation Hall, New Orleans, LA

Additional Production

Engineer Wesley Fontenat

Erykah Badu appears courtesy of Motown Records, Universal Motown Republic Group

Trombone Shorty appears courtesy of Verve Records, Universal Motown Republic Group Members of The Dap Kings appear courtesy of Daptone Records, LLC

Additional thanks

Rich Kleinman Nicola Wild

Alyssa Ender Guy Moot Jay Brown Bruce New

Paul Levatino Ward Allen

Charlene Sheppard Denise Harper

Jerry Juste Joan Brown Umi Smith

Mike Kappus Nate Herr

22

Kathy Webster Jared Tankel Alex Kadvan

Michael Prommer Chris Lakey Shawn Hall

Scott Van Doort Wesley Fontenat

Owner of Preservation Hall Ron Rona

J. Lloyd Miller, Preservation Hall Preservation Hall Jazz Band

Mark Braud Charlie Gabriel

Joe Lastie Rickie Monie

Clint Maedgen Ben Jaffe, Preservation Hall

Freddie Lonzo Caroline Diep

Robert Murphy ________________________________________________________________________

“Breakn’ A Sweat” Skrillex featuring Members of The Doors

Writers

Sonny Moore Ray Manzarek Robby Krieger

John Densmore

Produced, Mixed, and Mastered by Sonny Moore

Publishers

Doors Music Co LLC c/o Wixen/Kobalt Music Publishing

Skrillex Ray Manzarek, Keyboard and vocals

Robby Krieger, Guitar and vocals John Densmore, Drums and percussion

Recorded at

The Village Recording Studios, Santa Monica, CA

Engineer Ghian Wright

Assistant Engineer

Vanessa Parr

Live footage recorded at Petco Park, San Diego, CA

Skrillex appears courtesy of Atlantic Records

23

Additional thanks: Tim Smith

Robert Dyar Jeff Jampol

Ashley Austin Craig Kallman Leslie Frank

Michael Kushner Lee Anderson

Johnny Shockey Chris Lakey

Silke Lorenzen Forrest Penner Owen Goldman

Stephanie Grace Jeff Greenberg

Tina Morris ________________________________________________________________________

“I’m Not Leaving” The Crystal Method featuring Martha Reeves

Written, Produced, and Mixed by

Ken Jordan Scott Kirkland

Additional production by

Al McKenzie

Published by Lap Dance Music

ASCAP Why Do You Care

BMI

Recorded at Masterpiece Studios, Detroit, MI

Engineer

Carlos Gunn at Masterpiece Studios

Mixed at Crystalwerks, North Hollywood, CA

Live performance recorded at

IDentity Festival, Chula Vista, CA Special thanks to LiveNation

Martha Reeves, Lead vocals

Dennis Coffey, Guitar Ronald Otis, Drums Al McKenzie, Piano

Dwight Adams, Trumpet Darrell Smith, Bass

Johnny Trudell, Trumpet Edward Gooch, Trombone

Ernest Rodgers, Tenor Saxophone

24

Mark Berger, Baritone Saxophone Donna Taylor, Background vocals

Jacquelyn Simley, Background vocals Louis Price, Background vocals

Gloria D. Ridgeway, Background vocals Mildred Scott Background vocals Rodney Lee, Background vocals Penny Wells, Background vocals

The Crystal Method appear courtesy of Tiny E Records

Additional thanks

Chaz Hamman Dundee Holt Josh Hearst Gail Perry

Geoff Barnett Sadaf Ahmed

Jen Panczenko Joel Zimmerman Jonas Schumann

Jon Reese Heather Vantress

________________________________________________________________________

“Regeneration” DJ Premier featuring Nas and The Berklee Symphony Orchestra

Written by Christopher Martin

Nasir Jones

Produced and Mixed by DJ Premier

Published by

Kobalt Music Publishing Universal Music Publishing

Recorded at

HeadQcourterz Studios, New York, NY WGBH Frasier Studio, Boston, MA

Engineer

Antonio Oliart at WGBH Frasier Studio

Berklee College of Music Symphony Orchestra

Conducted by Stephen Webber

Orchestrations by Stephen Webber

William Wells

DJ Premier Nas

25

Berklee College of Music Symphony Orchestra features members and alumnae of the Berklee College of Music

Lead Violinist and Concert Mistress

Maureen Choi

Violin I Sonja Larson

Aleksandra Labinska Tudor Dornescu

Julia Erhard Asuka Usui Emily Dahl

Lisa Barksdale Kyra Davies

Jamie Chimchirian

Violin II Anna Griffis

Kay Rooney Matthews Andrew Eng

Anna Williams Nina Bishop Nunn

Ji Yun Jeong Hannah Choi Sean Larkin

Julia Okrusko Konstantin Rybakov

Viola

Erin Caplan Erin Nolan

Russell Wilson Keith Sanders Jessica Lipon Lilit Muradyan

Alex Duval Emily Rideout

Cello

Jon Lewis Nick Dinnerstein Andrew Larson Holgen Gjoni

Ignacy Grzelazka Kett Lee

Ming-Hui Lin Caleb Van Der Swaagh

Double Bass Mario Carrillo Brad Barrett

Daehee Choo

Trumpet

26

Andrew Gushiken Luise Heyerhoff

Trombones

Adam Rainey Johnny Elizondo

Tuba

Kevin Bock

French Horns Amparo Edo Biol

Jeff Stewart Krysta Harmon Elisabeth Axtell

Piccolo

Elizabeth Erenberg

Flute Adam Eccleston

Oboe

Paul Leuders

Clarinet Jay Hutchinson

Bass and Soprano Clarinet

Christopher Mothersole

Bassoon Ryan Fessinger

Timpani, Bass/Snare Drum, Glockenspiel, Cymbals

Dave Tarantino Brian Maloney Jeffrey Means

Harp

Maeve Gilchrist

Nas appears courtesy of Island Def Jam

Additional thanks Gary Bond

Gordon Franklin Bruce Adolphe

Staff and students of the Berklee College of Music Anthony Saleh Leslie Rosales Jeffrey Ladd Karen Kwak

Robert Murphy Tom Sturges

Scott Van Doort

27

Chris Lackey Andrew Goldstone

Rami Afuni Mark Levinsohn

Sirius XM Geronimo

Reggie Hawkins Tim Hickman

Margaret Carsley Tom Delvin

Nicholas Tolle

Headphones for the Berklee Symphony Orchestra provided by Fanny Wang Headphone Company

Special Thanks

Red Light Management

Coran Capshaw Bruce Flohr

Bruce Eskowitz Will Botwin

Andy Dondero The GRAMMY®s

The GRAMMY® Museum Bob Santelli

Evan Greene Country Music Hall of Fame and Museum, Nashville, TN

Jason Brugnatelli Michael Brugnatelli

Adam Everist Steven Jacobs

James Kerr Aaron Lubarsky Jessica Rather

Elizabeth Yarwood Mick Ebeling

Mary Lisio Marjie Abrahams Leah Carnahan

Elicia Laport Justin Alvardo Brown

Ridley Scott Tony Scott

Mastering by Bernie Grundman Alex Greenberg

Russell Emmanuel Extreme Music Library

Behind The Scenes

Director Keegan Wilcox

Director of Photography

28

Jeff Dolen

Additional Director of Photography Mickey Gaidos

Audio

Jeff Pace Micah Bloomberg (BTS New York)

PAs

Nick Bianchi Sean Donnelly Jason Eaton

Ellen Finn Dan Pardue

Justin Zweifach

Security Nestor Duran

RE: GENERATION MUSIC PROJECT SONG CREDITS

“Rock And Roll Records” Words and Music by J.J. Cale

© 1973 (Renewed) Audigram Songs, Inc (BMI). All rights administered by BMG Chrysalis

Performed by J.J. Cale Courtesy of Mercury Records Limited

under license from Universal Music Enterprises

“Goodbye” Written by Ivan Sohrakoff

Performed by Bottom Dwellers Courtesy of Bottom Dwellers Music

“Help Me Hank I’m Falling”

Written by Aubrey Mayhew, Johnny Paycheck Published by Dream City Music (BMI)

Performed by Johnny Paycheck An original Little Darlin’ recording, courtesy of Gusto Records, Inc.

“Haitian Fight Song”

Written by Charles Mingus Published by Flying Red Rhino

Administered by Spirit One Music Used with Permission by Jazz Workshop Inc.,

Administered by Boosey & Hawkes: An Imagem Company Published by The Mingus Music Werkshop

“II B.S.”

Performed by Charles Mingus Courtesy of The Verve Music Group under license from Universal Music Enterprises

"I'm The Man"

29

Written by Kendrick Jeru Davis, Keith Elam, James Heath, Christopher E. Martin Published by Irving Music, Inc. o/b/o itself & Perverted Alchemist Music

Published by EMI April Music Inc., Ill Kid Music Performed by Gang Starr featuring Jeru The Damaja and Lil’ Dap

Courtesy of Virgin Records America Under license from EMI Film & Television Music

“Dancing In The Street”

Written by Marvin Gaye, William Stevenson, Ivy Hunter Published by Jobete Music Co., Inc. & Stone Agate Music

Performed by Martha Reeves & The Vandellas Courtesy of Motown Records

under license from Universal Music Enterprises

"Rock N' Roll (Will Take You To The Mountain)" Written by Sonny Moore Published by Copaface

Administered by Kobalt Music Publishing America, Inc. Performed by Skrillex

Courtesy of Atlantic Recording Corp. By arrangement with Warner Music Group Film & TV Licensing

"Hot Like Dimes"

Performed by Pretty Lights Written by Derek Vincent Smith (ASCAP)

Published by Pretty Lights Music Publishing (ASCAP) Courtesy of Pretty Lights Music

PrettyLightsMusic.com

“When The Music’s Over” Written and Performed by The Doors

Published by Doors Music Co. Performed by The Doors

Courtesy of Elektra Entertainment Group By arrangement with Warner Music Group Film & TV Licensing

“Beethoven: 2. Vivace [String Quartet No.16 in F, Op.135]”

Performed by Emerson String Quartet Courtesy of Deutsche Grammophon GmbH, Hamburg under license from Universal Music Enterprises

“Wayfaring Stranger”

Performed by Burl Ives Courtesy of Columbia Records

By Arrangement with Sony Music Licensing

“Stand By Me” Written by Martha Reeves, John Louis Vastano, Vincent Poncia Jr.

Published by EMI Blackwood Music Inc. Performed by Martha Reeves Courtesy of Geffen Records

under license from Universal Music Enterprises

"Bury Them Bones (Marley Carroll Remix)" Written and Performed by Emancipator

Published by Emancipator Music Courtesy of Autonomous Music

30

“Strobe”

Written by Joel Zimmerman Published by EMI Blackwood Music Inc.

Performed by deadmau5 Courtesy of Ultra Records, Inc.

“Defocus”

Performed by Amon Tobin Written by Amon Tobin (PRS)

Published by Third Side Music o/b/o Just Isn't Music Ltd Courtesy of Ninja Tune