In The Pines: Documentary Show Book

In
the Pines: The Bean Blossom Bluegrass Festival

T522 Final Project April 28th, 2011 Funky Sun Productions Michelle Funk Serena Sun Jennifer Talbott Included materials: 1. Project scope 2. Timeline 3. Budget 4. Cash flow 5. NEA grant proposal and budget 6. Project treatment 7. Musical works sync licenses (4) 8. Recordings sync licenses (4) 9. Mechanical rights licenses (4) 10. Musical works cue sheet 11. Visual works licenses (4) 12. Visual works cue sheet 13. Copyright registrations (2) 14. AFTRA agreements (3) 15. Appearance release 16. Location release 17. Paid appearance releases (3)
Scope In the Pines: The Bean Blossom Bluegrass Festival

T522 Final Project April 28th, 2011 Funky Sun Productions Michelle Funk Serena Sun Jennifer Talbott
Product
The film In the Pines: the Bean Blossom Bluegrass Festival will explore the history and development of the bluegrass festival annually held in Brown County, Indiana, since 1965. It will be a multipart, twohour long documentary produced for broadcast on PBS and its affiliates. It will aim at informing the audience nationwide about when and why the festival was held in Brown County, and how it has developed over the past 40 years. We hope that this documentary will shed light not only on the Bean Blossom Bluegrass Festival, but also on the musicians of this often overlooked genre. Secondarily, we hope to promote attendance at the 2013 Festival in Bean Blossom while raising awareness of the importance and high quality of regional festivals throughout the nation. The documentary will consist of three sections, outlined below. In the first section, the story will focus on the life of the founder and the history of the Bean Blossom Bluegrass Festival to trace the origin of this festival and its music. Bill Monroe was born as William Smith Monroe in September 13, 1911. From the mountains of Kentucky, he learned the ScotsIrish fiddle tunes of his mother and uncle, which would become the foundation for the genre he almost singlehandedly created. Bluegrass, in fact, takes its name from his band, the "Blue Grass Boys," which in turn was named for his home state. Monroe's performing career spanned 60 years as a singer, instrumentalist, composer, and bandleader. His bands sound birthed a new form of country music and he is often referred to as The Father of Bluegrass. From 19481969, Earl Flatt and Lester Scruggs (often billed as Flatt & Scruggs) were a major force in introducing bluegrass music to America through national television, at major universities and coliseums, and at schoolhouse appearances in numerous towns. Both Flatt and Scruggs, along with over 120 other early bluegrass musicians, were members of Monroes Blue Grass Boys before breaking out on their own. While Monroes relationship with Flatt was often rocky, neither Flatt nor Scruggs could deny the impact Monroe had on introducing them to the bluegrass style and life as a traveling country music star. Another Blue Grass Boy who made good on his own was Monroes son, James. James and his band, The Midnight Ramblers, continue to perform throughout the nation. James may be one of the few who knew Monroe on a deeper level, as the legend often turned a stern, impenetrable face to fellow performers. In 1965, Bill Monroe founded the Bean Blossom Bluegrass Festival to bring his friends together to play the "high lonesome" sound he pioneered. It was a milestone for the development of bluegrass music. In the second section of the documentary, the impact of this music festival and its progress over the years will be illustrated. The booming festival movement changed all bluegrass
In the Pines | Scope | 1
artists lives for the better. Events with bluegrass in their titles sprouted up across the nation, and musicians traveled on a national circuit from festival to festival. Bigname artists began promoting their own shows. The Bean Blossom Bluegrass Festival is now the oldest, continuously running annual bluegrass festival in the world. The multiday event, held in the natural setting of an outdoor amphitheater on the wooded grounds of the Bill Monroe Memorial Music Park and Campground, features a style of music which is wholly American in origin. In the 1960s, the concept of the "bluegrass festival" was first introduced, featuring bands that had seemed to be in competition with each other for a relatively limited audience on the same bill at weekend festivals across the country. The folk revival, which had adopted bluegrass after it was orphaned by the twin storms of rock n roll and the modern Nashville sound, was now mentoring its great leap to independence, the bluegrass festival movement (International Bluegrass Music Association, www.ibma.org/events.programs/index.asp). Bill Monroes death on September 9, 1996, shook the music world. Yet his immeasurable legacy lives on in the musicians influenced by his style and in the festival held every year in his honor. In the third section, this documentary will present what the Bean Blossom Bluegrass Festival is like today. Challenges to the festival and to the genre will be addressed, as well as the positive forces keeping bluegrass alive and thriving. Current bluegrass musicians and fans opinions about the festival and the future of bluegrass music will be explored. This documentary will be told through interviews with bluegrass musiciansincluding those who knew Bill Monroe personallyscholars of the music and musicians, rarely seen footage and photographs, and historical music recordings paired with live performances from the 2012 Bean Blossom Bluegrass Festival. In the Pines: the Bean Blossom Bluegrass Festival will be broadcast on PBS nationally in two parts on December 10th and 11th with a subsequent replay on PBS affiliates in Indiana the following Monday and Tuesday night. There will be a third replay on May 28th and 29th, 2013, to entice fans to attend the 2013 festival in June. The companion website will launch on November 26th to excite viewers about the upcoming show. The DVD and CD distribution will begin on December 24th, 2012 with promotions for DVD and CD sales airing during the original broadcast and replays. The target audience for this documentary aligns with current PBS audience demographics, mainly adults between 1854 years of age.
Contact, Resources, and Content Design

Interviews Richard D. Smith 5555 Nondescript St Rocky Hill, NJ 08553 vagueemailaddress@gmail.com Richard is the author of Cant You Hear Me Callin: The Life of Bill Monroe, Father of Bluegrass, a thoroughlyresearched and wellreceived work on the history of Bill Monroe. He has also written other books that provide insight into the culture of bluegrass. His knowledge of Bill Monroes life, the history of bluegrass music and Monroes relationship to the Bean Blossom festival will make Richard an invaluable resource, both as an interviewee and as a consultant. Dr. Neil Rosenberg Memorial University of Newfoundland St John's, NL 51 Place St A1B 3X8 (709) 8648402 nvros@mun.ca Dr. Rosenberg is Professor Emeritus of Folklore at Memorial University in Newfoundland. He received his PhD in Folklore from Indiana University, a campus which closely neighbors the festivals location. A musician himself, he has researched the lives of many musicians from the bluegrass genre, as well as the country, jazz, experimental, folk, and classical genres. He has published several books concerning the study of bluegrass and its noteworthy musicians, including a biography of Bill Monroe the founder of the Bean Blossom Bluegrass Festival. He also specialized in examining the relationship between pop music and smaller, more regional artists of the folk discipline. With his interest in cultural revival, he could provide insight into the future of the festival and its impact on local musical culture.
Ted Olson Bluegrass, Old Time and Country Music Program PO Box 70435 Johnson City, TN 37614 olson@etsu.edu (423) 4394379 Ted Olson is a professor of Appalachian Studies and an American Folk Music instructor at East Tennessee State University. He has been involved in the production of 15 books on the topic of Appalachian and bluegrass folk music, as well as having produced two documentary compilations of traditional Appalachian folk. As a researcher of bluegrasss roots in Appalachia and as a folk tradition, he could share insights into the genres history while his involvement with new bluegrass musicians could shed light on the future of the music. Dr. Ralph Stanley Norma Morris Morris Public Relations PO Box 210588 Nashville, Tennessee 372210588 (615) 9529250 Considered by many as the current patriarch of bluegrass, Ralph has been in the folk music business for over 55 years and knew Bill Monroe personally. He performs at the Bean Blossom Bluegrass Festival every year, where he can be interviewed. Norma Morris is his publicist in charge of setting up interviews. Earl Scruggs earlscruggsmgt@gmail.com Earl was a member of Bill Monroes Blue Grass Boys before continuing on to form his own band. He developed an innovative style that later became popular in succeeding bluegrass artists. He can provide details about the development of the bluegrass style, being one of the formative artists. He also performs at the Bean Blossom Bluegrass Festival, where he can be most easily interviewed.
James Monroe Ace Productions PO Box 428 Portland, TN 371480428 (615) 3253340 James is the son of Bill Monroe, and our primary interviewee for the personal side of his fathers life and the creation of the festival. He can be interviewed at the Bean Blossom Bluegrass Festival where he performs every year with his band, The Midnight Ramblers. Bobby Osborne and the Rocky Top XPress The Rocky Top XPress Agency PO Box 321 Portland, TN 37148 (615) 3255191 bobby@bobbyosborne.com Bobby performs at the Bean Blossom Bluegrass Festival every year, where he can be interviewed. He is an example of a more nationallysuccessful bluegrass artist with roots in regional music. Supplementary Video, Images, and Documents (BRoll) Ralph Stanley Museum and Traditional Mountain Music Center Pam Morris pam@ralphstanleymuseum.com PO Box 945 Clintwood, VA 24228 (276) 9268550 or (276) 9265591 Fax: (276) 9268693 The Ralph Stanley Museum would provide a good resource for more information on Dr. Ralph Stanley, and access to photos and other resources that concern his relationship with Bill Monroe and performances held at the Bean Blossom Bluegrass Festival. Pam Morris is interim director of the museum.
Country Music Foundation 222 Fifth Ave South Nashville, TN 37203 (615) 4162001 A resource predominantly for images found in books and on the Internet. Bluegrass Unlimited Inc PO Box 771 Warrenton, VA 201880771 1800BLUGRAS Fax: 15403410011 A resource predominantly for images found in books and on the Internet. Bean Blossom Jamboree Foundation 5163 N State Road 135 Morgantown, IN 46160 1877989BBJF A resource predominantly for images found in books and on the Internet, including access to all historical artifacts collected which pertain to the festival. Richard D. Smith 5555 Nondescript St Rocky Hill, NJ 08553 vagueemailaddress@gmail.com Richard has compiled a number of photographs for his biography of Bill Monroe, Cant You Hear Me Callin, and should have contact information for the various copyright owners. Barry R. Willis 5555 Magical Ln Memphis, TN 38104 Barry has compiled a number of photographs for his work Americas Music: Bluegrass, and should have contact information for the various copyright owners.
Bill Monroe Bluegrass Hall of Fame and Country Star Museum Dwight Dillman 5163 SR 135 N Morgantown, IN 46160 The Bill Monroe Bluegrass Hall of Fame and Country Star Museum would provide a good resource for more information on Bill Monroe, bluegrass, and access to photos and other resources about the festival and past performers. Dwight is the main contact for the festival and museum. Narration Sam Elliott The quintessential cowboy, we hope Elliott can be the voice of our documentary because his voice evokes the rich, warm feel of the culture of traditional Appalachian folk. Graphics The documentary should include photos and documents pertinent to the life and times of Bill Monroe, the Bean Blossom Bluegrass Festival, and the evolution of bluegrass as a genre. This could include photographs of noteworthy performances, real documents from Bill Monroes purchase of the festival grounds, and any number of interesting images. Graphic designer will choose an appropriate design style for lower thirds, font, and other onscreen graphics to match the feel of the documentary. Music As the force propelling both the documentary and festival, our documentary will heavily feature live recordings from the Bean Blossom Bluegrass Festival and previously recorded tracks by artists featured and interviewed within the documentary. Performance rights organization contacts: ASCAP BMI ASCAP General Licensing Licensing Key Accounts PO Box 3316087515 10 Music Square East Nashville, TN 372039998 Nashville, TN 37203 180099ASCAP 18002067671 TVLicensing@ascap.com licensing@bmi.com
SESAC 55 Music Square East Nashville, TN 37203 Fax: 6153216292 18008269996 BMG/Elvis SpreePalais AnnaLouisaKarschStr 2 10178 Berlin +49 (0) 30300 133 0 info@bmg.com Elvis recordings Rebel Records PO Box 7405 Charlottesville, VA 22906 (434) 9735151 Dr. Ralph Stanley recordings
Record label contacts: CBUJ Distribution 3730 Vulcan Dr Nashville, TN 372113314 (615) 3332112 James Monroe recordings Rounder Group 1 Rounder Way Burlington, MA (617) 3540700 Bobby Osborne and the Rocky Top XPress recordings Sony Music Entertainment 555 Madison Ave 10th FL New York, NY 100223211 Earl Scruggs recordings
Rural Rhythm Records Box 660040 Dept. D Arcadia, CA 910660040 18007768742 ruralrhythmpam@yahoo.com Live Bean Blossom festival recordings, Bobby Osborne and the Rocky Top XPress recordings Universal Music Group dba Decca Music, Lost Highway, MCA Nashville, MCA Special Products, Mercury Nashville Film and Licensing Department 2220 Colorado Ave Santa Monica, CA 90404
Warner Brothers/Wea Warner Brothers Records Inc. 3300 Warner Blvd Burbank, CA 91505 (818) 8469090 Peter, Paul, and Mary recordings
(310) 2354721 Fax: (310) 2354905 umpg.licensing@umusic.com Bill Monroe recordings, Bobby Osborne and the Rocky Top XPress recordings, O Brother, Where Art Thou soundtrack recording, Tom T. Hall recordings Publisher contacts: Anne Rachel Music Corp, ChappellCo Inc, APRS Unichappell Music Inc c/o PeerMusic c/o Warner/Chappell Music Inc 250 West 57th St Ste 820 10585 Santa Monica Blvd New York, NY 10107 Los Angeles, CA, 90025 http://www.peermusic.com (212) 2653910 (310) 4418600 Musical works performed by Bill Monroe, Musical works performed by Bill Monroe James Monroe Bill Monroe Music Benefit Music Evergreen Copyrights Inc Vincent Grant Gill, Vincent Grant Gill dba Music of Evergreen dba Benefit Music (sp) a/c Evergreen GF Country Music LLC c/o FBMM dba Bill Monroe Music PO Box 340020 PO Box 24149 Nashville, TN 372030020 Nashville, TN 37202 debbe_wilson@fbmm.com (615) 3299902 http://www.evergreencopyrights.com (615) 3293999 Musical works performed by Bobby Osborne Musical works performed by Bill Monroe Carl Perkins Music Inc Bug Music 7750 Sunset Blvd 459 Country Club Lane Los Angeles, CA 90046 Jackson, TN 383053919 buginfo@bugmusic.com (901) 6643051 http://www.bugmusic.com (323) 9690988 Musical works performed by Elvis Presley Musical works performed by Jack White
Carolintone Music Company Inc Lisa Thomas Music Services PO Box 1543 Kingston, WA 98346 lisa@lisathomasmusic.net (360) 6381026 Musical works performed by Flatt and Scruggs Figs D Music c/o The Bicycle Music Company 449 S Beverly Dr Ste 300 Beverly Hills, CA 902124428 info@bicyclemusic.com http://www.bicyclemusic.com (310) 2866600 Musical works performed by Bill Monroe Freddy Bienstock Music Company c/o Carlin America Inc 126 East 38th St New York, NY 10016 (212) 7797977 Musical works performed by Bill Monroe
Combine Music Group 75 Ninth Ave 4th FL New York, NY 10011 copyrightadmin@emimusicpub.com http://www.emimusicpub.com (212) 4921200 Musical works performed by Flatt and Scruggs Fort Knox Music Fort Knox Music Inc c/o Carlin America Inc 126 East 38th St New York, NY 10016 (212) 7797977 Musical works performed by Dr. Ralph Stanley Red River Songs Inc Red River Songs Inc, Red River Songs Inc c/o Sherry L Bond 3422 McGavock Pk Nashville, TN 37217 sherrylbond@gmail.com http://http://www.johnnybondpub.com (615) 9152922 Musical works performed by Bill Monroe Sony/ATV Acuff Rose Music Sony/ATV Songs LLC 8 Music Square West Nashville, TN 37203 info@sonyatv.com (615) 7268300 Musical works performed by Elvis Presley
Sanga Music Inc Anthem Music and Media Fund LLC dba Figs D Music a/c Sanga Music Inc c/o The Bicycle Music Company 449 S Beverly Dr Ste 300 Beverly Hills, CA 902124428 info@bicyclemusic.com http://www.bicyclemusic.com (310) 2866600 Musical works performed by Bill Monroe
Special Rider Music Mr. Robert Dylan PO Box 860 Cooper Station New York, NY 102760860 (212) 4735900 Musical works performed by Bob Dylan Trio Music Company t/q Music Inc dba Trio Music Company c/o Bug Music 7750 Sunset Blvd Los Angeles, CA 90046 http://www.bugmusic.com (323) 9690988 Musical works performed by Dr. Ralph Stanley Universal Music Corporation c/c Universal Music Publishing Group Attn: Copyright 2100 Colorado Avenue Santa Monica, CA, 90404 (310) 2354700 Musical works performed by Bill Monroe Z77SS Musicbug Music a/c Z77SS Music 7750 Sunset Blvd Los Angeles, CA 90046 buginfo@bugmusic.com http://www.bugmusic.com (323) 9690988 Musical works performed by Jack White
Streets of Gold Music c/o Bash Music Attn: Jessica Baum PO Box 120904 Nashville, TN, 37212 (615) 3270808 peter@bluewatermusic.com Musical works performed by Jimmy Martin Universal Cedarwood Publishing Universal Songs of Polygram Int Inc dba Universal Cedarwood Publishing 2100 Colorado Ave Santa Monica, CA 90404 (310) 2354700 Musical works performed by Flatt and Scruggs Wren Music Co Inc c/o Cherio Corp Attn: John Eastman Esq 41 West 54th St New York, NY 100195414 (212) 2465881 Musical works performed by Elvis Presley Zap Publishing Co HC 71 Box 79 Asbury, WV 249169642 (304) 6457860 Musical works performed by Dr. Ralph Stanley
Website The documentary will have a related website which would provide information, video clips, photos, and links viewers of the documentary might find interesting, including the sites of all performers and authors. The site will also have a retail function, allowing viewers to purchase a DVD copy of the documentary as well as the companion CD. PBS will handle website design, implementation and maintenance.
Preproduction
Script One of the producers will be tasked with writing the script for our narrator, Sam Elliott. This will begin at the same time as all other preproduction research and scouting, and will serve as the framework of the documentary. The producer/writer will work with her co producer and production manager to decide on a set of questions and talking points for each interview. If any changes occur, they will be noted by the producer/writer. Storyboards One of the producers will work to storyboard and outline the visual aspects of the documentary, including all broll segments and interviews. This should occur at the same time as scripting, and the producers working on these tasks will communicate their ideas with each other to ensure they are working toward a unified end result. Location Scouting Our production manager and two production assistants will handle location scouting. The festival grounds and venues will be scouted during preproduction, and permissions will be filed at that time. Scouting for each scholar interview (Newfoundland, New Jersey, and East Tennessee) will take place upon arrival in the interview city and may occur in a public or private setting, minimizing the amount of time needed for those scouts. Preproduction Materials Timeline Budget Cash flow projections Narrator scriptdraft and final (including questions to be asked to interviewees) Scout location drawings and notes List of approved scout locations List of approved supplementary video, images, and documents Shoot schedule Shot list Crew list
Contracts: Completed or In Progress During Preproduction Location release for Bill Monroe Memorial Music Park and Campground Visual works licenses Visual works cue sheet Paid appearance releases for scholar interviewees Unpaid appearance releases for festival interviewees Narrators AFTRA agreement (1 each for program narrator, promo voiceover, funder credit voiceover) Synchronization licenses for audio recordings Performance license for the audio recordings Mechanical license for accompanying soundtrack CD Musical works cue sheet General Preproduction Tasks Other research, including deciding on which music and images to include in the documentary, and where. Richard D. Smith will be consulting us in our research. See Gantt chart
Production
Principle Shooting: Interviews Newfoundland: Dr. Neil Rosenberg, professor of folklore and author of books on bluegrass history, can be interviewed in a private or public settingpreferably an academic background, to fit with the insight he can bring to the documentary. He may also give a small demonstration of his own music. New Jersey: Here, well be interviewing the author of Bill Monroes biography, Richard D. Smith. This interview can take place anywhere from a private residence to a public place. East Tennessee: Ted Olson is our last academic of the bluegrass genre. He can also be interviewed in a private or public setting; once again, an academic environment is preferred to reinforce the legitimacy of his interview. Principle Shooting: Festival Here, our three videographers and audio technicians will split up and capture footage in a remote multicam strategy, making sure to get shots of the crowd and performers. As many artists as possible can/should be covered, but key performers to focus on are: Bobby Osborne and the Rocky Top XPress Dr. Ralph Stanley James Monroe and the Midnight Ramblers Earl Scruggs
Interviews of audience members will also be taken, to show viewers what kinds of people come to the Bean Blossom Bluegrass Festival. They should be asked how they found out about the festival, how long theyve been going, who they like to see, and what they like best about it. BRoll Videographers should be mindful to collect samples of BRoll from all locations and points of interestwith and without audio. Shots of the performers, interviewees, crowds, and stages will be incorporated into the video for transitions and possibly end credits. Narration Recording Narration will be recorded in one day, ideally, during approvals and right before offline editing (or as determined by narrators AFTRA Agreement). Music Recording All music will be recorded live from the Bean Blossom Bluegrass Festival, or else we will use existing recordings with permission of the artists. Print Materials Photos, documents, and other print materials will be decided on and incorporated into the documentary once all video portions have been finalized. Research and acquisition for these print materials should begin as soon as preproduction begins.
PostProduction
Editing Two editors will be hired to work on the project. Editing will begin immediately after all video and narration has been filmed and recorded. The editors will be using an AVID machine for offline and an editing suite equipped with Final Cut Proready computers for online. One editor, Klaus B., will work on offline editing of all scholar interviews as well as all online editing, while another editor will handle offline editing of all the festival sequencesthis will allow offline editing to be done simultaneously and speed up this stage. An audio assistant will manage sync tracks during online editing, while Francoise H. will cover audio sweetening and be joined by a second audio editor for the mix process.
Graphics One person will be tasked with designing graphics for the production, including lower thirds, opening credits, and end credits. They will also be in charge of inserting flat art into the video. Website Our companion website will be run by PBS, and should include information about the featured artists, information about the fair. It will also include sales information how to go about purchasing a copy of the DVD or compilation soundtrack. General PostProduction Tasks See Gantt chart
Equipment
PreProduction Research materials Telephone and Internet service Postage and shipping Office space Office equipment Insurance Printing and copying Legal fees and copyright searches Office supplies (Personal computer equipment will be used in the office) Post Production AVID Editing suite Sweetening console Mixing console AV/Announce booth Beta SP Machine 60-min Beta SP tapes (5) Transcription (DVD and CD packaging produced by PBS) Production HD Cameras (4) Lighting packages (1) Audio packages (4) Craft services (1 day) 30-min HD tapes (89) RV (8 days)
In the Pines: Gantt chart

Apr May 4/22 4/29 5/6 5/13 5/20 5/27 June 6/3 6/10 6/17 6/24 July 7/1 7/8 7/15 7/22 7/29 Aug 8/5 8/12 8/19 8/26 Sept 9/2 9/9 9/16 9/23 9/30 Oct 10/7 10/14 10/21 10/28 Nov 11/4 11/11
Activity Preproduction Research Scripting Location scouting Field shoot 1 (Interviews-Newfoundland) Field shoot 2 (Interviews-East Tennessee) Field shoot 3 (Interviews-New Jersey) Field shoot 4 (Festival) Graphics Offline (Interviews) Offline (Festival) Music selection Scripting Approvals Record narration Online Sweeten Mix Package Close caption Delivery
Start 4/16/12 4/16/12 4/30/12 5/14/12 5/30/12 6/4/12 6/6/12 6/9/12 6/18/12 7/2/12 7/2/12 7/30/12 7/30/12 8/6/12 8/13/12 8/27/12 9/10/12 10/1/12 10/15/12 10/29/12 11/12/12
End
Duration
4/15
5/25/12 6 wks 5/25/12 6 wks 5/25/12 4 wks 6/8/12 4 wks 6/1/12 3 days 6/5/12 2 days 6/8/12 3 days 6/16/12 8 days 7/6/12 3 wks 7/20/12 3 wks 8/3/12 5 wks 8/3/12 1 wk 8/3/12 1 wk 8/24/12 3 wks 8/13/12 1 day 9/7/12 2 wks 9/28/12 3 wks 10/12/12 2 wks 10/26/12 2 wks 11/9/12 2 wks 11/12/12 1 day
x x xxx xx xxx
In the Pines: Summary budget

Expense Line Items Total Producers Total Production Management Total Above The Line Costs Sub total 115,015 38,021.50 153,037 Section Total Total
Total research Total writing Total Talent Total acquired material Total Travel Total Studio Personnel Total Studio Facilities Total Studio Expenses Total Field Personnel Total Field Expenses Total Post & Design Personnel Total Post & Design Facilities Total editing expenses Total Other Production Expenses Total Below the line Costs Total Direct Costs Total Contingency Total Indirect Costs Total Project Costs
$ $ $ $ $ $ $ $ $ $ $ $ $ $
3,983 5,565 214,950 11,089 28,455 38,305 36,795 18,872 250 35,693 $ 393,956 $ $ $ $ 546,993 27,350 114,869 689,211
Income Line Items NEA "Arts on Radio and TV" production grant (multi-part series) Country Music Foundation sponsorship Gibson sponsorship Total Project Income
$ $ $ $
200,000.00 200,000.00 289,211.15 689,211
689,211
Balance
In the Pines: Lineitem budget

ABOVE-THE-LINE EXPENSES PRODUCERS
Fulltime %/# unit # unit rate unit total
Page 1 of 6
Executive Producer Krahnke Michelle Funk, Producer Serena Sun, Producer Production Assistant Production Assistant Benefits & Taxes
0.1 1 1 1 1 15.00%
person person person person person
31 31 31 31 31 93775
weeks weeks weeks weeks weeks 7.65%
$1,250 $1,000 $1,000 $450 $450 $93,775
per week per week per week per week per week
3,875 31,000 31,000 13,950 13,950 21,240 Total Producers
115,015
PRODUCTION MANAGEMENT
Fulltime %/# unit # unit rate unit total
Jennifer Talbott, Production Manager Benefits & Taxes
1 15.00%
person
31 31000
weeks 7.65%
$1,000 per week 31,000 $31,000 7,022 Total Production Management
38,022
Total Above The Line Costs BELOW-THE-LINE EXPENSES TALENT Talent for production
AFTRA talent %/# unit # unit rate unit total
Sam Elliot, AFTRA Narrator AFTRA Agents Fee AFTRA P&W and FICA
Non-AFTRA talent
performer
1 10% 28.80%
#
Fee on on
unit
$1,008 $1,008 $1,008

rate
per person
1,008 101 290

total
%/#
unit
unit
Richard D. Smith Honoraria (one time talking head fee) Dr. Neil Rosenberg Honoraria (one time talking head fee) Ted Olson Honoraria (one time talking head fee) Talent for Promos
AFTRA talent
1 1 1
performer performer performer
1 1 1
Fee Fee Fee
$500 $500 $500
per day per day per day
500 500 500
%/#
unit
unit
rate
unit
total
Sam Elliot, AFTRA National Promo VO AFTRA Agents Fee AFTRA P&W and FICA
performer
2 10% 18.65%
promo on on
$518 $1,036 $1,036
per promo
1,036 104 193
Page 2 of 6 Talent for funder credits

AFTRA talent %/# unit # unit rate unit total
S. Elliot, AFTRA National Funder Credit VO AFTRA Agents Fee AFTRA P&W and FICA
performer
2 10% 18.65%
credit on on
$518 $1,036 $1,036
per credit
1,036 104 193 Total Talent
5,565
Research
Research %/# unit # unit rate unit total
Researcher/Research Services Richard D. Smith, Consultant Salary Taxes and Benefits
1 1
person person
6 2 7.65%
weeks weeks on
$500 $350 $3,700
per week per week
3,000 700 283 Total research
3,983
Acquired material, rights, contracts

Rights and aquisitions %/# unit # unit rate unit total
Music Rights Music Rights Music Rights Flat Art/Photo Rights Stock Footage Rights Location Rights
31 2 1 1 3 1
item item item show item show
1 2 3 74 1 4
use use use photos use locations
$5,000 $5,000 $5,000 $260 $570 $1,000
per use 155,000 per use 20,000 per use 15,000 per photo 19,240 per use 1,710 per location 4,000 Total acquired material
214,950
TRAVEL
Travel for talent %/# unit # unit rate unit total
Page 3 of 6 Roundtrip Airfare LAX-IND Bloomington, IN Hotel Bloomington, IN Meals/PerDiem 1 1 1

%/#
person(s) person(s) person(s)

unit
1 1 1
#
RT (s) night(s) day(s)

unit
$250 $125 $20

rate
per RT per night per day

unit
250 125 20
total
Field Travel- Interviews
Roundtrip Airfare IND-YYT Saint Johns, Newfoundland Hotel Saint Johns, Newfoundland Meals/PerDiem Saint Johns, Newfoundland Vehicle Rental Roundtrip Airfare IND-AVL Johnson City, TN Hotel Johnson City, TN Meals/PerDiem Johnson City, TN Vehicle Rental Roundtrip Airfare IND-EWR Rocky Hill, NJ Hotel Rocky Hill, NJ Meals/PerDiem Rocky Hill, NJ Vehicle Rental
Field Travel- Festival
2 2 2 2 2 2 2 2 2 2 2 2
%/#
person(s) person(s) person(s) person(s) person(s) person(s) person(s) person(s) person(s) person(s) person(s) person(s)
unit
1 2 2 3 1 1 1 2 1 2 2 3
#
RT (s) night(s) day(s) day(s) RT (s) night(s) day(s) day(s) RT (s) night(s) day(s) day(s)
unit
$1,050 $125 $20 $50 $350 $125 $20 $50 $250 $125 $20 $50
rate
per RT per night per day per day per RT per night per day per day per RT per night per day per day
unit
2,100 500 80 300 700 250 40 200 500 500 80 300

total
Beanblossom Meals/PerDiem Beanblossom Camping Fee Beanblossom Camping Fee Add'l Person Beanblossom RV Rental
9 2 7 1
person(s) person(s) person(s) RV
8 1 7 8
day(s) 8-day event night(s) day(s)
$20 $214 $21.14 $280
per day per day per night per day
1,440 428 1,036 2,240 Total Travel
11,089
FIELD PERSONNEL
Video personnel %/# unit # unit rate unit total
TOTAL 1 1 1 1
%/#
Page 4 of 6
Chauncey Q, Videographer (interviews) Chauncey Q, Videographer (festival) Videographer Student Assistant (festival) Videographer Student Assistant (festival)
Audio personnel
person(s) person(s) person(s) person(s)

unit
8 8 8 8
#
day(s) day(s) day(s) day(s)

unit
$500 $500 $300 $300

rate
per day per day per day per day

unit
4,000 4,000 2,400 2,400

total
Chauncey Q, Audio (interviews) Audio (festival) Audio Student Assistant (festival) Audio Student Assistant (festival) Benefits & Taxes
1 1 1 1 15.00%
person(s) person(s) person(s) person(s)
8 8 8 8 23200
day(s) day(s) day(s) day(s) 7.65%
$400 $400 $250 $250 $23,200
3,200 3,200 2,000 2,000 5,255 Total Field Personnel
per day per day per day per day
28,455
FIELD EQUIPMENT and RELATED EXPENSE

Video equipment %/# unit # unit rate unit total
HD-Cam Package (interviews) HD-Cam Package (festival) Lighting package (interviews)

Audio equipment
1 3 1
%/#
package package package

unit
8 8 8
#
day(s) day(s) day(s)

unit
$1,000 $1,000 $100

rate
per day per day per day

unit
8,000 24,000 800

total
Audio package (interviews) Audio package (festival)

Miscellaneous
1 3
%/#
package package
unit
8 8
#
day(s) day(s)
unit
$100 $100
rate
per day per day

unit
800 2,400
total
Craft Service for Narration Recording

Tape
1
%/#
service(s)
unit
1
#
day(s)
unit
$80
rate
per day
unit
80
total
30-min HD tape (interviews) 30-min HD tape (festival)
1 1
program(s) program(s)
9 80
tape(s) tape(s)
$25 $25
per tape 225 per tape 2,000 Total Field Expenses
38,305
POST & DESIGN PERSONNEL

Offline Personnel %/# unit # unit rate unit total
Page 5 of 6 1 1
%/#
Klaus B, Editor Editor

Online
person(s) person(s)
unit
3 5
#
week(s) week(s)
unit
$2,000 $2,000
rate
per week per week

unit
6,000 10,000
total
Klaus B, Editor Online Audio Assistant (sync tracks)

Sweetening
1 1
%/#
person(s) person(s)
unit
80 80
#
hour(s) hour(s)
unit
$50 $25
rate
per hour per hour

unit
4,000 2,000
total
Francoise H, Audio-Sweeten
Mix
1
%/#
person(s)
unit
120
#
hour(s)
unit
$25
rate
per hour
unit
3,000
total
Francoise H, Audio-Sweeten Audio-Sweeten

Graphics
1 1
%/#
person(s) person(s)
unit
80 80
#
hour(s) hour(s)
unit
$25 $25
rate
per hour per hour

unit
2,000 2,000
total
Graphic Designer Benefits & Taxes
1 15.00%
person(s)
40 30000
hour(s) 7.65%
$25 per hour 1,000 $30,000 6,795 Total Post & Design Personnel
36,795
POST & DESIGN FACILITIES

Offline facilities %/# unit # unit rate unit total
AVID (interviews) AVID (festival)

Online facilities
1 1
%/#
item(s) item(s)
unit
3 5
#
week(s) week(s)
unit
$1,000 $1,000
rate
per week per week

unit
3,000 5,000
total
Editing Suite
Sweetening /Mix Facilities
1
%/#
item(s)
unit
10
#
day(s)
unit
$300
rate
per day
unit
3,000
total
Sweetening console Mixing console

Narration Recording Facilities
1 1
%/#
item(s) item(s)
unit
15 10
#
day(s) day(s)
unit
$300 $300
rate
per day per day

unit
4,500 3,000
total
AV/ Announce booth

Dubs
1
%/#
item(s)
unit
8
#
hour(s)
unit
$30
rate
per hour
unit
240
total
Beta SP machine
item(s)
40
hour(s)
$3 per hour 132 Total Post & Design Facilities
18,872
EDITING EXPENSES
Tape %/# unit # unit rate unit total
Page 6 of 6 TOTAL 60-min Beta SP 1

%/#
program(s)
unit
5
#
tape(s)
unit
$25
rate
per tape
unit
125
total
Other expenses
Transcription
program(s)
hour(s)
$25
per hour 125 Total editing expenses
250
OTHER PRODUCTION EXPENSES

Other expenses %/# unit # unit rate unit total
Telephone & Internet Postage & Shipping Rental of Office Space Rental of Office Equipment
Related production expenses
1 1 1 1
%/#
service(s) service(s) service(s) service(s)

unit
7 7 7 7
#
month(s) month(s) month(s) month(s)

unit
$99 $50 $3,000 $200

rate
per month per month per month per month

unit
693 350 21,000 1,400

total
Insurance Printing and Copying Legal Fees and copyright searches Office Supplies
1 1 1 1
service(s) service(s) service(s) service(s)
7 7 7 7
month(s) month(s) month(s) month(s)
$1,500 per month 10,500 $100 per month 700 $50 per month 350 $100 per month 700 Total Other Production Expenses 393,956 153,037 27,350 114,869 689,211
35,693 393,956 153,037 27,350 114,869 689,211
SUBTOTAL BELOW THE LINE COSTS SUBTOTAL ABOVE THE LINE COSTS CONTINGENCY INDIRECT COSTS GRAND TOTAL-Line Items
enter rate: enter rate:
5% 20.0%
on on
546,993 574,343
equals equals
In the Pines: Cash flow

2012 Apr Total Producers $115,015 Total Production Management $ 38,022 Subtotal above-the-line $153,037 7,420 2,453 9,873 May 14,841 4,906 $ 19,747 Jun 18,551 6,133 $ 24,683 Jul 14,841 4,906 $ 19,747 Aug 18,551 6,133 $ 24,683 September 14,841 4,906 $ 19,747 October 14,841 4,906 $ 19,747 November 11,130 3,680 $ 14,810 Total 115,015 38,022 $ 153,037 Varience -
Total research Total Talent Total acquired material Total Travel
$ 3,983 $ 5,565 $214,950 $ 11,089
1,328
2,655 5,565 4,000 2,980 3,312 3,675 210,950 7,714 25,143 34,550 20,053 8,000 797 240 4,462 5,259 25,006 $ 25,006 5,001 $ 30,007 4,462 $ 10,741 35,425 $ 35,425 7,085 $ 42,510 395
3,983 5,565 214,950 11,089 28,455 38,305
Total Field Personnel $ 28,455 Total Field Expenses $ 38,305 Total Post & Design Personnel Total Post & Design Facilities Total editing expenses Total Other Production Expenses Subtotal below-the-line $ 36,795 $ 18,872 $ 250 $ 35,693 $ 393,956
80 12,265 9,132 4,462 $ 236,809 256,555 $ 256,555 51,311 $ 307,866 3,680 1,500 250 4,462 9,891 29,638 $ 29,638 5,928 $ 35,565
4,462 5,789 15,663
4,462 $ 21,084 40,830 $ 40,830 8,166 $ 48,996 $ 66,000 $ 31,205 $ 48,209
4,462 $ 99,922 124,605 $ 124,605 24,921 $ 149,526
4,462 4,462 19,272
36,795 18,872 250 35,693 $ 393,956 546,993 $ 546,993 109,399 $ 656,392
Total Above and Below The Line $ 546,993 Total Contingency $ 27,350 Subtotal $ 574,343 Total Indirect Costs $ 114,869 Total Costs $ 689,211
$ 15,663 3,133 $ 18,795
$ 19,272 3,854 $ 23,126
(27,350) $ (27,350) (5,470) $ (32,820) $ $ 32,820 $ -
Total Income $689,211 $ 50,000 Balance Forward 0 Balance $ - $ 31,205
$ 100,000 $ 66,000 $ 50,000 $ 48,209 $ (1,318) $ 34,676 $ (1,318) $ 34,676 $ 42,166
$ 138,000 $ 50,000 $ 169,211 $ 689,211 $ 42,166 $ (127,700) $ (113,266) $ (127,700) $ (113,266) $ 32,820
National Endowment for the Arts The Arts on Radio and Television
Grant Application In the Pines: The Bean Blossom Bluegrass Festival Funky Sun Productions Bloomington, IN
Pro ogramm ming Su ummary y

1 program m, 2 parts 0:1:52:92 2 total runti ime, 0:56:46 6 for each part
Progra am Con ntent
The f film In the Pines: the B Bean Blosso om Bluegras ss Festival w will explore e the history y and d developmen nt of the blu uegrass festi ival annuall ly held in Br rown Count ty, Indiana, since e 1965. The requested g grant will su upport prod duction and d postprodu uction costs s related to the do ocumentary y. It wil ll be a multi ipart, twoh hour long documentary y produced for broadca ast on PBS and i its affiliates. It will aim at informin ng the audie ence nationw wide about when and why the festival was held in n Brown Cou unty, and ho ow it has de eveloped ov ver the past 40 ye ears. We hope that this documenta ary will shed d light not o only on the Bean Bloss som Bluegra ass Festival, but also on n the musici ians of this often overlooked genre e. Secondar rily, we hope e to promot te attendanc ce at the 2013 Festival in Bean Bloss som while r raising awar reness of the importanc h quality of r regional ce and high festiv vals through hout the nat tion. documentar ry will consist of three sections, ou utlined belo ow. The d In the first sectio on, the story y will focus on the life o of the found der and the history of the B Bean Blossom Bluegrass Festival to o trace the o origin of this festival an nd its music c. Bill M Monroe was s born as Wi illiam Smith h Oh,thepeop plewouldcome efromfarawa ay, Theyddance eallnighttillth hebreakofday. Monr roe in Septe ember 13, 1911. From t the Whenthe ecallerhollered,dosido moun ntains of Ke entucky, he learned the e YouknewUnclePenwas sreadytogo. Scots sIrish fiddle tunes of h his mother a and uncle e, which would become e the founda ation Lateinth heeveninabou utsundown, for th he genre he almost sing glehandedl ly Highonth hehillandabo ovethetown, creat ted. Bluegra ass, in fact, t takes its nam me W WellUnclePen nplayedthefid ddle,Lordy,howit wouldring, , from m his band, th he "Blue Gra ass Boys," w which Youcouldhea arittalk,youc couldhearitsin ng. in tur rn was nam med for his h home state. Monr roe's perfor rming caree er spanned 6 60 Un nclePen,BillM Monroe years s as a singer r, instrumen ntalist, comp poser, and b bandleader. . His bands sound birth hed a new form of cou untry music and he is of ften refer rred to as T The Father o of Bluegrass s. From m 1948196 69, Earl Flatt t and Lester r Scruggs (o often billed a as Flatt & Sc cruggs) were e a major for rce in introd ducing bluegrass music c to America a through n national telev vision, at ma ajor universities and co oliseums, an nd at schoolh house appearances in
In th he Pines | NEA A Proposal | 1
nume erous towns. Both Flatt t and Scrugg gs, along wi ith over 120 0 other early bluegrass s musi icians, were e members o of Monroes Blue Grass Boys befor re breaking out on their r own. While Mon nroes relatio onship with h Flatt was o often rocky,, neither Fla att nor Scrug ggs could de eny the imp pact Monroe e had on intr roducing th hem to the b bluegrass style and life as a traveling country mu usic star. Anot ther Blue Gr rass Boy wh ho made goo od on his ow wn was Mon nroes son, James. James and h his band, T The Midnigh ht Ramblers, , continue t to perform throughout t the nation. Jame es may be on ne of the few w who knew w Monroe on n a deeper l level, as the e legend often n turned a st tern, impen netrable face e to fellow p performers. In 19 965, Bill Mo onroe found ded the Bean n Blossom Blue egrass Festi val to bring g his friends s together to o play y the "high lo onesome" s sound he pio oneered. It was a milestone e for the dev velopment of bluegrass Origin nalbarnatthe esiteoftheBe ean mus sic. BlossomBluegrassFestival In the second section of the e documenta ary, the imp pact of this m music festiv val and its progress over th he years will be illustra ated. The bo oming festi ival movement changed d all bluegrass art tists lives fo or the better r. Events wi ith bluegra ass in their titles sprou uted up across the nati ion, and musicians trav veled on a national circuit from festiv val to festiva al. Bigname artists beg gan promot ting their ow wn shows. T The Bean Bloss som Bluegra ass Festival is now the oldest, cont tinuously ru unning annu ual blueg grass festiva al in the world. The mu ultiday even nt, held in th he natural s setting of an n outdoor amphith heater on th he wooded g grounds of t the Bill Mon nroe Memor rial Music ground, feat tures a style e of music w which is who olly America an in origin. Park and Campg e concept of f the "bluegrass festiva al" was first introduced d, featuring In the 1960s, the ds that had s seemed to b be in compet tition with e each other f for a relativ vely limited band audie ence on the same bill at t weekend f festivals acr ross the cou untry. The f folk revival,, which had adopt ted bluegra ass after it w was orphane ed by the tw win storms o of rock n roll a and the mod dern Nashvi ille sound, w was now me entoring its great leap t to indep pendence, the bluegras ss festival m movement ( (Internation nal Bluegras ss Music Association, ww ww.ibma.org g/events.pro ograms/ind dex.asp). Memoriesth hatlingerinmy yheart, Bill M Monroes de eath on Sept tember 9, M Memoriesthatm makemyheart tgrowcold, 1996 6, shook the music worl ld. Yet his Somedaywe elllivethemal llagain imme easurable le egacy lives o on in the Wh henmybluemo oonagainwillturntogold. musi icians influe enced by his s style and in W Whenmybluem moonturnstog the fe estival held every year in his hono or. goldagain,
Wh Whentheraindr ropsturnthecl loudsaway, W Whenmybluem moonturnstog goldagain, Y Youllbebackh hereinmyarm mstostay. Wh henmyBlueM MoonTurnstoGoldAgain, WileyWalke erandGeneSullivan
In the third section, this doc cumentary w will present t what the B Bean Blosso om Bluegras ss Festi ival is like to oday. Challe enges to the e festival and d to the gen nre will be a addressed, a as well as the posit tive forces k keeping blue egrass alive e and thrivin ng. Current bluegrass musi icians and f fans opinion ns about the e festival an nd the futur re of bluegra ass music will b be explored d. This documenta ary will be to old through h interviews s with blueg grass musici ians inclu uding those w who knew B Bill Monroe e personally yscholars of the musi ic and musi icians, rarely seen foota age and pho otographs, a and historic cal music rec cordings paire ed with live performanc ces from the e 2012 Bean n Blossom B Bluegrass Festival. In th he Pines: the Bean Blos ssom Bluegr rass Festiva al will be br roadcast on n PBS natio onally in two o parts on D December 10th and 11t th with a su ubsequent re eplay on PB BS affilia ates in India ana the follo owing Mond day and Tue esday night.. There will be a third repla ay on May 28th and 29th h, 2013, to e entice fans t to attend th he 2013 fest tival in June. The c companion website wil ll launch on n November th to exci r 26 ite viewers about the upcoming show. The DVD a and CD distr ribution will l begin on D December 24th, 2012 with promotions s for DVD an nd CD sales airing duri ng the origi inal broadca ast and repla ays. The targ get audience for this do ocumentary y aligns with h current PB BS audience e demo ographics, m mainly adult ts between 1854 years s of age.
Inthesw weetbyandby y AtthatBluegra A assFestivalin thesky. There'llbeMonroe,Fla att,Scruggsan ndtheStanleys s, eLonesomePin neFiddlersand dthewhole The McGra anner'sFamily, MollyandtheStonem mansandMar rtinandCrow, ardandThomp psonandSmiley Dilla yandReno. Andwewillsing weetbyandby y Inthesw AtthatBluegra A assFestivalin thesky. Blu uegrassFestiva alintheSky,T TomT.Hall
Broadca B ast/Onl line Dis stributi ion/Outreach Plans
The B Bloomington, IN PBS m member stat tion WTIU w would be first to air the e twopart up and licen docu umentary, af fter which th he film may y be picked u nsed by oth her broadcas st statio ons. Based o on the viewership of th he documen tary during g this limited d release, the P PBS network k may pick u up the film t to release to o all station ns, where it w would become a nation nallyviewed d document tary. If not, t the docume entary will b be well serve ed as a regio onal produc ction, as bluegrass and the Bean Bl lossom Blue egrass
Festi ival are cert tain to be most intriguin ng to viewe ers in the he eart of blueg grass coun ntry near the e Festival its self. After the film A ms complet tion, PBS will host a com mpanion website for t w the docume entary wher re viewers m may find purchase inf p formation fo or the DVD a and accomp panying soundtrack, information n on the festival and fea atured artists, and links to inte a eresting blue egrassorien nted websites. Th w he site may a also include e a public fo orum for questions an q nd discussio ons pertaining to bluegrass and the e Bean Blossom B m Bluegras s Festival. As m mentioned, th he documen ntary will in nclude the re soundtrack,, which elease of a s woul ld include im mportant so ongs from th he documen ntary, as we ell as other w work by featu ured artists and possibl ly recording gs of live per rformances s from the 2012 Festi ival. In the li iner notes, b biographies s of the artis sts and a de escription of f the Bean Bloss som Bluegra ass Festival will be incl luded, with additional fun facts a about blueg grass. wership is es stimated as a share of th he national PBS audien nce. We proj View ject the audie ence size to be somewh here around d 1 million v viewers, in a addition to viewers reach hed by local l PBS memb ber stations, , schools tha at choose to o use the do ocumentary for ed ducational p purposes, and the audience reache ed by DVD s sales. The e estimated n number of people viewi ing our web bcontent is the fraction n of total natio onal PBS vie ewers (estim mated at 1 m million) with h Internet a access.
Project t Perso onnel

Michelle Funk CoProducer Mich helle is an un ndergraduate junior at Indiana Un niversity stu udying telecommunicat tions and film direction n. She has w worked on se everal stude ent projects s, and i is currently in preprodu uction for h her upcomin ng documen ntary on hom melessness in Blo oomington, Indiana. 111 N N. Woodlaw wn Ave Bloom mington, IN N 47406 mefu unk@indian na.edu (555) 4147641 Seren na Sun CoProducer Seren na is a gradu uate studen nt studying i in IU School l of Journali ism. She g got her Bach helor degree e majoring i in Journalis sm in Beijing g Internatio onal Studies s University, Beijing, China. S She publishe ed several a articles and photograph h works on Chine ese magazin nes. 5555 5 E Amy Lan ne Bloom mington, IN N 47401 sunsh h@indiana.edu (555) 6080812 Jennif ifer Talbott Prod duction Man nger After r receiving a a B.A. in Mar rketing and d Inter rnational Bu usiness from m Indiana University in 2007, Jennifer r Talbott joined a ency. As an Associate midsized ad age Account Executi ive, she lead d national paigns from m conception n to executio on, camp gentl ly keeping t the creative team on tim me and w within budg get while de elivering uni ique, goald driven soluti ions to clien nts. Comb bining this r realworld e experience with resear rch on proje ect managem ment in diver rse creative industries, she is curre ently pursuing an M.S. in Telecommunication ns at he er alma mate er to prepar re her for a career prod ducing broa adcast enter rtainment.
555 E E. Cobblefie eld Ct. Bloom mington, IN N 47401 jltalb bot@indiana a.edu (555) 3979969
Rights Clearances
all images an nd flat art to o be include ed in the For a docu umentary, w we have attached visual works licen nses and a a visual wor rks cue shee et. All m musical recordings are o outlined in t the attached d musi ical works c cue sheet. Th he associate ed synch hronization n and perfor rmance licen nses, as wel ll as the m mechanical l licenses for tracks appe earing on th he BillM Monroe accom mpanying a audio CD are e also attach hed. License es for th hose musica al works rec corded live at the 2012 2 Bean n Blossom Bluegrass Fe estival durin ng productio on will be re equested du uring post production, and the musica al works cue e sheet will b be updated to reflect su uch addit tions. All sc cholars spea aking in the e documenta ary who wil ll receive co ompensation n have comp pleted appearance releases, attach hed here for r review. A s sample appe earance relea ase for man onthestre eet (unpaid) ) interviewe ees is also a attached. Three AFTRA ag greements h have been cr reated and a attached for r the docum mentarys proposed narrat tor, Sam Elli iott. The agr reements co over his wo ork as the fil lms narra ator, and vo oiceover wo ork for PBS promos and d funder cre edits.
NEA Application
Project Budget, Page 1 of 2

Applicant (official IRS name): INCOME
Read the instructions for this form before you start.
OMB No. 3135-0112 Expires 11/30/2010
Funky Sun Productions
1. 2.
Amount requested from the Arts Endowment:
200,000
Total match for this project Be as specific as possible. Asterisk (*) those funds that are committed or secured. Cash (Refers to the cash donations, grants, and revenues that are expected or received for this project)
AMOUNT
Country Music Foundation sponsorship Gibson sponsorship
200,000 289,211
Total cash a. $
489,211
In-kind: Donated space, supplies, volunteer services (These same items also must be listed as direct costs under Expenses below or in Page 2 of the Project Budget form; identify sources)
Total donations b. $ Total match for this project (2a. cash + 2b. donations) $ 3. Total project income (1 + 2) $
0 489,211 689,211
EXPENSES 1. Direct costs: Salaries and wages

TITLE AND/OR TYPE OF PERSONNEL NUMBER OF PERSONNEL ANNUAL OR AVERAGE SALARY RANGE % OF TIME DEVOTED TO THIS PROJECT AMOUNT
Producer, PA, PM Talent Field Offline Online, audio, gfx
6 4 6 2 5
41275 591 (contract) 667 (daily) 2000 (weekly) 28 (hourly)
80 100 100 100 100
153,037 5,565 28,455 19,624 17,171
Total salaries and wages a. $ Fringe benefits Total fringe benefits b. $ Total salaries, wages, and fringe benefits (a. + b.) $
223,852
223,852
NEA Application
Project Budget, Page 2of 2

Applicant (official IRS name):
Read the instructions for this form before you start.
OMB No. 3135-0112 Expires 11/30/2010
Funky Sun Productions
EXPENSES, CONTINUED 2. Direct costs: Travel (Include subsistence)

# OF TRAVELERS FROM TO AMOUNT
1 2 2 2
Los Angeles, CA Bloomington, IN Bloomington, IN Bloomington, IN
Bloomington, IN St Johns, NL, CA Johnson City, TN Rocky Hill, NJ
395 2,980 1,190 1,380
Total travel $ 3.
5,945
Direct costs: Other expenses (Include consultant and artist fees, contractual services, promotion, acquisition fees, rights, evaluation and assessment fees, access accommodations, telephone, photocopying, postage, supplies and materials, publication, distribution, translation, transportation of items other than personnel, rental of space or equipment, and other project-specific costs)
AMOUNT
Research Acquired material and location rights Per diem, camping fee, transportation for festival Field equip (video, audio, lighting, misc) Post & design facilities Editing expenses Administrative expenses (office space, equipment, services) Additional expenses (insurance, legal fees, supplies) Contingency
3,983 214,950 5,144 38,304 18,871 250 23,443 12,250 27,350
Total other expenses $ 4. 5. Total direct costs (1. from Project Budget, Page 1 +2.+3.) Indirect costs (if applicable) Federal Agency: 6. Rate (.00) $
344,545 574,342 114,868 689,211
0.20
x Base
574,342
= $ $
Total project costs (4.+5.) Must equal total project income (3. From Project Budget, Page 1)
Treatment In the Pines: The Bean Blossom Bluegrass Festival

T522 Final Project April 28th, 2011 Funky Sun Productions Michelle Funk Serena Sun Jennifer Talbott
Part 1: Bill Monroe The documentary opens on a montage of Broll footage taken from the Bean Blossom Bluegrass Festival, covered by Bluegrass Festival in the Sky. Opening credits roll and the title of the documentary appears over a wide, busy shot of the festival grounds bustling with people. The audience is introduced to the festival, the music, and the man who started it all: Bill Monroe. James Monroe, Bills son and a musician in his own right, begins to talk about his father, sharing details father that only a son could knowdomestic things, intimate family details. The audience will get to break through the often stern and intimidating mask Bill Monroe showed to most of the world, as James reminisces about his fathers quirks, endearing habits or anecdotes, and most importantly: his passion as a musician. Photographs and home video clips continue to bring the legend to life for the audience. A short history of the bluegrass genrethe genre which Bill Monroe almost single handedly createdis told to the tunes that made it famous, like the everlasting Uncle Pen. From its roots in the mountains of Appalachia after the ScotsIrish fiddle tunes, bluegrasss rise to fame on the shoulders of Bill and his progeny is explained through early photographs and recordings. James Monroe and his band, The Midnight Ramblers, are seen performing at the festival, as it is explained that Bill Monroes band became a sort of bluegrass club for aspiring musicians. Bills Blue Grass Boys included many artists that still perform at the festival today, and his musical style and leadership affected nearly every bluegrass musician worth his weight. It was a launching pad for future stars, exposing them to the life of a traveling bluegrass headliner before setting out on their own. Next the audience meets Earl Scruggs, one such star who learned the ropes from Bill Monroe. He discusses what it was like to be Bills Blue Grass Boys and what it was like to have played with Bill. Earl postulates on how his education under Bill helped him become successful, inevitably turning to the rocky relationship between Bill and another Blue Grass Boy, Lester FlattScruggs long time musical partner. We see Earl playing with his current band at the festival, interwoven with crowd reactions and short interviews. James Monroes interview continues onsite at the festival grounds (preferably before the crowds arrive), as he talks about his fathers decision to purchase the land for the festival. He touches on memories from some of the first festivals, the performers, and the financial problems that plagued his father, threatening to end the festival year after year. Again, his words are intercut with photographs and videos of the original barn and forest, early festivals, and Bill working to maintain the grounds. Richard D. Smith, biographer and academic, wraps up this section of the film by outlining the impact of Bill Monroes decision to create the bluegrass festival and what it meant to the Monroe family.
In the Pines | Treatment | 1
Part 2: The Rise of Bluegrass Festival Culture Dr. Ralph Stanley and his band are featured, with the crowd reacting to and commenting on their performance at the festival. An interview with Dr. Ralph Stanley, one of the most successful bluegrass artists of all time, will illuminate what it means to be a part of the festival, how it brings musicians back to their regional roots despite national fame, and how he has seen the festival change and develop over time. He can also discuss his relationship with Bill Monroe, having known him personally. A montage of footage showing the expanse of the festival will illustrate the size of the festivals operationfrom audience shots to the rows of intermingled fan and artist RVs, to the tents of food, merchandise and handcrafted instruments. Interviews with crowd members will answer the questions: How long have you been coming to the festival? How far have you traveled to be here? Who are you most excited to see? How have you seen the festival change over the years? An interview with Ted Olson, a professor in one of the nations only university bluegrass departments, will illustrate the challenges faced by the bluegrass genre and festivals through the years. He can explain how the rise of rock n roll, thanks to Elvis, negatively affected bluegrass musicians as their fans were charmed away from the folksy genre, as well as how the homogenization of country music aimed at the lowest common denominator rather than the niche regional sounds. Richard D. Smiths interview will bring us back to how these developments affected Bill and his musicians. He can further discuss the impact of the festival on Bills life, for better or for worse, and how the festival changed after the death of Bill. James Monroe should talk about the death of his father, and what it meant to his family and artists who knew and loved him. Paired with the poignant song, My Last Days on Earth, from Bills own mandolin, the audience will feel the emotion of losing both a father and the father of bluegrass. Yet this section ends on a positive note, suggesting the immortality of the music and the festivala full festival performance of When My Blue Moon Turns to Gold Again, by James Monroe and the Midnight Ramblers, will leave the audience with a hopeful tune. Part 3: The Present and Future of Bluegrass and the Festival Ted Olson opens this section, speaking about what it means for a festival to be ongoing at a time when regional music seems to be on its way out in favor of more widely successful pop and hiphop. He should touch on the challenges faced by bluegrass bands in finding a national audience for a seemingly outofdate sound.
Bobby Osborne and the Rocky Top XPress are one such band who found that audience. Their introduction will be crowd interviews discussing their excitement to see the band play, followed by a clip of their performance at the festival. This will be followed by an interview with the entire band discussing their rise to fame and why they still choose to play at a local festival. They will talk about what the regional elements of the bluegrass genre mean to them, even though they are a nationallysuccessful bluegrass band. Neil Rosenberg, author and academic, will talk about the factors that have elevated bluegrass in the popular consciousness over the years. The hit television programs and films featuring bluegrass sparked national interest in the sound that was unfamiliar to many. From theme song The Ballad of Jed Clampett, performed by Flatt and Scruggs, to the Feudin (Duelin) Banjos that set the tone of Deliverance, visual entertainment brought the bluegrass sound to the masses. The more recent hit films O Brother, Where Art Thou and Cold Mountain, has likely brought a younger generation to the festival alongside older fans who recognized the classic bluegrass standard Man of Constant Sorrow long before the Soggy Bottom Boys made it popular. Neil can continue to speak about another factor that, perhaps surprisingly, was a great boon for the bluegrass community: the folk revival of the 1960s. Young music lovers craved a return to the pure, unamplified sounds they found in bluegrass as well as a desire to be with likeminded peoplethus propelling the popularity of music festivals. His interview can conclude with a discussion of the future of this music, and how the Bean Blossom Bluegrass Festival fits into its cultural revival. The documentary will end on an interview of a particularly insightful audience member talking about why bluegrass isnt about to go away any time soon, and how theyll always come to the Bean Blossom Bluegrass Festival. The audio from this interview, paired with a live performance of an indomitable song like Gotta Travel On, will continue over a video montage of happy faces in the crowd, performers, and shots of the bustling festival grounds. Before the end credits, a few small pieces of fun information will appear on the screen, such as: - The Bean Blossom Bluegrass Festival has been going for more than 40 years. - The Bean Blossom Jamboree Foundation has been created to keep the festival going for years to come. - Members of The Blue Grass Boys still get together and play. End credits will roll to the tune of Bluegrass Festival in the Sky.
Funky Sun 1111 E Amy Lane Bloomington, Indiana, 47401 MUSICAL WORK SYNCHRONIZATION LICENSE AGREEMENT DATE: __8/6/2012_______ Sony/ATV Acuff Rose Music
SONY/ATV SONGS LLC 8 MUSIC SQUARE WEST NASHVILLE, TN 37203
RE: Synchronization License Agreement. Dear Elvis Depp This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled Bluegrass Festival in the Sky, words and music by Tom T. Hall, which Compositions(s) are owned and controlled by Licensor. a) Market __PBS Broadcast, Internet, DVD__________ b) Territory __ The United States______________ c) Term ___Four Plays in Three Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for THEME purposes; not to exceed approximately 120 in length. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
8) License Fee. For all rights grated and licensed in this Agreement, and provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensee shall pay to Licensor the sum of $2000, two thousand dollars, payable to Sony/ATV Acuff Rose Music, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use.
9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of Sony/ATV Acuff Rose Music ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
10) Miscellaneous. Licensor represents and warrants that: i) It exclusively owns or controls all copyright in and to the Compositions(s) and that it owns or controls all other rights necessary to enter into and fully perform the Agreement, and that no consents or releases from any person(s), or of any third person or entity are or will be required. Licensees use of the Composition(s) and the inclusion of the same in the Program will not violate any rights of any kind or nature whatsoever of any person, firm, corporation, association, society or other entity. ii) Licensor agrees to indemnify and hold harmless Licensee and any person claiming under Licensee, and the officers, directors, shareholders and employees thereof, and Licensees licensee, affiliates, distributors, and assigns from and against any liabilities, losses, claims, demands, costs (including without limitation reasonable attorneys fees) and expenses arising in connection with any breach or alleged breach by Licensor of this Agreement or of any of the above representations or warranties. 11) Name of Likeness. Licensee shall have the right to publish, advertise, announce and use in any manner or medium, the name, sobriquet, biography and photographs or other likenesses of Licensor in connection with any exercise by Licensee of its rights hereunder. 12) Additional Terms. i) Nothing herein requires Licensee to use the Composition(s) in the Program/Series. ii) All rights in and to the Program/Series shall be owned solely by Licensee, and Licensor shall have no rights therein. iii) Licensee may assign its rights and obligations hereunder as it deems appropriate. iv) This License Agreement constitutes the entire agreement and complete understanding of the parties, and cannot be modified except by a written instrument signed by Licensee and Licensor. All prior or contemporaneous promises, understandings and
agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ______Serena Sun, Producer_______________ Print Name & Title _______________________________________ Signature
AGREED TO AND ACCEPTED: Licensor _____Elvis Depp, Account Executive________________ Print Name & Title _______________________________________________ Signature
SONY/ATV SONGS LLC 8 MUSIC SQUARE WEST NASHVILLE, TN 37203
______________________ Address Date: _ 8/6/2012___________ ______________123456789____________ Social Security # or Federal I.D. #
Funky Sun 1111 E Amy Lane Bloomington, Indiana, 47401 MUSICAL WORK SYNCHRONIZATION LICENSE AGREEMENT DATE: __8/6/2012_______ APRS
C/O PEERMUSIC 250 WEST 57TH STREET SUITE 820 NEW YORK, NY 10107
RE: Synchronization License Agreement. Dear Elvis Dean This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled In the Pines, words and music by Thomas H. Slim Bryant, Jimmie H. Davis, and Clayton McMichen, which Compositions(s) are owned and controlled by Licensor. a) Market __PBS Broadcast, Internet, DVD__________ b) Territory __ The United States______________ c) Term ___Four Plays in Three Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for FEATURE purposes; not to exceed approximately 052 in length. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
8) License Fee. For all rights grated and licensed in this Agreement, and provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensee shall pay to Licensor the sum of $2000, two thousand dollars, payable to
APRS, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use. 9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of APRS ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
10) Miscellaneous. Licensor represents and warrants that: i) It exclusively owns or controls all copyright in and to the Compositions(s) and that it owns or controls all other rights necessary to enter into and fully perform the Agreement, and that no consents or releases from any person(s), or of any third person or entity are or will be required. Licensees use of the Composition(s) and the inclusion of the same in the Program will not violate any rights of any kind or nature whatsoever of any person, firm, corporation, association, society or other entity. ii) Licensor agrees to indemnify and hold harmless Licensee and any person claiming under Licensee, and the officers, directors, shareholders and employees thereof, and Licensees licensee, affiliates, distributors, and assigns from and against any liabilities, losses, claims, demands, costs (including without limitation reasonable attorneys fees) and expenses arising in connection with any breach or alleged breach by Licensor of this Agreement or of any of the above representations or warranties. 11) Name of Likeness. Licensee shall have the right to publish, advertise, announce and use in any manner or medium, the name, sobriquet, biography and photographs or other likenesses of Licensor in connection with any exercise by Licensee of its rights hereunder. 12) Additional Terms. i) Nothing herein requires Licensee to use the Composition(s) in the Program/Series. ii) All rights in and to the Program/Series shall be owned solely by Licensee, and Licensor shall have no rights therein. iii) Licensee may assign its rights and obligations hereunder as it deems appropriate.
iv) This License Agreement constitutes the entire agreement and complete understanding of the parties, and cannot be modified except by a written instrument signed by Licensee and Licensor. All prior or contemporaneous promises, understandings and agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ____Serena Sun, Producer______________ Print Name & Title ___________________________________ Signature
AGREED TO AND ACCEPTED: Licensor _____ Elvis Dean, Account Executive ____ Print Name & Title ___________________________________ Signature
___________________ Address
Date: _ 8/6/2012___________
______________123456789____________ Social Security # or Federal I.D. #
RE: Synchronization License Agreement. Dear Elvis Dean This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled Blue Moon of Kentucky, words and music by Bill Monroe, which Compositions(s) are owned and controlled by Licensor. a) Market __PBS Broadcast, Internet, DVD__________ b) Territory __ The United States______________ c) Term ___Four Plays in Three Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for background purposes; not to exceed approximately 318in length. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
8) License Fee. For all rights grated and licensed in this Agreement, and provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensee shall pay to Licensor the sum of $2000, two thousand dollars, payable to APRS, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use.
9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of APRS ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ____Serena Sun, Producer______________ Print Name & Title ____________________________________ Signature
AGREED TO AND ACCEPTED: Licensor
_____ Elvis Dean, Account Executive____ Print Name & Title __________________________________ Signature
_________________________ Address Date: _ 8/6/2012___________ ______________123456789____________ Social Security # or Federal I.D. #
RE: Synchronization License Agreement. Dear Elvis Dean This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled Blue Moon of Kentucky, words and music by Bill Monroe, which Compositions(s) are owned and controlled by Licensor. a) Market __PBS Broadcast, Internet, DVD__________ b) Territory __ The United States______________ c) Term ___Four Plays in Three Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for background purposes; not to exceed approximately 318in length. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
8) License Fee. For all rights grated and licensed in this Agreement, and provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensee shall pay to Licensor the sum of $2000, two thousand dollars, payable to APRS, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use.
9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of APRS ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ____Serena Sun, Producer______________ Print Name & Title ____________________________________ Signature
AGREED TO AND ACCEPTED: Licensor
_____ Elvis Dean, Account Executive____ Print Name & Title __________________________________ Signature
_________________________ Address Date: _ 8/6/2012___________ ______________123456789____________ Social Security # or Federal I.D. #
Funky Sun 1111 E Amy Lane Bloomington, Indiana, 47401 MUSICAL WORK SYNCHRONIZATION LICENSE AGREEMENT DATE: __8/6/2012_______ Streets of Gold Music C/O BASH MUSIC ATTN: JESSICA BAUM PO BOX 120904 NASHVILLE, TN, 37212 RE: Synchronization License Agreement. Dear Jessica Baum This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled Sunny Side of the Mountain, words and music by Bobby Gregory and Harry C. McAulife, which Compositions(s) are owned and controlled by Licensor. a) Market __PBS Broadcast, Internet, DVD__________ b) Territory __ The United States______________ c) Term ___Four Plays in Three Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for background purposes; not to exceed approximately 253in length. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
8) License Fee. For all rights grated and licensed in this Agreement, and provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensee shall pay to Licensor the sum of $2000, two thousand dollars, payable to
APRS, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use. 9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of Streets of Gold Music ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
iv) This License Agreement constitutes the entire agreement and complete understanding of the parties, and cannot be modified except by a written instrument signed by Licensee and Licensor. All prior or contemporaneous promises, understandings and agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ____ Serena Sun, Producer_____________ Print Name & Title ______________________________________________ Signature AGREED TO AND ACCEPTED: Licensor _____ Jessica Baum, Account Executive __________________ Print Name & Title ________________________________________ Signature C/O BASH MUSIC ATTN: JESSICA BAUM PO BOX 120904 NASHVILLE, TN, 37212 _________________________ Address Date: _8/6/2012___________ ______________123456789____________ Social Security # or Federal I.D. #
Funky Sun 1111 E Amy Lane Bloomington, Indiana, 47401 RECORDINGS SYNCHRONIZATION LICENSE AGREEMENT DATE: __8/6/2012_______ Universal Music Group/Mercury Nashville Film and Licensing Department 2220 Colorado Ave Santa Monica, CA 90404 (310) 235-4721 Fax: (310) 235-4905 RE: Recordings Synchronization License Agreement. Dear Elvis Newman This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled Bluegrass Festival in the Sky, words and music by Tom T. Hall, which Compositions(s) are owned and controlled by Licensor. a) Market __CD__________ b) Territory __ The United States______________ c) Term ___Ten Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for THEME purposes. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
8) License Fee. For all rights grated and licensed in this Agreement, and provided the Compositions(s) are included in the final edited version of the Program/Series as initially
broadcast, Licensee shall pay to Licensor the sum of $2000, two thousand dollars, payable to Universal Music Group, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use. 9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of Universal Music Group/Mercury Nashville ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
iv) This License Agreement constitutes the entire agreement and complete understanding of the parties, and cannot be modified except by a written instrument signed by Licensee and Licensor. All prior or contemporaneous promises, understandings and agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ___ Serena Sun, Producer ____________ Print Name & Title _________________________________ Signature
AGREED TO AND ACCEPTED: Licensor _____ Elvis_Newman, Account Executive _______ Print Name & Title _________________________________________ Signature Universal Music Group Film and Licensing Department 2220 Colorado Ave Santa Monica, CA 90404 (310) 235-4721 Fax: (310) 235-4905 _____________________ Address
Date: _ 8/6/2012___________ ______________123456789____________ Social Security # or Federal I.D. #
Funky Sun 1111 E Amy Lane Bloomington, Indiana, 47401 RECORDINGS SYNCHRONIZATION LICENSE AGREEMENT DATE: __8/6/2012_______ Universal Music Group/MCA Nashville Film and Licensing Department 2220 Colorado Ave Santa Monica, CA 90404 (310) 235-4721 Fax: (310) 235-4905 RE: Recordings Synchronization License Agreement. Dear Elvis Newman This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled In the Pines, words and music by Thomas H. Slim Bryant, Jimmie H. Davis, and Clayton McMichen, which Compositions(s) are owned and controlled by Licensor. a) Market __CD__________ b) Territory __ The United States______________ c) Term ___Ten Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for FEATURE purposes. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
8) License Fee. For all rights grated and licensed in this Agreement, and provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensee shall pay to Licensor the sum of $2000, two thousand dollars, payable to Universal Music Group, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use. 9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of Universal Music Group/MCA Nashville ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
10) Miscellaneous. Licensor represents and warrants that: i) It exclusively owns or controls all copyright in and to the Compositions(s) and that it owns or controls all other rights necessary to enter into and fully perform the Agreement, and that no consents or releases from any person(s), or of any third person or entity are or will be required. Licensees use of the Composition(s) and the inclusion of the same in the Program will not violate any rights of any kind or nature whatsoever of any person, firm, corporation, association, society or other entity. ii) Licensor agrees to indemnify and hold harmless Licensee and any person claiming under Licensee, and the officers, directors, shareholders and employees thereof, and Licensees licensee, affiliates, distributors, and assigns from and against any liabilities, losses, claims, demands, costs (including without limitation reasonable attorneys fees) and expenses arising in connection with any breach or alleged breach by Licensor of this Agreement or of any of the above representations or warranties. 11) Name of Likeness. Licensee shall have the right to publish, advertise, announce and use in any manner or medium, the name, sobriquet, biography and photographs or other likenesses of Licensor in connection with any exercise by Licensee of its rights hereunder. 12) Additional Terms. i) Nothing herein requires Licensee to use the Composition(s) in the Program/Series. ii) All rights in and to the Program/Series shall be owned solely by Licensee, and Licensor shall have no rights therein.
iii) Licensee may assign its rights and obligations hereunder as it deems appropriate. iv) This License Agreement constitutes the entire agreement and complete understanding of the parties, and cannot be modified except by a written instrument signed by Licensee and Licensor. All prior or contemporaneous promises, understandings and agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ____ Serena Sun, Producer ___________ Print Name & Title _________________________________ Signature AGREED TO AND ACCEPTED: Licensor _____ Elvis Newman, Account Executive__ Print Name & Title ___________________________________ Signature Universal Music Group Film and Licensing Department 2220 Colorado Ave Santa Monica, CA 90404 (310) 235-4721 Fax: (310) 235-4905 ____________________ Address Date: _ 8/6/2012___________
______________123456789____________ Social Security # or Federal I.D. #
Funky Sun 1111 E Amy Lane Bloomington, Indiana, 47401 RECORDINGS SYNCHRONIZATION LICENSE AGREEMENT DATE: __8/6/2012_______ Universal Music Group/MCA Nashville Film and Licensing Department 2220 Colorado Ave Santa Monica, CA 90404 (310) 235-4721 Fax: (310) 235-4905 RE: Recordings Synchronization License Agreement. Dear Elvis Newman This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled Blue Moon of Kentucky, words and music by Bill Monroe, which Compositions(s) are owned and controlled by Licensor. a) Market __CD__________ b) Territory __ The United States______________ c) Term ___Ten Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for background purposes. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
License Fee. For all rights grated and licensed in this Agreement, and provided the Compositions(s) are included in the final edited version of the Program/Series as initially
broadcast, Licensee shall pay to Licensor the sum of $2000, two thousand dollars, payable to Universal Music Group, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use. 8) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of Universal Music Group/MCA Nashville ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
iv) This License Agreement constitutes the entire agreement and complete understanding of the parties, and cannot be modified except by a written instrument signed by Licensee and Licensor. All prior or contemporaneous promises, understandings and agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ____Serena Sun, Producer ____________ Print Name & Title __________________________________ Signature
AGREED TO AND ACCEPTED: Licensor ___Elvis Newman, Account Executive ___ Print Name & Title __________________________________ Signature Universal Music Group Film and Licensing Department 2220 Colorado Ave Santa Monica, CA 90404 (310) 235-4721 Fax: (310) 235-4905 ___________________ Address Date: _ 8/6/2012___________ ______________123456789____________ Social Security # or Federal I.D. #
Funky Sun 1111 E Amy Lane Bloomington, Indiana, 47401 RECORDINGS SYNCHRONIZATION LICENSE AGREEMENT DATE: __8/6/2012_______ Universal Music Group/MCA Nashville Film and Licensing Department 2220 Colorado Ave Santa Monica, CA 90404 (310) 235-4721 Fax: (310) 235-4905 RE: Recordings Synchronization License Agreement. Dear Elvis Newman This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled Sunny Side of the Mountain,words and music by Bobby Gregory and Harry C. McAulife, which Compositions(s) are owned and controlled by Licensor. a) Market __CD__________ b) Territory __ The United States______________ c) Term ___Ten Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for background purposes. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
broadcast, Licensee shall pay to Licensor the sum of $2000, two thousand dollars, payable to Universal Music Group/MCA Nashville, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use. 9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of Universal Music Group/MCA Nashville ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
iv) This License Agreement constitutes the entire agreement and complete understanding of the parties, and cannot be modified except by a written instrument signed by Licensee and Licensor. All prior or contemporaneous promises, understandings and agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ____ Serena Sun, Producer ___________ Print Name & Title _________________________________ Signature AGREED TO AND ACCEPTED: Licensor __Elvis Newman, Account Executive___ Print Name & Title _________________________________ Signature
Universal Music Group Film and Licensing Department 2220 Colorado Ave Santa Monica, CA 90404 (310) 235-4721 Fax: (310) 235-4905 ________________________ Address Date: _8/6/2012___________ ______________123456789____________ Social Security # or Federal I.D. #
Funky Sun 1111 E Amy Lane Bloomington, Indiana, 47401
MECHANICAL LICENSE AGREEMENT DATE: __8/6/2012_______ The Harry Fox Agency, Inc 601 West 26th Street Suite 500 New York, NY 10001 Telephone: (212) 834-0100 Fax: (646) 487-6779 RE: Mechanical License Agreement. Dear Elvis Depp This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled Bluegrass Festival in the Sky, words and music by Tom T. Hall, which Compositions(s) are owned and controlled by Licensor. a) Market __CD__________ b) Territory __ The United States______________ c) Term ___Ten Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for THEME purposes; not to exceed approximately223 in length. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
broadcast, Licensee shall pay to Licensor the sum of $1000, one thousand dollars, payable to The Harry Fox Agency, Inc, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use. 9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of Harry Fox Agency, Inc. ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
AGREED TO AND ACCEPTED: Licensor _____ Elvis_Depp, Account Executive_______________ Print Name & Title ______________________________________________ Signature The Harry Fox Agency, Inc 601 West 26th Street Suite 500 New York, NY 10001 Telephone: (212) 834-0100 Fax: (646) 487-6779 _________________________ Address Date: _ 8/6/2012___________ ______________123456789____________ Social Security # or Federal I.D. #
MECHANICAL LICENSE AGREEMENT DATE: __8/6/2012_______ The Harry Fox Agency, Inc 601 West 26th Street Suite 500 New York, NY 10001 Telephone: (212) 834-0100 Fax: (646) 487-6779 RE: Mechanical License Agreement. Dear Elvis Depp This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled In the Pines, words and music by Thomas H. Slim Bryant, Jimmie H. Davis, and Clayton McMichen, which Compositions(s) are owned and controlled by Licensor. a) Market __CD__________ b) Territory __ The United States______________ c) Term ___Ten Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for FEATURE purposes; not to exceed approximately 052 in length. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
8) License Fee. For all rights grated and licensed in this Agreement, and provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensee shall pay to Licensor the sum of $1000, one thousand dollars, payable to The Harry Fox Agency, Inc, receipt of which is hereby acknowledged. No further amounts shall be payable by Licensee to Licensor in connection with the Licensed Use. 9) Credit. Provided the Compositions(s) are included in the final edited version of the Program/Series as initially broadcast, Licensor shall receive credit (in each case in which screen credits for music are included in the Program/Series), substantially as follows: i) Courtesy of Harry Fox Agency, Inc. ii) Subject to the foregoing, all other characteristics of such credit or any other credit shall be determined by Licensee in its sole discretion. No casual or inadvertent failure by Licensee to comply with the credit requirements set forth above, now any failure by third parties to so comply, shall constitute a breach of this Agreement by Licensee.
10) Miscellaneous. Licensor represents and warrants that: i) It exclusively owns or controls all copyright in and to the Compositions(s) and that it owns or controls all other rights necessary to enter into and fully perform the Agreement, and that no consents or releases from any person(s), or of any third person or entity are or will be required. Licensees use of the Composition(s) and the inclusion of the same in the Program will not violate any rights of any kind or nature whatsoever of any person, firm, corporation, association, society or other entity. ii) Licensor agrees to indemnify and hold harmless Licensee and any person claiming under Licensee, and the officers, directors, shareholders and employees thereof, and Licensees licensee, affiliates, distributors, and assigns from and against any liabilities, losses, claims, demands, costs (including without limitation reasonable attorneys fees) and expenses arising in connection with any breach or alleged breach by Licensor of this Agreement or of any of the above representations or warranties. 11) Name of Likeness. Licensee shall have the right to publish, advertise, announce and use in any manner or medium, the name, sobriquet, biography and photographs or other likenesses of Licensor in connection with any exercise by Licensee of its rights hereunder. 12) Additional Terms. i) Nothing herein requires Licensee to use the Composition(s) in the Program/Series. ii) All rights in and to the Program/Series shall be owned solely by Licensee, and Licensor shall have no rights therein.
iii) Licensee may assign its rights and obligations hereunder as it deems appropriate. iv) This License Agreement constitutes the entire agreement and complete understanding of the parties, and cannot be modified except by a written instrument signed by Licensee and Licensor. All prior or contemporaneous promises, understandings and agreements, oral or written, are merged into and included in this written instrument. No officer, employee, or representative of Licensee has made any representation or promise, express or implied, in connection with this agreement or the subject matter hereof which is not contained herein. If the above is acceptable, please sign where indicated below. Sincerely, LICENSEE ___ Serena Sun, Producer ____________ Print Name & Title _________________________________ Signature
MECHANICAL LICENSE AGREEMENT DATE: __8/6/2012_______ The Harry Fox Agency, Inc 601 West 26th Street Suite 500 New York, NY 10001 Telephone: (212) 834-0100 Fax: (646) 487-6779 RE: Mechanical License Agreement. Dear Elvis Depp This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled Blue Moon of Kentucky, words and music by Bill Monroe, which Compositions(s) are owned and controlled by Licensor. a) Market __CD__________ b) Territory __ The United States______________ c) Term ___Ten Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for BACKGROUND purposes; not to exceed approximately 318 in length. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
MECHANICAL LICENSE AGREEMENT DATE: __8/6/2012_______ The Harry Fox Agency, Inc 601 West 26th Street Suite 500 New York, NY 10001 Telephone: (212) 834-0100 Fax: (646) 487-6779 RE: Mechanical License Agreement. Dear Elvis Depp This is a letter to confirm the agreement between you (the Licensor) and me (the Licensee) regarding our use of your composition(s) in SERENA SUN television program/series entitled: In the Pines: The Bean Blossom Bluegrass Festival (working title) (the Program/Series). 5) A. Compositions(s). For the purpose of this Agreement, the Composition(s) shall mean the composition(s) entitled SUNNY Side of the Mountain, words and music by Bobby Gregory and Harry C. McAulife, which Compositions(s) are owned and controlled by Licensor. a) Market __CD__________ b) Territory __ The United States______________ c) Term ___Ten Years___________ 6) Licensed Use of the Composition(s). Licensor grants to Licensee the irrevocable nonexclusive right and license to use the Composition(s) in and in connection with the Program/Series in any and all media whether now known or hereafter devised, the Market and Territory for the Term, in any and all languages, as well as in advertising, publicity, and promotion of the Program/Series. 7) Nature of Use. The Licensee may use the Compositions(s) for BACKGROUND purposes; not to exceed approximately 253 in length. The Licensee may use the Composition(s) in whole or in part, edited or otherwise modified in Licensees sole discretion.
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PBS MUSIC CUE SHEET L NOLA CODE: SERIES: PBS BROADCAST RIGHTS: SERIES: ORIGINAL BROADCAST DATE (PBS): 12/10/2012 Presenting station or entity: WTIU WRITER(S) (i.e., composers, including any lyricists, or arrangers of public domain works) PUBLISHER(S) or other OWNER(S) of publishing rights DURATION OF MUSIC CUE(MUST be filled in, even if only approx.) in min|sec USAGE (indicate EXACTLY ONE per cue): 1-BACKGD.; 2-FEATURE; 3-THEME; 4CONCERT FEATURE Producing entity: Funky Sun Productions Program copyright owner: Funky Sun Productions 113 Contact name & info (phone &/or fax &/or email): Jennifer Talbott jltalbot@indiana.edu PERF ORMI NG RIGH TS FOR U.S.A. (leave blank if unkno wn): 1ASCA P; 2BMI; 4SESA C; 5other; 6public domai n SOURCE or TYPE, IF APPLICABL E (NO MORE THAN ONE per cue): 1specially composed; 2sync cleared (incl. for public TV, by producernot relying on PBS agreements or 17 USC Sec. 118); 3unpublished| OR: PBS pays PTV sync to ____; HFA Song ID# or other source of pub. info X X=REPEATS = a previous cue D R A M A T I C (" gr an d ri gh t) us e" ACQUIRED? _____ DB OK? B in MURS? PROGRAM LENGTH: (approx. MINS., excluding any internal breaks)
PROGRAM: In the Pines: The Bean Blossom Bluegrass Festival # MUSIC TITLE OR DESCRIPTION (may include, in parentheses, such info as recording artist, album title, label, track #...)
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Bluegrass Festival in the Sky, Tom T. Hall, track # 11, from the album The Magnificent Music Machine, 2010 Mercury Nashville In the Pines, Bill Monroe & the Blue Grass Boys, track # 8, disc 1, from the album Anthology, 2005 MCA Nashville
Tom T. Hall
Sony/ATV Acuff 1:20 Rose Music APRS 0:52
1 0
1 1
Thomas H. Slim Bryant, Jimmie H. Davis, Clayton McMichen Blue Moon of Kentucky, Bill Monroe & The Bill Monroe Blue Grass Boys, track # 4, from the album Bean Blossom, 1991 MCA Nashville Sunny Side of the Mountain, Jimmy Martin Bobby Gregory, & the Sunny Mountain Boys, track # 15, Harry C. McAulife from the album Bean Blossom, 1991 MCA Nashville Scotland, Bill Monroe & His Blue Grass Bill Monroe Boys, track # 20, disc 1, from the album Anthology, 2005 MCA Nashville Sally Goodin, Bill Monroe & His Blue Tommy Duncan, Grass Boys, track # 20, disc 2, from the James Robert Willis album Anthology, 2005 MCA Nashville Uncle Pen, Bill Monroe & His Blue Grass Bill Monroe Boys, track # 3, disc 1, from the album Anthology, 2005 MCA Nashville Blue Moon of Kentucky, Bill Monroe & His Bill Monroe Blue Grass Boys, track # 14, disc 1, from the album Anthology, 2005 MCA Nashville Molly and Tenbrooks, Bill Monroe & His Hank Williams Blue Grass Boys, track # 17, disc 1, from the album Anthology, 2005 MCA Nashville Bean Blossom Memories, James Monroe, Black Damar track # 1, from the album My Father: In Memory of Bill Monroe, 2008 CBUJ Entertainment Cabin in the Hills, Flatt & Scruggs, track # Call DeVoll 17, disc 1, from the album The Essential Flat & Scruggs: Tis Sweet to Be Remembered, 1997 Sony
__ _____ __ _ __ _____ __ _ __ _____ __ _ __ _____ __ _ __ _____ __ _ __ _____ __ _ _____
APRS
3:18
Streets of Gold Music
2:53
Unichapell Music Inc. Anne Rachel Music Corp. Anne Rachel Music Corp. APRS
1:55
3:15
2:00
2:08
APRS, Bill Monroe Music Bill Monroe Music
2:22
2:50
__ _____ __ _ __ _____ __ _ __ _____ __ _ __ _____ __ _
APRS
2:30
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1 2
1 3 1 4
1 5 1 6 1 7
1 8 1 9 2 0
2 1
Foggy Mountain Special, Flatt & Scruggs, track # 10, disc 1, from the album The Essential Flat & Scruggs: Tis Sweet to Be Remembered, 1997 Sony Angel Band, Ralph Stanley, track # 7, from the album Man of Constant Sorrow, 2001 Rebel Records Going Up Home to Live in Greener Pastures, Ralph Stanley, track # 2, from the album Man of Constant Sorrow, 2001 Rebel Records Blue Suede Shoes, Elvis Presley, track # 11, from the album Aloha from Hawaii, 1973, BMG/Elvis Im So Lonesome I Could Cry, Elvis Presley, track # 12, from the album Aloha from Hawaii, 1973, BMG/Elvis Im So Lonesome I Could Cry, Bill Monroe & His Blue Grass Boys, track # 10, disc 2, from the album Anthology, 2005 MCA Nashville Bluegrass Festival in the Sky, Tom T. Hall, track # 11, from the album The Magnificent Music Machine, 2010 Mercury Nashville My Last Days on Earth, Bill Monroe & His Blue Grass Boys, track # 25, disc 2, from the album Anthology, 2005 MCA Nashville When My Blue Moon Turns to Gold Again, James Monroe & the Midnight Ramblers, track # 12, from the album Bean Blossom, 1991 MCA Nashville In the Pines, Bill Monroe & the Blue Grass Boys, track # 8, disc 1, from the album Anthology, 2005 MCA Nashville I Wonder Where You Are Tonight, Bill Monroe & the Blue Grass Boys, track # 22, from the album Bean Blossom, 1991 MCA Nashville
Louise Certain, Gladys Stacey
Universal Cedarwood Publishing
1:49
__ _____ __ _ __ _____ __ _ __ _____ __ _
Ralph Stanley
Avril Gearheart, Ralph Stanley
Fort Knox Music 1:54 Inc., Trio Music Company Fort Knox Music 2:35 Inc., Trio Music Company Carl Perkins 1:16 Music Inc., Wren Music Co. Inc. Sony/ATV Acuff 2:16 Rose Music Sony/ATV Acuff 2:14 Road Music
Carl Perkins
Hank Williams
Hank Williams
__ _____ __ _ __ _____ __ _ __ x __ _ __ _____ __ _ __ _____ __ _ __ x __ _ __ _____ __ _
Tom T. Hall
Sony/ATV Acuff 1:20 Rose Music Bill Monroe Music 4:42
Bill Monroe
Wiley Walker, Gene APRS Sullivan
2:20
2 2
Thomas H. Slim Bryant, Jimmie H. Davis, Clayton McMichen Johnny Bond
APRS
3:12
Red River Songs Inc.
2:59
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2 3
2 4
2 5
2 6 2 7 2 8
2 9 3 0 3 1 3 2 3 3
Lonesome River, Bobby Osborne & the Rocky Top X-press, track # 8, from the album Bluegrass Melodies, 2007 Rounder/UMGD Go Rest High on That Mountain, Bobby Osborne & the Rocky Top X-press, track # 12, from the album Bluegrass Melodies, 2007 Rounder/UMGD The Ballad of Jed Clampett, Flatt & Scruggs, track # 5, disc 2, from the album The Essential Flat & Scruggs: Tis Sweet to Be Remembered, 1997 Sony Feudin Banjos, Lester Flatt & the Nashville Grass, track # 19, from the album Bean Blossom, 1991 MCA Nashville Man of Constant Sorrow, Ralph Stanley, track # 1, from the album Man of Constant Sorrow, 2001 Rebel Records I Am a Man of Constant Sorrow, The Soggy Bottom Boys, track # 5, from the album O Brother, Where Art Thou (soundtrack), 2000 Lost Highway Oh, Death, Ralph Stanley, track # 5, from the album Man of Constant Sorrow, 2001 Rebel Records Wayfarin Stranger, James Monroe, track # 8, from the album My Father: In Memory of Bill Monroe, 2008 CBUJ Entertainment Wayfaring Stranger, Jack White, track # 1, from the album Cold Mountain (soundtrack), 2003 Sony Maggies Farm, Bob Dylan, track # 5, disc 1, from the album The Essential Bob Dylan, 2000 Sony Blowin in the Wind, Peter, Paul and Mary, track # 12, from the album In the Wind, 1990 Warner Bros/Wea
Carter Stanley
APRS
2:41
__ _____ __ _ __ _____ __ _ __ _____ __ _ __ _____ __ _ __ _____ __ _ __ _____ __ _
Vince Gill
Benefit Music
4:03
P. Henning
Carolintone Music Company Inc. Combine Music Group APRS
2:04
Arthur Smith
2:09
Traditional
2:52
Traditional, arr. Carter Stanley
APRS
3:10
Traditional, arr. by Ralph Stanley Traditional
Zap Publishing Co. Chappell Company Inc. Bug Music, Z77ss Music Special Rider Music Special Rider Music
2:59
_____
Traditional
4:26
__ _____ __ _ __ _____ __ _
Bob Dylan
3:51
Bob Dylan
2:57
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3 4 3 5 3 6
3 7
On & On, Bill Monroe & His Blue Grass Boys, track # 12, disc 1, from the album Anthology, 2005 MCA Nashville Orange Blossom Special, Bill Monroe & the Blue Grass Boys, track # 23, from the album Bean Blossom, 1991 MCA Nashville Sunny Side of the Mountain, Jimmy Martin & the Sunny Mountain Boys, track # 15, from the album Bean Blossom, 1991MCA Nashville Gotta Travel On, Bill Monroe & His Blue Grass Boys, track # 22, disc 1, from the album Anthology, 2005 MCA Nashville Bluegrass Festival in the Sky, Tom T. Hall, track # 11, from the album The Magnificent Music Machine, 2010 Mercury Nashville
Bill Monroe
Unichapell Music Inc. Universal Music Corp. Streets of Gold Music
2:48
Ervin T. Rouse
2:27
Bobby Gregory, Harry C. McAulife
2:53
__ _____ __ _ __ _____ __ _ __ x __ _ __ _____ __ _ __ x __ _
Paul Clayton/Larry Ehrlich/David Lazar/Tom Six Tom T. Hall
3 8
Figgs D. Music, 2:34 Freddy Bienstock Music Co., Sanga Music Inc. Sony/ATV Acuff 2:23 Rose Music
RELEASE AND ASSIGNMENT OF LICENSED MATERIALS

The Undersigned, _Pam Morris_____________________________________________________(Licensor) hereby grants to_Funky Sun Productions_________________________________________ its agents, licensees, assigns, designees and employees (collectively referred to hereinafter as Producer), the non-exclusive right to use, record, film, photograph, and/or tape the following licensed material: _Early photo of Dr. Ralph Stanley and the Stanley Brothers _______________________________________________ ________________________________________________________________________________________________ ______________________________________________________________ (referred to hereinafter as the Images). The Undersigned agrees and understands that PRODUCER has the right and discretion to use and incorporate the Images into __In the Pines: The Bean Blossom Bluegrass Festival____ (referred to hereinafter as the Program(s)) and in any medium the Program(s) may be shown or heard, including, but not limited to, broadcast and cable television, radio, print, world wide web / internet, and videocassette. The Undersigned agrees and understands that PRODUCER has the right and discretion to use the Images in association with the promotion or advertising of the Program(s). The Undersigned agrees and understands that PRODUCER and its successors and assigns own all right, title and interest, including copyright, in the Program(s) and the Images, to be used and disposed of in whatever form at PRODUCERs sole discretion. The Undersigned agrees and understands that the rights and interests granted to PRODUCER in this Release are perpetual. The Undersigned represents and warrants that they possess or have obtained all rights to the Licensed Material necessary for the grant of this Release and Assignment and that the rights they have granted in this Release and Assignment will not conflict with or violate any commitment, agreement or understanding they have or will have to or with, nor infringe upon any rights of, any person or entity. The Undersigned shall pay, indemnify and hold PRODUCER, its grantors, officers, trustees, assignees, agents, licensees, and employees harmless from and against all claims, losses, costs, expenses, settlements, demands, and liabilities of every kind, including reasonable attorneys fees and expenses, arising out of or incurred by reason of the use of the Licensed Material described herein or the inaccuracy, alleged breach of any representation, warranty, covenant, agreement or undertaking made herein. The Undersigned agrees and understands that PRODUCER is relying upon the foregoing consent, permission and indemnity in proceeding with production of the Program(s). AGREED AND ACCEPTED: THE UNDERSIGNED: _____________________________________ PRINTED NAME: ADDRESS: CITY/STATE: TELEPHONE: DATE: _Pam Morris__________________________ _PO Box 945__________________________ _Clintwood, VA 24238__________________ _(276) 926-8550_______________________ _8/15/12______________________________

The Undersigned, _Jim Morris_____________________________________________________(Licensor) hereby grants to_Funky Sun Productions_________________________________________ its agents, licensees, assigns, designees and employees (collectively referred to hereinafter as Producer), the non-exclusive right to use, record, film, photograph, and/or tape the following licensed material: _Photo of Bobby Osborne & the Rocky Top X-Press______ _______________________________________________ ________________________________________________________________________________________________ ______________________________________________________________ (referred to hereinafter as the Images). The Undersigned agrees and understands that PRODUCER has the right and discretion to use and incorporate the Images into __In the Pines: The Bean Blossom Bluegrass Festival________________________________________ (referred to hereinafter as the Program(s)) and in any medium the Program(s) may be shown or heard, including, but not limited to, broadcast and cable television, radio, print, world wide web / internet, and videocassette. The Undersigned agrees and understands that PRODUCER has the right and discretion to use the Images in association with the promotion or advertising of the Program(s). The Undersigned agrees and understands that PRODUCER and its successors and assigns own all right, title and interest, including copyright, in the Program(s) and the Images, to be used and disposed of in whatever form at PRODUCERs sole discretion. The Undersigned agrees and understands that the rights and interests granted to PRODUCER in this Release are perpetual. The Undersigned represents and warrants that they possess or have obtained all rights to the Licensed Material necessary for the grant of this Release and Assignment and that the rights they have granted in this Release and Assignment will not conflict with or violate any commitment, agreement or understanding they have or will have to or with, nor infringe upon any rights of, any person or entity. The Undersigned shall pay, indemnify and hold PRODUCER, its grantors, officers, trustees, assignees, agents, licensees, and employees harmless from and against all claims, losses, costs, expenses, settlements, demands, and liabilities of every kind, including reasonable attorneys fees and expenses, arising out of or incurred by reason of the use of the Licensed Material described herein or the inaccuracy, alleged breach of any representation, warranty, covenant, agreement or undertaking made herein. The Undersigned agrees and understands that PRODUCER is relying upon the foregoing consent, permission and indemnity in proceeding with production of the Program(s). AGREED AND ACCEPTED: THE UNDERSIGNED: _____________________________________ PRINTED NAME: ADDRESS: CITY/STATE: TELEPHONE: DATE: _Jim Morris__________________________ _222 Fifth Ave South___________________ _Nashville, TN 37203 __________________ _(615) 416-2001_______________________ _8/15/12______________________________

The Undersigned, _Richard Smith_________________________________________________(Licensor) hereby grants to_Funky Sun Productions_________________________________________ its agents, licensees, assigns, designees and employees (collectively referred to hereinafter as Producer), the non-exclusive right to use, record, film, photograph, and/or tape the following licensed material: _Photo of Bill Monroe and early Blue Grass Boys, 1939-1942______________________________________________ ________________________________________________________________________________________________ ______________________________________________________________ (referred to hereinafter as the Images). The Undersigned agrees and understands that PRODUCER has the right and discretion to use and incorporate the Images into __In the Pines: The Bean Blossom Bluegrass Festival____ (referred to hereinafter as the Program(s)) and in any medium the Program(s) may be shown or heard, including, but not limited to, broadcast and cable television, radio, print, world wide web / internet, and videocassette. The Undersigned agrees and understands that PRODUCER has the right and discretion to use the Images in association with the promotion or advertising of the Program(s). The Undersigned agrees and understands that PRODUCER and its successors and assigns own all right, title and interest, including copyright, in the Program(s) and the Images, to be used and disposed of in whatever form at PRODUCERs sole discretion. The Undersigned agrees and understands that the rights and interests granted to PRODUCER in this Release are perpetual. The Undersigned represents and warrants that they possess or have obtained all rights to the Licensed Material necessary for the grant of this Release and Assignment and that the rights they have granted in this Release and Assignment will not conflict with or violate any commitment, agreement or understanding they have or will have to or with, nor infringe upon any rights of, any person or entity. The Undersigned shall pay, indemnify and hold PRODUCER, its grantors, officers, trustees, assignees, agents, licensees, and employees harmless from and against all claims, losses, costs, expenses, settlements, demands, and liabilities of every kind, including reasonable attorneys fees and expenses, arising out of or incurred by reason of the use of the Licensed Material described herein or the inaccuracy, alleged breach of any representation, warranty, covenant, agreement or undertaking made herein. The Undersigned agrees and understands that PRODUCER is relying upon the foregoing consent, permission and indemnity in proceeding with production of the Program(s). AGREED AND ACCEPTED: THE UNDERSIGNED: _____________________________________ PRINTED NAME: ADDRESS: CITY/STATE: TELEPHONE: DATE: _Richard Smith________________________ _PO Box 771__________________________ _Warrenton, VA 20188__________________ _1-800-BLU-GRAS_____________________ _8/15/12______________________________

The Undersigned, _Dwight Dillman______________________________________________(Licensor) hereby grants to_Funky Sun Productions_________________________________________ its agents, licensees, assigns, designees and employees (collectively referred to hereinafter as Producer), the non-exclusive right to use, record, film, photograph, and/or tape the following licensed material: _Photo of early Bean Blossom Bluegrass Festival performers_______________________________________________ ________________________________________________________________________________________________ ______________________________________________________________ (referred to hereinafter as the Images). The Undersigned agrees and understands that PRODUCER has the right and discretion to use and incorporate the Images into __In the Pines: The Bean Blossom Bluegrass Festival____ (referred to hereinafter as the Program(s)) and in any medium the Program(s) may be shown or heard, including, but not limited to, broadcast and cable television, radio, print, world wide web / internet, and videocassette. The Undersigned agrees and understands that PRODUCER has the right and discretion to use the Images in association with the promotion or advertising of the Program(s). The Undersigned agrees and understands that PRODUCER and its successors and assigns own all right, title and interest, including copyright, in the Program(s) and the Images, to be used and disposed of in whatever form at PRODUCERs sole discretion. The Undersigned agrees and understands that the rights and interests granted to PRODUCER in this Release are perpetual. The Undersigned represents and warrants that they possess or have obtained all rights to the Licensed Material necessary for the grant of this Release and Assignment and that the rights they have granted in this Release and Assignment will not conflict with or violate any commitment, agreement or understanding they have or will have to or with, nor infringe upon any rights of, any person or entity. The Undersigned shall pay, indemnify and hold PRODUCER, its grantors, officers, trustees, assignees, agents, licensees, and employees harmless from and against all claims, losses, costs, expenses, settlements, demands, and liabilities of every kind, including reasonable attorneys fees and expenses, arising out of or incurred by reason of the use of the Licensed Material described herein or the inaccuracy, alleged breach of any representation, warranty, covenant, agreement or undertaking made herein. The Undersigned agrees and understands that PRODUCER is relying upon the foregoing consent, permission and indemnity in proceeding with production of the Program(s). AGREED AND ACCEPTED: THE UNDERSIGNED: _____________________________________ PRINTED NAME: ADDRESS: CITY/STATE: TELEPHONE: DATE: _Dwight Dillman_______________________ _5163 N State Road 135_________________ _Morgantown, IN 46160_________________ _1-877-989-BBJF______________________ _8/15/12______________________________
PUBLIC BROADCASTING Visual Arts Cue Sheet
1998 & ff.
For reporting uses of copyrighted, published pictorial, graphic, and sculptural works under public broadcasting's compulsory license (granted under Section 118 of the Copyright Act of 1976, 17 U.S.C. 118) AND/OR under PBS's voluntary agreement with Visual Artists & Galleries Association (VAGA). SERIES (if any):
copy to: Steve Friedman, PBS, Copyright/ Legal Dept., 1320 Braddock Pl., Alexandria, VA 22314-1698, phone 703/739-5090, fax 703/837-3300 or 703/739-5358, 'sfriedman@pbs.org' approx. program Producing entity: length: Funky Sun Productions
113 minutes
PAGE____ of _______
Presenting station or entity:

WTIU/PBS
ORIGINAL BROADCAST DATE:
PROGRAM (# if any, and title if any):
Questions about this cue sheet & show may be directed to (name of person and contact info e.g., address &/or phone &/or fax &/or email): Jennifer Talbott jltalbot@indiana.edu
(Indicate one:) This is a PBS-distributed_x_
(or) "non-PBS"___
public TV program.
In the Pines: the Bean Blossom Bluegrass Festival
* Payment is to be deposited in trust IF AND ONLY IF the copyright owner is unknown or unlocatable. If paying the PBS Trust, send your check (payable to "PBS Trust") to PBS along with the visual arts cue sheet. PAYMENT WAS MADE TO (indicate one):
DESCRIPTION OF THE WORK USED (in detail -- be sure to specify type of work, e.g., "photo," "painting"...)
Photo of Bill Monroe and early Blue Grass Boys, 1939-1942 Photo of Bill Monroe and early Blue Grass Boys, 1945 Photo of Bill Monroe and early Blue Grass Boys, 1945 Photo of Bill Monroe and early Blue Grass Boys, 1947 Photo of Bill Monroe and early Blue Grass Boys, 1948 Photo of Bill Monroe and early Blue Grass Boys, 1948-1950 Photo of Bill Monroe and early Blue Grass Boys, 1950 Photo of Bill Monroe and early Blue Grass Boys, 1950 Photo of Bill Monroe and early Blue Grass Boys, 1950 Photo of Bill Monroe and early Blue Grass Boys, 1953 Photo of the Stanley Brothers Photo of Dr. Ralph Stanley Photo of Dr. Ralph Stanley Early photo of Dr. Ralph Stanley and the Stanley Brothers Early photo of Dr. Ralph Stanley and the Stanley Brothers Early photo of Dr. Ralph Stanley and the Stanley Brothers Photo of Dr. Ralph Stanley and the Stanley Brothers Photo of Dr. Ralph Stanley and the Stanley Brothers Early photo of Lester Flatt & Earl Scruggs Early photo of Lester Flatt & Earl Scruggs Photo of Lester Flatt & Earl Scruggs Photo of Lester Flatt & Earl Scruggs Photo of Bobby Osborne & the Rocky Top X-Press Photo of Bobby Osborne & the Rocky Top X-Press Photo of Bobby Osborne & the Rocky Top X-Press Photo of Bobby Osborne & the Rocky Top X-Press Photo of early bluegrass festivals Photo of early bluegrass festivals Photo of early bluegrass festivals
METHOD OF DISPLAY (featured; bkgd./ RATE PAID COPYRIGHT OWNER (If known, identify; if unknown, write YOUR SPECIFIC SOURCE FOR THIS WORK montage; (per schedule in COPY"UNKNOWN"; if known but not locatable, identify, and (including, if applicable, issue or volume number, date, write "NOT LOCATED" in parentheses under copyright thematic; art PBS's memo or RIGHT owner's name.) repro. copr. sep.) on reverse) OWNER page number)
Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2001 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Ralph Stanley Museum and Traditional Mountain Music Center Ralph Stanley Museum and Traditional Mountain Music Center Ralph Stanley Museum and Traditional Mountain Music Center Ralph Stanley Museum and Traditional Mountain Music Center Ralph Stanley Museum and Traditional Mountain Music Center Willis, Barry R. America's Music: Bluegrass. Pine Valley Music, Franktown, CO: 1997 Willis, Barry R. America's Music: Bluegrass. Pine Valley Music, Franktown, CO: 1997 Willis, Barry R. America's Music: Bluegrass. Pine Valley Music, Franktown, CO: 1997 Willis, Barry R. America's Music: Bluegrass. Pine Valley Music, Franktown, CO: 1997 Archives at Country Music Foundation Archives at Country Music Foundation Archives at Country Music Foundation Archives at Country Music Foundation Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Bluegrass Unlimited Pam Morris/Ralph Stanely estate Pam Morris/Ralph Stanely estate Pam Morris/Ralph Stanely estate Pam Morris/Ralph Stanely estate Pam Morris/Ralph Stanely estate John Wise John Wise John Wise John Wise Country Music Foundation (may include copyrights owned by known and unknown photographers) Country Music Foundation (may include copyrights owned by known and unknown photographers) Country Music Foundation (may include copyrights owned by known and unknown photographers) Country Music Foundation (may include copyrights owned by known and unknown photographers) Ron Petronko Ron Petronko Ron Petronko featured featured featured featured featured featured featured featured featured featured bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
V A G A
PBS TRUST * (see note above)
TRUST MAINTAINED BY STATION/ PRODUCER * (see note above)
Instructions and rate schedules are in PBS's memo and may be printed on the reverse of the hard copy of this form.
1998 & ff.
113 minutes
PAGE____ of _______

WTIU/PBS
(or) "non-PBS"___
public TV program.
Photo of early bluegrass festivals Photo of early bluegrass festivals Photo of bluegrass festivals Photo of bluegrass festivals Photo of bluegrass festivals Photo of bluegrass festivals Photo of bluegrass festivals Photo of recent and current Bean Blossom Music Park, Bluegrass Festival, Brown County Jamboree Photo of early Bean Blossom Bluegrass Festival performers Photo of early Bean Blossom Bluegrass Festival performers Photo of early Bean Blossom Bluegrass Festival performers Photo of early Bean Blossom Bluegrass Festival performers Photo of early Bean Blossom Bluegrass Festival performers Photo of early Bean Blossom Bluegrass Festival performers Photo of early Bean Blossom Bluegrass Festival Photo of early Bean Blossom Bluegrass Festival Photo of early Bean Blossom Bluegrass Festival Photo of early Bill Monroe Music Park and Campgrounds Photo of early Bill Monroe Music Park and Campgrounds Photo of early Bill Monroe Music Park and Campgrounds Photo of recent Bean Blossom Bluegrass Festival performers Photo of recent Bean Blossom Bluegrass Festival performers Photo of recent Bean Blossom Bluegrass Festival performers Photo of recent Bean Blossom Bluegrass Festival performers Photo of recent Bean Blossom Bluegrass Festival performers Photo of recent Bean Blossom Bluegrass Festival performers
METHOD OF DISPLAY (featured; bkgd./ RATE PAID COPYRIGHT OWNER (If known, identify; if unknown, write YOUR SPECIFIC SOURCE FOR THIS WORK montage; (per schedule in COPY"UNKNOWN"; if known but not locatable, identify, and (including, if applicable, issue or volume number, date, write "NOT LOCATED" in parentheses under copyright thematic; art PBS's memo or RIGHT owner's name.) repro. copr. sep.) on reverse) OWNER page number)
Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 Smith, Richard D. Can't You Hear Me Callin' . Da Capo Press, Cambridge: 2002 website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ website: http://www.bbjfoundation.org/ Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Ron Petronko Ron Petronko Tom Isenhour Tom Isenhour Tom Isenhour Tom Isenhour Tom Isenhour Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Bean Blossom Brown County Jamboree Foundation Inc. Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage bkgd/montage featured featured featured featured featured featured featured featured featured featured featured featured featured featured featured featured featured featured featured $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo $260 per photo x x x x x x x x x x x x x x x x x x x x x x x x x x
V A G A
Photo of early Bill Monroe Music Park and Campgrounds
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
1998 & ff.
113 minutes
PAGE____ of _______

WTIU/PBS
(or) "non-PBS"___
public TV program.
METHOD OF DISPLAY
COPYRIGHT OWNER (If known, identify; if unknown, write (featured; bkgd./ YOUR SPECIFIC SOURCE FOR THIS WORK montage; "UNKNOWN"; if known but not locatable, identify, and (including, if applicable, issue or volume number, date, write "NOT LOCATED" in parentheses under copyright thematic; art owner's name.) repro. copr. sep.) page number) Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Archives at Bill Monroe's Bluegrass Hall of Fame & Country Star Museum Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers) Dwight Dillman, Bill Monroe Music Park (may include copyrights owned by known and unknown photographers)
RATE PAID (per schedule in COPYPBS's memo or RIGHT on reverse) OWNER
V A G A
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
Photo of early Bean Blossom Bluegrass Festival performers
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
Photo of Bill Monroe at the Bean Blossom Music Park/Festival
bkgd/montage
$260 per photo
Photo of Bill Monroe at the Bean Blossom Music Park/Festival
bkgd/montage
$260 per photo
Photo of Bill Monroe and James Monroe
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
bkgd/montage
$260 per photo
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In the Pines: The Bean Blossom Bluegrass Festival

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a Michelle Funk
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1990
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of the work identied in this application and that the statements made by me in this application are correct to the best of my knowledge. Typed or printed name and date If this application gives a date of publication in space 3, do not sign and submit it before that date.
Michelle Funk
Date
5/25/2012
Certicate will be mailed in window envelope to this address:
Handwritten signature (X)
x
Name YOU MUST: Complete all necessary spaces Sign your application in space 8 SEND ALL 3 ELEMENTS IN THE SAME PACKAGE: 1. Application form 2. Nonrefundable ling fee in check or money order payable to Register of Copyrights 3. Deposit material MAIL TO: Library of Congress Copyright Ofce-PAD 101 Independence Avenue SE Washington, DC 20559-6230
Michelle Funk
Number/Street/Apt
541 N. Woodlawn Ave.

City/State/Zip Bloomington, IN 47406
*17 U.S.C. 506(e): Any person who knowingly makes a false representation of a material fact in the application for copyright registration provided for by section 409, or in any written statement led in connection with the application, shall be ned not more than $2,500.
Form PA Full Rev: 02 / 2009 Print: 06 / 2010 50,000 Printed on recycled paper U.S. Government Printing Ofce: 2010-357-993/80,085
Copyright Ofce fees are subject to change. For current fees, check the Copyright Ofce website at www.copyright.gov, write the Copyright Ofce, or call (202) 707-3000.
Privacy Act Notice: Sections 408-410 of title 17 of the United States Code authorize the Copyright Ofce to collect the personally identifying information requested on this form in order to process the application for copyright registration. By providing this information you are agreeing to routine uses of the information that include publication to give legal notice of your copyright claim as required by 17 U.S.C. 705. It will appear in the Ofces online catalog. If you do not provide the information requested, registration may be refused or delayed, and you may not be entitled to certain relief, remedies, and benets under the copyright law.
3 Form PA
PA PAU EFFECTIVE DATE OF REGISTRATION
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DO NOT WRITE ABOVE THIS LINE. IF YOU NEED MORE SPACE, USE A SEPARATE CONTINUATION SHEET.
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NOTE
TITLE OF THIS WORK
In the Pines: The Bean Blossom Bluegrass Festival

PREVIOUS OR ALTERNATIVE TITLES
NATURE OF THIS WORK See instructions
Television documentary
NAME OF AUTHOR DATES OF BIRTH AND DEATH Year Born Year Died
a Serena Sun
1988
Was this contribution to the work a work made for hire?

Name of Country
Yes No
OR
Citizen of
China

Domiciled in
Yes No Yes No
Under the law, the author of a work made for hire is generally the employer, not the employee (see instructions). For any part of this work that was made for hire check Yes in the space provided, give the employer (or other person for whom the work was prepared) as Author of that part, and leave the space for dates of birth and death blank.
Storyboards
NAME OF AUTHOR
Michelle Funk
Name of Country
DATES OF BIRTH AND DEATH Year Born Year Died
1990
No
OR
Citizen of
United States
WAS THIS AUTHOR'S CONTRIBUTION TO If the answer to either THE WORK

Domiciled in
Yes Yes
No No
Screen play
NAME OF AUTHOR DATES OF BIRTH AND DEATH Year Born Year Died AUTHOR'S NATIONALITY OR DOMICILE
Name of Country
No
OR

Yes No Yes No
Serena Sun 2988 E. Amy Lane, Bloomington, IN 47401

TRANSFER If the claimant(s) named here in space 4 is (are) different from the author(s) named in space 2, give a brief statement of how the claimant(s) obtained ownership of the copyright.
DO NOT WRITE HERE OFFICE USE ONLY
3 4
YEAR IN WHICH CREATION OF THIS WORK WAS COMPLETED This information
2012
Year
must be given in all cases.
DATE AND NATION OF FIRST PUBLICATION OF THIS PARTICULAR WORK

Complete this information ONLY if this work has been published. Month Day Year Nation
COPYRIGHT CLAIMANT(S) Name and address must be given even if the claimant is the same as
the author given in space 2.
APPLICATION RECEIVED ONE DEPOSIT RECEIVED
TWO DEPOSITS RECEIVED
FUNDS RECEIVED
MORE ON BACK
Complete all applicable spaces (numbers 5-9) on the reverse side of this page. See detailed instructions. Sign the form at line 8.
DO NOT WRITE HERE Page 1 of pages
EXAMINED BY CHECKED BY
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Yes
CORRESPONDENCE
FOR COPYRIGHT OFFICE USE ONLY
DO NOT WRITE ABOVE THIS LINE. IF YOU NEED MORE SPACE, USE A SEPARATE CONTINUATION SHEET. PREVIOUS REGISTRATION Has registration for this work, or for an earlier version of this work, already been made in the Copyright Ofce?
Yes No If your answer is Yes, why is another registration being sought? (Check appropriate box.) If your answer is No, do not check box A, B, or C. a. This is the rst published edition of a work previously registered in unpublished form. b. This is the rst application submitted by this author as copyright claimant. c. This is a changed version of the work, as shown by space 6 on this application.
5
a b a b
If your answer is Yes, give: Previous Registration Number
1554863
Year of Registration
2012
DERIVATIVE WORK OR COMPILATION Complete both space 6a and 6b for a derivative work; complete only 6b for a compilation. Preexisting Material Identify any preexisting work or works that this work is based on or incorporates.
Motion picture is based on screen play previously registered under same title
6 7 8
Material Added to This Work Give a brief, general statement of the material that has been added to this work and in which copyright is claimed.
Moving visuals, graphics, and audio have been added to the written screen play to complete this television documentary
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Name Account Number
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CERTIFICATION* I, the undersigned, hereby certify that I am the

Check only one
author
other copyright claimant owner of exclusive right(s) authorized agent of
Name of author or other copyright claimant, or owner of exclusive right(s)
of the work identied in this application and that the statements made by me in this application are correct to the best of my knowledge. Typed or printed name and date If this application gives a date of publication in space 3, do not sign and submit it before that date.
Serena Sun
Date
11/12/2012
Certicate will be mailed in window envelope to this address:
Handwritten signature (X)
x
Name YOU MUST: Complete all necessary spaces Sign your application in space 8 SEND ALL 3 ELEMENTS IN THE SAME PACKAGE: 1. Application form 2. Nonrefundable ling fee in check or money order payable to Register of Copyrights 3. Deposit material MAIL TO: Library of Congress Copyright Ofce-PAD 101 Independence Avenue SE Washington, DC 20559-6230
Serena Sun
Number/Street/Apt
2988 E. Amy Lane

City/State/Zip Bloomington, IN 47401
*17 U.S.C. 506(e): Any person who knowingly makes a false representation of a material fact in the application for copyright registration provided for by section 409, or in any written statement led in connection with the application, shall be ned not more than $2,500.
Form PA Full Rev: 02 / 2009 Print: 06 / 2010 50,000 Printed on recycled paper U.S. Government Printing Ofce: 2010-357-993/80,085
PUBLIC TELEVISION (PTV) STANDARD AFTRA ENGAGEMENT CONTRACT FOR EDUCATIONAL/INFORMATIONAL TELEVISION BROADCASTS Dated: 4/22/2012 Between Sam Elliott hereinafter called "Performer," and Michelle Funk hereinafter called "Producer". Performer shall render artistic services in connection with the rehearsal and broadcast of INFORMATIONAL Program(s) designated below and preparation in connection with the part or parts to be played: This will be a two-part documentary film broadcast on PBS stations, preparation will include reading and rehearsing the script in advance of scheduled recording date. TITLE OF PROGRAM: In the Pines: The Bean Blossom Bluegrass Festival TYPE OF PROGRAM: Multipart documentary for public television APPLICABLE PAYMENT BASIS one day x two days three days____four days weekly LENGTH OF PROGRAM 113 minutes PLACE OF PERFORMANCE Bloomington, IN SCHEDULED FIRST AND FINAL DAYS OF ENGAGEMENT: 8/13/2012 NUMBER OF DAYS OF EMPLOYMENT: 1 day AFTRA CLASSIFICATION: Announcers off-camera (voice-over), more than 10 lines, program length 90-120 minutes PARTS TO BE PLAYED: Program narrator COMPENSATION: $933.00 ADDITIONAL COMPENSATION: ________________________________________________ Additional ETV Broadcast Use: Foreign Broadcast Use: Audio Visual Use: SUPPLEMENTAL MARKET UPGRADE FEE: (per Paragraph 24.B.) Execution of this agreement signifies acceptance by Producer and Performer of all of the above terms and conditions and those on the reverse hereof and attached hereto, if any.
Signed Performer Address Address/Phone Signed Producer Address Address/Phone
$__________________ $__________________ $75.00______________ $__________________
NOTE: Attach rehearsal schedule or deliver to Performer not later than the first reading session, (in the event of no reading session, not later than twenty-four (24) hours in advance of the first rehearsal session).
PUBLIC TELEVISION (PTV) STANDARD AFTRA ENGAGEMENT CONTRACT FOR EDUCATIONAL/INFORMATIONAL TELEVISION BROADCASTS Dated:4/22/2012Between Sam Elliott hereinafter called "Performer," and Michelle Funk hereinafter called "Producer". Performer shall render artistic services in connection with the rehearsal and broadcast of INFORMATIONAL Program(s) designated below and preparation in connection with the part or parts to be played: This will be a two-part documentary film broadcast on PBS stations, preparation will include reading and rehearsing the script in advance of scheduled recording date. TITLE OF PROGRAM: In the Pines: The Bean Blossom Bluegrass Festival TYPE OF PROGRAM: Multipart documentary for public television APPLICABLE PAYMENT BASIS one day x two days three days____four days weekly LENGTH OF PROGRAM 113 minutes PLACE OF PERFORMANCE Bloomington, IN SCHEDULED FIRST AND FINAL DAYS OF ENGAGEMENT: 8/13/2012 NUMBER OF DAYS OF EMPLOYMENT: 1 day AFTRA CLASSIFICATION: Announcers off-camera (voice-over), 10 lines or less, program length 90-120 minutes PARTS TO BE PLAYED: Funder credit voice-over COMPENSATION: $961.00 ADDITIONAL COMPENSATION: ________________________________________________ Additional ETV Broadcast Use: Foreign Broadcast Use: Audio Visual Use: SUPPLEMENTAL MARKET UPGRADE FEE: (per Paragraph 24.B.) Execution of this agreement signifies acceptance by Producer and Performer of all of the above terms and conditions and those on the reverse hereof and attached hereto, if any.
$__________________ $__________________ $75.00______________ $__________________
PUBLIC TELEVISION (PTV) STANDARD AFTRA ENGAGEMENT CONTRACT FOR EDUCATIONAL/INFORMATIONAL TELEVISION BROADCASTS Dated: 4/22/2012 Between Sam Elliott hereinafter called "Performer," and Michelle Funk hereinafter called "Producer". Performer shall render artistic services in connection with the rehearsal and broadcast of INFORMATIONAL Program(s) designated below and preparation in connection with the part or parts to be played: This will be a two-part documentary film broadcast on PBS stations, preparation will include reading and rehearsing the script in advance of scheduled recording date. TITLE OF PROGRAM: In the Pines: The Bean Blossom Bluegrass Festival TYPE OF PROGRAM: Multipart documentary for public television APPLICABLE PAYMENT BASIS one day x two days three days____four days weekly LENGTH OF PROGRAM 113 minutes PLACE OF PERFORMANCE Bloomington, IN SCHEDULED FIRST AND FINAL DAYS OF ENGAGEMENT: 8/13/2012 NUMBER OF DAYS OF EMPLOYMENT: 1 day AFTRA CLASSIFICATION: Announcers off-camera (voice-over), 10 lines or less, program length 90-120 minutes PARTS TO BE PLAYED: Promo voice-over COMPENSATION: $961.00 ADDITIONAL COMPENSATION: ________________________________________________ Additional ETV Broadcast Use: Foreign Broadcast Use: Audio Visual Use: SUPPLEMENTAL MARKET UPGRADE FEE: (per Paragraph 24.B.) Execution of this agreement signifies acceptance by Producer and Performer of all of the above terms and conditions and those on the reverse hereof and attached hereto, if any.
$__________________ $__________________ $75.00______________ $__________________
PERSONAL RELEASE Participant Name (print name) _____Yang Sun____________ Program Title (Program) ____In the Pines: The Bean Blossom Bluegrass_____ Production Date(s): _________8/6/2012_______ Location: __________Bill Monroe Music Park___________ In consideration of my appearance on the above Program and other good and valuable consideration, receipt of which is hereby acknowledged, I hereby authorize Producer/Production Entity: __Serena Sun_______(Producer) to record my name, likeness, image, voice and participation in and performance on film, tape or otherwise for use in the above Program or parts thereof. I agree that the Program may be edited and otherwise altered at the sole discretion of the Producer and used in whole or in art for any and all broadcasting, audio/visual, and/or exhibition purposes in any manner or media, in perpetuity, throughout the world. I understand that I have no rights to the Program or any benefits derived therefrom. I consent to the use of my name, likeness, voice and biographical material about me in connection with the promotion of the Program. I represent that I have the right, capacity, and authority to enter into this agreement (the Agreement) and that my participation and performance and the rights I have granted in this Agreement will not conflict with or violate any commitment or understanding I have with any other person or entity. I agree to indemnify and hold harmless Producer from and against all claims, losses, expenses and liabilities of every kind including reasonable attorneys fees arising out of the inaccuracy or breach of any provision of this Agreement. I expressly release Producer from any and all claims arising out of the use of the Program. This Agreement will in all respects be governed by and interpreted, construed and enforced in accordance with the laws of the State of _________Indiana_________. This Agreement represents the entire understanding of the parties and may not be amended unless mutually agreed to both parties in writing. Participant Signature _________________________ Date: ___8/6/2012______ Address ____1 Easy Amy Lane_______ City, State, Zip __Bloomington, IN, 47401__ Social Security # or Federal ID # _______123456789______________________ Phone: _____812-123-5678________
I represent that I am the parent and/or guardian of the minor who has signed above or is the participant in the Program. I agree that we both shall be bound by this Agreement. Parent/Guardian _____ _______ Date: ________________
PROPERTY USAGE AND RELEASE AGREEMENT

I hereby grant permission to use real property, improvements and adjacent areas located at Address: Bill Monroe Music Park-Campground
5163 N State Road 135 Morgantown, IN 46160-8898

(the Premises) for the purpose of photographing and recording scenes (interior and exterior) for the use of Production/Production Entity: Funky Sun Productions (Producer) and others. Permission includes, but is not limited to the right to bring personnel, equipment and property onto the Premises, and the right to remove same from the Premises after completion of work. I agree not to interfere with Producers work on the Premises. I represent that I own the Premises or otherwise have the authority to enter into this Agreement and grant these rights. Permission is granted for the following consideration: $1,000 payable on first date of shooting, June 9, 2012 and credit inclusion under Special Thanks to Bill Monroe Music Park-Campground The Premises will be used, commencing on or about the following start date: June 9, 2012 (subject to change in the even of changes in the production schedule or because of weather conditions), and continuing until completion of all scenes and work to be completed on the Premises, currently scheduled to end on end date: Jun 16, 2012. Producer agrees to restore the Premises to the condition in which they were delivered, reasonable wear and tear excepted. Producer agrees to use reasonable care to prevent damages to the Premises, and will maintain standard production insurance to protect me and Producer against claims or demands of any person arising out of personal injuries, death or property damage caused by the negligence of Producers employees, agents, or equipment in connection with the use of the Premises. Producer shall not be liable for any indirect, incidental, or consequential damages including, but not limited to, loss of business, loss of use and loss of profits of any party, including me. Producer shall own any and all rights to all photographs and recordings made by Producer on or about the Premises, including any photography or recording of any identifying names or signs appearing thereon, and will have the worldwide right to use and license others to use such photographs and recordings in any manner whatsoever, including, but not limited to, the right to exhibit, record, edit, and otherwise alter at the sole discretion of the Producer such photographs and recordings or any portion thereof, in any form of media whatsoever, without limitation or restriction. Agreed to by: Name ________________________ Address ______________________ _____________________________ Date _________________________ ____________________________ Social Security # of Federal I.D. # Producer ______________________ Address _______________________ ______________________________ Date __________________________
PERSONAL RELEASE (With Payment) Participant Name (print name) _Richard D. Smith________________________________ Program Title (Program) ___ In the Pines: The Bean Blossom Bluegrass ___________ Production Date(s): _6/6/126/8/12___________________________________________ Location: _Home of Mr. Smith, Rocky Hill, NJ_________________________________ In consideration of my appearance on the above Program and other good and valuable consideration, receipt of which is hereby acknowledged, I hereby authorize Producer/Production Entity: ___Funky Sun Productions_____________________ (Producer) to record my name, likeness, image, voice and participation in and performance on film, tape or otherwise for use in the above Program or parts thereof. I agree that the Program may be edited and otherwise altered at the sole discretion of the Producer and used in whole or in art for any and all broadcasting, audio/visual, and/or exhibition purposes in any manner or media, in perpetuity, throughout the world. I understand that I have no rights to the Program or any benefits derived therefrom. I consent to the use of my name, likeness, voice and biographical material about me in connection with the promotion of the Program. I represent that I have the right, capacity, and authority to enter into this agreement (the Agreement) and that my participation and performance and the rights I have granted in this Agreement will not conflict with or violate any commitment or understanding I have with any other person or entity. I agree to indemnify and hold harmless Producer from and against all claims, losses, expenses and liabilities of every kind including reasonable attorneys fees arising out of the inaccuracy or breach of any provision of this Agreement. I expressly release Producer from any and all claims arising out of the use of the Program. In consideration for my appearance and/or performance in the Program and all rights granted hereunder, I shall receive $ 500_______________. This Agreement will in all respects be governed by and interpreted, construed and enforced in accordance with the laws of the State of _Indiana______________. This Agreement represents the entire understanding of the parties and may not be amended unless mutually agreed to both parties in writing. Participant Signature _____________________________________ Date: ____________ Address _5555 Nondescript St_________________ City, State, Zip _Rocky Hill, NJ 08553
Social Security # or Federal ID # _555-12-3456_________________________________ Phone: ___(555) 123-4567_______ I represent that I am the parent and/or guardian of the minor who has signed above or is the participant in the Program. I agree that we both shall be bound by this Agreement. Parent/Guardian __________________________________ Date: ___________________
PERSONAL RELEASE (With Payment) Participant Name (print name) _Dr. Neil Rosenberg______________________________ Program Title (Program) ___ In the Pines: The Bean Blossom Bluegrass ___________ Production Date(s): _5/30/126/1/12__________________________________________ Location: _Home of Dr. Rosenberg, St. Johns, NL______________________________ In consideration of my appearance on the above Program and other good and valuable consideration, receipt of which is hereby acknowledged, I hereby authorize Producer/Production Entity: ___Funky Sun Productions_____________________ (Producer) to record my name, likeness, image, voice and participation in and performance on film, tape or otherwise for use in the above Program or parts thereof. I agree that the Program may be edited and otherwise altered at the sole discretion of the Producer and used in whole or in art for any and all broadcasting, audio/visual, and/or exhibition purposes in any manner or media, in perpetuity, throughout the world. I understand that I have no rights to the Program or any benefits derived therefrom. I consent to the use of my name, likeness, voice and biographical material about me in connection with the promotion of the Program. I represent that I have the right, capacity, and authority to enter into this agreement (the Agreement) and that my participation and performance and the rights I have granted in this Agreement will not conflict with or violate any commitment or understanding I have with any other person or entity. I agree to indemnify and hold harmless Producer from and against all claims, losses, expenses and liabilities of every kind including reasonable attorneys fees arising out of the inaccuracy or breach of any provision of this Agreement. I expressly release Producer from any and all claims arising out of the use of the Program. In consideration for my appearance and/or performance in the Program and all rights granted hereunder, I shall receive $ 500_______________. This Agreement will in all respects be governed by and interpreted, construed and enforced in accordance with the laws of the State of _Indiana______________. This Agreement represents the entire understanding of the parties and may not be amended unless mutually agreed to both parties in writing. Participant Signature _____________________________________ Date: ____________ Address _51 Place St_________________ City, State, Zip _St Johns, NL A1B 3XB____
Social Security # or Federal ID # _NA_________________________________________ Phone: ___(665) 123-4567_______ I represent that I am the parent and/or guardian of the minor who has signed above or is the participant in the Program. I agree that we both shall be bound by this Agreement. Parent/Guardian __________________________________ Date: ___________________
PERSONAL RELEASE (With Payment) Participant Name (print name) _Ted Olson_____________________________________ Program Title (Program) ___ In the Pines: The Bean Blossom Bluegrass ___________ Production Date(s): _6/4/126/5/12___________________________________________ Location: _Home of Mr. Olson, Johnson City, TN_______________________________ In consideration of my appearance on the above Program and other good and valuable consideration, receipt of which is hereby acknowledged, I hereby authorize Producer/Production Entity: ___Funky Sun Productions_____________________ (Producer) to record my name, likeness, image, voice and participation in and performance on film, tape or otherwise for use in the above Program or parts thereof. I agree that the Program may be edited and otherwise altered at the sole discretion of the Producer and used in whole or in art for any and all broadcasting, audio/visual, and/or exhibition purposes in any manner or media, in perpetuity, throughout the world. I understand that I have no rights to the Program or any benefits derived therefrom. I consent to the use of my name, likeness, voice and biographical material about me in connection with the promotion of the Program. I represent that I have the right, capacity, and authority to enter into this agreement (the Agreement) and that my participation and performance and the rights I have granted in this Agreement will not conflict with or violate any commitment or understanding I have with any other person or entity. I agree to indemnify and hold harmless Producer from and against all claims, losses, expenses and liabilities of every kind including reasonable attorneys fees arising out of the inaccuracy or breach of any provision of this Agreement. I expressly release Producer from any and all claims arising out of the use of the Program. In consideration for my appearance and/or performance in the Program and all rights granted hereunder, I shall receive $ 500_______________. This Agreement will in all respects be governed by and interpreted, construed and enforced in accordance with the laws of the State of _Indiana______________. This Agreement represents the entire understanding of the parties and may not be amended unless mutually agreed to both parties in writing. Participant Signature _____________________________________ Date: ____________ Address _PO Box 70435_________________ City, State, Zip _Johnson City, TN, 37614_
Social Security # or Federal ID # _555-18-3456_________________________________ Phone: ___(575) 163-4567_______ I represent that I am the parent and/or guardian of the minor who has signed above or is the participant in the Program. I agree that we both shall be bound by this Agreement. Parent/Guardian __________________________________ Date: ___________________

In The Pines: Documentary Show Book

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In

the Pines: The Bean Blossom Bluegrass Festival

Scope In the Pines: The Bean Blossom Bluegrass Festival

In the Pines | Scope | 2

Contact, Resources, and Content Design

In the Pines | Scope | 3

In the Pines | Scope | 4

In the Pines | Scope | 5

In the Pines | Scope | 10

In the Pines | Scope | 11

In the Pines | Scope | 14

In the Pines | Scope | 15

In the Pines: Gantt chart

In the Pines: Summary budget

200,000.00 200,000.00 289,211.15 689,211

In the Pines: Lineitem budget

person person person person person

weeks weeks weeks weeks weeks 7.65%

$1,250 $1,000 $1,000 $450 $450 $93,775

3,875 31,000 31,000 13,950 13,950 21,240 Total Producers

Jennifer Talbott, Production Manager Benefits & Taxes

$1,000 per week 31,000 $31,000 7,022 Total Production Management

$1,008 $1,008 $1,008

1,008 101 290

performer performer performer

Fee Fee Fee

$500 $500 $500

per day per day per day

500 500 500

$518 $1,036 $1,036

1,036 104 193

Page 2 of 6 Talent for funder credits

$518 $1,036 $1,036

1,036 104 193 Total Talent

Researcher/Research Services Richard D. Smith, Consultant Salary Taxes and Benefits

$500 $350 $3,700

per week per week

3,000 700 283 Total research

Acquired material, rights, contracts

item item item show item show

use use use photos use locations

$5,000 $5,000 $5,000 $260 $570 $1,000

Page 3 of 6 Roundtrip Airfare LAX-IND Bloomington, IN Hotel Bloomington, IN Meals/PerDiem 1 1 1

person(s) person(s) person(s)

RT (s) night(s) day(s)

$250 $125 $20

per RT per night per day

Field Travel- Interviews

2,100 500 80 300 700 250 40 200 500 500 80 300

person(s) person(s) person(s) RV

day(s) 8-day event night(s) day(s)

$20 $214 $21.14 $280

per day per day per night per day

1,440 428 1,036 2,240 Total Travel

person(s) person(s) person(s) person(s)

day(s) day(s) day(s) day(s)

$500 $500 $300 $300

per day per day per day per day

4,000 4,000 2,400 2,400

person(s) person(s) person(s) person(s)

day(s) day(s) day(s) day(s) 7.65%

$400 $400 $250 $250 $23,200

3,200 3,200 2,000 2,000 5,255 Total Field Personnel