Rolling Stone USA - 13 March 2014 issue - The BEATLES cover
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Top photograph by Mark Seliger
RECORD REVIEWS
Fifty Shades of Cray
Beyoncé surprises the world with
an excellent, sexed-up LP
MOVIE REVIEWS
‘The Wolf of Wall Street’
Martin Scorsese’s brilliant take
on a financial and moral crisis
FEATURES
ROCK & ROLL
DEPARTMENTS
ON THE COVER The Beatles (Ringo Starr, John Lennon, Paul McCartney and George Harrison) photographed in Los Angeles in
August 1964, by Bill Ray/Time & Life Pictures/Getty Images.
Bruce’s Big Surprise
An exclusive Q&A with
Springsteen on his unexpected
new album – and what’s next
Nirvana, Kiss and More
Join Hall of Fame
Induction ceremony hits
Brooklyn’s Barclays Center for
first time ever in April
13
18
The Great Marijuana
Experiment
As Washington and Colorado
create rules and regulations for
selling legal marijuana, across
the country pot arrests are near
record highs By Bruce Barcott
The Beatles in America
Fifty years ago, they came to the
U.S facing media disdain and a
clueless record label, and set of
the biggest explosion rock has
ever seen By Mikal Gilmore
The Unforgettable Fire
Win Butler wants to make Arcade
Fire the world’s biggest band –
whether his bandmates like it
or not By Josh Eells
The WikiLeaks Mole
How a teenage misfit became the
keeper of Julian Assange’s deepest
secrets – only to betray him
Page 48
Margot Robbie in
The Wolf
of Wall Street
Page 22
Nirvana lead the Hall of Fame inductees
Page 18
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6 | Rol l i ng St on e | rollingstone.com Ja n ua ry 16, 2014
In a wide-ranging conversation, the former Pavement frontman tells RS’s Shef eld all about his new album,
Wig Out at Jagbags – plus his feelings on Nineties
nostalgia, his young daughters’ favorite pop music and why he totally hates Spotify
Q&A: STEPHEN MALKMUS
MEETS ROB SHEFFIELD
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Eddie
Vedder
With the world still fi ghting of a global
recession, we name a handful of surprising
reforms that millennials should be pushing
for, like guaranteeing a basic income for all
FIVE RADICAL IDEAS
FOR THE ECONOMY
Occupy Wall Street protesters
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RALPH J GLEASON 1917-1975 HUNTER S THOMPSON 1937-2005
POLITICS
JOHNNY CASH’S
LOST ALBUM
Back in the early 1980s, Cash recorded
an album called Out Among the Stars but
never released it With the LP fi nally due
in stores in March, you can hear one song
right now at rollingstone.com
pest Hotel, and new albums from
U2, Adele, St Vincent and more.
Trang 8and creative as the city that
produced him [“The Second
Coming of Marshall Mathers,”
RS 1197] I thoroughly enjoyed
Brian Hiatt’s interview, in
par-ticular reading that Eminem’s
ultimate dream is to be
respect-ed by other MCs There’s a pro
Sharon Bigelow, via the Internet
i’ m a l ong t i m e e m i n e m
fan – my only complaint about
the excellent story was that it
wasn’t long enough Great to
read that Eminem is clean and
sober and taking care of
him-self I don’t think I could
han-dle losing him to drugs
Stacy Kirk Nokomis, Saskatchewan
Manson’s World
r e a lly gr e at w r iting by
Erik Hedegaard [“Manson
Today,” RS 1197] This story was
as much about his own journey
into Charles Manson’s world as
it was a peek inside the mind
of a killer At the end, I was left
with one question: Did
Hede-gaard change his number?
Michael Epstein, via the Internet
how ca n you gi v e m a nson
the time of day? He should have
had a stake through his heart
40 years ago Those sounds you
hear are his victims spinning in
their graves
James B Doris
Washington Township, NJ
it’s obv ious “sta r” needs
a crash course in history out Sharon Tate, no one would know or care about Manson or his wacko would-be concubine
With-Donna Di Giacomo, Philadelphia
ther e a r e sev er a l r isk s inherent in participatory jour-nalism, especially when you get touchy-feely with a nut job like Manson If I was Hedegaard, I’d proceed directly to coun-seling, or call a priest or an ex-orcist – the devil has no doubt penetrated your soul, brother
Scott Marshutz, Dana Point, CA
in hedega ard’s fine cle on Manson, he wrote that I
arti-am “battling cancer.” I’m sure
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this was an innocent mistake
on his part I had successful surgery in May 2012 and no longer have cancer
Vincent Bugliosi, Los Angeles
JFK’s Legacy
robe r t f k e n n e dy j r ’s story about his uncle left me feeling cheated and frustrat-
ed [“JFK’s Vision of Peace,” RS 1197] JFK stood up to crack-pots like Allen Dulles, and we know where that got him As
a Canadian, I’m worried about the U.S.’s future Americans seem to remain oblivious to the fanatics in their midst
Leslie Cameron Cremona, Alberta
it was powerful to read how JFK and Nikita Khrush-chev collaborated to rid the world of nuclear weapons JFK was loathed by the era’s war profiteers, something Presi-dent Obama shares as he ne-gotiates with Iran
Rich Eyre, Denver
The Young Guns
th a nk s for the engaging look at millennials [“Snapshot
of a New Generation,” RS 1197] I’m a proud member of that open-minded and forward-thinking age group As states around the country move to decriminalize and legalize marijuana and end bans on gay marriage, millennials’ goal
of ending strict uniformity suddenly looks possible Sure, we’re just picking up where the Woodstock generation left off, but at least we are harnessing our optimism
Sarah Beck, Bryant, AR
Indie Tragedy
i ’ m g r a t e f u l t o d av i d Browne for his sensitive report-ing on the Yellow Dogs tragedy [“A Nightmare in Brooklyn,”
RS 1197] That this talented band would escape Iran only to
be gunned down in burg defies comprehension
Williams-Kim Orleans, via the Internet
Roots Rockers
y es! the pictur e a nd the story about the Avett Brothers,
“American Pickers” [RS 1197], were downright amazing Ev-eryone is smiling while making music This is how it should be
Jennifer Sabin, via the Internet
i n on e of the str a ngest con trov er sies i n bob Dylan’s career, French Rolling Stone’s reprint of his Sep-tember 2012 RS cover story has caused the singer to face charges of “public insult and inciting hate.” In November, the Paris-based Council of Croats in France, a Croatian commu-nity association, took issue with some of Dylan’s comments and filed the complaint in French court “This country is just too fucked up about color,” Dylan told writer Mikal Gilm-ore, discussing racism in
America “It’s the height
of insanity If you got
a slave master or Klan
in your blood, blacks can sense that Just like Jews can sense Nazi blood, and the Serbs can sense Croatian blood.”
French prosecutors
fi led charges against Dylan and French Rolling Stone publisher Michel Birnbaum “It’s a tempest in a glass of water,”
says Birnbaum “It drove me mad, because I’m anti every form
of racism I couldn’t stand being frivolously accused of such heinous crimes.” France has greater restrictions on freedom
of speech and harsher racial-hatred laws than the U.S – any complaint requires an investigation It’s unclear if Dylan will be forced to testify, though he’d likely face little more than a fi ne if convicted Ironically, Dylan was awarded the Legion of Honor in France a few days after he was charged
A spokesman for Dylan declined to comment on the matter
Dylan’s French Trouble
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10 | Rol l i ng St on e | rollingstone.com Ja n ua ry 16, 2014
The ZZ Top frontman picks fi ve all-time classics
Jimmy Reed
“Honey, Don’t Let Me Go”
I’ve been playing Jimmy Reed songs since I was 13
We found this song on an old 78 at a rummage sale somewhere Sure enough, the so-called B side became my favorite
Otis Redding
“Ole Man Trouble”
Steve Cropper’s guitar intro is so simple, yet it’s got this internal sophistication that makes
it nearly impossible for anyone else to reproduce Lord knows I’ve tried!
theme song from Shaft.
The Rolling Stones
“Start Me Up”
We use this as our walk-in music on the road It’s one of the greats Keith Richards’ and Ron Wood’s guitar sound keeps on dragging us back, man
DJ DMD feat Fat Pat and Lil’ Keke
That collision became ZZ Top’s “I Gotsta Get Paid.”
Billy Gibbons
GUEST LIST
3 St Vincent “Birth in Reverse”
Indie shredder Annie Clark, a.k.a St Vincent, is back to blow minds with a tightly wound freak-pop groove featuring lots of her signature gnarly guitar breaks We can’t wait to hear the rest of her fourth album, due out in February
and the Jicks
“Cinnamon and Lesbians”
“I’ve been tripping my face of since breakfast!” sings the ex-Pavement frontman on this lazy-afternoon nugget; the jammy echoes of the Dead make you believe it
“American Skin (41 Shots)”
One of Bruce’s most powerful topical songs – a meditation on violence and fear inspired by the police shooting of
an African immigrant that Spring steen has been performing since 2000 – gets the studio version it deserves
with a lifelike mannequin
of himself in the eerie,
stylish clip for the French
robots’ sleek single
1 Beyoncé
“Blow”
Queen B’s new surprise-released album
is packed with enough hooks to last us all
the way to 2015 First, check this bouncy,
vintage-Michael Jackson-style sex jam, which
will have you singing along after one listen.
7 Lorde “No Better”
More proof the New Zealand teen behind “Royals” is anything but
a one-hit wonder This nonalbum single is a giddy electro-pop star-burst with a line destined for high school yearbook pages: “Go all the way/Have your fun/Have it all.”
4 Jack White
“We’re Going
to Be Friends” video
White’s country-blues version
of an old White Stripes fan favorite was a highlight of last year’s concert for the Coen
brothers’ Inside Llewyn Davis
See why by watching his shot performance online
Trang 12W i n e C l u b
Three boTTles from our award-winning California vineyard shipped To you quarTerly.
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Ja n ua ry 16, 2014 rollingstone.com | Rol l i ng St on e | 13
Inside Bruce’s Big Surprise
Bruce springsteen is calling from his New Jersey home, a few weeks
be-fore taking the E Street Band to South
Africa He’s spent part of the morning
lis-tening to some of the countless unreleased
tracks that he keeps around “I take them
out just to amuse myself,” he says “Very
often, if I have nothing to do late at night,
BLOOD BROTHERS Springsteen with Tom Morello, who played a major role on
High Hopes
ROCK & ROLL HALL OF FAME THE NEW CLASS PG 18 | Q&A JOSH HOMME PG 26
I’ll bring them up and look at the dif erent bodies of music.” That’s exactly how Spring-steen began putting together his new album,
High Hopes (out January 14th), more than
a year ago The LP is a super grab bag of cover songs, rescued outtakes and brand-new recordings of live favorites such as
“The Ghost of Tom Joad” and “American Skin
An exclusive Q&A with Springsteen
on his unexpected new album – and what’s next
Trang 14(41 Shots).” The common thread: “They
didn’t have a formal presentation on a
studio record,” says Springsteen Over the
next hour, he talked about the recording
of High Hopes, his bond with Tom
Morel-lo, his touring plans and his next album
This is the first time you’ve created an
album out of older material How did it
come together?
The best way to describe it would be it’s
a bit of an anomaly – but not that much I
don’t really work completely linearly, like
a lot of people do You have to imagine that
at the end of the tour, I go into a studio
and I’m surrounded by paintings that are
sort of half-finished There’s something
wrong with this one that I couldn’t finish,
and it’s just sitting there, or this one didn’t
fit into the bigger project I was working
on I might also sit down and write 12
new songs or something – but as I’ve gone
along and amassed a large body of both
unreleased and unfinished projects, that
happens strictly less and less I go in my
studio, where I’m surrounded by
hopeful-ly interesting things that I think our fans
might be interested in hearing, and I then
proceed to work on them and see if I can
bring something to fruition
Tell me about the sessions in
Austra-lia in early 2013, when Tom Morello was
subbing in for Steve Van Zandt on guitar
We recorded “High Hopes” there, as
well as a cover of the Saints’ song “Just
Like Fire Would” that we were playing in
Australia I’ve had that on my radar for 20 years or so That plugged into the rest of the material that I had, sitting by the side
of the road, waiting to see if I could turn it into something that felt complete
Morello plays on eight songs How did his participation change the album?
He took that music and jolted it into the now He’s one of the few guitarists that cre-ates a world by himself It’s like, “Whoa!”
Edge does it; obviously Pete Townshend, Jimi Hendrix, the great guitarists John-
ny Marr from the Smiths had that ability
It’s funny – the E Street Band is a pretty
big house, but Tom Morello builds on other room when he’s up there
an-He has so much creativity, and he came a filter for this material – I ran all of the music through him, and he would send
be-it back to me wbe-ith a very current slant I’m not sure if the record would exactly exist without his influence He allowed me to tie
it all together in a way that I’ve been ing for that I hadn’t found Now it feels like
look-a record to me
The first time that you heard Rage Against the Machine, could you have imagined that guitar style working in the
E Street Band?
No Not immediately But the E Street Band casts a pretty wide net Our in-fluences go all the way back to the early primitive garage music, and also we’ve had everything in the band from jazz players to Kansas City trumpet players to Nils Lofgren, one of the great rock gui-
tarists in the world Our ability to spread out, stretch out and gather things in from
a lot of areas where you might not expect
is pretty good
You guys first played together when rello joined the band for “The Ghost of Tom Joad” at a show in California in 2008 What you did that night is pretty similar
Mo-to what wound up on the album.
That was something we worked out
at the soundcheck that day We played it maybe two or three times at the sound-check, and then we played it live Then
it became, “Where does this lead?” It tended the power of the band
ex-“Down in the Hole” sounds like it’s about 9/11 Did you write that for “The Rising” in 2002?
Sometimes you end up with a choice between two things that you like a lot I think I had maybe that and “Empty Sky.”
But The Rising had 15 songs on it, and it
felt long enough
Then there’s “Frankie Fell in Love,” which is a really euphoric pop song – very diferent from the rest of the album.
That was a song that we cut for [2007’s]
Magic, and we didn’t use that version I
just loved it lyrically It’s a great little es-type rock song, and I always had it sit-ting around as one of my favorite straight-
Fac-up E Street Band rock songs So we went in and did some new cutting on that
“Harry’s Place” sounds like it’s set in a whorehouse.
That was my take on the Bush years That would have perhaps originated
around Magic, because that’s where I was
writing about the last days of the Bush years Then Tom came in and cut on top
of it, and we remixed it and recut some things on it
Your cover of Suicide’s “Dream Baby Dream” is something you played on the
“Devils & Dust” tour in 2005 What made you return to that song?
That was always a song of theirs I
deep-ly loved When I went to do the Devils & Dust tour, I decided to do it on my own I
thought to myself, “How would Roy bison sing this song?” What made Roy’s music great is that it was so mainstream, but it had a very strange underbelly that David Lynch tapped into for his films I thought, “How would he approach this song? Maybe ” So I took it from there and kind of connected it to my own work
Or-Your producer, Ron Aniello, loaded the songs up with a lot of strings and drum loops You seem to be moving away from the more minimalist sound of “The Ris- ing” and “Magic.”
“I’m not sure if this record would exactly exist without
Tom Morello’s influence,” says Springsteen.
Morello and Springsteen
at 2009’s Rock and Roll
Hall of Fame anniversary
concerts in New York
Trang 16
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That would probably have to do with the producers Brendan O’Brien’s sound picture, there was a denseness to it I real-
ly liked him He made the recordings very intense, and I think that’s what we were trying to reach for Before that, in the Nineties, we lost our recorded intensity
We went from being good producers in the Eighties to not being very good at produc-ing our own material in the Nineties We weren’t trying enough We needed to in-teract with other people who were making records all the time and had a finger on the way that modern records were sounding
When Ron started, he brought out a whole diferent set of skills that was just right for what I’ve been working on lately
He has a really vast array, a very big sound
palette Very creative I think Working on
a Dream [produced by O’Brien] was ably our biggest production, but on Wreck- ing Ball [produced by Aniello], we pulled
prob-in lots of loops and thprob-ings I hadn’t used previously to that degree I’m always look-ing for ways to extend and enhance the band on our records and when we play live
You cut a lot of this album while on tour.
You’ve never done that before.
Previously, everything was like when I was a kid – I needed the peas to be on one plate and the corn had to be on another plate, and I didn’t like them to touch That was where I was coming from in the stu-dio Everything was very segregated Re-cording on tour was just something we didn’t do You played You weren’t going
to go in a studio You didn’t have the
ener-gy, or the scheduling wasn’t right But this time, we got out there and we got excited I was in the middle of thinking about a lot of these songs, and suddenly I found a hook
to bring them to life When I found that, I was anxious to get to work on them
Are you thinking about asking Tom rello to join the E Street Band full-time?
Mo-I think right now we are just playing gether when the opportunity arises We have a surfeit of great guitarists Steve Van Zandt, the poor guy, doesn’t get to play enough as it is, with me hogging a lot
to-of the solos Steve has always been a lous guitarist – from the day when we were both teenagers, he led his band and was al-ways a hot guitar player Of course, Nils is
fabu-a guy with fabu-a world of his own fabu-at his tips Tom, once again, does something else
finger-on the instrument, and he’s a great tion We’re enjoying it as it stands I’m ex-cited that he’s going to be out with us on our next stretch of the road
addi-You haven’t played the U.S in over a year What are the chances that you’ll come back here this summer?
I don’t know It’s not impossible We’re looking around to see what we might do
I don’t want to say yes, because I don’t want to disappoint people – but I certain-
ly don’t want to rule it out, either We’re looking closely at it And there’s places we missed on the last tour As much as we played, we didn’t get to Texas, where I love
to play There were some other places we didn’t get to on that entire tour It might be fun to get back to some of those places It would be nice to get back in the States if it seemed like it was going to work out for everybody involved
You’ve released deluxe editions of
“Darkness on the Edge of Town” and “Born
to Run” in the past few years Are you going to revisit any of your other albums?
One of the things we’re looking at is a
River project, sort of similar to the one
we did with Darkness It depends on the
material that’s around and what it needs
With Darkness, we were able to release a
lot of material that hadn’t been released
up to that point That was fun to do But there’s just a lot of things I keep all these things wide open I’m in search of the con-text for diferent things to be released, and what feels right timing-wise – what feels like it’ll be interesting to your fans at a certain moment, or what it feels like you need to do at a particular time This is the way that I work now It involves all of these ideas, going on all of the time
Are you still working on your memoir?
I’ve done some writing That kind of began with the little essay I wrote about the Super Bowl that we posted online I thought, “That’s an interesting voice.” I wrote a little bit more using that voice And I wouldn’t call it a book yet It’s mis-cellaneous writings
You’ve previously discussed a whole other batch of new songs you wrote before
“Wrecking Ball.” Might you return to those
at some point?
That was a very developed group of solo songs in a diferent sort of genre that
I worked on for quite a long time
previ-ous to Wrecking Ball, but then Wrecking Ball took precedence That’s kind of sitting
there at the moment – though I’m
actual-ly working on that record now
Are you saying that album might come out as your next release?
I don’t know [Laughs] That’s the only
thing in this entire conversation where I don’t know exactly what I’m doing
You took a seven-year break from releasing new studio albums between “The Ghost of Tom Joad” in 1995 and “The Ris- ing” in 2002 But lately, you seem to be releasing music at a much faster clip What’s driving that?
It’s the old story that “the light from the oncoming train focuses the mind.”
You see a train coming?
Don’t you? How old are you?
Trang 1818 | Rol l i ng St on e | rollingstone.com
The Nineties alternative revolution entered of cial music history last month, when the Rock and Roll Hall of Fame announced that Nirvana were joining its ranks, leading a diverse class
of inductees ranging from Kiss to Cat Stevens The ceremony will take place on April 10th at Brooklyn’s Barclays
Nirvana Hit Hall of Fame
CLASS OF 2014
Hall and Oates
Daryl Hall says he was
stunned by the news “I’ve
always been on the other
side of the fence from the
powers-that-be,” he says
“This generation of people
are looking at me and
John in a dif erent way.”
Peter Gabriel
“It’s a huge honor, since it’s for your whole body of work and not just a spe-cifi c project,” he says “I’ll probably perform – but if
I do ‘In Your Eyes’ it’ll take
10 minutes, and that might
be all the time I have.”
Linda Ronstadt
The country-rock great was recently diagnosed with Parkinson’s disease, leaving her sadly unable
to sing “It’s likely that I won’t be able to make it
to New York,” she says
“Travel is very dif cult.”
Kiss
Gene Simmons says he’s willing to reunite with estranged bandmates Ace Frehley and Peter Criss at the induction ceremony:
“They were equally tant in the formation of the band.”
impor-Cat Stevens
“I wasn’t very prepared for this,” says the singer-songwriter “I don’t see myself as a rock star But it’s tickled me a lot It’s great to know there are people out there who ap-preciate my work.”
The E Street Band
Bruce Springsteen was inducted as a solo artist
15 years ago, but now his longtime backing
band is receiving the Award for Musical
Excellence, given to sidemen, producers and
other key contributors “It’s always a little
bit strange when people assume you’re
al-ready in,” says guitarist Steven Van Zandt
“That little bit of awkwardness now will
be gone And it’s an honor to be part of
the same institution as all of my heroes.”
“For once, I’m speechless,” said drummer Dave Grohl “From the basements, to the dingy clubs, to the broken-down vans, to the Rock and Roll Hall of Fame I’d like to thank the committee not only for this induction but also for recognizing Nirvana for what we were: pure rock & roll.” Added bassist Krist Novoselic,
“Thank you most of all to Kurt Cobain.”
Grohl and Novoselic haven’t said whether they will play any Nirvana classics at this year’s ceremony They have not performed any
of Cobain’s songs in public since the singer’s death But the pair reunited in 2012 to back Paul McCartney on a new tune, and Grohl is no stranger to performing at Hall of Fame inductions – at last year’s event, he rocked out with Rush dressed in a Seventies-style kimono and wig
Trang 20
20 rollingstone.com
Il a n z e c hor y, t h e 2 9 -y e a r- ol d
hypnotherapist who co-founded the
hip-hop lyrics website Rap Gen ius,
would rather discuss just about anything
than the fact the National Music Publishers’
Association is accusing him of copyright
infringement.“Everybody should chill
out,” he says “I wish the NMPA
would take a deep breath.”
Zechor y and his two
co-founders, who met as
under-grads at Yale, have spent four
years building a place for users
to read and annotate the
lyr-ics to thousands of songs What
began as a “hip-hop
Wikipe-dia” has expanded its mission to
illuminating the full text of famous
poems, novels, political speeches and more
Says Zechory, “Rap Genius is one of the most
ambitious humanities projects ever attempted
on the Internet.”
With monthly traf c in the millions,
Zecho-ry and his partners were able to pull in $15
million in fi nancing from venture-capital fi rm
Andreessen Horowitz in 2012 The site’s
pop-ularity has also given them an in with rap’s A
list: Last October, some Rap Gen ius members
attended Kanye West’s proposal to Kim
Kar-dashian at San Francisco’s AT&T Park
Co-founder Mahbod Moghadam, meanwhile, has drawn attention by picking fi ghts with the likes of Mark Zuckerberg, who reported-
ly objected after Moghadam Instagrammed
a photo of the Facebook founder hanging out with Nas “Zuck can suck my dick,” Moghad-
am told one reporter (He later blamed his havior on a benign brain tumor.)
be-But Rap Genius’ founders have a bigger problem on their hands: They haven’t bothered licensing any of the material on their site
In November, the NMPA sent down notices to Rap Genius and
take-49 other sites Rap Genius ters that its work falls under
coun-“fair use” – a legal exception that allows researchers and journalists to reproduce copy-righted material under certain circumstances But several law-yers contacted by RollingStone argue that a multimillion-dollar company like Rap Genius clear-
ly does not fi t the bill Says Josh Grier, ney for acts such as Wilco and Elvis Costello,
attor-“It’s pretty cut-and-dry.”
Even before the NMPA declared war, Rap Genius says it was trying to secure licensing deals with the major publishers So far, only one, Sony/ATV, has agreed to a partnership
“This is not a gray area in the law,” says NMPA president David Israelite “They can go legiti-mate and be partners with songwriters, or we can play out the confl ict – and we know how
Rap Genius has $15 million in
venture capital; Kanye West is
a big fan But is it even legal?
The Lyrics Site That
the Music Biz Hates
duced Arcade Fire’s Refl
ek-tor, tinkered with a custom
espresso blend – and now, he’s helped design a state-of-the-art sound system called Despacio “DJs now play on stages that are aimed
at the audience, and there’s
a lot of lights on them and they wave their arms,” says Murphy “For me, that’s not exciting I haven’t drank the Kool-Aid.” Despacio, which Murphy recently debuted at several DJ nights in England, aims for a more immersive experience, with eight 11-foot McIntosh speakers surround-ing the audience Murphy
is not currently licensing Despacio; instead, he hopes
it will inspire club owners around the world to build their own, smaller systems along similar lines “It’s not rocket science,” he says
“The design is quite simple
It just doesn’t exist.” Next up: Murphy is building a New York studio where he can work on new music – but he’s
in no rush “The studio won’t
be done till at least June,”
he says “So it’s gonna be a
BUILDING
A BETTER SOUND SYSTEM CLUBLAND
James Murphy’s plan
to save dance music:
smarter speakers
Murphy
Zechory and Kardashian
and co-founder Tom
Lehman (from left)
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22 | Rol l i ng St on e | rollingstone.com
cast Margot Robbie opposite
Leonardo DiCaprio in The
Wolf of Wall Street, he gave
her the kind of shot at stardom few
Aus-tralian soap-opera actresses ever get And
he told her she’d have to get naked
“If there’s ever a time to do nudity, it’s
with Scorsese behind the camera,” says
Robbie, 23, who broke through on the
Aussie soap Neighbours and crashed and
burned as a stewardess on ABC’s failed
Pan Am “He approached the sex the way
he does violence: very raw and real.”
The script called for scene after scene
of DiCaprio’s rogue stock trader, Jordan Belfort, and his high-strung Brooklyn girlfriend-turned-wife, Naomi, getting naked, nasty, high and kinky in increas-ingly intense and ludicrous
scenarios “Scor sese said, ‘I don’t want choreographed love scenes: slow-panning shots across the lower back,’ ” she recalls “I said, ‘Love scenes? They’re not making love! They’re right-out fucking!’ ”
The sex is just part of the Dionysian percent excess Robbie had a blast re-en-acting “Every scene is insane,” she says
one-“The orgy on the 747, the gay orgy – there are two orgies – sinking the yacht, crash-ing the helicopter, smashing the cars And
so, so, so, so many drugs.” So many drugs, Robbie says she felt a rush: “We were snort-ing vitamin-B powders instead of coke, so
it was healthy Energizing, really!”
Robbie has reason to feel energized: She also plays an unattainable dream girl in
Richard Curtis’ About Time, and she
stud-ied pickpocketing in New Orleans for a
role in Focus, opposite Will Smith Fame
is imminent, but don’t expect any kind of
fl ameout “I don’t need to go through a drug-fueled downward spiral,” she says “I
Scorsese’s Aussie Bombshell
Meet the Australian
soap-opera star who steams up
‘The Wolf of Wall Street’
HOT ACTRESS
Caption there fi
DIRTY SEXY MONEY Margot Robbie
Is America ready for an
out-and-proud white rapper?
Bobby Moynihan thinks so In the new
FX animated series Chozen, the SNL star
voices a gay, lovably thuggish MC who
emerges from a decade in prison to plot
a return to the rap game Creator Grant
Dekernion – a writers’ assistant on bound & Down – writes and performs
East-Chozen’s rhymes, while Moynihan delivers gleefully fi lthy dialogue as Chozen satis-
fi es appetites for drugs and frat boys Says Moynihan, “If I said these lines on live TV,
I don’t think I’d be allowed back.” MARK YARM
TUNE IN
New animated series follows MC with taste for drugs and frat boys
Gay Love and Hip-Hop
Trang 24‘ Inoticed this wor d poppi ng
up over and over, subconsciously
at first,” Beck says in a thoughtful
voice, explaining how he ended up
with 12 songs about morning – the
reckon-ing and renewal at the start of every day –
on his new album, Morning Phase, due out
on Capitol in February “When you’re
work-ing on each song, you’re so deep in it you
can’t see the forest through the trees Then
I realized, ‘Oh, these images, the light.’ ”
“I went back and forth on that title,” the
singer-songwriter, 43, says, sitting in a
hotel garden in Buenos Aires, the last stop
on a recent South American tour “But
it speaks to the songs and where they’re
coming from” – a feeling of “tumult and
uncertainty” and then “coming out of that,
that things do get better.”
Morning Phase is Beck’s first album
since 2008’s Modern Guilt It is also one
of his best: a tenderly stunning song cycle
of languid, prairie-dusted psychedelia
that recalls Beck’s reflective 2002 classic,
Sea Change, but also reaches back to the
cosmic- California rock of the Byrds, Gram
Parsons and Crosby, Stills and Nash
“Blackbird Chain” sounds like a glistening
chip from 1968’s The Notorious Byrd
Broth-ers “Waking Light” evokes David Crosby’s
1971 trance-rock LP, If I Could Only
Re-member My Name, and “Country Down” is
a late-Sixties Bob Dylan-like shufe
“I didn’t grow up with that music,” Beck,
a Los Angeles native, concedes “I was
drawn to darker, harder stuf – the Velvet
Underground were a big band for me in
my teens But later on, that California stuf
resonated I always intend records like
this one or Sea Change to be simple, kind
of raw They end up being more expansive sonically I almost can’t help being that.”
Morning Phase, which Beck produced,
marks his re-emergence on record after half a decade without a label, a period in which he concentrated on side projects and recovery from a serious back injury
In 2011, Beck recorded a handful of songs
in Nashville that became part of ing Phase, including “Waking Light” and
Morn-“Blackbird Chain.” He returned to the project in early 2013, cutting most of the basic tracks in three days, then spending months manipulating the results
Beck will tour on behalf of Morning Phase He is halfway into another studio
album, and there is a record under way of other artists covering tunes from his 2012
sheet-music book, Song Reader “I’m just
beginning,” Beck says of his workload “I have some time to make up for.” DAVID FRICKE
Beck’s Cosmic California Dream
After five quiet years, the
singer returns with an album
Minneapo-Three years later, the band began an ongoing hiatus But Wilson has pulled of a remark-
able second act as a songwriter
in recent years – co-writing hits for Adele (“Someone Like You”), the Dixie Chicks (“Not Ready
to Make Nice”), Taylor Swift and others Now he’s preparing
a new solo LP, full of catchy, emotionally raw tunes like “When It Pleases You” and
super-“Disappearing.” “I went through some hard times,” says Wilson, who started working on the
album during a lonely winter in Minneapolis “I disappeared from
my family so I could just write songs for a while But I some-how reconnected with that soul-fulness.” Wilson will promote the
LP with a tour, and after that he might even get Semisonic back together “Maybe that will be the next crazy step,” he says “I find it very interesting to think
ADELE HITMAKER COOKS UP SOLO LP
Semisonic’s Dan Wilson hits the studio after A-list songwriting stint
NEW MORNING Beck at one of the studios
Trang 25Also available at bn.com/rsmccartney
ON NEWSSTANDS NOW
Trang 26
that Queens of the Stone Age are up
for three Grammy Awards this year –
including Best Rock Album for Like
Clockwork, their fi rst LP since 2007 – but he’s still
deciding whether or not to attend the ceremony
this month “I don’t know if I’m designed for the
red carpet,” says the singer-guitarist, 40
“I don’t own a tux But there’s a lot of
rental places out there.” Homme
called from L.A.’s Farmers
Mar-ket during a break from the
Queens’ world tour
You’re up against Black
Sabbath, Led Zeppelin and
David Bowie for the Best
Rock Album Grammy
How does that feel?
It feels like the
chanc-es of winning are really
mean, that’s pretty
amazing company
I wish it was just a
dinner with them
You’re one of only
two acts in that
category, along with
the Kings of Leon,
that got started after
1970 What does that say
about the current state
of rock?
I don’t know There’s
still a lot of great rock
bands out there – like,
Arctic Monkeys didn’t
get a nod at all But
I don’t think about
it in those terms My
record collection is
al-phabetical, not
genre-based I love Ol’ Dirty
Bastard I’ve spent the
last three weeks
listen-ing to Dean Martin and
Nat “King” Cole If it’s
good, I’m in
The Arctic Monkeys are
friends of yours Do you ever
wish you were back in your
twenties like those guys?
No way I’m very now-ist I just
turned 40, and I’m still doing the same thing:
I just try to blow the minds of the guys in my
band The years have ticked by, but it’s funny how cal the mission statement is
identi-You’ve been on the road for most of the past year
Ever get tired of that life?
The biggest challenge is having to see the same people and then an unknowable amount of new people simulta-neously – it’s a bit like working in the fi sh store, but you’re one of the fi sh Also, it’s really hard to get the proper size vodka I need
You said Jay Z “should fuck of ” after you had a bad experience with security at his Made in America festival last year Did you hear back from him?
I did We had a conversation, and I think we saw each other’s point of view pretty clear In fact, he told
me his own family had a problem with security So I don’t regret what I said
I’d expect someone as outspoken as you to be all over
Twitter, but you’re not Why?When I was a kid, there was no Internet I’m not against those things I just don’t do
’em I’m in three bands,
I have two kids, and I like
to go outside
Speaking of kids, did you see the photo of Eddie Vedder at a One Direction concert?
Do you ever have to
do stuf like that for your kids?
No, I usually go the other direc-
But I love being
a dad I have a seven-year-old and
a two-year-old, and they both want to roll around on the ground I’m like, “Finally, someone I can relate to!”
Do you let them listen to your music?
Oh, yeah, they love it Which is weird – they should be like, “Dad, you’re embarrassing me!” But I’m sure I’ll have plenty of years where I can embarrass them the proper way.Now that the Queens are revved up again, do you want to make another album soon?
Absolutely We have more than enough songs We’re booked till Sep-tember, but after that we plan to jump
in the studio and get going I can’t wait
My favorite part is being in that spot where things are made out of nothing It’s
a little bit like crack
How much planning do you like
to do before you start recording?
When it’s time to make music, that’s about getting lost for me To be a control freak is not half as good as being a freak who’s casually
in control You’re feeling around in the dark for something that feels good As long as you’re not in an orgy, that can be an amaz-ing moment
Queens of the Stone Age’s singer
on the Grammys, dissing Jay Z
and why music is like an orgy
By Simon Vozick-Levinson
Josh Homme
Trang 28
28 rollingstone.com
Backstage and in the copter with the Swedish
rave king as he celebrates his biggest year ever
By Gavin Edwards
Avicii
r-stated about an Avicii show
When the 24-year-old
Swed-ish DJ-producer (whose real
name is Tim Bergling) takes
over L.A.’s Hollywood Bowl on a
Satur-day night, he brings smoke machines,
dizzying roller-coaster footage on giant
video screens and five straight minutes
of fireworks to punch up his supersize
EDM beats “I love his music because it’s
so happy!” shouts the guy dancing next to
me – unprompted by a question, just
feel-ing the need to testify – as Berglfeel-ing
un-leashes a pounding rave-anthem remix of
Smokey Robinson and the Miracles’ “The
Tracks of My Tears.” Then the confetti
cannon goes of
Standing on top of a
glow-ing video pyramid in front of
a pair of turntables, Bergling
races through dozens of songs
over more than two hours After
driving the 17,000-strong crowd
bonkers with his Top 10
EDM-country hit “Wake Me Up,” he
finds a microphone, quickly thanks his
fans and slips ofstage
Sitting quietly in his dressing room a
few minutes later, Bergling admits that
he isn’t much for stage patter “I don’t like
talking,” he says, sipping water to fight of
a headache “But I have to say something,
otherwise it feels weird Everyone says
that when they start talking into the mic,
it’s addictive – they want to do it every
sec-ond song.” He shudders slightly, looking
appalled by the thought
Growing up in Stockholm, where his
fa-ther ran an ofce-supply company and his
mother was an actress, Bergling tried to
learn guitar and piano but showed no
par-ticular aptitude for either instrument As
a teenager, he assumed he would end up
doing something creative, but he had no
idea what – art? Web design? Then, at 16,
he downloaded the home-recording ware Fruity Loops and taught himself how
soft-to make house music “For eight months of the year, it’s very cold and dark,” Bergling says of his hometown “There’s not that much to do – during the winter, it’s very easy to go into a studio and focus on that.”
As his tracks got more polished, ling began calling himself “Avicii,” a mod-ified spelling of the lowest level of Bud-dhist hell (Today, he finds it of-putting when people call him that rather than
Berg-“Tim.”) His current manager contacted him in 2008 after hearing a few tracks online; soon, Bergling was flying around the world for gigs After a career-making performance at Miami’s Ultra Music Festival in 2011 and a string of big singles – including the global smash “Levels,” built around an Etta James sample –
he discovered that he was able to pull down $200,000 or more in
a single night
Everyone wanted to party with Bergling, and for a while he went along with it, drinking heavily at shows “It was hard to make the distinction,” he says
“Am I here for work or pleasure?” In 2012,
he was hospitalized for 11 days with acute pancreatitis Bergling says that he isn’t
an alcoholic, but he took the episode as a wake-up call nonetheless – he hasn’t had
a drink for almost a year
Aside from that speed bump, Bergling’s rise has been a remarkably smooth one
He’s scored chart-topping singles around the world; he’s headlined both Lollapaloo-
za and the Electric Daisy Carnival; he’s let Madonna appear onstage with him to get a piece of his cred “What I initially set out to do,” he says, “I’ve done over and over again.”
Earlier this year, Avicii took a break from the road to record his full-length
other musicians for the first time in his life He was able to reel in some respect-
ed veterans from outside the EDM world, including Chic guitarist Nile Rodgers, Elvis Presley collaborator Mac Davis and more “Tim is one of the best songwriting partners that I’ve ever had, and that’s no bullshit,” says Rodgers “I told him, ‘You’re the John Coltrane of Fruity Loops.’ Be-fore I met him, I wouldn’t have considered somebody working in Fruity Loops as a se-rious composer – but this kid is absurd.”
“What I set out to do,”
says the DJ,
“I’ve done over and over again.”
Trang 29
rollingstone.com 29
Photograph by James Minchin III
o n a s u n n y f r i d a y a f t e r n o o n ,
Berg ling shows up at an L.A helipad
looking totally wiped – he just got back
from a 10-day writing session in
Stock-holm with Wyclef Jean, then stayed up
until 4 a.m working on a song with Chris
Martin He and his Guyanese-Canadian
girlfriend, Racquel Bettencourt, listen
pa-tiently to a safety briefing and climb into
a helicopter As we head north over the
Hollywood Hills, the couple point in the
direction of the multimillion-dollar glass
house they’re buying
After a 45-minute ride, we touch down
at a cemetery in Bakersfield, where a film crew is shooting the video for his next sin-gle, “Hey Brother.” Bergling parks in his trailer and talks about how he spent his 24th birthday in Vegas this fall “We went out in the desert with, like, 30 guns and
$400 of stuf we bought at Walmart to shoot at,” he recalls “Lots of cantaloupes.”
The video’s director arrives and tries
in vain to talk Bergling into more screen time than the cameo he’s agreed to Next comes the stylist; the DJ balks at almost
everything she suggests, politely but
firm-ly He won’t wear a tweed jacket He lutely will not take of his backward base-ball cap And he refuses to wear anything but sneakers on camera, no matter how many times she asks him nicely to consid-
abso-er a pair of boots
“Why don’t you wear the boots for one fucking shot?” the stylist snaps at last
“I don’t want to,” he says simply
“I do lots of things I don’t want to do!” she cries, exasperated
Bergling shrugs “But I don’t have to.”
NEXT LEVEL Avicii in Los Angeles
Trang 30
psycho homicide cop in HBO’s
excellent new True Detective,
and all you have to do is watch
him blink to see he is seriously
screwed up He has an
amaz-ing scene where he’s
driv-ing through Louisiana late at
night, alone in the car,
brood-ing over a small-town murder
case He tries to blink his eyes
in unison, but he can’t – one
eye twitches, then the other
The moment is terrifying This
is defi nitely not the laid-back
bongos-and-bong-hits
McCo-naughey we all know and love
This guy has some toxic sludge
clogging his brain
True Detective is a tour de
force for McConaughey and
Woody Harrelson – two
veter-an actors reaching way outside
their comfort zone, at the top
of their game Most of True
De-tective is these two playing of
each other, as a pair of cops
pur-suing a ritual murder case in
1995, after a body is found tied
to a tree, with antlers attached
to the head They’re the classic mismatched partners, both liv-ing with demons of their own
Harrelson is the by-the-book cop who struggles to contain his bottled-up rage McConaughey
is the socially maladjusted cerebral loner As Harrelson says, speaking with contempt for his partner, “He’d pick a
fi ght with the sky if he didn’t like its shade of blue.”
Harrelson has turned into
a master of the slow burn He does a lot of the understated anger, choking back his re-sentments – but they’re burn-ing him up inside You can tell how hard he’s trying to be a regular guy, even though his fellow cops have no trouble noticing what a ticking time bomb he is
But while Harrelson is very much Harrelson, McCon-
Mc-Conaughey You keep asking yourself, “Who the hell is this
guy?” He looks uncannily like the young Harry Dean Stan-ton, a gaunt cowboy, taking
in rural Louisiana with those
crazy eyes and muttering, “It’s all one ghetto, man A giant gutter in outer space.” He’s haunted, razor-thin, long past the hope of ever being anyone’s friend He’s probably never ut-tered the word “dude.” He has hallucinations, and sometimes
he can tell they’re phony But as
he says, “There are other times
I thought I was mainlining the secret truth to the universe.” The story of True Detective
unfolds in fl ashbacks out the eight-episode season Harrelson and McConaughey are telling the story to police interrogators in 2012, recall-ing the gruesome investigation from back in 1995, when they
through-fi rst became partners By 2012, they’ve gone in dif erent direc-tions McConaughey’s turned into a grizzled old boozer who can’t get through the interview without a sixer of Lone Star Created by the team of writ-
er Nic Pizzolatto and director
Detec-tive doesn’t overdo the gore or
the procedural clichés (HBO’s plan is that each season will have a new cast and storyline.) Instead, it’s about the emotion-
al damage that investigating murders does to these guys At one point, reminiscing about his dad, who was a Marine in Korea, Harrelson says he “never talked about it There was a time when men didn’t air their bullshit wasn’t part of their job.” McConaughey and Har-relson would both like to live
in that old-school world, where they could do their dirty work and then magically turn into regular guys when the whis-tle blows But all that violence gets into their brains and warps them in dif erent ways It turns out that getting destroyed by the job is part of the job
Harrelson and McConaughey deliver dark and electric performances
in the brilliantly creepy cop saga ‘True Detective’ By Rob Shef eld
fi lled with desire!” says one family
member on The Spoils of Babylon,
a sweeping family pageant that spans generations of pain and passion In other words, total trash Will Ferrell’s Funny or Die crew has devised an uproarious spoof of miniseries
like The Thorn Birds
in the
Eighties-soap style of
Dal-las and Dynasty
Back before
we got the fancy-pants
cable dramas of today, this was where America went for a fi x of
melodrama Spoils is a loving
homage, full of purple dialogue and chintzy set design Tim Rob- bins is the crusty patriarch, Tobey Maguire the idealistic son and Kristen Wiig the hot-blooded sister who vows, “Devon will be mine But not as my brother
As my lover!” rell steals the show
Fer-as the bloviating author behind the story, introducing each episode like Orson Welles after a couple of bottles of Paul Masson R.S.
Will Ferrell’s Soap Dish
The Spoils of Babylon
Thursdays, IFC, 10 p.m.
SHORT TAKE
POLICE ACADEMY McConaughey and Harrelson
Wiig out!
Trang 32
32 | Rol l i ng St on e | rollingstone.com
ENTER SNOWMAN Metallica played a special gig inside
a dome in Antarctica, making them the fi rst band ever
to play all seven continents “This was the coolest show
we’ve ever done,” says Lars Ulrich “Literally.”
ONE LESS LONELY GIRL Justin Bieber took a break from his months-long epic public meltdown to help build a school in Guatemala “I know that my music
is inspiring,” he said “But I can make
a change in so many dif erent ways.”
Billy’s Big Day
“There’s only one piano man,” President Obama said while awarding Billy Joel a Kennedy Center Honor in D.C Also recognized: Herbie Hancock and Carlos Santana The president took the opportunity to crack wise about Santana’s seriously trippy Sixties wardrobe Said Obama,
“Back in the day, you could see those things from space!”
Twerk the Halls!
How does Miley Cyrus mark the holidays? By grinding with a boozy
St Nick at L.A.’s Jingle Ball! Lorde, meanwhile, ruled Oakland’s
Not So Silent Night with a cover of Kanye West’s “Hold My Liquor.”
“I look to Kanye for inspiration in a lot of things,” she has said
“Six months ago,
I was playing for
400 people!”
Lorde said in Oakland
“You look spectacular,” Obama told Santana
Trang 33Ja n ua ry 16, 2014 rollingstone.com | Rol l i ng St on e | 33
Gimme All Your Luggage
Even Billy Gibbons sometimes has to use a cart to drag his gear through LAX But unlike most of us, he gets stopped by strangers “It used to be ‘There’s that ZZ Top guy,’ ” he says
“Now it’s ‘There’s the Duck Dynasty guy!’ ”
Meet the Tylers
“It’s really hard to get us all in one place,” Mia Tyler (center) says of sister Chelsea, brother Taj, dad Steven and sister Liv (from left) The clan gathered in Miami Beach for the opening of Mia’s art exhibit Kink, which features blowup dolls and photos of bondage scenes “We’re a strange brood,” she says “We had drag queens and a dominatrix there, so they
fi t in perfectly.” Adds Steven, “The whole
weekend was over the top!”
GOING GAGA Adele and boyfriend Simon Konecki cozied
up at Lady Gaga’s London show
DATE NIGHT John Mayer invited girlfriend Katy Perry onstage at Brooklyn’s Barclays Center for their duet “Who You Love.” “I had to make a video in order to get to see my girlfriend,” said Mayer
USHER’S NEXT HIT R&B smoothie Usher toughened
up for a Sugar Ray Leonard biopic “I train like an athlete every day,” he said
NATIONAL HOLIDAY The National’s Scott Devendorf (left) and
Matt Berninger (center) explored Lisbon in a three-wheeler
“This woman recognized us and took us around for free to her
favorite restaurants,” says Berninger “It was a blast!”
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rollingstone.com | Rol l i ng St on e | 35
Illustration by Victor Juhasz
now estimated to be a $1.43 billion
industry And it’s expected to grow
to $2.34 billion in 2014 If those
numbers hold, the 64 percent
in-crease – a steeper trend line than
glob-al smartphone sglob-ales – would make pot
one of the world’s fastest-growing
busi-ness sectors
Signs of the new age abound In
Col-orado, retail marijuana stores welcomed
their first legal-age customers (21 and
older) on January 1st Washington state
is expecting to license the first of its
projected 334 pot shops by late spring
A Gallup poll taken last fall found that
58 percent of Americans supported
legal-ization, a 10-point uptick from the year
before Alaska and Oregon will likely
vote to go legal in 2014; California and
five other states are expected to do the
same in 2016 The legalizing states aren’t
going in half-assed, either Ofcials tasked
with ramping up a marijuana regulatory system are taking to it with a tradesman’s pride “We are going to implement Initia-tive 502,” says Sharon Foster, the brassy chairwoman of the Washington State Li-quor Control Board, at a public hearing last fall “This state is not going to allow
it to fail.”
But these gains tend to obscure the dismal reality playing out in many other states As Colorado and Washington li-cense pot growers and sellers, cops else-where continue to carry out marijuana busts at a rate of one every 42 seconds
If you drop a gram of Sour Diesel on the sidewalk in Seattle, a police ofcer may help you sweep it up Do that in New Or-leans and you could face 20 years hard labor
What we’re witnessing now is a cal movement giving birth to an econom-
politi-ic awakening The struggle to end the War
on Drugs – at heart a movement to stop
the mass incarceration of black men – is creating one of the greatest business op-portunities of the 21st century
At a recent drug-reform conference in Denver, Drug Policy Alliance executive di-rector Ethan Nadelmann acknowledged the uncomfortable transition that’s now occurring Those who have sufered the most in the War on Drugs and those who have struggled against it, he noted, may not be among those who profit from its conclusion “The capitalist forces at work
in a prohibitionist market are violent and brutal,” Nadelmann said, “but the capital-ist forces at work in a legal market are even more brutal in some respects We know that the people who may come to domi-nate this industry are not necessarily the people who are a part of this movement.” That may be a necessary price to pay For the War on Drugs to end, Colorado
or Washington must succeed That will require risk-taking entrepreneurs, not
A TALE OF TWO DRUG WARS
As Washington and Colorado create rules and regulations for selling legal marijuana, in many other cities
across the country pot arrests are near record highs
H
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distinctive ways of regulating legal pot
For now, Colorado has a simple,
vertical-ly integrated medical-marijuana industry
where retailers grow and process most of
the pot they sell Colorado will have a
flex-ible limit on the amount of pot that may
be grown Washington, on the other hand,
is breaking marijuana production into a
three-tiered system that mimics the
alco-hol industry, where growers sell to
proces-sors, processors sell to retailers, and
retail-ers sell to consumretail-ers, and the state strictly
caps the amount of pot that can be grown
There are other quirks Colorado allows
small-scale home cultivation Washington
does not Colorado gave existing
medical-marijuana (MMJ) operations first priority
for adult-use licenses Washington didn’t,
forcing MMJ owners into a license lottery
with newcomers who’ve never grown or
sold a single bud
It doesn’t much matter which system
works, as long as one does Then we’ll be
able to mark 2014 as the year control of
marijuana passed from drug cartels and
weed dealers to government inspectors
and shopkeepers
be-fore New Year’s Day, a.k.a Legal Day
One, Colorado’s marijuana industry
was running like a well-oiled
ma-chine To get a taste of the nation’s
first state-legal system, I spent a day last
fall with Tripp Keber, the
walking-and-talking embodiment of marijuana’s future
Keber is a balls-out, no-apologies,
empire-building capitalist In 2010, the
45-year-old former real-estate developer
founded a company called Dixie Elixirs &
Edibles Dixie makes THC-infused soda,
candies and baked goods and sells them
to medical-marijuana dispensaries across
Colorado In just three years, Keber has
built Dixie into one of the industry’s
lead-ing brands and now has ownership stakes
in 17 cannabis-related companies,
includ-ing three MMJ America dispensaries that
are about to become adult-use retail shops
As we roll through Denver in Keber’s black
Ford Expedition, he can’t stop pitching his
vision of the glories to come
“In Colorado, 100,000 patients drove a
$300 million medical-marijuana
indus-try last year,” he says “Now think about
the adult-use market Studies show that
about 10 percent of the public has a
re-lationship with cannabis Ten percent of
Colorado’s 5 million residents, that’s half
a million people We get 60 million
visi-tors every year Even if only five percent
of those tourists make a purchase, that’s
“Wall Street analysts believe there are going to be two or three billionaires mint-
ed in this industry in the next 10 years,” he says “I’m not saying I’m going to be one of them, but this kind of opportunity comes around only once in a generation.”
We pull into a light-industrial trict in south Denver “Smell that?” Keber says “Cannabis.” One of Keber’s main grows is housed here in an unmarked 25,000-square-foot warehouse
dis-picture of mayhem “With no state or city regulations, there was some pretty sketchy stuf going on,” says Sam Kamin, a profes-sor of law at the University of Denver who researches marijuana policy Robberies and gunplay were not uncommon; DEA of-ficials suspected that some shops were sup-plied by international drug cartels Colo-rado cracked down in 2011 with rules that required dispensary owners to register with the state, pass criminal-background checks, pay taxes, install security systems, grow 70 percent of their own product and carefully track the inventory State ofcials weren’t worried about maximizing tax rev-enue “It was all about making it easy for them to regulate the industry,” says Henry Wykowski, a former federal prosecutor who now operates one of the cannabis in-dustry’s leading law firms “Vertical inte-gration eliminated the need to deal with multiple entities in the chain.”
The new regulations purged the try’s bad actors, who couldn’t pass the background checks, and small-timers, who couldn’t aford to scale up Only the strong and the clean survived “When regulation came into play, we had everything togeth-er,” Jan Cole tells me Cole, 45, owns the Farm, a Boulder dispensary that’s wide-
indus-ly seen as a prototype high-end cannabis shop Everything in the dispensary is up-scale and female-friendly: polished wood floors, antique display cases and no bro-culture swag “I knew the importance of a bookkeeper,” she says, “and I’ve paid taxes
on every gram I’ve ever sold.” Even so, the transition wasn’t easy – or cheap “We had
a number of lean months,” she says
Two years under these stricter regs has left Colorado with a well-audited MMJ in-dustry So when adult-use pot went legal, the first retail licenses went to dispensa-
ry owners already in the system “It took months to get my medical-marijuana li-cense,” Keber says “For our adult-use per-mits, I was in and out of the interview in about 30 minutes.”
Near the end of our day together, Keber joins the Dixie Elixirs marketing team in the company’s new manufacturing facility
in east Denver, where marketing director Lindsay Jacobsen, 31, unveils four designs for Dixie’s new aluminum soda bottles Colorado’s adult-use regs require opaque packaging, so the company’s glass bottles will soon be phased out “We’re still play-ing with the color,” says Jacobsen “We’re aiming for sophisticated but fun, without being too young.”
Too young, of course, is the third rail for
a company like Dixie Elixirs When use goes live on January 1st, the eyes of the world will be watching Colorado, and any-thing seen as marketing to kids could un-
adult-Bruce Ba rcot t is working on a book
about marijuana legalization
Inside, Jake Salazar, CEO of MMJ America, walks us through a sophisti-cated operation run by a dozen techni-cians, rooms blazing with computer- controlled light, temperature and circu-lation systems, every potted plant tagged with a unique UPC “We’re going at full capacity to get ready for January 1st,” Sala-zar says Craig Kloppenberg, the compa-ny’s compliance ofcer, stops by to check the latest transport manifest “Every bit of the plant is tracked through bar codes,” he says “We record wet weight, stems, leaves, buds and waste.”
LEGALIZATION MEANS CONTROL
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dermine the entire movement “There are
a lot of ways this could go wrong,” Kamin
later tells me “A rise in DUIs, increased
child access, diversion across state lines,
and some criminal element slipping into
the regulated side of the industry It could
be as simple as a tractor-trailer full of
mar-ijuana stopped a mile across the Utah
bor-der That would not be good.”
Jacobsen turns the conversation to the
beverage’s THC content: 75 milligrams
Colorado and Washington aren’t just
roll-ing out a regulated marijuana industry
They’re opening two of the largest
psy-chotropic-dosing experiments ever
con-ducted Both states have limited
mari-juana-infused food and beverages to 100
milligrams of THC per package The
num-ber’s roundness is a dead giveaway When it
comes to dosage and what adults can
han-dle, nobody really knows There seems to
be a big diference between smoking,
vap-ing, eating and drinking in terms of how
much THC hits the bloodstream But “the
science isn’t there yet” in terms of knowing
what an appropriate limit might be, says
Mark Kleiman, the UCLA public-policy
professor who advised Washington’s liquor
control board on its marijuana regulations
It’s not there, of course, because the
govern-ment has made it virtually impossible to
study marijuana So we end up with a limit
of 100 milligrams per packaged brownie
shadow-ing Tripp Keber, I hop in the car
with Pete O’Neil, an independent
businessman looking to get into
Washington state’s pot game O’Neil
once ran a comedy club in Fort
Lauder-dale and a high-end pet-grooming salon
in Manhattan Now he’s starting C & C
Cannabis Company, a retail pot enterprise
– the name’s a nod to Cheech and Chong
Even though the state isn’t accepting cense applications for another two weeks, O’Neil has already leased two storefronts outside Seattle The state limits license holders to no more than three shops, to prevent market consolidation by a few big-money players “They tell me I’m crazy to try for a license in the city, but I’m tempt-
li-ed to go for it,” he says
Even though Seattle supported more than 100 MMJ dispensaries in 2012, the liquor control board is licensing only 21 adult-use pot shops in Seattle – about the same number of state-run liquor stores that served the city prior to 2012, when the state got out of the booze business So those licenses are looked upon as 21 golden tickets But even Seattle City Attorney Pete Holmes has complained about the limit
“The demand is greater than 21 stores can handle,” he said recently “The idea behind legalization is to bring this into the regu-lated sphere To do that we need to be able
to tell consumers, ‘We have a legal supply, that’s where you should go.’ ”
To enter the license lottery, retail cants had to show the liquor control board
appli-a commitment for appli-a leappli-ase by December 20th In the weeks prior, the streets of Se-attle were crawling with pot entrepreneurs seeking rentable space A storefront isn’t legal unless it’s at least 1,000 feet from a school or day care center It’s a gambler’s roll If you don’t win a license, you could
be stuck with lease payments and no store
O’Neil has been tipped to an existing MMJ dispensary in north Seattle that was regulation-compliant “He’s asking
$100,000,” O’Neil tells me “But why would
a dispensary owner sell out now?”
Good question The rest of the country may think that Washington state is relax-ing its marijuana laws In fact, it’s tighten-ing them Washington never brought its
MMJ industry under latory control like Colorado did There’s no registry, no security laws and no tax re-quirements “The MMJ folks are having to go through the growing pains that Colora-
regu-do already went through,” says Alison Holcomb, crim-inal-justice director at the ACLU of Washington and author of Initiative 502, the ballot measure that cleared the way for legal pot in 2012
“Right now many of them have a business model that doesn’t involve meeting reg-ulatory requirements or, for some, even paying taxes That provides a really nice profit margin Now they’re entering a system where competitors may have more business savvy, and they may not be as profitable.”
Because the state views dispensary ers with some suspicion, the liquor con-trol board isn’t giving them first option
own-on adult-use licenses But, of course, even this is subject to uncertainty In an inter-view last month, Washington State Liquor Control Board Chair Sharon Foster tells
me that eight months of conversations with medical users had softened her stance “I’m not nearly as cynical as I was” about abus-
es within the MMJ industry, she says “I think research is going to prove the great importance of this little plant We have
to carve a place for that within the tem.” The state legislature, she says, may solve the issue later this year by passing a new law for MMJ patients That law could allow medical users – who may need great-
sys-er volumes and potency – special privileges within the adult-use industry
There’s no guarantee that existing pensaries will survive, though, and some owners are selling out while the selling’s good At the north Seattle dispensary, the owner greets Pete O’Neil warmly
dis-“So you’re looking for a 502, huh?” he says O’Neil scopes the space Upstairs is
a one-room dispensary; downstairs are a handful of spindly pot plants
“I’m asking $175,000,” the owner says O’Neil pokers his expression The price buys neither the building nor the land, only the right to take over a $2,800 month-
ly lease “The listing said $100,000,” says O’Neil
The owner nods “The guy down the road just sold his MMJ for $125,000 He’s not even zoned 502 legal So I figured ” O’Neil passes on the deal A few weeks later, he leases a storefront two blocks far-ther south, paying three times the market price to beat out two other marijuana con-cerns bidding on the space
A NEW LEAF Inside a Colorado grow house, where every plant is
tracked and bar-coded
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38| R o l l i n g S t o n e | rollingstone.com
its Top-quality weed currently retails for
$250 to $300 an ounce Over the long
term, though, “that could drop by as much
as 80 percent prior to taxation” if
legal-ization takes hold, says Rob MacCoun, a
professor at the Goldman School of Public
Policy at UC Berkeley who studies
marijua-na laws and markets
That’s good for ending the black market,
but low pot prices contain their own sets
of worries, said marijuana-taxation expert
Pat Oglesby, former chief counsel to the
U.S Senate Committee on Finance “If it
becomes producible at $20 a pound [less
than $1.25 an ounce],” said Oglesby, “and
you don’t tax it pretty heavily, then you
have to worry about the leakage rate [i.e.,
smuggling across state lines] and the
polit-ical reaction of the soccer moms.”
Cheap pot is bad for state cofers, too
Washington state’s pot scheme contains
the highest marijuana taxes ever
submit-ted to the voting public The state takes a
25 percent bite at each level of its
three-tiered system, and has estimated it may
rake in some $400 million a year
The challenge state policymakers face is
to facilitate what Kleiman calls “the
Goldi-locks price”: a tax-influenced number that’s
low enough to starve the black market but
high enough to discourage a spike in
con-sumption You don’t have to beat the street
price, just come close “Most people want
to abide by the law,” says Holcomb “If you
give them a chance not to be a criminal,
they won’t be a criminal.”
There’s one other factor: Washington is
capping its initial weed crop at 2 million
square feet That’s 45 acres, only enough
marijuana to satisfy about one-quarter of
estimated statewide demand (The idea is
to avoid a surplus, which might encourage
out-of-state smuggling.) Retailers can’t
im-port from out of state, so when the weed’s
gone, it’s gone Which means prices won’t
be coming down anytime soon
and Washington tend to obscure
the dismal reality still playing
out in many other states In 2012,
there were 749,825 marijuana
ar-rests in America We’re not talking about
dealers moving weight In New York and
decade, as police departments around the country adopted New York City’s data-driven CompStat policing model, pot ar-rests based on stop-and-frisks became an easy way for precincts to pad their num-bers Queens College sociology profes-sor Harry Levine brought the problem
to light in 2009 when he discovered that during the previous year the NYPD made more pot arrests in 12 months than dur-ing 18 years under Michael Bloomberg’s three mayoral predecessors In an inter-view in The New Inquiry last year, Levine
described the nation’s arrest overreach as
a scandal on the order of Love Canal and the Ford Pinto, “horrific situations, harm-ing many people, that go on for years be-fore being revealed.”
Ezekiel Edwards, director of the ACLU Criminal Law Reform Project, spent near-
ly a year mining data on the racial
make-up of marijuana arrests The ACLU found
that black people were 3.7 times more
like-ly to be arrested for marijuana possession than white people This at a time when white and black marijuana usage rates are virtually identical, about 12 to 14 percent
That racial disparity has grown worse with time Over the past decade, the white arrest rate for marijuana possession held steady, around 192 arrests per 100,000 white people Meanwhile, the black arrest rate skyrocketed In 2001, it stood at 537 arrests per 100,000 black people By 2010,
it had climbed to 716
Going into the project, Edwards pected the numbers might be bad But not this bad “We knew about racial dis-parities in New York,” he tells me “We didn’t expect to find racial disparities ev-erywhere, urban and rural, 49 of the 50 states.” (Only Hawaii had a nearly even black-white arrest rate.) The war on mar-ijuana, Edwards says, “has been a war on people of color.”
sus-To understand what those numbers mean on the ground, you only have to visit the American marijuana gulag that
is the state of Louisiana New Orleans, of course, famously welcomes and celebrates bacchanalian debauchery But Louisiana lawmakers take a perverse pride in main-taining some of the harshest marijuana laws in the country One joint can get you
WASHINGTON IS CAPPING ITS
MARIJUANA CROP AT 45 ACRES, ONLY
ENOUGH POT TO MEET A QUARTER OF
the trap Noble, a 47-year-old truck driver, relocated his family from New Orleans to Kansas City after losing his house to Hur-ricane Katrina in 2005 In 2010, he re-turned to the Big Easy to visit his father
On October 27th, two cops spotted Noble riding a bicycle down South Miro Street They ordered Noble to stop, and frisked him They found a small bag containing less than three grams of marijuana
An Orleans Parish jury convicted Noble
of marijuana possession Because he had prior felony possession convictions, Louisiana law called for a mandatory minimum sentence of 13 and a third years
“It doesn’t matter how much or how little marijuana is involved,” Donna Weiden-haft, Noble’s public defender, tells me “In Louisiana you can get twice as much pris-
on time for marijuana possession as ual battery.”
sex-But 13 years for three grams? That seemed insane Moved by Noble’s record
as a providing father, the sentencing judge took pity and handed down only five years
in prison Only
Outraged by the nickel, Orleans Parish
DA Leon Cannizzaro Jr appealed the ing Cannizzaro wanted the full 13 years And after three appeals, he got it Earli-
rul-er this year the Louisiana State Supreme Court declared that a judge could waver from mandatory minimums only in ex-ceptional cases And Bernard Noble, the court ruled, was entirely unexceptional
“You might think this is a horror story, but not in Louisiana,” says Gary Wainwright,
a defense lawyer with two decades of perience in the Orleans Parish courthouse
ex-“We’ve had people receive sentences of
‘natural life’ for marijuana here.”
Louisiana imprisons more of its dents, per capita, than any other state In many parts of the state, the parish (coun-ty) prison is the largest single employer
resi-“You can’t run a prison without inmates,” says Wainwright, and the easiest way to keep the jails full is to arrest black men for pot possession
craft-scale industry It may not stay that way very long Bigger play-ers are waiting in the wings
In the past year, Allen St Pierre, executive director of NORML, the nation’s biggest marijuana- advocacy group, has met half a dozen times with representatives of the beer, wine and li-quor industries They’ve talked about the coming legalization of marijuana and what it will mean for the sector of what St Pierre calls “problematic adult commerce.” The NORML leader didn’t ask for those meetings The booze people came to him