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Showing posts with label Behind. Show all posts
Showing posts with label Behind. Show all posts

Tuesday, January 29, 2013

Behind the Scenes of '99 Percent: The Occupy Wall Street Collaborative Film'

99% - The Occupy Wall Street Collaborative Film

Audrey Ewell and Aaron Aites, the team behind 99 Percent: The Occupy Wall Street Collaborative Film, initially attempted to adopt a filmmaking model as decentralized as the Occupy movement itself. However, the pair soon discovered that the consensus decision process is as complicated for directing films as it is for orienting political movements.

"It just didn't work. We couldn't get anything done," Ewell tells Rolling Stone. "At least with the Occupiers, [they] were in one physical space together. We didn't even have that; we had an email list with hundreds of emails."

Photos: Occupy Wall Street

99 Percent, which premiered this week at the Sundance Film Festival, began to form after Ewell and Aites grew interested in the movement after the October arrests on the Brooklyn Bridge. "I was watching the live stream when they started to cattle them and started arresting them. I turned on the TV, and there was nothing," recalls Ewell. "There are like a thousand people being arrested on the Brooklyn Bridge in New York City in broad daylight and that's not news."

So the filmmakers, who previously made Until the Light Takes Us – a 2009 documentary on black metal – went to lower Manhattan and began shooting. ??"We had three rules when we started the film," Ewell says. "The first rule was that anybody was welcome and that meant any perspective, any skill level, any format. But we couldn't get anything done."

To move the process forward, the pair created an outline to add structure and adopted leadership positions. Many Occupiers were reportedly frustrated with this shift and left the project as a result, but Ewell explains that the decision felt necessary. "It was actually possible to make a movie this way, still having the collaborative process and many people's voices, but we had to do a 180 from where we started on consensus." The result was a national filmmaking network with four directors, five co-directors and more than 100 contributors divided regionally who regularly uploaded footage to a daisy-chain of hard-drives crisscrossing the country.

The documentary chronicles the movement with on-the-ground footage, protestor interviews and perspectives from commentators including Naomi Wolf and Rolling Stone's Matt Taibbi. ??"We'd set up these maps basically of where people were and how much they'd shot at that point because we couldn't wait until the end to collect, so we were constantly swapping out hard drives," Ewell explains. Eventually, each director prepared a segment of the film and Ewell and Aites went back over their pre-edit.

"It felt very much like this parallel experiment really was paralleling the movement," Ewell says in retrospect. ??"[Occupy] was so intent on having their voices heard, but they took it to such an extreme. What we found was that you didn't have to give up, you didn't have to abandon hierarchy and structure. You could still have that and, in fact, that would facilitate more voices being heard because the structure would be there to create space for those voices."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Tuesday, September 4, 2012

Premiere: Behind the Scenes of Amon Tobin's 'ISAM' Live 2.0 Tour

Premiere: Behind the Scenes of Amon Tobin's 'ISAM' Live 2.0 TourElectronic composer gives a peek at his intense new show $(document).ready(function() { $('.socialActionsTop .pageActions .email-content').hover( function() { $('.socialActionsTop .bubble.email').show(); }, function() { $('.socialActionsTop .bubble.email').hide(); } ); $('.socialActionsTop .pageActions .print-page').hover( function() { $('.socialActionsTop .bubble.print').show(); }, function() { $('.socialActionsTop .bubble.print').hide(); } ); }); By

Electronic producer and composer Amon Tobin is one of the genre's most respected innovators, but his progressive sounds don't align very closely with the current EDM craze. In this exclusive clip, Tobin talks about his upcoming ISAM Live 2.0 Tour and its improvements from last year's ISAM Tour. "I guess because it's electronic music, people tend to equate that with dance music, which is pretty natural," he says. "I had this record that didn't really fit into any one thing and I had to find a different way to present it as a live show."

In translating his studio-based music to live performance, Tobin ended up with a complex stage and light setup that he compares to an art installation. "How can I make a genuine attempt at visualizing music and making something that made sense, to me at least, and be part of it?" he asked himself while brainstorming the show.

Tobin kicks off the ISAM Live 2.0 Tour on September 1st in Seattle, Washington. Full tour dates are listed below.

9/1 Seattle, Washington – Moore Theatre
9/2 Portland, OR – Roseland Theater
9/4 Denver, CO – Ellie Caulkins Opera House
9/6 Minneapolis, MN – Orpheum Theatre
9/8 Chicago, IL – Congress Theater
9/9 Detroit, MI – Royal Oak Music Hall
9/10 Toronto, ONT – Kool Haus
9/12 Boston, MA – House of Blues
9/13 Montclair, NJ – Wellmont Theatre
9/14 New York, NY – Hammerstein Ballroom
9/17 Philadelphia, PA – Electric Factory
9/19 Clemson, SC – Brooks Center at Clemson University
9/20 Atlanta, GA – The Tabernacle
9/21 Orlando, FL – House of Blues
9/22 Miami, FL – The Fillmore at Jackie Gleason
9/24 Dallas, TX – Palladium Ballroom
9/25 Austin, Texas – Austin Music Hall
9/27 San Diego, CA – House of Blues
10/5 Berkeley, CA – Greek Theatre Berkeley
10/12 Los Angeles, CA – Greek Theatre


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Premiere: Behind the Scenes of Amon Tobin's 'ISAM' Live 2.0 Tour

Premiere: Behind the Scenes of Amon Tobin's 'ISAM' Live 2.0 TourElectronic composer gives a peek at his intense new show $(document).ready(function() { $('.socialActionsTop .pageActions .email-content').hover( function() { $('.socialActionsTop .bubble.email').show(); }, function() { $('.socialActionsTop .bubble.email').hide(); } ); $('.socialActionsTop .pageActions .print-page').hover( function() { $('.socialActionsTop .bubble.print').show(); }, function() { $('.socialActionsTop .bubble.print').hide(); } ); }); By

Electronic producer and composer Amon Tobin is one of the genre's most respected innovators, but his progressive sounds don't align very closely with the current EDM craze. In this exclusive clip, Tobin talks about his upcoming ISAM Live 2.0 Tour and its improvements from last year's ISAM Tour. "I guess because it's electronic music, people tend to equate that with dance music, which is pretty natural," he says. "I had this record that didn't really fit into any one thing and I had to find a different way to present it as a live show."

In translating his studio-based music to live performance, Tobin ended up with a complex stage and light setup that he compares to an art installation. "How can I make a genuine attempt at visualizing music and making something that made sense, to me at least, and be part of it?" he asked himself while brainstorming the show.

Tobin kicks off the ISAM Live 2.0 Tour on September 1st in Seattle, Washington. Full tour dates are listed below.

9/1 Seattle, Washington – Moore Theatre
9/2 Portland, OR – Roseland Theater
9/4 Denver, CO – Ellie Caulkins Opera House
9/6 Minneapolis, MN – Orpheum Theatre
9/8 Chicago, IL – Congress Theater
9/9 Detroit, MI – Royal Oak Music Hall
9/10 Toronto, ONT – Kool Haus
9/12 Boston, MA – House of Blues
9/13 Montclair, NJ – Wellmont Theatre
9/14 New York, NY – Hammerstein Ballroom
9/17 Philadelphia, PA – Electric Factory
9/19 Clemson, SC – Brooks Center at Clemson University
9/20 Atlanta, GA – The Tabernacle
9/21 Orlando, FL – House of Blues
9/22 Miami, FL – The Fillmore at Jackie Gleason
9/24 Dallas, TX – Palladium Ballroom
9/25 Austin, Texas – Austin Music Hall
9/27 San Diego, CA – House of Blues
10/5 Berkeley, CA – Greek Theatre Berkeley
10/12 Los Angeles, CA – Greek Theatre


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Sunday, June 17, 2012

Premiere: Beach Boys Behind the Scenes: 'A Signature Harmony'

Tuesday, April 10, 2012

Singing for the Fences: Behind the Scenes of Major League Stadium Concerts

Paul McCartney performs at the Billy Joel 'Last Play At Shea' Concert at Shea Stadium in New York City.

Baseball season is finally in full swing – but the crack of the bat, umpires calling strikes and vendors hawking hot dogs, popcorn and beer aren’t the only sounds one hears at the old ballpark. With the new baseball season comes a new concert season, and in 2012, several Major League venues will host shows featuring artists as diverse as Kenny Chesney (Angels Stadium), Roger Waters (Wrigley Field, Yankee Stadium, Fenway Park and Citizens Bank Park) and Madonna (Yankee Stadium).

One of the appeals of the ballpark concert experience is the energy of a large arena show held within the more intimate feel of a baseball stadium. And when major acts perform in these venues, their colleagues take notice and want to follow suit. In 2010, the Dave Matthews Band performed at Citifield (the new home of the Mets, which opened in 2009), and Dave Howard, Executive Vice President of Business Operations for the New York Mets, says part of the reason the group expressed interest in performing was because of Paul McCartney’s shows, which were the first concerts in the new space.  The Mets organization wanted McCartney as a sort of bridge to the history of concerts at Shea, including the historic 1965 performance by the Beatles. "We had three great shows," says Howard. "It was one of those awesome experiences, to witness that level of excitement and energy and history."

Ballpark stadium shows also allow the venues to make their spaces more profitable. After all, teams play 81 games on the road, and filling the seats during off times can help fill coffers. New York Yankees COO Lonn Trost says that when the team decided to build a new stadium in 2006, they took non-baseball events into consideration when planning. "We concluded that the stadium should be used 365 days a year," he says, pointing out that Yankee Stadium also hosts events for soccer, football, boxing and other events. The first concert in the new Yankee Stadium was in 2010, a year after the park opened for baseball – two nights of a double headlining bill featuring Jay-Z and Eminem. "I figured that was a good way to start," Trost says. That year, the hip-hop stars also played two nights at Detroit’s Comerica Park, home of the Tigers.  ?This year, Yankee Stadium will host Madonna for two nights in September. Trost says that the impetus for booking acts boils down to a simple formula: "Big name, what’s important at the time, what we think works with the stadium." 2012 is already booked at Yankee Stadium – "we’re looking ahead to 2013," Trost says. "Yankee Stadium is the cathedral of baseball. We hope to make it the cathedral of concerts."

The Mets and the Boston Red Sox, meanwhile, are still talking to some artists about performing at their parks this season. Red Sox COO and Executive Vice President of Business Operations Sam Kennedy discussed the quirks of putting on concerts in 100-year-old Fenway Park, which is the smallest and oldest park in the league. "It’s a challenging facility to work at," Kennedy says, because of the space constraints and there being only one roll-up door in center field to load in equipment. "It’s a different flavor of ice cream than a multi-purpose stadium with 70,000 people," he says.

Fenway Park also will also host acts that might not be on the level of mega-fame of a Bruce Springsteen or Paul McCartney, but who are better known locally. Last year, the park hosted the Dropkick Murphys for two nights. The Red Sox and the Murphys have a long history together. Former Sox closer Jonathan Papelbon used their song "Shipping up to Boston" as entrance music. The band has performed in the park before games and at fan rallies, but it had never done an actual concert at Fenway.

For Dropkick Murphys lead singer Ken Casey, the performance was a special experience. "It wasn’t so much the size or the spectacle. It was that this is the place I was going since I was a little kid," he says. His grandfather was friends with Sox legend Johnny Pesky, so Casey spent his childhood running around on the field after games, and when he hit the stage, memories came flooding back. "It all kind of came full circle," Casey says. 

All the memories of the experience weren’t necessarily happy. "I got my car stolen," Casey recalls.  "[The team] suspected it was a fan that stole it and then realized it was mine," he says. "The Red Sox actually paid to get it detailed and everything, so it really worked out in my favor."

"He was a very good sport about it," Kennedy says. "For the record, we recovered it."

So as the season begins and fans hear the music of Roger Waters, Madonna, Kenny Chesney and others flooding the ballpark, there is one act that even the "cathedral of baseball" can’t manage to procure, and it’s not just because their tour is over.

"We can’t do U2," says Yankee COO Lonn Trost. "The stage is too big."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


Amazon Music and MP3 Center

Singing for the Fences: Behind the Scenes of Major League Stadium Concerts

Paul McCartney performs at the Billy Joel 'Last Play At Shea' Concert at Shea Stadium in New York City.

Baseball season is finally in full swing – but the crack of the bat, umpires calling strikes and vendors hawking hot dogs, popcorn and beer aren’t the only sounds one hears at the old ballpark. With the new baseball season comes a new concert season, and in 2012, several Major League venues will host shows featuring artists as diverse as Kenny Chesney (Angels Stadium), Roger Waters (Wrigley Field, Yankee Stadium, Fenway Park and Citizens Bank Park) and Madonna (Yankee Stadium).

One of the appeals of the ballpark concert experience is the energy of a large arena show held within the more intimate feel of a baseball stadium. And when major acts perform in these venues, their colleagues take notice and want to follow suit. In 2010, the Dave Matthews Band performed at Citifield (the new home of the Mets, which opened in 2009), and Dave Howard, Executive Vice President of Business Operations for the New York Mets, says part of the reason the group expressed interest in performing was because of Paul McCartney’s shows, which were the first concerts in the new space.  The Mets organization wanted McCartney as a sort of bridge to the history of concerts at Shea, including the historic 1965 performance by the Beatles. "We had three great shows," says Howard. "It was one of those awesome experiences, to witness that level of excitement and energy and history."

Ballpark stadium shows also allow the venues to make their spaces more profitable. After all, teams play 81 games on the road, and filling the seats during off times can help fill coffers. New York Yankees COO Lonn Trost says that when the team decided to build a new stadium in 2006, they took non-baseball events into consideration when planning. "We concluded that the stadium should be used 365 days a year," he says, pointing out that Yankee Stadium also hosts events for soccer, football, boxing and other events. The first concert in the new Yankee Stadium was in 2010, a year after the park opened for baseball – two nights of a double headlining bill featuring Jay-Z and Eminem. "I figured that was a good way to start," Trost says. That year, the hip-hop stars also played two nights at Detroit’s Comerica Park, home of the Tigers.  ?This year, Yankee Stadium will host Madonna for two nights in September. Trost says that the impetus for booking acts boils down to a simple formula: "Big name, what’s important at the time, what we think works with the stadium." 2012 is already booked at Yankee Stadium – "we’re looking ahead to 2013," Trost says. "Yankee Stadium is the cathedral of baseball. We hope to make it the cathedral of concerts."

The Mets and the Boston Red Sox, meanwhile, are still talking to some artists about performing at their parks this season. Red Sox COO and Executive Vice President of Business Operations Sam Kennedy discussed the quirks of putting on concerts in 100-year-old Fenway Park, which is the smallest and oldest park in the league. "It’s a challenging facility to work at," Kennedy says, because of the space constraints and there being only one roll-up door in center field to load in equipment. "It’s a different flavor of ice cream than a multi-purpose stadium with 70,000 people," he says.

Fenway Park also will also host acts that might not be on the level of mega-fame of a Bruce Springsteen or Paul McCartney, but who are better known locally. Last year, the park hosted the Dropkick Murphys for two nights. The Red Sox and the Murphys have a long history together. Former Sox closer Jonathan Papelbon used their song "Shipping up to Boston" as entrance music. The band has performed in the park before games and at fan rallies, but it had never done an actual concert at Fenway.

For Dropkick Murphys lead singer Ken Casey, the performance was a special experience. "It wasn’t so much the size or the spectacle. It was that this is the place I was going since I was a little kid," he says. His grandfather was friends with Sox legend Johnny Pesky, so Casey spent his childhood running around on the field after games, and when he hit the stage, memories came flooding back. "It all kind of came full circle," Casey says. 

All the memories of the experience weren’t necessarily happy. "I got my car stolen," Casey recalls.  "[The team] suspected it was a fan that stole it and then realized it was mine," he says. "The Red Sox actually paid to get it detailed and everything, so it really worked out in my favor."

"He was a very good sport about it," Kennedy says. "For the record, we recovered it."

So as the season begins and fans hear the music of Roger Waters, Madonna, Kenny Chesney and others flooding the ballpark, there is one act that even the "cathedral of baseball" can’t manage to procure, and it’s not just because their tour is over.

"We can’t do U2," says Yankee COO Lonn Trost. "The stage is too big."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Wednesday, April 4, 2012

Mastodon Prepping U.S. Tour Behind 'The Hunter'

Troy Sanders of Mastodon performs at the Fillmore in Detroit, Michigan.

After releasing their 2009 LP Crack the Skye – a dark, ethereal collection of songs drawing upon medieval themes and containing a four-part epic, "The Czar" – Atlanta sludge rockers Mastodon have dialed it back, opting for more direct, feel-good tunes on the follow-up release, The Hunter. Crack the Skye "was real serious," says guitarist Bill Kelliher. "People were into it, but The Hunter is kind of the rebirth." The group’s motto for the sessions? "Let's hit the reset button on the band," Kelliher recalls.

Following an extensive European tour that wrapped in February, Mastodon returned to their native Georgia to unwind. Now, after only a few weeks apart, they’ve reconvened, settling into a daily routine of intense practice sessions to gear up for a North American tour with Swedish rockers Opeth and Ghost, kicking off on April 4th in Portland, Maine.

While in Europe, Mastodon worked out several of the songs from The Hunter in concert – a process, Kelliher says, made easier by the relatively straightforward nature of the tunes. "They're more based on a live setting," he says of the newest additions to the band's live repertoire. "When we wrote the songs, we didn't think too hard about them. We're like, 'Let's just write a record that's gonna translate live and kids are gonna be able to pick up right away.'"

For their upcoming tour, Kelliher says the bands plans to play every song off the album. "We're trying to recapture what we did in the studio," he says. "Really surprise the kids and play the whole record – not front to back – but play every song off The Hunter."

This undertaking, however, has forced the band to relearn several of their new songs. "It's been challenging," Kelliher says. "It's kind of like cramming for an exam."

Much of the difficulty stems from the fact that many of the songs contain intricate instrumentals. "Songs like 'The Hunter' and 'Sparrow,' there's lots of doubled-up 12-strings, just kind of ambiances going on," Kelliher explains. "There's all kinds of stuff that we layered. Songs like 'Stargasm,' there was a lot of effects and delayed, spacey, kinda [Pink] Floyd sounds happening."

With most of their time consumed by intense tour rehearsals, Kelliher says Mastodon has yet to sit down collectively as a group to write any new songs. The guitarist does note that he’s been writing quite a bit himself, and that over the last few tours, any riffs that he or singer Brent Hinds drum up are quickly recorded onto his laptop. "Check back after the tour," he says. "We're kind of riff-collecting right now."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Monday, March 5, 2012

The Big Fracking Bubble: The Scam Behind the Gas Boom

A natural gas drilling rig stands on a Chesapeake Energy Corp. drill site in Bradford County, Pennsylvania. A natural gas drilling rig stands on a Chesapeake Energy Corp. drill site in Bradford County, Pennsylvania.Daniel Acker/Bloomberg via Getty Images

Aubrey McClendon, America's second-largest producer of natural gas, has never been afraid of a fight. He has become a billionaire by directing his company, Chesapeake Energy, to blast apart gas-soaked rocks a mile underground and pump the fuel to the surface. "We're the biggest frackers in the world," he declares proudly over a $400 bottle of French Bordeaux at a restaurant he co-owns in his hometown of Oklahoma City. "We frack all the time. What's the big deal?"

McClendon dominates America's supply of natural gas the same way the Tea Party-financing Koch brothers control the nation's pipelines and refineries. Like them, McClendon is an influential right-wing power broker – he helped fund the Swift Boat attacks against John Kerry in 2004, donated $250,000 to the presidential campaign of Rick Perry, and contributed more than $500,000 to stop gay marriage. But unlike his fellow energy czars, McClendon knows how to tone down his politics and present a friendlier, less ideological face to the public. He secretly gave $26 million to the Sierra Club to fight Big Coal, and built a Google-like campus for Chesapeake's 4,600 employees in Oklahoma City, complete with a 63,000-square-foot day care center, a luxurious gym and four cafes manned by cook-to-order chefs. He even voted for Barack Obama because he thought the country needed "an inspirational figure."

At 52, McClendon still looks like the whip-smart accountant he once aspired to be – crisp white shirt, polished shoes, a toss of white hair. To hear him tell it, the cleaner-than-coal fuel he produces will revive our faltering economy, free us from the tyranny of foreign oil and save the planet from global warming. "I have a fossil fuel that makes other fossil fuels obsolete," he boasts. By McClendon's estimate, the industry has drilled more than 1.2 million wells nationwide, yet so far there have been only a few confirmed cases where things have gone wrong – despite dire warnings from scientists and environmentalists that fracking pollutes rivers and streams, contaminates drinking water and turns large swaths of farmland into industrial moonscapes. "Where is the mushroom cloud?" McClendon asks. "Where are the dogs with one leg? Where are the people that have been maimed or hurt?"

He sips his Bordeaux; his own private wine cellar once boasted more than 10,000 bottles. It's a good riff, with some truth to it. But what McClendon leaves out is the real nature of the business he's in. Fracking, it turns out, is about producing cheap energy the same way the mortgage crisis was about helping realize the dreams of middle-class homeowners. For Chesapeake, the primary profit in fracking comes not from selling the gas itself, but from buying and flipping the land that contains the gas. The company is now the largest leaseholder in the United States, owning the drilling rights to some 15 million acres – an area more than twice the size of Maryland. McClendon has financed this land grab with junk bonds and complex partnerships and future production deals, creating a highly leveraged, deeply indebted company that has more in common with Enron than ExxonMobil. As McClendon put it in a conference call with Wall Street analysts a few years ago, "I can assure you that buying leases for x and selling them for 5x or 10x is a lot more profitable than trying to produce gas at $5 or $6 per million cubic feet."

According to Arthur Berman, a respected energy consultant in Texas who has spent years studying the industry, Chesapeake and its lesser competitors resemble a Ponzi scheme, overhyping the promise of shale gas in an effort to recoup their huge investments in leases and drilling. When the wells don't pay off, the firms wind up scrambling to mask their financial troubles with convoluted off-book accounting methods. "This is an industry that is caught in the grip of magical thinking," Berman says. "In fact, when you look at the level of debt some of these companies are carrying, and the questionable value of their gas reserves, there is a lot in common with the subprime mortgage market just before it melted down." Like generations of energy kingpins before him, it would seem, McClendon's primary goal is not to solve America's energy problems, but to build a pipeline directly from your wallet into his.

As recently as a decade ago, many energy experts believed that America was nearly pumped out – that the only oil and gas left here at home was too difficult and too expensive to get out of the ground. Until we can ferment synthetic fuels with genetically engineered yeast or develop solar cells as cheap as Frisbees, the argument went, we would be stuck buying oil from the Arabs.

Geologists had long known there was a lot more energy buried deep underground – they called these subterranean rock layers "the kitchen," because it was where the gas and oil were actually made, before they bubbled up and gathered in reservoirs. But nobody knew how to extract these deep reserves – at least, not in a way that made economic sense. Then, in the 1980s, a Texas wildcatter named George Mitchell began working on a way to drill a mile down into the earth, turn the drill sideways, and keep drilling horizontally into a thin layer of shale. Next, he pumped in a few million gallons of water and sand under enough pressure to shatter the rock. When he pumped the water out, gas and oil flowed out of the rock's fractured pores.

The new technique ignited a boom in drilling for "unconventional" sources of gas and oil: Shale gas now provides 25 percent of America's gas supply, enabling the U.S. to pass Russia as the world's largest producer of natural gas. Initially, even environmentalists were enthusiastic. Fred Krupp, who heads the Environmental Defense Fund, called the gas boom a "potential game changer" – a cleaner energy source that could replace coal and oil for a few decades, until the cost of wind and solar power dropped enough to put fossil fuels out of business. But exactly how much gas and oil we can continue to squeeze out of deep sources like shale rock is unclear. In his State of the Union address, President Obama estimated that there's enough to fuel the country for nearly 100 years. T. Boone Pickens, the energy billionaire who has a major stake in Chesapeake Energy, offers an even more sweeping assessment. "Natural gas," he tells me point-blank, "is the solution to America's energy problems."

At first, when oil and gas producers confined themselves to fracking in the wide-open spaces of Texas and Oklahoma, nobody much gave a damn. The trouble started in 2007, when drilling operators made a run on the Marcellus Shale, a broad region of gas reserves that stretches through Pennsylvania and up into Ohio and New York. Almost overnight, fracking's technological miracle was recast as the next great environmental menace. The Oscar-nominated film Gasland exposed the dark underbelly of fracking, interviewing residents who could literally light their faucets on fire, thanks to the gas that had contaminated their drinking water. Last year, The New York Times documented how gas drillers were dumping millions of gallons of irradiated wastewater loaded with toxic chemicals into Pennsylvania's rivers and streams, largely without regulatory oversight.

At the same time, scientists began to conclude that America's reserves of natural gas have been overhyped. In January, the Energy Department cut its estimate of the amount of gas available in the Marcellus Shale by nearly 70 percent, and a group affiliated with the Colorado School of Mines warns that there may be only 23 years' worth of economically recoverable gas left nationwide. Even worse, new studies suggest that because of fugitive emissions of methane from wellheads and pipelines, natural gas may actually be no better than coal when it comes to global warming. "I was an early optimist about natural gas," says Robert Kennedy Jr., who sits on a panel that's advising Gov. Andrew Cuomo on whether to allow drillers like McClendon to expand into New York. "But after looking into it, I now believe that, without tighter regulations and stricter oversight, the shale-gas boom could turn out to be an economic and environmental disaster."

The oil and gas business is full of guys like T. Boone Pickens, self-made men who rose from a hardscrabble life on the prairie to become titans of the industry. McClendon, by contrast, grew up awash in oil money: He's the great-nephew of Robert S. Kerr, the influential Oklahoma governor and senator who co-founded the Kerr-McGee Corp. in 1929. Kerr-McGee was the ExxonMobil of its time, an energy giant that eventually sold for $16 billion. McClendon's personal fortune is now estimated at $1.2 billion, including a major stake in the NBA's Oklahoma City Thunder and a $20 million retreat in Bermuda.

By the time McClendon headed off to college, at Duke University, he didn't have much interest in the family business. He majored in history, joined a frat and listened to a lot of Bruce Springsteen. But his real passion was accounting. "I just wanted to be a businessman," he says, "and to me, the best way to understand business was to be an accountant." He might have gone on to a steady, solid career at Arthur Andersen had he not come across an article in The Wall Street Journal during his senior year. "It was about two guys who had drilled a big well in the Anadarko Basin that had blown out, and it was alleged to be the biggest blowout in the history of the country," McClendon recalls. "They sold their stake to Washington Gas and Light and got a $100 million check. I thought, 'These are two dudes who just drilled a well and it happened to hit.' So that really piqued my interest."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Monday, February 20, 2012

The Creative Director Behind Nicki Minaj's Blasphemous Grammy Production

laurieann gibson nicki minaj Laurieann Gibson is the creative director and choreographer behind Nicki Minaj's Grammy Awards performance.Larry Busacca/Getty Images For The Recording Academy; ROBYN BECK/AFP/Getty Images

What goes into directing a pop spectacle like the one Nicki Minaj unveiled at the Grammys? Meet creative director Laurieann Gibson, who has created and choreographed some of the most visually stimulating stage shows in the pop world.

Gibson woke up in South Korea Wednesday morning (Tuesday night in the U.S.) to find herself at the top of the U.S. headlines. Overseas, the Alvin Ailey-trained dancer is putting together the stage show for K-Pop sensation BigBang (check out their takes on Maroon 5's 'This Love' and Mariah Carey's 'We Belong Together'), but stateside Gibson has gained notoriety as the creative engine behind Minaj's controversial Grammy performance.

Photos: Nicki Minaj's Wildest Looks

"I woke up this morning like, 'huh?'" Gibson tells Rolling Stone, seemingly puzzled by the way Minaj's performance at the 54th Grammys seemed to overshadow everything on the busy show, from Jennifer Hudson's emotional tribute to the late Whitney Houston to the reunited Beach Boys and Adele's astonishing six-award sweep. Minaj performed the new track "Roman Holiday" as her nihilistic alter-ego Roman Zolanski, executing the first-ever mock exorcism on the Grammy stage. Critics were quick to pan the performance for its over-the-top religious overtones and similarities to other church-baiting performances in the name of pop music, among them Madonna's "Like a Prayer"  and Lady Gaga's "Judas" video, which Gibson co-directed. The Catholic League blasted Minaj's performance on their website for its "vulgar" choreography, taking special exception to "a scantily clad female dancer stretching backwards while an altar boy knelt between her legs in prayer."

"To be honest, no, we didn't do anything for controversy," Gibson claims. "We never had that conversation at all. Nicki just truly wanted Roman to be exorcised, and I just went to work."

For her part, Gibson was tasked with marrying Minaj's idea of the exorcism and the Hype Williams-directed video that accompanied the performance. Titled 'The Exorcism of Roman,' the video borrowed imagery from the 1973 classic The Exorcist and more recent horror flicks like The Devil Inside.

A self-described "believer" and Catholic, Gibson says she never watched The Exorcist as a child because it "scared the boots" off her. To adapt Minaj's ideas for the stage, she looked to the House of Borghese and the Vatican for inspiration. "I love the inspiration of those colors and that architectural world," Gibson says. "I personally chose to stay away from any religious moves. There were no crosses. There were no religious symbols. We made sure we were very respectable. The bishop was a symbolic figurehead. He was not [intended] in a negative light, but in a position of authority."

Gibson assumes the reason Minaj's performance drew so much attention is simply because Catholic imagery alongside pop music just does. "You don't get press on the other stuff," she says. "As far as the theatrical and dramatic performance, it's entertainment. If you are going to rise up about a performance that is not literal or harming from two people that are believers, then we need to see that anger being used to make a change."

This isn't the first time Gibson has been attacked by the Catholic League for her choreography. It happened with her work on Lady Gaga's "Judas" video. On YouTube the video, which begins with Gaga riding with a biker gang made up of Jesus' apostles, has more than 127 million hits.

Photos: Grammys 2012: Best and Worst Red Carpet Fashion

"I loved the idea of Jesus being on a motorcycle bringing them from Damascus to face a situation that might not be so favorable," Gibson says. She doesn't see similarities between the Gaga video and Minaj's Grammy performance. "They are two completely different stories. As far as what I do and the execution of it, that's great that it is at that level where people recognize the similarities and how I execute for an artist. But 'Judas' was a completely different experience. Nicki is extremely unique – it's a different genre of music. What people are feeling is the similarity in what I do and how I'm capable of breaking a new artist into a competitive field.

"People can't wrap their head around the fact that Gaga did not do that on her own. She didn't. There was a Laurieann Gibson. There was someone to execute at a high level in a short period of time. There are a lot of great artists, and the fact that we did that in such a short period of time was a huge blessing."

Before choreographing the grand entrances and videos for "Just Dance," "Poker Face," "Paparazzi" and a huge chunk of Gaga's work prior to 2011's "You and I," Gibson was a Fly Girl on In Living Color in the Nineties. She went on to choreograph dance moves for Missy Elliott, Diddy, Alicia Keys and the Jonas Brothers before becoming a creative director. "A choreographer deals with the movement that you create," Gibson explains, "and with a creative director it's about the story, the stage, the lighting, the costuming, executing someone's idea, choosing how far to go or how little to go, and blending it so that you feel it, you're emotionally effected."

Asked if she feels she is molding the pop stars she works with, Gibson says, "Molding them from a place of love and wanting to see their dreams come true. With Lady Gaga I really stretched myself as a creative director, and because I was with this artist from before she got signed I was able to really take control of the opportunity and execute as a creative director." The two stopped working together in 2011 after Gibson's work on Gaga's "You and I" video, ending their professional relationship due to "creative differences."

Gaga had simply gotten to the point where she wanted to be her own creative director, she says. "Instead of fighting, I had to say, 'Go ahead. It's all good. We got here. Thank you,'" Gibson says. "I had a great time. I got to do so much. You don't want to fight with someone you love and you have fun with. So it's OK if they want to run their creative. I wish her luck."

As for Minaj's Grammy performance, the negative publicity has paid off, boosting anticipation for the femcee's next single, "Starship," which dropped yesterday. After all, a little controversy never hurt fellow rappers like Eminem or Kanye West.

As for Zolanski, this isn't the last we've seen of that character. Minaj is currently writing a story and movie about her alter-ego, and Gibson confirms that they have other projects lined up together.

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