Alice’s Restaurant Illustrated: A Thanksgiving Counterculture Classic

Alice’s Restau­rant. It’s now a Thanks­giv­ing clas­sic, and some­thing of a tra­di­tion around here. Record­ed in 1967, the 18+ minute coun­ter­cul­ture song recounts Arlo Guthrie’s real encounter with the law, start­ing on Thanks­giv­ing Day 1965. And it builds steadi­ly into a satir­i­cal protest against the Viet­nam War draft. We have fea­tured Guthrie’s clas­sic dur­ing past years. But, for this Thanks­giv­ing, we give you the illus­trat­ed ver­sion. Hap­py Thanks­giv­ing to all who will cel­e­brate today.

Relat­ed Con­tent:

Bed Peace Revis­its John Lennon & Yoko Ono’s Famous Anti-Viet­nam War Protest

Willie Nel­son, Pete Seeger, and Arlo Guthrie at Occu­py Wall Street

The Alan Lomax Sound Archive Now Online: Fea­tures 17,000 Record­ings

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The Making of Stanley Kubrick’s The Shining (As Told by Those Who Helped Him Make It)

Last year, we fea­tured Mak­ing The Shin­ing, the behind-the-scenes doc­u­men­tary on Stan­ley Kubrick­’s Stephen King-adapt­ing hor­ror film shot by his teenage daugh­ter Vivian. (Find Part 1 below, and Part 2 here.) If you can’t get enough knowl­edge about Kubrick­’s work­ing meth­ods — and true Kubrick afi­ciona­dos nev­er can — you’ll want to watch Stair­cas­es to Nowhere as well. This extend­ed cut ver­sion of the film offers some­thing of an oral his­to­ry of The Shin­ing’s pro­duc­tion from those who toiled hard on it: a scenic artist and prop man, a cam­era oper­a­tor, a cam­era tech­ni­cian, a con­ti­nu­ity super­vi­sor, and even a pub­li­cist. Those who know Kubrick­’s work know that, in every aspect of film­mak­ing, the man had very spe­cif­ic ideas about what he want­ed. He also had high expec­ta­tions for his crew’s abil­i­ty to real­ize them, even if that would require untest­ed, or even yet unen­vi­sioned, tech­niques and devices. One inter­vie­wee describes Kubrick as “a frus­trat­ed tech­ni­cian,” and indeed, this doc­u­men­tary fills out the image of the direc­tor as an artis­tic inno­va­tor will­ing to exper­i­ment and impro­vise with the phys­i­cal tech­nol­o­gy of film­mak­ing.

The on-set sto­ries told in Stair­cas­es to Nowhere come, so the video descrip­tion puts it, as “extracts from full-length inter­views with each of the con­trib­u­tors about their careers work­ing at stu­dios in Elstree and Bore­ham­wood, and form part of ‘The Elstree Project’ — a col­lab­o­ra­tion between Elstree Screen Her­itage and the Uni­ver­si­ty of Hert­ford­shire. This work has been done on a vol­un­tary basis with stu­dent vol­un­teers and staff giv­ing up their own time to help pre­serve the lega­cy of the ‘British Hol­ly­wood’.”  You can learn more about the project at its offi­cial site, which con­tin­ues to doc­u­ment the Eng­lish towns of Bore­ham­wood and Elstree’s rich his­to­ry of film and tele­vi­sion pro­duc­tion. The Amer­i­can-born but British-res­i­dent Kubrick cer­tain­ly found some­thing that worked for him in Eng­land. Whether that came down to a sim­ple affin­i­ty for the coun­try or the coun­try’s tol­er­ance of his uncom­mon­ly rig­or­ous approach to craft, you can’t argue with the results today — as much as the man indi­vid­u­al­ly re-paint­ing hun­dreds of ball­room tiles gold for light­ing rea­sons might have felt like argu­ing at the time.

Relat­ed con­tent:

Rare 1960s Audio: Stan­ley Kubrick’s Big Inter­view with The New York­er

Stan­ley Kubrick’s Very First Films: Three Short Doc­u­men­taries

Ter­ry Gilliam: The Dif­fer­ence Between Kubrick (Great Film­mak­er) and Spiel­berg (Less So)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Astronaut Sunita Williams Gives an Extensive Tour of the International Space Station

After a 125-day stay aboard the Inter­na­tion­al Space Sta­tion, ISS Com­man­der Suni­ta (Suni) Williams touched down in Kaza­khstan on Mon­day, along with Flight Engi­neers Aki Hoshide and Yuri Malanchenko. Part of what is known as Expe­di­tion 33, the three board­ed their Soyuz TMA-05M on Sun­day to return to Earth, but before they left, Williams down­linked an exten­sive tour above of the ISS orbital lab­o­ra­to­ry. Williams has giv­en sev­er­al inter­views from her ISS post, so you may have already seen her float­ing weight­less in front of the cam­era, a nim­bus of dark hair around her face.

Here we see a num­ber of inter­est­ing fea­tures of the sta­tion. She begins with the Japan­ese lab­o­ra­to­ry, then moves to the Euro­pean mod­ule, “Colum­bus,” where many of the med­ical exper­i­ments take place. Inter­est­ing­ly, every sur­face is a suit­able work­sta­tion; since there’s no ref­er­ence for floor, walls, or ceil­ing, and no need for any­thing to stand on, one can maneu­ver into any posi­tion with­out los­ing a sense of direc­tion. As Williams demon­strates the “sleep sta­tions,” phone booth-size com­part­ments with sleep­ing bags, she shows how the astro­nauts can also sleep in any posi­tion at all with­out feel­ing like they’re “upside-down” or dis­ori­ent­ed in any way. There’s also a lengthy tour of the “facil­i­ties” (in case you’ve ever won­dered how that works) and the “cupo­la,” a small trans­par­ent room like a WWII gun­nery sta­tion where the astro­nauts can gaze out at their home plan­et.

So, yes, I will admit, I’ve always liked to imag­ine the inte­ri­or of the ISS like the smooth, padded cor­ri­dors of Stan­ley Kubrick’s 2001, but the real­i­ty is still seri­ous­ly cool. The Wash­ing­ton Post has a slideshow of Expe­di­tion 33’s touch­down near the town of Arka­lyk in north­ern Kaza­khstan, and the video below shows the small cer­e­mo­ny that greet­ed the crew hours after their arrival back on Earth.

via Uni­verse Today

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Watch the “Biblio-Mat” Book-Vending Machine Dispense Literary Delight

We thought that Brazen­head Books might qual­i­fy as the quirki­est book­store we’ve encoun­tered. After all, it’s run out of Michael Sei­den­berg’s apart­ment in New York City. But get a load of this: The Monkey’s Paw, which calls itself “Toronto’s most idio­syn­crat­ic sec­ond-hand book­shop,” has installed the Bib­lio-mat, a vend­ing machine that dis­pens­es ran­dom books for a very nom­i­nal fee — $2 per book. (If you’re look­ing for $0, see our lists below.) In a recent inter­view with QuillandQuire.com, Stephen Fowler, the book­store’s own­er, explained the sto­ry behind the Bib­lio-mat:

I went fish­ing this past sum­mer with Craig Small, co-founder of The Jug­ger­naut, an ani­ma­tion stu­dio in Toron­to. I had this idea that I would love to have a vend­ing machine that gave out ran­dom books. I pic­tured it as a paint­ed refrig­er­a­tor box with one of my assis­tants inside; peo­ple would put in a coin and he would drop a book out. But Craig is more prag­mat­ic and vision­ary then I am. He said, “You need to have an actu­al mechan­i­cal vend­ing machine.” That was beyond my wildest imag­in­ings, but not Craig’s, so he just built it for me.

Thanks to Small, you can now watch the Bib­lio-mat in action above. It whirrs. It vibrates. And it final­ly deliv­ers a book with a sat­is­fy­ing clunk.

via Gal­ley Cat

Relat­ed Con­tent:

Down­load Free Audio Books and Free eBooks

Spike Jonze Presents a Stop Motion Film for Book Lovers

Books Savored in Stop Motion Film

Going West: A Stop Motion Nov­el

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Mashup Duet: Miles Davis Improvising on LCD Soundsystem

It’s cute. It’s clever. Just two Youtube videos in sync. Noth­ing more. Enjoy. h/t Boing­Bo­ing

Relat­ed Con­tent: 

‘The Sound of Miles Davis’: Clas­sic 1959 Per­for­mance with John Coltrane

1959: The Year that Changed Jazz

John Coltrane Plays Only Live Per­for­mance of A Love Supreme

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Philip Roth Reads the Last Pages of His Last Work of Fiction: “The End of the Line After Thirty-One Books”

After half a cen­tu­ry and 31 books, Philip Roth casu­al­ly announced last month in an inter­view with a French mag­a­zine that he was call­ing it quits. He actu­al­ly made the deci­sion back in 2010, after the pub­li­ca­tion of his Book­er Prize-win­ning nov­el Neme­sis. “I did­n’t say any­thing about it because I want­ed to be sure it was true,” the 79-year-old Roth told New York Times reporter Charles McGrath last week in what he said would be his last inter­view. “I thought, ‘Wait a minute, don’t announce your retire­ment and then come out of it.’ I’m not Frank Sina­tra. So I did­n’t say any­thing to any­one, just to see if it was so.”

Although Roth had been pri­vate­ly telling friends about his retire­ment for two years, accord­ing to David Rem­nick in The New York­er, the pub­lic announce­ment came as a shock for many. From his 1959 Nation­al Book Award-win­ning debut Good­bye, Colum­bus and Five Short Sto­ries and his out­ra­geous­ly fun­ny 1969 clas­sic Port­noy’s Com­plaint through his remark­ably pro­lif­ic late peri­od, with its steady stream of beau­ti­ful­ly craft­ed nov­els like Oper­a­tion Shy­lock, Sab­bath’s The­ater and The Human Stain, it seemed as though Roth had the cre­ative ener­gy to keep writ­ing until he took his last breath.

But per­haps if we’d paid clos­er atten­tion we would­n’t be so sur­prised. In this 2011 video, for exam­ple, which shows Roth read­ing a few pages from Neme­sis after it won the Man Book­er Inter­na­tion­al Prize, he basi­cal­ly says it: “Com­ing where they do, they’re the pages I like best in Neme­sis. They con­sti­tute the last pages of the last work of fic­tion I’ve published–the end of the line after 31 books.”

Relat­ed con­tent:

Philip Roth on Aging

Philip Roth’s Cre­ative Surge and the Death of the Nov­el

Philip Roth Pre­dicts the Death of the Nov­el; Paul Auster Coun­ters

Adam Savage (Host of MythBusters) Explains How Simple Ideas Become Great Scientific Discoveries

A good TED talk is like a com­mer­cial for a great idea. There might not be much meat to sink into, but like any good ad agency, TED has its own unique for­mu­la for mak­ing even the most eso­teric sub­ject grab­by.

Who, after all, would have thought that a video of a British guy lec­tur­ing about how schools kill cre­ativ­i­ty would get more than 8 mil­lion hits? Evi­dent­ly the folks at TED did, and were they ever right.

Good TED talks come in a few fla­vors. That British guy I men­tioned? Sir Ken Robinson’s talk about con­tem­po­rary edu­ca­tion is one of TED’s best pol­i­cy cri­tique talks (and its most pop­u­lar over­all). There are also the per­son­al sto­ries that com­pel and the demon­stra­tions of great new ideas.

This talk by actor and edu­ca­tor Adam Sav­age might fall into more than one of those buck­ets. In the video above, Savage—who designed mod­els for two Star Wars movies and hosts Myth­busters on the Dis­cov­ery Channel—talks plain and sim­ple about some of humanity’s most amaz­ing sci­en­tif­ic dis­cov­er­ies. He walks us through how Eratos­thenes cal­cu­lat­ed the Earth’s cir­cum­fer­ence more than 2000 years ago and how Hip­poly­te Fizeau mea­sured the speed of light in the mid-1880s.

These two men used noth­ing more than their own brains and a few rel­a­tive­ly sim­ple tools to make aston­ish­ing­ly accu­rate obser­va­tions. It’s stuff we already know, but in true TED style Sav­age makes the whole thing rev­e­la­to­ry and inspir­ing.

“What hap­pens when you think about the dis­cov­er­ies and what they were think­ing is you under­stand that they were not so dif­fer­ent from us,” Sav­age says. “The peo­ple who made these dis­cov­er­ies just thought a lit­tle bit hard­er about what they were look­ing at. And they were a lit­tle bit more curi­ous.”

Savage’s video is part of TEDEd’s Lessons Worth Shar­ing, which comes bun­dled with oth­er videos and exer­cis­es that teach­ers can use to dis­cuss the notion that sim­ple ideas can lead to sci­en­tif­ic dis­cov­ery.

It’s also a very good  com­mer­cial for curios­i­ty. Sev­en and a half min­utes pro­mot­ing curios­i­ty. Take a look. Curios­i­ty, as Sav­age says, can change the world.

Relat­ed Con­tent:

Adam Sav­age (Host of Myth­busters) Tells Sarah Lawrence Grads to Think Broad­ly … and Don’t Work for Fools

1370 TED Talks List­ed in a Neat Spread­sheet

TED-Ed Brings the Edgi­ness of TED to Learn­ing

Kate Rix writes about dig­i­tal media and edu­ca­tion. See more of her work at and thenifty.blogspot.com.

Brian Eno Once Composed Music for Windows 95; Now He Lets You Create Music with an iPad App

Now run­ning through my speak­ers, even as I write this: Bri­an Eno’s lat­est album, Lux. The disc offers four pieces of ambi­ent music, a style that, even if Eno did­n’t tech­ni­cal­ly invent it, he cer­tain­ly took it to a new lev­el of fas­ci­na­tion and pop­u­lar­i­ty. He com­posed these tracks — if “com­posed” is indeed the word — as gen­er­a­tive music, a process rather than a style, but one he named and has pro­mot­ed since the nineties. For a def­i­n­i­tion of gen­er­a­tive music, I turn to Eno’s A Year with Swollen Appen­dices, a book that does not leave my night­stand. “One of my long-term inter­ests has been the inven­tion of ‘machines’ and ‘sys­tems,’ ” he writes, “to make music with mate­ri­als and process­es I spec­i­fied, but in com­bi­na­tions and inter­ac­tions I did not. My first released piece of this kind was Dis­creet Music (1975), in which two sim­ple melod­ic cycles of dif­fer­ent dura­tions sep­a­rate­ly repeat and are allowed to over­lay each oth­er arbi­trar­i­ly.”

In Lux, we have the lat­est iter­a­tion of that musi­cal mod­el. But even if this new record or its pre­de­ces­sors won’t make your playlist, there’s at least one Bri­an Eno com­po­si­tion with which you’ll already feel inti­mate­ly famil­iar. I refer, of course, to the Win­dows 95 start­up sound. Eno describes the musi­cal chal­lenge as fol­lows: “The thing from the agency said,‘We want a piece of music that is inspir­ing, uni­ver­sal, blah- blah, da-da-da, opti­mistic, futur­is­tic, sen­ti­men­tal, emo­tion­al,’ this whole list of adjec­tives, and then at the bot­tom it said ‘and it must be three and one quar­ter sec­onds long.’ ”

From that list of 150 vague words, Eno craft­ed 84 minia­ture pieces of music. You may have heard the one Microsoft ulti­mate­ly went with hun­dreds, or thou­sands, of times. Obvi­ous­ly they’ve sound­ed the same on every play, and this very fact dis­pleas­es their cre­ator, espe­cial­ly when he cre­ates with gen­er­a­tive sys­tems in the first place. “What I always want­ed to do was sell the sys­tem itself, so that a lis­ten­er would know that the music was always unique,” Eno con­tin­ues in A Year. “With com­put­er tech­nol­o­gy I began to think there might be a way of doing it.” Com­put­er tech­nol­o­gy, which has come a long way since the days of Win­dows 95, has brought us to the release of Scape, the first gen­er­a­tive music iPad app ($5.99) from Eno and Peter Chil­vers. “The idea is that you assem­ble pieces of music out of son­ic build­ing blocks — we call them ‘ele­ments’ — which then respond intel­li­gent­ly to each oth­er,” Eno says in the intro­duc­to­ry video just above. Scape fol­lows Bloom and Trope, the duo’s pre­vi­ous gen­er­a­tive music apps for the iPhone. Does it strike you as strange that the man behind such an icon­ic Microsoft theme now releas­es apps only for Apple devices? It’s no big sur­prise: Eno even com­posed the Win­dows 95 sound on a Mac.

Relat­ed con­tent:

How David Byrne and Bri­an Eno Make Music Togeth­er: A Short Doc­u­men­tary

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Resurrecting the Sounds of Abraham Lincoln in Steven Spielberg’s New Biopic

If you’re head­ing to see Steven Spiel­berg’s new biopic of Abra­ham Lin­coln, you can go there know­ing one thing (oth­er than Daniel Day-Lewis has deliv­ered anoth­er Acad­e­my Award-win­ing per­for­mance) — and that’s that the direc­tor, cast and crew paid close atten­tion to the his­tor­i­cal details. In an inter­view yes­ter­day, Sal­ly Field (who plays Lin­col­n’s wife Mary Todd) described how she immersed her­self in the lan­guage of the era, pored over let­ters exchanged between Lin­coln and his wife, gained 25 pounds to resem­ble Mary’s doc­u­ment­ed mea­sure­ments. And then there’s this curi­ous detail. Dur­ing the film­ing of Lin­coln (watch the trail­er below), Daniel Day-Lewis and Sal­ly Field nev­er spoke to one anoth­er out of char­ac­ter. They knew each oth­er sim­ply as “Mary Lin­coln” and “Mr. Lin­coln” through­out.

In the video above, we get to lis­ten to sound design­er Ben Burtt talk about his own quest for his­tor­i­cal authen­tic­i­ty — that is, how he tried to recap­ture the sounds that Lin­coln heard dur­ing his life­time. Of course, we don’t have audio record­ings from the 1860s. But Burtt found cre­ative ways to res­ur­rect sounds from the peri­od, like record­ing the tick-tocks of Lin­col­n’s per­son­al watch, or cap­tur­ing the sounds made by mahogany doors that still stand in the White House. We’ll let Burtt explain the rest above.

Relat­ed Con­tent:

The Last Sur­viv­ing Wit­ness of the Lin­coln Assas­si­na­tion (1956)

Louis CK Plays Abra­ham Lin­coln, America’s 16th Pres­i­dent and (Yes) Stand-Up Come­di­an Too

Watch Steven Spielberg’s Debut: Two Films He Direct­ed as a Teenag­er

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Noam Chomsky Explains Where Artificial Intelligence Went Wrong

While pop­u­lar­ly known for his pierc­ing and relent­less cri­tiques of U.S. for­eign pol­i­cy and eco­nom­ic neolib­er­al­ism, Noam Chom­sky made his career as a researcher and pro­fes­sor of lin­guis­tics and cog­ni­tive sci­ence. In his 50 years at MIT he earned the appel­la­tion “the father of mod­ern lin­guis­tics” and—after over­turn­ing B.F. Skinner’s behav­ior­ist paradigm—founder of the “cog­ni­tive rev­o­lu­tion.” But these are labels the self-effac­ing Chom­sky rejects, in his char­ac­ter­is­ti­cal­ly under­stat­ed way, as he rejects all tri­umphal­ist nar­ra­tives that seem to promise more than they deliv­er.

Such is the case with Arti­fi­cial Intel­li­gence. The term, coined in 1956 by com­put­er sci­en­tist John McCarthy, once described the opti­mism with which the sci­en­tif­ic com­mu­ni­ty pur­sued the secrets of human cog­ni­tion in order to map those fea­tures onto machines. Opti­mism has turned to puz­zle­ment, ambiva­lence, or in Chomsky’s case out­right skep­ti­cism about the mod­els and method­olo­gies embraced by the field of AI.

Nev­er par­tic­u­lar­ly san­guine about the prospects of unlock­ing the “black box” of human cog­ni­tion through so-called “asso­ci­a­tion­ist” the­o­ries, Chom­sky has recent­ly become even more crit­i­cal of the sta­tis­ti­cal mod­els that have come to dom­i­nate so many of the sci­ences, though he is not with­out his crit­ics. At an MIT sym­po­sium in May of last year, Chom­sky expressed his doubts of a method­ol­o­gy Nobel-win­ning biol­o­gist Syd­ney Bren­ner has called “low input, high through­put, no out­put sci­ence.”

Recent­ly Yarden Katz, an MIT grad­u­ate stu­dent in Cog­ni­tive Sci­ences, sat down with Chom­sky to dis­cuss the prob­lems with AI as Chom­sky sees them. Katz’s com­plete inter­view appeared this month in The Atlantic. He also video­taped the inter­view and post­ed clips to his Youtube chan­nel. In the clip above, Katz asks Chom­sky about “for­got­ten method­olo­gies in arti­fi­cial intel­li­gence.” Chom­sky dis­cuss­es the shift toward prac­ti­cal appli­ca­tion in engi­neer­ing and com­put­ing tech­nol­o­gy, which “direct­ed peo­ple away from the orig­i­nal ques­tions.” He also express­es the opin­ion that the orig­i­nal work was “way too opti­mistic” and assumed too much from the lit­tle data avail­able, and he describes how “throw­ing a sophis­ti­cat­ed machine” at the prob­lem leads to a “self-rein­forc­ing” def­i­n­i­tion of suc­cess that is at odds with sci­en­tif­ic dis­cov­ery.

In the clip below, Chom­sky dis­cuss­es a new field in sys­tems biol­o­gy called “Con­nec­tomics,” an attempt to map the wiring of all the neu­rons in the brain—an endeav­or prick­ly biol­o­gist Syd­ney Bren­ner calls “a form of insan­i­ty.” Katz asks if the “wiring dia­gram” of the brain would pro­vide “the right lev­el of abstrac­tion” for under­stand­ing its work­ings.

The inter­view is worth read­ing, or watch­ing, in full, espe­cial­ly for stu­dents of neu­ro­science or psy­chol­o­gy. Chom­sky dis­cuss­es the work of his one­time col­league David Marr, whose posthu­mous­ly pub­lished book Vision has had an enor­mous influ­ence on the field of cog­ni­tive sci­ence. Chom­sky also prais­es the work of Randy Gal­lis­tel, who argues that devel­op­ments in cog­ni­tive and infor­ma­tion sci­ence will trans­form the field of neu­ro­science and over­turn the par­a­digms embraced by ear­ly researchers in AI. While this is an excit­ing time to be a cog­ni­tive sci­en­tist, it seems, per­haps, a dif­fi­cult time to be a pro­po­nent of Arti­fi­cial Intel­li­gence, giv­en the com­plex­i­ties and chal­lenges the field has yet to meet suc­cess­ful­ly.

Relat­ed Con­tent:

Noam Chom­sky Spells Out the Pur­pose of Edu­ca­tion

Noam Chom­sky & Michel Fou­cault Debate Human Nature & Pow­er (1971)

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

The Rolling Stones at 50: Mick, Keith, Charlie & Ronnie Revisit Their Favorite Songs


The Rolling Stones are cel­e­brat­ing their 50th anniver­sary this year, and like every­thing with the Stones, they’re doing it big. The band has sched­uled a series of five spe­cial con­certs on both sides of the Atlantic, begin­ning next Sun­day in Lon­don and con­tin­u­ing in Newark, New Jer­sey, and Brook­lyn, New York, in Decem­ber.

And like every­thing with the Stones, it’s expen­sive. Tick­ets for the Lon­don shows, for exam­ple, range in price from about $150 to $1,500, which has prompt­ed more than a few com­plaints. The band has defend­ed the prices, say­ing that they’re doing a large-scale show with only five audi­ences to cov­er the pro­duc­tion costs. “We’ve already spent a mil­lion on rehears­ing in Paris,” gui­tarist Ron­nie Wood told The Tele­graph recent­ly. “And the stage is going to be anoth­er few mil­lion. And the lights. We feel no bad thing about tick­et prices. We’ve got to make some­thing.”

The rock ’n’ roll busi­ness­men also expect to make some­thing from a pay-per-view broad­cast of the sold-out Decem­ber 15 show in Newark, along with sales of a new illus­trat­ed auto­bi­og­ra­phy called The Rolling Stones: 50 and a ret­ro­spec­tive album called GRRR!, which comes in sev­er­al edi­tions rang­ing from the three-disc basic CD ver­sion to a five-disc vinyl boxed set. While pro­mot­ing the album, all four mem­bers of the Stones agreed to be inter­viewed by Melis­sa Block of the NPR pro­gram All Things Con­sid­ered. Block asked each of the Stones to pick one song from their exten­sive cat­a­log to dis­cuss. It’s an inter­est­ing series of con­ver­sa­tions, and you can hear each one by fol­low­ing these links:

Along with the expect­ed clas­sics, GRRR! includes two new songs, includ­ing the first sin­gle released by the Stones in six years, “Doom and Gloom.” (See the video below.) It’s a blus­tery tune, lack­ing the rhyth­mic sophis­ti­ca­tion and inven­tive­ness of the band’s ear­li­er work, but it amply demon­strates that even after 50 years, the Stones still know how to rock.

Relat­ed con­tent:

The Rolling Stones Jam With Their Idol, Mud­dy Waters, 1981

The Rolling Stones Sing Jin­gle for Rice Krispies Com­mer­cial, 1964

The Rolling Stones Sing the Bea­t­les’ ‘Eight Days a Week’ in a Hotel Room, 1965


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    Open Culture was founded by Dan Colman.