TIME Advertising

Those Matthew McConaughey Lincoln Ads Might Just Have Worked

Lincoln says sales were up 25% in October

Lincoln Motors had an alright, alright, alright October. The company announced its best sales for the month of October since 2007 — and it may have Matthew McConaughey to thank for the boost.

The Interstellar actor, who starred in advertisements for the MKC crossover SUV, possibly helped Lincoln’s overall sales last month go up 25 percent, according to The Hollywood Reporter. Of the 8,883 vehicles sold last month, 2,197 were MKCs.

Car sales go up and down based on a number of factors, of course, though sales for this particular model reportedly spiked after the television spots — and the resulting parodies of them by Jim Carrey (on Saturday Night Live), Ellen DeGeneres and Conan O’Brien — began airing this fall.

[THR]

TIME remembrance

How Tom Magliozzi Explained the Reason for Car Talk

Car Talk
Charles Krupa—AP Ray Magliozzi, left, and Tom Magliozzi, hosts of National Public Radio's Car Talk, in Cambridge, Mass. on June 19, 2008.

In 2000, the late NPR host and his brother spoke to TIME's Joel Stein

Tom Magliozzi, the co-host of NPR’s Car Talk who died Monday at 77, wasn’t always a radio guru.

Both he and his brother Ray, his co-host, went to MIT; before 1973, when they opened the garage that first got them invited to talk about cars on the radio, he was an engineer.

But in 2000, when the Magliozzis spoke to TIME’s Joel Stein about a book released that year, they explained that they decided back in the 1970s to pay ample attention to their “work-to-play ratio,” as Ray phrased it.

They could have made more money than they did, they could have been more famous — though just barely, considering Car Talk‘s reach — and they could have done something more prestigious, but they didn’t want to.

Their dedication to the accessible, nothing-fancy ethos was, they explained, part of the reason why they did a radio show about cars in the first place:

Cars, they insist, bond all Americans. “We can do a show about cars because everybody has cars,” Tom explains, straightening his Home Depot hat and throwing his backpack over his shoulder. “We couldn’t do a show called Brain Talk.”

Read the full article, free of charge, here in TIME’s archives: Four-Wheel Expertise

TIME remembrance

Peter Sagal Remembers ‘Car Talk’ Host Tom Magliozzi

Ray Magliozzi; Tom Magliozi
Charles Krupa—AP Brothers Ray, left, and Tom Magliozzi, co-hosts of National Public Radio's Car Talk, pose for a photo in Cambridge, Mass on June 19, 2008.

Magliozzi, one half of public radio's famous 'Click and Clack, the Tappet brothers,' died Monday aged 77. His NPR colleague remembers a career filled with laughter

I met Tom Magliozzi along with his brother Ray for the first time at a public radio convention in Orlando, Fla. in 2000, when they had been convinced to leave their comfortable homes in Their Fair City (“Cambridge, Mah”) with the promise of a pool to sit next to and the obligation to do nothing. I said something that made them both laugh, uproariously, and felt cocky for a second until I realized that everything made them laugh uproariously.

That was Tom’s great gift. All that raucous, distinctive laughter—who knew you could laugh with a Boston accent?—was genuine. Whether he was laughing at his brother or a caller with a car problem or his own silly jokes, his pleasure was too immense to be kept private. Everybody knows that Car Talk wasn’t about cars. It was about Tommy Magliozzi and his little brother Ray, as they continued their life-long refusal to take each other, themselves, or anything else seriously. And by sheer force of will the self-regarding gray edifice known as public radio eventually did the same.

Tom was opinionated, passionate, and occasionally profane, but very much the man he seemed to be on air. He leaves behind his brother and a large family, but also millions of listeners he convinced—if only for an hour a week—to just relax and enjoy themselves as much as he did.

Peter Sagal is the host of NPR’s weekly news quiz ‘Wait Wait … Don’t Tell Me!’

TIME Music

Stevie Nicks on Twirling, Kicking Drugs and a Lifetime With Lindsey

Stevie Nicks performs at Madison Square Garden on October 7, 2014 in New York City.
Kevin Mazur—WireImage Stevie Nicks performs at Madison Square Garden on October 7, 2014 in New York City.

"Of all the elite bands of the Seventies, we're the only one touring with the same lineup we had in 1975"

This post originally appeared on Rolling Stone.

You can’t keep a gold dust woman down — and Stevie Nicks is one busy gypsy these days. In the past few years, she’s made two of her best solo albums, toured the world with Fleetwood Mac and sung for the witches of American Horror Story. Her excellent new 24 Karat Gold: Songs from the Vault has songs she’s written over the years but never recorded before, reaching back to 1969. This fall she hits the road again with the Mac — this time with the long-lost Christine McVie back in the fold. “The five original cast members,” Nicks says proudly. “Of all the elite bands of the Seventies, we’re the only one touring with the same lineup we had in 1975.”

The rock goddess took a break from band rehearsals for a late-night chat, calling from her house by the ocean, gazing out onto the waves in Santa Monica while discussing music, memories, drugs, hats, ponchos, band politics, her “Crackhead Dance” and the essence of twirling.

What’s it like playing with the whole Mac again?
We’re starting from scratch. The Christine songs are brand new to us after 16 years, and God bless her, she has to learn them all over again. She came up with that part in “Silver Springs.” [Stevie sings piano solo] She hasn’t played those songs in 16 years. And I am here to tell you that none of us just sit around listening to Fleetwood Mac records. We’re always moving forward, so once we finish something, we’re on to the next thing. It’s not like we have record parties and listen to our old stuff.

So you’re back on the road with Fleetwood Mac — a week before you release your solo album.
I’m running two careers at the same time. But I don’t walk into band rehearsals and expound upon the record I just made, because I am a smart woman. I’m not pushing it down their throats — I’m not trying to cause any trouble here. Nobody from Fleetwood Mac has heard this record yet. When the time comes to hear it, they’ll like it. Lindsey will love it — half of these songs are about him!

Lindsey actually likes that?
Well, of course! We write about each other, we have continually written about each other, and we’ll probably keep writing about each other until we’re dead. That’s what we have always been to each other. Together, we have been through great success, great misunderstandings, a great musical connection. He has more appreciation for that now — I think it’s because he has two little daughters and a lovely wife, so he’s really in Girl World now. That’s gotta soften him up a little bit. He’s more aware of a feminine point of view.

How did you record these songs so fast?
Fleetwood Mac took a three-month break, and I thought, “I don’t wanna just sit around. But I don’t have time to make a record. Or do I?” So I called Dave Stewart and we went to Nashville. We cut all the tracks in three weeks.

We should all have your energy level.
And without drugs! [Laughs] If somebody had told me back then, “You don’t really need to do barrels full of cocaine — you have the energy. You were born with it. You never need drugs to do your work.” But we got thrown into a bad time in the world when everybody said cocaine was inspirational and safe and non-addictive. And everybody was having fun, until they weren’t. It sort of backfired.

MORE: Hanging Out at Stevie Nicks’ House: An Intimate Interview With the Iconic Singer

When you did “Stand Back” on the last tour, I counted 18 twirls during the guitar solo. Are you ever tempted to just stand there and take it easy onstage?
Well, I’m very practiced at twirling. I would be so bored if I was up there just standing. I took a lot of ballet — I always wanted to work the dancing in. The reason I wear the ponchos and the big shawl-y chiffon things is because I realized from a very young age, if you were 5 foot 1, and you wanted to make big moves and be seen from a long way away, if you weren’t twirling a baton of fire, you needed something that was gonna make you show up. Like a Las Vegas showgirl, really. You need big moves. If you’re gonna dance, you gotta really dance.

I do this long dance during “Gold Dust Woman” — we call it the Crackhead Dance. It’s me being some of the drug addicts I knew, and probably being myself too — just being that girl lost on the streets, freaked out with no idea how to find her way. Years ago Lindsay would have said, “You can not do the Crackhead Dance onstage. Lose that.” But now he likes it, because it gives him a chance to jam and play guitar. When Christine saw it, she said, “Wow, we’ve always known that ‘Gold Dust Woman’ was about the serious drug days, but this really depicts how frightening it was for all of us and what we were willing to do for it.’ We were dancing on the edge for years.

“Mabel Normand” on the new album has a sad story. Why did you relate to her?
Mabel Normand was a movie star from the 1920s. A beautiful girl who had it all at her fingertips, until she got into the drug world. She was a really bad cocaine addict — and this is the Twenties. I watched a documentary about her in 1985, my worst time, six or seven months before I went into Betty Ford. She was like me: If I bought coke for me, I also bought it for 500 of my closest friends. And if you’re buying drugs for you and all your friends, and you’re the only one who has money, and then somebody’s trying to get you off drugs, the seedy side of the drug-dealer world isn’t happy about that.

MORE: Stevie Nicks Details Release Plan for New Solo Album ’24 Karat Gold’

Did you ever think Christine McVie would come back?
Never. We reformed with The Dance in 1997, but that only lasted a year before Christine flipped out and said, “I just can’t do this any more — I’m having panic attacks.” She sold her house and car and piano and moved back to England, never really to be heard from again. Then last year she called me and said, “This is crazy — I don’t need to sit out here in this castle 40 miles outside London watching gardening shows. I’m ready to come back to the world.” So I said, “Chris, it’s your band and we’d love to have you back. So meet up with us in Dublin and see the rock monster we’ve become. And get a trainer.”

One of the great moments in the Mac live show is when the roadie brings out your top hat for the encore. Does the hat have its own roadie?
Absolutely, because that’s the one. It’s a very special top hat — it’s from the 1920s, that one, and you can’t find another one like it. So the hat has its own roadie, its own box and its own cage — it’s always protected.

People really lose it when you sing “I’m getting older too” in “Landslide.” Yet you were so young when you wrote that song.
I was only 27 — I wrote that in 1973, a year before I joined Fleetwood Mac. You can feel really old at 27.

MORE: In Pics: Stevie Nicks’ Life in Photos

My favorite song of yours is “Ooh My Love,” from 1989. People always forget that one.
That’s one of my favorites too. In fact, The Other Side of the Mirror is probably my favorite album. Those songs were written right before the Klonopin kicked in. “In the shadow of the castle walls” — that song was very important to me. I was lucky those songs were written when they were, before that nasty tranquilizer. It was a really intense record. People don’t talk about that record much, but it was different from all the others. It was a moment in time. I had gotten away from the cocaine in 1986. I spent a year writing those songs. I was drug-free and I was happy.

Then the Klonopin really kicked in. To go from The Other Side of the Mirror to Street Angel…that was difficult. I was a wreck and the album was a wreck. They’re called “tranquilizers” for a reason. You stop being so committed. This doctor had me on it for eight years. Forty-seven days in rehab to get off Klonopin was way more horrific than 30 days to get off coke. The word “tranquilizer” should scare people to death. Xanax should scare people to death. My godson died three years ago at a frat party — Xanax and alcohol, goodbye.

This doctor was a groupie — he just wanted to hear me tell stories about rock & roll. So he kept upping my dose for years. Finally I said, “I’m taking enough Klonopin every day to sink a boat. That’s why I gained all this weight, and that’s why my writing is terrible, and that’s why The Other Side of the Mirror was the last good record I made. This was all your idea.”

How do you get past that anger?
That doctor — he’s the only person in my life I can honestly say I will never forgive. All those years I lost — I could have maybe met somebody or had a baby or done a few more Fleetwood Mac albums or Stevie Nicks albums. So I’ll never forgive him. If I saw him on the street and I was driving — well, I don’t have a drivers license and it’s good, because I would just run him down.

You’ve been on such a creative roll lately. How does it feel to revisit these old songs?
It’s always intense to look back, but it’s always good to remember who you were and what it was like then. It makes me remember how beautiful and frightening it all was. So many of these songs are about me and Lindsey moving to L.A. in 1971, asking each other, “Now what? Should we go back to San Francisco? Should we quit?” We were scared kids in this big huge flat city where we had no friends and no money. But we didn’t quit.

I believe Lindsey and I would have made it if we’d stayed in San Francisco. He does too. If we never joined Fleetwood Mac, Buckingham Nicks would have taken off. We would have stayed together, gotten married, had a kid — and then we probably would have gotten divorced, because it would have been too hard. There’s this whole other way it could have gone.

But all those little songs, all that pain I went through — it got me here. I look around me now — I’m in my little house right now, looking out at the beautiful ocean, picturing my dad leaning against the wall over there like a ghost, saying, “Do you realize what a lucky girl you are?” I’m lucky that my favorite evening is still going to a grand piano in a beautiful room with incense and candles and sitting down to write a song for the world.

MORE: In Pics: The 10 Best Fleetwood Mac Songs

There are so many young new rock artists who are obviously hardcore fans of yours — Sharon Van Etten and White Lung and Sky Ferreira.
It’s sweet how that happens. It’s crazy to think about all these people listening who weren’t born back then. We put “Seven Wonders” back in the set because of American Horror Story. Our monitor guy said, “I’m not familiar with that song.” I said, “Because it came out when you were two.”

You’re like David Bowie that way — every generation discovers you.
Well, I’m a big fan of David Bowie. Especially his movie The Hunger, with Susan Sarandon and Catherine Denueve. Just creepy and strange and amazingly beautiful. I’m always surprised Bowie didn’t make more vampire movies.

TIME Music

Spotify Tries to Lure Taylor Swift Back With a Playlist

"Come back, Taylor!"

Taylor “Music Should Not Be Free” Swift pulled most of her catalog from Spotify today, which prompted the streaming music service to respond like only an awkward high-school boyfriend would: with a mixtape full of not-so-secret messages.

A 15-song playlist from the account @SpotifyCares called “Come back, Taylor!” spells out the following message with its song titles: “Hey Taylor, we wanted to play your amazing love songs and they’re not here right now. We want you back with us and so do, do, do your fans.”

MORE: Find the perfect Taylor Swift Lyric for your mood

Perhaps Swift would change her mind about never ever getting back together with Spotify if artists earned more than a fraction of a cent per song stream. (Or if Spotify came up with a less random playlist.)

Read next: Here’s Why Taylor Swift Pulled Her Music From Spotify

TIME Music

Director John Carpenter to Release Debut Album

Sacred Bones Records

Listen to his debut single "Vortex"

John Carpenter may be best known for frightening people with his movies, but his music will give you a different type of chills entirely.

The director behind films like Halloween, Escape From New York, The Thing and They Live announced his debut solo album today. Lost Themes is due out Feb. 3 on Sacred Bones Records.

While Carpenter is best known as a director, he’ composed music for his films for years. His IMDB entry gives him 22 separate composer credits, including scores to films like Big Trouble in Little China, The Prince of Darkness and the spine-chilling theme to Halloween.

Yet despite working in music for decades, the horror master has never made an album before. The album’s first single “Vortex” (stream it below) is an ominous instrumental track that could easily serve as a soundtrack to one of his films — but that’s not what Carpenter intended.

Lost Themes was all about having fun,” Carpenter said in a release. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun.”

Tracklist:

  1. Vortex
  2. Obsidian
  3. Fallen
  4. Domain
  5. Mystery
  6. Abyss
  7. Wraith
  8. Purgatory
  9. Night
TIME movies

Christian Bale Won’t Play Steve Jobs After All

Actor Christian Bale attends the Oscars held at Hollywood and Highland Center on March 2, 2014 in Hollywood.
Jason Merritt—Getty Images Actor Christian Bale attends the Oscars held at Hollywood and Highland Center on March 2, 2014 in Hollywood.

The actor has reportedly pulled out of the Aaron Sorkin-penned biopic

Actor Christian Bale will not play Steve Jobs in the upcoming biopic of the Apple co-founder’s life.

Citing anonymous sources, the Hollywood Reporter says Bale withdrew himself from the casting after experiencing conflicting feelings about playing Jobs.

The film, which has been written by Aaron Sorkin, already lost a director in David Fincher and is now being helmed by Danny Boyle. It reportedly follows Jobs preparing for three different Apple presentations at different stages of his life.

It’s been reported that Seth Rogen is in discussions to play co-founder Steve Wozniak.

[THR]

TIME Music

Hear 12-Year-Old Lorde Sing a Beautiful Cover of ‘Use Somebody’ by Kings of Leon

At age 17, most people’s proudest accomplishments include a few junior varsity soccer championships or maybe a 5 on the AP World History exam. Lorde’s accomplishments at age 17 include two Grammys and a platinum-certified debut album — not to mention curating the soundtrack to the newest Hunger Games installment.

If that’s not enough to make you feel unaccomplished, then listen to Lorde’s gorgeous cover of the Kings of Leon hit “Use Somebody” from when she was just 12 years old. Back then, she was an Auckland resident named Ella Yelich-O’Connor who dropped by a local radio station to play a few songs. And, yeah, she was really good — and surprisingly emotive for such a young person.

Though this audio has been floating around the Internet for a while now, the version of “Use Somebody” is beginning to resurface again this week. We’re totally cool with that.

Read more: The 25 most influential teens of 2014

Read next: Lorde’s Mockingjay Soundtrack Features Kanye West, Chemical Brothers and Charli XCX

TIME Books

Tom Hanks Will Publish Short Story Collection

Celebrity Sightings In New York City - October 02, 2014
Bobby Bank—GC Images Actor Tom Hanks on location for "St. James Place" on October 2, 2014 in New York City. (Bobby Bank--GC Images)

Oscar-winning actor was inspired by his typewriter collection

Tom Hanks will soon be able to add “author” to his resumé, having secured a publisher for a collection of short stories inspired by his beloved typewriter collection.

Hanks, who recently published a story in the New Yorker, said his hobby of collecting antique writing machines had motivated him to take to the typewriter keys himself.

“I’ve been collecting typewriters for no particular reason since 1978 – both manual and portable machines dating from the thirties to the nineties,” the Oscar-winning actor said in a statement. “The stories are not about the typewriters themselves, but rather, the stories are something that might have been written on one of them.”

The collection, to be published by Knopf-Doubleday, doesn’t yet have a release date or a title.

TIME Science

‘Wannabe’ by the Spice Girls Is the Catchiest Song, Study Says

News that's sure to spice up your life (or at least your day)

It’s a Spice Girls world and we’re all living in it. A recent study argues that the girl group’s #1 hit, “Wannabe,” may be the catchiest song in the UK in recent history.

Dr. John Ashley Burgoyne, a computational musicologist from the University of Amsterdam, sought out to determine what made a song stick in someone’s memory. To help divine the cause of an earworm, his team set up an interactive online game, called Hooked On Music, which quizzed over 12,000 participants on how quickly they could recognize a track.

“We were particularly interested in music and memory and why exactly it is that certain pieces of music stay in your memory for such a long time,” Burgoyne told BBC News.

Users were able to recognize “Wannabe” in an average of 2.3 seconds, while less catchy tunes took on average 5 seconds for people to recognize.

Other songs in the top 10 included Lou Bega’s “Mambo No 5,” which was the second most recognizable track, clocking in at just 2.48 seconds (presumably just long enough for most people to lunge at their radios to change the station). Survivor’s “Eye of the Tiger” came in third at 2.62 seconds with Lady Gaga, Abba, Michael Jackson, Whitney Houston, Roy Orbison, Aerosmith and the Human League rounding out the top 10.

Now that the results are in, the study hopes to identify which characteristics the catchiest songs had in common. Burgoyne told the BBC he believed that very strong melodic hooks seemed to be the most memorable, which would certainly explain the lasting popularity of the Spice Girls’ tune.

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