TIME Fine Art

See the Picasso Painting That Just Set a World Record for Art at Auction

It surpassed a Francis Bacon piece that sold in 2013

Spring Art Auctions Preview
Courtesy of Christie’s and the Estate of Pablo Picasso/Artists Rights Society (ARS)/APPablo Picasso’s “Women of Algiers (Version O),” auctioned at Christie’s in New York City on May 11, 2015.

A Picasso painting became the most expensive work of art ever sold at auction on Monday, going for more than $179 million.

Christie’s said “Women of Algiers (Version O)” sold for $179,365,000. That figure, which the Associated Press reports to include the auction house’s premium, surpasses a Francis Bacon work called “Three Studies of Lucian Freud” that held the top spot, also selling at Christie’s for $142.4 million in 2013.

Picasso painted the work as part of a 15-painting series (versions A through O) created in 1954 and 1955, inspired by Eugène Delacroix’s 1834 “Women of Algiers.” Industry experts say art world prices are staying high as collectors see these top works as strong and lasting investments.

TIME viral

Watch a Man Break the Guinness World Record for Most Jokes Told in One Minute

He tells 26 joke in 60 seconds

A quick-fire comedian broke the Guinness World Record for the most jokes told in one minute.

Clive Greenaway, 57, managed to spit out 26 one-liners in just 60 seconds.

“When I heard a German held the world record form telling the most jokes in one minute I couldn’t believe it and knew it had to be broken,” the British comic told the Telegraph. “There was a lot of training that went into it. After I wrote down 30 jokes it took me months to practice them and get them word perfect and build up my delivery speed.”

Some jokes included, “My wife dresses to kill — and cooks the same way” and “Went to the paper shop — but it had blown away.”

Quantity over quality, I guess.


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Listen to the most important stories of the day.

TIME Aviation

Balloonists Break World Record with Pacific Ocean Crossing

The Asahi Shimbun via Getty Images A hot-air balloon of the U.S. balloonist Troy Bradley and Russian Leonid Tiukhtyaev soars in Saga, Japan, on Jan. 25, 2015

The U.S.-Russian duo are set to land in Mexico on Saturday after taking off from Japan a week ago

When Troy Bradley and Leonid Tiukhtyaev land in Mexico on Saturday in their large helium balloon Two Eagles, they will have broken at least one and possibly two world records.

After setting out from Japan on Sunday and flying across the Pacific, the duo are on course to set new records for longest distance flown as well as longest duration in a helium balloon, the BBC reports.

Bradley and Tiukhtyaev needed to surpass a 1981 distance record of 5,208 miles by 1% (which put their target at 5,260 miles) in order to lay claim to the first record, which they did on Thursday according to a tweet from the team’s account. The record for longest duration, set in 1971, is 137 hours, five minutes and 50 seconds.

The American-Russian pair had originally planned to land in the U.S. or Canada, but bad weather forced them to change course.


TIME Know Right Now

Know Right Now: Kobe Bryant Surpasses Michael Jordan in Scoring

Bryant is now the league's third highest career scorer

Kobe Bryant surpassed Michael Jordan’s record for points on Sunday night, putting him at third place on the NBA’s top scorers list, behind first place Karl Malone and second place Kareem Abdul-Jabbar.

Bryant scored his 32,293rd point in a game between his Los Angeles Lakers and the Minnesota Timberwolves — crossing over the record mark when shooting a free throw. Bryant said the achievement was a “huge honor,” and Michael Jordan congratulated Bryant, saying, “I look forward to seeing what he accomplishes next.”

Watch today’s Know Right Now to find out more.

TIME Music

Beyoncé Beats Dolly Parton’s Grammy Nominations Record

56th Annual GRAMMY Awards - Press Room
Dan MacMedan—WireImage/Getty Images Beyonce poses in the press room at the 56th Annual GRAMMY Awards at Staples Center on Jan. 26, 2014 in Los Angeles.

Bey's self-titled, surprise album pushed her past the country legend

Beyoncé is now the reigning queen of Grammy nominations!

The “Drunk in Love” singer had been tied with country music icon Dolly Parton for a whopping 46 nominations each.

But thanks to her self-titled, surprise album – which snagged a best urban contemporary album nod on Friday – she surpassed the country music legend as the most Grammy-nominated woman.

Beyoncé is currently tied with producer David Foster for seventh place among all artists overall with the most nominations, according to Billboard.com.

The nominees for Grammy’s biggest award – album of the year – will be announced on A Very GRAMMY Christmas Friday (9 p.m. ET) on CBS. Maroon 5, Pharrell Williams, Mary J. Blige, Tim McGraw, Ariana Grande (joined by Big Sean) and Sam Smith will perform current hits and holiday songs.

When it comes to winning, Beyoncé has 17 Grammys in her collection. She has to win 10 more to catch up with Alison Krauss, who has won more Grammys than any other woman in history, with 27 under her belt.

Depending on what happens at the 57th annual Grammy Awards on Feb. 8, Beyoncé is set to take on the second spot on that list, which currently is held by Aretha Franklin, who has 18 statues.

This article originally appeared on PEOPLE.com

TIME Innovation

Google VP Breaks Record for Highest Skydive

Google Aims To Boost Video, Banner Ad Business In China
Nelson Ching—Bloomberg / Getty Images Robert Alan Eustace, Google Inc.'s senior vice president for engineering, speaks at the Google Innovation Forum in Beijing, China, on Tuesday, Dec. 7, 2010.

“It was a wild, wild ride”

A senior vice president for Google cut himself loose from a balloon and parachuted 135,908 feet to earth on Friday, setting a new world record in skydiving.

Alan Eustace, 57, broke the previous record holder’s jump by more than 7,000 feet, the New York Times reports. It took roughly 2 hours for Eustace to make the ascent into the stratosphere and only 15 minutes to plummet back to earth. He made the jump wearing a spacesuit specially designed to withstand extreme altitudes and speeds topping 800 miles-per-hour. Witnesses on the ground reported hearing a sonic boom.

“It was beautiful,” Eustace said after the jump. “You could see the darkness of space and you could see the layers of atmosphere, which I had never seen before.”



Peyton Manning Throws Touchdown Pass 509 to Set New NFL Record

Peyton Manning
Jack Dempsey—AP Denver Broncos quarterback Peyton Manning celebrates his 509th career touchdown pass with teammates during the first half of an NFL football game against the San Francisco 49ers, Sunday, Oct. 19, 2014, in Denver.

The 38-year-old Denver Broncos quarterback threw touchdown pass No. 509 against the San Francisco 49ers on Sunday

If he hadn’t already, Peyton Manning has now well and truly cemented his place in NFL history.

The Denver Broncos quarterback threw his 509th touchdown pass Sunday night and thus broke the record set by former Green Bay Packers star Brett Favre. The record-breaking pass came in the second quarter against the San Francisco 49ers, giving the Broncos a 21-3 lead.

Manning needed three touchdowns to break Favre’s record, and the 38-year-old did so comfortably before quickly being surrounded on the sidelines by his jubilant coach and teammates. Denver went on to win 42-17.

Favre had said before the game that he didn’t “really care” about his record being broken. “And I mean that with no disrespect. I think the world of Peyton. I’m not surprised that he’s going to break it.”

According to USA Today, Manning might cross 600 touchdowns by 2016 if he keeps throwing at his current success rate, and the man whose record he broke seems to agree as well.

Favre’s congratulatory tweet said the achievement was “well deserved,” and ended with a hashtag of encouragement.


TIME technology

Jimmy Iovine Joining Apple After Years of Boardroom Flirtations

Apple Computer And U2 Celebrate New iPod Release
Tim Mosenfelder—Getty Images Steve Jobs (2nd-R) of Apple Computer poses with Interscope Geffen A&M Records Chairman Jimmy Iovine (L) Bono (2nd-L) and The Edge (R) of U2 at a celebration of the release of a new Apple iPod family of products at the California Theatre on Oct. 26, 2004 in San Jose, Calif.

Apple's acquisition of Beats Music will bring a brash and flashy record mogul, Jimmy Iovine, into the boardroom, and it could portend an industry-wide shift toward streaming music

When brash and flashy record mogul Jimmy Iovine first met former Apple chief Steve Jobs back in 2002, he could barely suppress his excitement. “This guy is unique,” Iovine reportedly gushed to a colleague. Jobs had just shown Iovine a beta version of Apple’s iTunes, and Iovine was effusive — in his own, brash-talking way. “How Sony missed this is completely mind boggling to me, a historic f***up,” he said, according to Walter Isaacson’s Jobs biography.

So began Iovine’s decade-long flirtation with Apple, the company he courted, championed and is now finally set to join as Apple announced Wednesday that it would acquire Beats Electronics, a company Iovine founded along with rapping legend Dr. Dre.

The $3 billion deal, Apple’s biggest acquisition ever, will make Iovine and Dre senior advisors to Apple’s content division. It also marks a decisive turning point in Iovine’s career — after nearly 25 years at the helm of Interscope Records, where he locked in deals with Dr. Dre, Eminem and Gwen Stefani, among others, Iovine will leave the company for good, bringing with him an invaluable rolodex of music legends.

In many ways, the move also mirrors a wider shift of talent in the music industry away from discs and downloads and toward subscription-based services. Iovine has a long record of embracing changes in the music business while other execs were digging in their heels. When Jobs was struggling to persuade music executives to sell their content through iTunes, Iovine was raving about its user-friendly design. “[Iovine] can see around corners,” Sony Music chairman Doug Morris told the New York Times.

Not that he and Jobs always saw eye to eye — Iovine said in an interview with AllThingsD last year that he was pressing Steve Jobs to charge a subscription fee rather than a flat rate per song as early as 2003. “I was always trying to push Steve into subscription,” he said, “and he wasn’t keen on it right away.”

They never did quite come to an agreement, but that didn’t prevent them from signing a number of lucrative cross-promotional deals. Jobs brought the customers, while Iovine brought the artists, most notably U2. That band’s record sales skyrocketed in 2004 after it appeared in Apple commercials touting a limited edition U2-branded iPod.

Now that Iovine has made a grand entrance into Apple’s headquarters, wearing no less than a gleaming blue blazer and suede sneakers, as the New York Times observed, analysts wonder if his subscription-based gospel will prevail. The market is certainly moving in that direction, as streaming services like Pandora, Spotify and YouTube have already begun chipping away at Apple’s sales. Track sales in the iTunes Music Store fell in 2013 from 1.3 billion to 1.2 billion units, the first drop since iTunes opened for business more than a decade ago. Whether Iovine can engineer a rebound will depend on his ability to see around a corner that eluded even Apple’s visionary founder.

TIME movies

Frozen‘s Latest Title — Fifth-Highest Grossing Movie Ever — Is Less Impressive Than It Sounds

Disney / AP Photo

The animated heavyweight has raked in more than $1.2 billion

This Memorial Day weekend was a big one for X-Men: Days of Future Past, the new movie that earned first place in the box-office race — and, perhaps more surprisingly, for Frozen, a movie that has been out for about half a year already. The mega blockbuster has now grossed $1.219 billion worldwide, which earns it a spot in the list of the top five highest-grossing movies ever. (The movie bumped to No. 6 was Iron Man 3, which has earned $1.215 billion.) According to Deadline, the film got a big boost from its domination in Japan, where it’s won 11 weekends in a row and is the fourth highest-grossing movie ever.

That latest Frozen news is just one more in its long line of victories: Oscar wins, the title of highest-earning animated movie ever, fastest-selling digital home-entertainment release ever, source of a soundtrack that was the first album to sell a million copies in 2014 and much, much more.

But while being the fifth highest-grossing thing is a big deal — it’s in good company, following Avatar, Titanic, The Avengers and the Harry Potter grand finale — it’s maybe not as big as you’d think. Here’s a hint why: the oldest movie on that list is Titanic, which came out in 1997; no other movie from before 2000 cracks the top 10. That’s because the ranking in question is not adjusted for inflation, so newer movies have a leg up in raking in extremely impressive-sounding fortunes. As the New York Times pointed out when Avatar took the top spot back in 2010, it’s easy to think that such a list means that more successful movies are being made today; a more complete picture would look those numbers in context.

But that’s easier said than done. Sites like BoxOfficeMojo offer up data about which domestic inflation-adjusted box-office — Gone with the Wind is first, Frozen is Number 101 — but different currencies worldwide inflate at different rates, so it would be a massive undertaking to break down the value of a unit of money in each country where each movie played and how much it has inflated since then. But that doesn’t mean that bloggers haven’t done that work. This 2011 chart, for example, finds that Gone with the Wind, which made $400 million worldwide, would have raked in a whopping $3.239 billion in 2011 dollars. Avatar and Titanic are still champs but Frozen‘s $1.219 billion leaves it at Number 17. A different blogger calculated in 2013 that, using available worldwide gross data and running it through a U.S. inflation calculator, Snow White and the Seven Dwarfs would come in first with an astounding $6.729 billion; on that chart, Frozen would be #27. Another has Gone with the Wind at $3.862 billion.

With Frozen still going strong from its November release, it does have a chance to climb the charts — adjusted for inflation or not — further, though it seems unlikely to break the $3 billion mark, a feat that has never happened in today’s dollars. On the other hand, Gone with the Wind and its early high-earning brethren didn’t have things like digital downloads and DVD sales to make the studio money in addition to the billions at the box office. That’s where Frozen has its edge — particularly because there’s no way to adjust for inflation on YouTube hair tutorials.

TIME Music

REVIEW: Tori Amos Creates Her Own Mythology on Unrepentant Geraldines

Unrepentant Geraldines
Mercury Classics

Tori Amos refuses to compromise the intensely personal focus of her work

This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene.

Tori Amos restarted the conversation about art and aging as a woman, and the results are illuminating. This debate surges frequently, but female singer-songwriters of Amos’s stature face it perhaps more than others. While men are often revered and considered ruggedly handsome as they grow older, women have to battle the loss of their beauty, and often with it, their fame. Unrepentant Geraldines, her fourteenth album, personifies everything from the concept of trouble to the entirety of the United States, looking at their potential existence as women on “Trouble’s Lament” and “America”, respectively. Amos, now 50, has always been especially adept at transforming her personal life into majestic, surging dramas, and this album is no different.

Unrepentant Geraldines deftly combines her past forays into classical and orchestral music with the theatrics of her and Samuel Adamson’s adaptation of George MacDonald’s The Light Princess, but it’s never too tacky. Instead, the fantastical elements that inhabit tracks like “Maids of Elfen-Mere” and “Selkie” are woven in thick, rich threads, mimicking the structure of epic poems or Celtic story songs. Amos recorded the album in the Cornish countryside with her husband, Mark Hawley, and the album reflects that setting via springy strings, flutes, and lilting jigs. “Wedding Day” feels particularly Celtic, a retrospective on how love morphs with time. Amos has always had a taste for the supernatural and the ethereal, but these stories feel current too, as she folds issues like the NSA’s spying scandal into the doughy story of “Giant’s Rolling Pin”.

Although her lyrics on this album deal heavily in legendary and fictional elements, it also feels like they’re more connected to Amos’ own life than anything she’s written before. The songs that address aging are defiant in their descriptions, and specific enough to seem inextricably tied with her own life. On “16 Shades of Blue”, she addresses society’s marginalization. “You say get over it/ If 50 is the new black/ This could be your lucky day,” she sings, choosing her own current age rather than any other. Later, she speaks directly to those that would criticize: “There are some who say/ I am now too old to play.”

There are also plenty of references to the struggles that plague girls in their teens. Her 13-year-old daughter, Tash Hawley, even makes an appearance, singing the duet “Promise”, a song that offers an intimate look at a mother-daughter relationship from both perspectives. Hawley’s voice has a pop airiness to it, but also an opulence that’s reminiscent of diva-in-training Ariana Grande; based off the strength of her vocal performance on this song, it wouldn’t be surprising if she pursued a musical career of her own. Hawley’s voice, however, covers over the variation in Amos’ own vocal, as she swaps between clear, clean soprano and throatier alto ranges. At 50, her voice hasn’t grown thin or reedy, but it remains powerful, as showcased on the record’s most moving song, “Wild Way”, which turns the lyric “I hate you, I hate you, I do” into an admission of love purely based on tone.

Some artists struggle to reinvent themselves or adopt new fads at this point in their careers, but Amos feels very much like herself on this album, which is certainly part of her question: How does a woman in our society grow into her age gracefully while still demanding the right to be respected as an artist? On Unrepentant Geraldines, Amos does so by issuing art that refuses to compromise its intensely personal focus, in tone and topic. It pushes the boundaries of what we expect from older female artists by sheer force of will, and succeeds by embracing an expansive scope. Amos manages to weave her own mythology into larger fantastical stories, and fight societal norms in the process, all with a fierceness that will please old fans and likely win over new ones.

Essential Tracks: “Wild Way”, “Trouble’s Lament”, and “16 Shades of Blue”

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