Long Road Trip

Three men traversed the contiguous 48 states in 97 hours and 7 minutes to break the Guinness World Record.

Their trip, which started at Lookout Pass on Tuesday, ended today in Vermont. It’s an event where 100,000 things can go wrong. The Lord was good, we got here,” said Jay Lowe of Texas. Lowe, his son-in-law Andrew Shull, of Texas, and Ted Jacobs, of Tennessee, comprised the team.

They encountered highway construction in Minneapolis that delayed them for an hour-and-a-half. They thought the construction would destroy their chance of breaking the former record, set by Lowe and a different team in 104 hours, 57 minutes, in 1999.

Their gas station breaks averaged three-and-a-half minutes, and the men did not eat from Mobile, Ala., to Vermont to make the record. They completed the trip without a single speeding ticket, and followed all World Record stipulations, Lowe said.

“The biggest relief is having the record. If you don’t have the record, it’s all for naught,” he said.

Tonight in Vermont they celebrated with a victory steak, and will fly to their respective home

Jackson in Biggest

Jackson in Biggest-Ever Record Deal

LOS ANGELES -- The estate of Michael Jackson has landed the late King of Pop the biggest recording deal in history: a $200 million guaranteed contract with Sony Music Entertainment for 10 projects over seven years, according to a person familiar with the deal.

The record-breaking contract through 2017 could be worth up to $250 million if certain conditions are met. One of the albums will be of never-before-released Jackson recordings that will come out in November, the person said.

The person spoke on condition of anonymity because the official announcement is expected Tuesday.

Future projects may also include a video game, a DVD compilation of videos and a re-release of "Off the Wall," Jackson's fifth studio album, which first came out in 1979, accompanied by some unreleased material. Before his sudden death in June at age 50, the pop star had wanted to re-issue the album, people familiar with the deal said.

One of the projects already counted in the contract was the two-disc album that accompanied "This Is It," the film based on footage of concert rehearsals for what was to have been Jackson's comeback at London's O2 arena.

Including the more than 5 million copies of that special release, Jackson has sold some 31 million albums since his death in June, about two-thirds of them outside the United States.

"During his life, Michael's contracts set the standard for the industry," said John Branca, the co-administrator of the Jackson estate, in a statement prepared for release Tuesday. "By all objective criteria, this agreement with Sony Music demonstrates the lasting power of Michael's music by exceeding all previous industry benchmarks."

Rob Stringer, chairman of Sony Music's Columbia Epic Label Group, said in prepared remarks, "We're dedicated to protecting this icon's legacy and we're thrilled that we can continue to bring his music to the world for the foreseeable future."

The landmark deal is worth more than all other benchmarks, such as the all-encompassing rights deals that concert promoter and ticket-seller Live Nation Entertainment Inc. had previously signed with Madonna at $120 million and Jay-Z for $150 million.

The deal with Jackson's estate is even more remarkable because it does not include royalties from merchandise.

The contract shows the value of legacy artists. It also comes at a time of decline for the music industry, with sales down about half from their peak in 2000 mainly due to free file-swapping.

The money will go a long way to settling Jackson's debts, estimated at around $400 million at the time of his death.

The singer whose life was plagued with scandal has had a resurgence in popularity in death.

Distribution rights for "This Is It" were sold to Sony Pictures, another unit of Sony Corp., for $60 million and the movie went on to gross $252 million worldwide, the most of any concert film ever.

Revenue from that, song sales and merchandising agreements brought into the estate revenues of about $100 million, lawyers for the estate's administrators told a Los Angeles Superior Court judge in December, when they sought a percentage as an administration fee.

The Walt Disney Co. even brought back the 17-minute Jackson movie "Captain EO" to its Disneyland theme park in Anaheim last month. The original began running at the park in 1986 but was pulled in 1997.

Jackson's most lasting and valuable asset is the 50 percent stake in Sony/ATV 

Music Publishing, a company that owns publishing rights to music by The Beatles and numerous other artists, including Elvis Presley and Bob Dylan. The copyright catalog itself is estimated to be worth $2 billion.

The new financial windfall comes even as circumstances around his death remain in legal limbo.

Dr. Conrad Murray faces an involuntary manslaughter charge for allegedly giving Jackson a lethal combination of sedatives. He is due back in a Los Angeles court April 5.

Companies Make Money

Record companies make money by selling recordings. It is a high-risk business. According to the Recording Industry Association of America (RIAA), approximately 90% of the records that are released by major recording labels fail to make a profit. Independent labels have to be more careful in their choices and in their allocation of expenses because they do not have the resources to cover many failures. However, they can make and promote records for far lower costs than major labels and be profitable with far fewer sales. The budgets for making and selling recordings are tied to what labels estimate they will sell. Knowing how many recordings might be sold makes it possible to budget recording costs. Most profitable labels have histories of selling and promoting that enable them to estimate gross income. Recording Costs Recording costs are borne by artists, not record companies. Record companies commonly make loans to artists (all-in advances) for these costs and recoup them from royalties. With the exception of jazz and classical artists, new major label artists can spend between $100,000 and $500,000 to make a record, but recording budgets of one million dollars and more are not uncommon. Many independent artists will spend less than $15,000. Manufacturing Costs Manufacturing includes replicating recorded material and packaging. The costs depend on the number to be manufactured. Manufacturing costs are generally borne by recording labels, although labels try to deduct packaging costs from the base price on which they pay royalties. Major labels pay approximately $.50 to $.55 per CD. Independent labels that order more than 100,000 CDs a year pay approximately $.65 per CD. Labels that buy less than 10,000 CDs a year pay approximately $1.20 per CD. These costs include the printing of 4-page package inserts and tray cards. Royalty Costs Record labels pay two royalties: The first is a record royalty to the performing artist(s); the second is a mechanical royalty to composers and publishers. Some companies pay record royalties on a percentage (8% to 16%) of the suggested list retail price (SLRP) less a packaging cost, generally 15% to 25% of the SLRP. Others base royalties on the wholesale price to distributors. For a CD with an SLRP of $16.98, a common packaging deduction of 25% is $4.25 and the amount paid to the artist will be calculated as a percentage of $12.73. Thus, at a 10% royalty, artists will receive $1.27; at a 14% royalty rate, $1.78. Record labels pay composers and publishers mechanical royalties. They try to cap mechanical royalty budgets at ten songs payable at 75% of the statutory rate ($.80 per song in 2002), which equals $.60 per song under the controlled composition clauses of recording contracts. Promotional Costs Major labels budget approximately 20% of annual gross income for promotion and selectively allocate the funds according to sales projections for each artist. Independent labels generally budget 10% of projected gross sales of all recordings annually and selectively allocate that budget. Promotional costs include designing and printing promotional and packaging materials for recordings; press kits and Web sites; and advertising, radio promotion, videos, public relations and mailing costs. Some or all the costs for packaging, video production and radio promotion may be recouped from artists’ royalties, depending on contractual agreements. Distribution Costs The record companies decide on the suggested list retail price (SLRP) of each format. The SLRP helps stores to determine the discount price they charge customers and helps performers determine the price to charge to fans at gigs and by mail order. The price at which distributors buy from recording companies (distributor wholesale price) is also set by the record companies. This is commonly 50% to 55% off the SLRP. If the volume is high enough, the discount can go to 60%. The price at which stores buy from record distributors (store wholesale price) is determined by the distributors. This is commonly 55% to 65% of the SLRP. Stores return unsold product at 100% of their cost. The price at which record stores buy from record companies that own their own distribution warehouses is approximately 75% of the SLRP. Potential Profits How do these costs relate to a million selling album? At common discounts, record companies receive approximately $10.00 per CD ($16.95 SLRP). Thus, projected record company gross income is ten million dollars. Out of this the record company will spend approximately $625.000 in manufacturing costs; approximately $1,000,000 in promotion (another $1,000,000 will be charged against artist royalties); $1,780,00 in royalties to the artists (at 14% of the SLRP of $16.95, less packaging); and $600,000 in publishing royalties (at 75% of statutory). After subtracting $4,005,000 from its ten million gross income, the record company has a gross profit of $5,995,000. It will recoup its million- dollar advance to the artist and its promotional costs.

Big Bubble

World Record Setting Big Bubble

Extreme Bubbles Inc. set the first World Record in the category of “Largest Free Floating Soap Bubble” on October 9th 2005.

Our record setting bubble was 105.4 cubic feet. If the big bubble was filled with water, it would weigh 3.2 tons!

We created the bubble using our proprietary solution, beeboo Big Bubble Mix, used with a custom made two-handled big bubble wand similar in style to the Dip Stix wand

 

• In 1960 inventor Arthur Fulton was granted the first patent on a flexible loop bubble toy. His toy had a ribbon like loop attached to a long rod. This allowed the loop to be compressed and inserted into a small container of bubble solution, then expanded to open the loop and create a large bubble.
• In 1987 inventor David Stein was granted a patent on his toy, The Bubble Thing™. It also used a ribbon like loop attached to a long rod but with an improved mechanism to open and close the bubble loop. It also added a weight at the center bottom of the loop. With this device David started a worldwide fascination with giant bubbles and created the outdoor bubble sport.
• In 1988 David Stein went on to get the first World Record for the Largest Bubble Tube, 50 foot long.
• In 1986 inventor Kalvin Klundt designed the first giant bubble maker with two long handles, named Dip Stix™. He was later granted two US patents on his design. It used two long rods to support and control the flexible bubble loop and a unique round cord with a double coil. The loop absorbs and releases the large amount of bubble solution needed to create huge bubbles.
• In 1997 Alan MaKay set a new World Record in 1997, for the Longest Bubble Tube using the two handled design. His Bubble Tube measured an incredible 113 feet.
• In 2005 Extreme Bubbles Inc. created a new World Record category, Largest Free Floating Bubble, and set the record with a bubble measuring 105.4 cubic feet.

Largest Burlesque Club

WHO:


Club Noir (UK)

WHAT:

1,630

WHERE:

Glasgow, UK

WHEN:

14 February 2009



The greatest attendance to a burlesque club event was 1,630 and was achieved by Club Noir (UK) at the Glasgow Carling Academy, Glasgow, UK, on 14 February 2009

Largest Disco Ball

WHO:

Raf Frateur

WHAT:

diameter of 7.35 m (24 ft 1.3 in)

WHERE:

Antwerp, Belgium

WHEN:

July, 20th 2007

The largest mirrored disco ball measures 7.35 m (24 ft 1.3 in) in diameter and was made by Raf Frateur of Frateur Events. The ball was displayed during a party at the club "Studio 54" in Antwerp, Belgium, on July, 20th 2007.

Largest Gold Coin

WHO:

Royal Canadian Mint

WHAT:

weighs 100 kg (220 lb 7oz),

diameter 50 cm (19.6 in),

thickness 3 cm (1.1 in)

WHERE:

Ottawa, Ontario, Canada

WHEN:

3 May 2007

The largest gold coin weighs 100 kg (220 lb 7 oz), measures 50 cm (19.6 in) in diameter, 3 cm (1.1 in) in thickness and is made from bullion with a purity of 99.999 per cent. The legal-tender coin was introduced on 3 May 2007 by the Royal Canadian Mint with a face value of CAN$1 million (US$900,375; £451,585).