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They look so pretty together

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Robert Fripp

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Georgia O'Keeffe American, 1887–1986

"An Orchid", 1941

Pastel on paper, mounted on board

27⅝ x 21¾ in. (70.2 x 55.2 cm.)

The Museum of Modern Art, Manhattan

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René Magritte (Belgian, 1898-1967), La Traversée difficile [The Difficult Crossing], 1963. Oil on canvas, 32 x 39 ½ in.

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Happy 77th, Brian Eno.

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For nine straight weeks, CBS’s “60 Minutes” has held the Trump administration’s feet to the fire, refusing to back down despite a barrage of legal threats and presidential tantrums. The most recent episode tackled Trump’s controversial policies on Ukraine—where correspondent Scott Pelley interviewed President Zelenskyy at a bombed site—and Greenland, highlighting local resistance to Trump’s annexation ambitions. These are just the latest in a series of hard-hitting segments: previous weeks have exposed the administration’s dismantling of USAID, the firing of government watchdogs, and the chilling effects of Trump’s executive orders on diversity and equity.

Trump’s response has been as predictable as it is alarming.

He’s called “60 Minutes” a “dishonest Political Operative,” demanded the FCC strip CBS of its license, and is pursuing a $20 billion lawsuit over their coverage—especially an interview with Kamala Harris he claims was unfairly edited.

He’s even pressed his own FCC appointee to punish CBS and other critical outlets, a move right out of the authoritarian playbook: using government power to silence dissent and intimidate journalists.

In an era when too many media organizations shy away from confronting power, “60 Minutes” is showing what real journalism looks like. As Lesley Stahl put it, the show is “fighting for our life” and standing up for the First Amendment. When the stakes are this high—when a sitting president is openly threatening the free press—media courage isn’t just admirable, it’s essential for democracy to survive...

Help this information get to more voters. 🇺🇸 A well-informed electorate is a prerequisite to Democracy.—Thomas Jefferson

— The Other 98%

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Grace Jones photographed by Jean-Paul Goude, New York, 1981.

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In the deep sea, we know all about romance. ⁠❤️⁠

Tomopterids are pelagic polychaetes (segmented worms) with paddle-like parapodia that propel them through the water column. They are relatively common in the midnight zone and can live down to about 2,500 meters (8,200 feet). Many Tomopterids are only a centimeter or two long, but some can also get to be quite large—up to 30 centimeters (12 inches!). They are voracious predators, using their speed and agility to capture and consume a variety of midwater organisms. ⁠ ⁠ Females of this group produce a pheromone that attracts males and signals them to shed sperm into the water. This, in turn, signals the female to release her eggs—a behavior called swarming.

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ohhh my look what I found . my yes fans , you will be very pleased

scouring the internet for rare live recordings and studio material from 68-69 is very fun . I love yes source on yt btw they're really good . got a lot of stuff. here ya go maggots it's the complete studio version of eleanor rigby . YES it's bad quality and YES you need to skip to 7:30 for the actual music but this is amazing .

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Got SRO tickets to see Devo's "50 Years of Devolution" with my son, Max, in Boston. If my math is right, Mark Mothersbaugh is now 73 years old. Yet he's unabashedly rocking out, performing Devo Theater, doing quick costume changes with the band, which also includes co-founder Bob Casale, also 73.

I started to voice my disappointment when the band cleared the stage and the house lights came on after about 70 minutes of music -- no encore -- but Max pointed out that the show was extremely physical, there were 3-4 costume changes, and that the guy wearing the Booji Boy mask was DEFINITELY Mothersbaugh.

Fair point, Max; we had just witnessed a musical and artistic tour de force. Keep on devolving, guys!

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Lake City, 1962, Frank Stella

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Debbie Harry