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A traveler asked three bricklayers: "What are you doing?"
"Laying bricks," said the first.
"Building a wall," said the second.
"I'm building a cathedral!" beamed the third.
Same job, three perspectives.
Each day, see yourself as building your own cathedral - whatever that may be.
Look who got it right:
xitter.gq/Polymarket/status/2117…
I'm shocked and impressed.
I'd love to see more Democrats stand up, not toe the line, and show evidence of a moral compass.
Credit where credit is due.
Thanks @PeteButtigieg.
Cartier
An exceedingly rare 18k gold elongated octagonal wristwatch
Octagonal Allongée 1990 Model
Movement: Manual
Dial: White
Case: 20 mm. wide, 39 mm. overall length
With: 18k gold Cartier deployant clasp, London hallmarks for 1990
@Cartier
Art from this week's parsha/Torah reading
Chayei Sarah - Genesis 23:1 - 25:18
Carlo Maratta
Rebecca and Eliezer at the Well, 1655–57
Oil on canvas
120 × 160 cm
Indianapolis Museum of Art
Bible verses depicted: Genesis 24:22
וַיְהִ֗י כַּאֲשֶׁ֨ר כִּלּ֤וּ הַגְּמַלִּים֙ לִשְׁתּ֔וֹת וַיִּקַּ֤ח הָאִישׁ֙ נֶ֣זֶם זָהָ֔ב בֶּ֖קַע מִשְׁקָל֑וֹ וּשְׁנֵ֤י צְמִידִים֙ עַל־יָדֶ֔יהָ
And it came to pass, when the camels had finished drinking, that the man took a golden earring of half a shekel weight, and two bracelets for her hands.
In Genesis 24, Abraham sends his servant Eliezer to find a wife for his son Isaac. Eliezer meets Rebecca at a well; after she gives water to him and his camels, he recognizes her as the chosen bride and offers her jewelry. Maratta, working in Rome in the mid-1650s, reduces the story to three figures so the exchange stays clear. Rebecca stands at the left in a yellow dress, holding a jug, while Eliezer reaches toward her with a ring and bracelets. A young attendant stands between them, and a camel appears at the right. The painting is noteworthy for its calm, classical balance and clear storytelling at a moment when Roman artists were moving away from the dramatic contrasts of earlier Baroque painting. Maratta gives Rebecca the same serene, idealized beauty he used in his many images of the Virgin, linking the Old Testament scene to later Christian ideas of divine choice.
David Bowie
Hunky Dory
1971
David Bowie – vocals, guitar, saxophone, piano
Mick Ronson – guitar, vocals, Mellotron, arrangements
Rick Wakeman – piano
Trevor Bolder – bass, trumpet
Mick Woodmansey – drums
Hunky Dory is David Bowie’s fourth studio album, released on December 17, 1971, on RCA Records. Written largely on piano after a formative trip to the United States, it marks a shift toward more immediate, theatrical songwriting and features the future Spiders from Mars lineup (Ronson, Bolder, and Woodmansey) alongside guest pianist Rick Wakeman. Standout tracks include “Changes,” “Oh! You Pretty Things,” the cinematic “Life on Mars?,” “Andy Warhol,” “Queen Bitch,” and “Kooks” (written for Bowie’s newborn son Duncan). The album later peaked at No. 3 in the UK on reissue and is widely regarded as one of Bowie’s early masterpieces. The cover photograph, hand-tinted by Terry Pastor, was inspired by images of Marlene Dietrich; Wakeman played on the same 1898 Bechstein grand piano previously used by Paul McCartney for “Hey Jude.”
@DavidBowieReal
Caravaggio (Michelangelo Merisi da Caravaggio)
Young Sick Bacchus (Bacchino malato), c. 1593–94
Oil on canvas
67 × 53 cm
Galleria Borghese, Rome
Caravaggio arrived in Rome from Milan in 1592 and painted this early work while working in the studio of Giuseppe Cesari. It shows a young man as Bacchus, the god of wine, wearing an ivy wreath and holding grapes, his body turned away while his face looks out. The pale skin and tired expression gave the painting its familiar title. Early sources describe it as a self-portrait made with a mirror, and it is usually linked to a period of illness after Caravaggio reached Rome. The picture is special because it takes a classical subject and turns it into a real, vulnerable youth, painted with the direct naturalism that would define his later work. It was among the pictures seized from Cesari in 1607 and given to Cardinal Scipione Borghese; it has been in the Borghese collection ever since.
Lou Reed
Transformer
1972
Lou Reed – lead vocals, guitar
Mick Ronson – guitar, piano, recorder, backing vocals, string and brass arrangements
David Bowie – backing vocals
Herbie Flowers – bass guitar, double bass, tuba
Klaus Voormann – bass guitar
John Halsey – drums
Barry DeSouza – drums
Ritchie Dharma – drums
Ronnie Ross – baritone saxophone
The Thunderthighs – backing vocals
Transformer is Lou Reed’s second solo album, released on November 8, 1972, on RCA Records. Produced by David Bowie and Mick Ronson (who also contributed guitar, piano, arrangements, and more), it marked Reed’s commercial breakthrough after the relative underperformance of his self-titled debut. Drawing on songs from his Velvet Underground years as well as new material, the album presents Reed’s sharp, deadpan observations of New York underground life in a glam-rock setting, with standout tracks including the hit “Walk on the Wild Side” (a portrait of Andy Warhol Factory figures that became his biggest single), the elegant “Perfect Day,” “Satellite of Love,” and “Vicious.” It reached No. 29 on the Billboard 200 and No. 13 in the UK. The iconic high-contrast cover photograph was taken by Mick Rock; a well-known musical detail is Herbie Flowers’ famous double-tracked bass line on “Walk on the Wild Side,” which he recorded in a single take by playing the part once on electric bass and once an octave higher on upright bass.
@LouReed
