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View this post on Instagram Our country is crippled and on its knees, begging to be heard and pleading for change. Where is our compassionate leader? The leader who unifies and inspires our country at our most painful time when we need it the most. The leader who steps up and takes full accountability for our country and embraces every color in it. The leader who picks our country up off its knees and says you have my word - we got this - and together, change will happen. Where are you? Because we’re all here. Maybe one day that galvanizing leader will emerge. Either way, the process to change has already begun. #normalizeequality #blacklivesmatter A post shared by therock (@therock) on Jun 3, 2020 at 7:33pm PDT 754

My heart breaks this morning at the loss of NBC audio technician Larry Edgeworth (pictured right) due to COVID19. I adored Larry. We traveled together for two straight months on a campaign in 2008 and he was always the most warm, most professional, most loving. All hours of the day and night, no matter how hungry or tired or stressed we were - he was always a joy. He loved his work and excelled at it. He loved his colleagues and boy did we love him. Larry, dear, I will miss you. My deepest condolences and prayers to his family. 549

BALTIMORE, Md. – In looking for creative inspiration, engineering student Qiyuan Fu finds it in a box, with an interesting occupant. Inside: a real, live snake. “We can definitely learn something from them,” Fu said. The snake is a Kingsnake, which is native to deserts in California and Mexico and serves as the model for a new robot, developed in a mechanical engineering lab at Johns Hopkins University. “We added this one directional wheel, so it can only rotate in one direction,” said Fu, as he demonstrated how the robot moves. The “snake robot,” and its colleague, the “roach robot,” are so-called “bio-inspired robots” – taking their cues from mother nature. “We studied snakes here because they are exceptionally good at moving through almost any terrain,” said Johns Hopkins assistant professor Chen Li. Li said it’s an idea with practical applications: the robots could potentially help in search and rescue, by making their way through tight spaces to find people trapped in rubble. “People have actually tried to build snake robots for several decades,” he said. In the past, though, the robots fell short once they left the lab environments, unable to make it through different types of terrain. This time – using specially positioned cameras – they’ve observed how the snakes and roaches move across different surfaces and attempted to mimic what nature already does so well. “What's really unique about our work is that we focus on understanding the physical principles – starting by looking at animals,” Li said. “And then by understanding such principles, we can apply them to the to the robot.” The snakes have 200 vertebrae; the snake robot has 20 segments. It’s progress, these engineers say, with more to go. “There’s still going to be a lot of challenges ahead,” Li said.The engineering lab is now looking into modeling robots based on lizards. That’s because of their ability to leap across surfaces, which could further help robots make their way across uneven terrain. 2008

CISCO, Utah - In the Eastern Utah desert, the air is dry, and the cold is biting. Winter is coming, and the matron of town needs to prepare. “It’s good to push yourself, I think. It’s really easy to stay at home and watch movies and I think I was trying to avoid that,” said Eileen Muza, who owns Cisco, Utah. No Netflix for this woman of the wild west. Cisco, Utah, is a ghost town alright. It's an hour north of Moab, which is where you'll find the closest grocery store. It popped up in the 1880s as a saloon and filling stations for the railroad companies. Without the trains, it wouldn’t be there. Muza is the town's owner and the caretaker. “Even though everything here is sort of harsh, she’s sort of weirdly soft,” said Soren Hope, an artist staying with Muza. About five years ago, Muza bought some land, covered in old, disintegrating buildings and a few broke down automobiles. Muza wouldn't say how much land she owns or how much she paid for it, but the few parcels she owns is less than an acre and the county says it's worth less than a new car. There is running electricity, but no running water. If you need to use the facilities, you'll be using a composting toilet outside. Muza was a city girl from Chicago before relocating to Cisco. “I actually camped, I had a little tent set up. Yeah, and I was really scared, I was like totally terrified,” said Muza. But five years of living in Cisco has changed Muza. “Basically a hardened criminal at this point," Muza said. "I’m not afraid to yell at people, tell them to leave.” But don’t let that hardened exterior fool you; Muza still has a goal. She wants Cisco to be a place where people can come from all over and explore their artistic side. “It’s a really good place to stay focused on your work, because there’s not that many distractions really,” said Muza. And that’s where Hope comes in. She’s from New York. She's the only other person living in Cisco right now. “Brooklyn, and I’m here on the artist residency,” said Hope. The artist residency is something Muza and her sisters started. They let artists come out and use the space for free. In fact two of the artists a year get a 0 stipend. There's no requirement for the artists to complete anything, just use the space to create what they want. Hope has been using her time to draw. She says she wants to imprint the desert onto her brain. And she also draws sketches of the chickens. “I was only scheduled for two weeks, and then I’m just gonna stay here an extra week, and who knows, maybe I’ll never go back home,” said Hope.That’s the kind of place Muza wants to build. She wants to do it for as long as she can, but, “I hope I’ll know when I need to quit. I hope I’ll understand, if it happens.” Muza says living out there can take a toll on you. Last winter, she fell off a ladder and no one was there to help. One day, she may have to give it all up. 2910

BALTIMORE, Md. – For 95-year-old Betty Cooke, her lifelong passion of turning metal into wearable works of art began in the 1940s. “I was always interested in making things, whether it's metal clay or whatever,” she said. “And I kind of took to this and I had a good feel for the simplicity of it.” It’s a simplicity celebrated not just at her Baltimore store, but also at the Baltimore Museum of Art. “They really stand out, they're really sculptural, they're really dimensional – they move on the body,” said Virginia Anderson, Baltimore Museum of Art Curator of American Art. Betty’s works are just one part of “2020 Vision,” a pledge by the museum in 2020 to only purchase art by female artists. “Of course, it was duly noted that this is this centennial of white women receiving the votes in the United States,” said Christopher Bedford, Director of the Baltimore Museum of Art. “So, we thought ‘well, this would be a great moment to analyze our collection, begin to understand some of our historical deficits.” How big are those gender deficits? A study last year published in the Public Library of Science looked at 18 major museums in the U.S. and found that 85 percent of the artists in their collections were white and 87 percent were men. This, despite the fact that half of the professional artists in the U.S. are women. At the Baltimore Museum of Art, the disparity is even more lopsided. “We have roughly four percent,” Bedford said. “Four percent of our collection is works by women.” Now, though, with 21 of their 23 curators being women, the Baltimore Museum of Art plans to spend at least .5 million this year, acquiring pieces by female artists – like those created by Betty Cooke. “This is a big moment for the women,” Cooke said. “I hope and I expect it to continue and I think it's pretty great.”Another recent study found that smaller museums seem to be doing better than larger ones, when it comes to buying works by female artists. Larger museums, though, point out that they often face not just financial constraints, but also by what art wealthy donors choose to offer the museums. 2126

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