D’un côté, on reste tourné vers le passé en ressuscitant de vieux modèles sans réelle valeur ajoutée et de l’autre on se lance dans les voitures volantes. Reste à voir comment tout ça va se terminer…

$10.2 million in Iowa vs $10.9 million in Palo Alto

We’re sharing a solution to the Navier-Stokes Millennium Prize Problem, one of the deepest problems at the frontier of mathematics. The proof was produced by a group of agents, using an OpenAI next-generation model significantly more capable than GPT-6 Astra. The problem concerns whether the description of smooth three-dimensional fluid motion modeled by the Navier-Stokes equations can break down. It has remained unresolved for roughly 90 years.

📊 Mathématiques : les élèves de CM1 en France ont le pire score de l'UE, d'après l'enquête TIMSS sortie fin 2024. 🔴 La sortie du classement PISA, réalisé sur des élèves de 15 ans, sera publiée ce mardi par l'OCDE.

L haïssable politique israélienne nourrit l haïssable antisémitisme. Non? Vraiment ?•🤔🤨

⚡️ La séquence qui fait réagir : Mélenchon et Le Pen, très complices loin des micros

Jolene: When Miley Cyrus Found the Rock in Dolly Parton’s Song The most interesting thing about Miley Cyrus’s 2012 Backyard Sessions performance of “Jolene” isn’t that a young star covered Dolly Parton. It’s the way Miley reveals another side of the song itself. Dolly wrote “Jolene” as a restrained plea. Miley sings it with a sharper kind of helplessness—one that edges closer to rock. Same fear of being replaced. Two voices give it two different temperatures. The official video strips away almost everything that could distract. Miley stands outdoors. Only Jamie Arentzen and Jaco Caraco on guitars. The vocal sits dead center. In Dolly’s version, the pain lives in the smallness of the narrator. She doesn’t confront Jolene. She acknowledges her rival’s beauty and begs her not to take the man she loves. Dolly’s slightly trembling, soft, bright delivery keeps the jealousy from turning into anger. It feels like someone trying to stay composed while knowing she has almost no control over the situation. That lack of certainty is what makes the song hurt more than any accusation would. Miley is different. The rasp in her voice adds weight to every line. The harder attacks make the plea sound closer to held-back anger. She doesn’t turn the narrator into someone aggressive. The feeling is still helplessness—but a helplessness pushed right up against its limit. For me, that’s the strongest part of the cover: Miley doesn’t change the story. She changes the psychology inside the story. Dolly seems to be trying to persuade Jolene. Miley sounds like she’s trying to keep herself from breaking. The Backyard Sessions setting makes the difference clearer. The series was built so Miley could sing songs she loved with a band, without the full machinery of a polished pop performance. In 2012 she was still standing between two worlds: the face of Hannah Montana, and an artist trying to be taken seriously outside the Disney image. “Jolene” becomes a quiet musical statement. Before she needed a new image, Miley already had a voice strong enough to stand on its own. This is even more interesting because Dolly was never a distant influence. She is Miley’s godmother, appeared on Hannah Montana, and the two have shared an artistic relationship for years. But I don’t think the value of this performance rests on the “goddaughter sings godmother’s song” story. If it only relied on that relationship, “Jolene” would be a beautiful family gift—but not necessarily a cover worth returning to. What makes it lasting is that Miley actually has her own reading of the song. Dolly gave “Jolene” its fragility. Miley gave it scratches. And those scratches are what make a 1973 song still feel like it’s happening right in front of you.