The Adventures of Ichabod and Mr. Toad (1949)

blake kathryn

shark vs the universe
$LAYYYTER
One Nice Bug Per Day

Janaina Medeiros
Monterey Bay Aquarium
i don't do bad sauce passes
AnasAbdin
hello vonnie

Product Placement
wallacepolsom
Alisa U Zemlji Chuda
Keni
Not today Justin
art blog(derogatory)
Peter Solarz
KIROKAZE

Kaledo Art
Cosmic Funnies

Origami Around

seen from France
seen from Germany

seen from United States

seen from Malaysia
seen from United States

seen from Belgium

seen from United States

seen from Switzerland
seen from United Kingdom
seen from United Kingdom

seen from United States
seen from Türkiye

seen from United States
seen from Netherlands
seen from Russia
seen from United States
seen from Canada
seen from United Kingdom
seen from Ukraine

seen from Türkiye
@peraequora
The Adventures of Ichabod and Mr. Toad (1949)
Rocket Fuel in Her Blood: The Story of JoAnn Morgan
As the Apollo 11 mission lifted off on the Saturn V rocket, propelling humanity to the surface of the Moon for the very first time, members of the team inside Launch Control Center watched through a window.
The room was crowded with men in white shirts and dark ties, watching attentively as the rocket thrust into the sky. But among them sat one woman, seated to the left of center in the third row in the image below. In fact, this was the only woman in the launch firing room for the Apollo 11 liftoff.
This is JoAnn Morgan, the instrumentation controller for Apollo 11. Today, this is what Morgan is most known for. But her career at NASA spanned over 45 years, and she continued to break ceiling after ceiling for women involved with the space program.
“It was just meant to be for me to be in the launching business,” she says. “I’ve got rocket fuel in my blood.”
Morgan was inspired to join the human spaceflight program when Explorer 1 was launched into space in 1958, the first satellite to do so from the United States. Explorer 1 was instrumental in discovering what has become known as the Van Allen radiation belt.
“I thought to myself, this is profound knowledge that concerns everyone on our planet,” she says. “This is an important discovery, and I want to be a part of this team. I was compelled to do it because of the new knowledge, the opportunity for new knowledge.”
The opportunity came when Morgan spotted an advertisement for two open positions with the Army Ballistic Missile Agency. The ad listed two Engineer’s Aide positions available for two students over the summer.
“Thank God it said ‘students’ and not ‘boys’” says Morgan, “otherwise I wouldn’t have applied.”
After Morgan got the position, the program was quickly rolled into a brand-new space exploration agency called NASA. Dr. Kurt Debus, the first director of Kennedy Space Center (KSC), looked at Morgan’s coursework and provided Morgan with a pathway to certification. She was later certified as a Measurement and Instrumentation Engineer and a Data Systems Engineer.
There was a seemingly infinite amount of obstacles that Morgan was forced to overcome — everything from obscene phone calls at her station to needing a security guard to clear out the men’s only restroom.
“You have to realize that everywhere I went — if I went to a procedure review, if I went to a post-test critique, almost every single part of my daily work — I’d be the only woman in the room,” reflects Morgan. “I had a sense of loneliness in a way, but on the other side of that coin, I wanted to do the best job I could.”
To be the instrumentation controller in the launch room for the Apollo 11 liftoff was as huge as a deal as it sounds. For Morgan, to be present at that pivotal point in history was ground-breaking: “It was very validating. It absolutely made my career.”
Much like the Saturn V rocket, Morgan’s career took off. She was the first NASA woman to win a Sloan Fellowship, which she used to earn a Master of Science degree in management from Stanford University in California. When she returned to NASA, she became a divisions chief of the Computer Systems division.
From there, Morgan excelled in many other roles, including deputy of Expendable Launch Vehicles, director of Payload Projects Management and director of Safety and Mission Assurance. She was one of the last two people who verified the space shuttle was ready to launch and the first woman at KSC to serve in an executive position, associate director of the center.
To this day, Morgan is still one of the most decorated women at KSC. Her numerous awards and recognitions include an achievement award for her work during the activation of Apollo Launch Complex 39, four exceptional service medals and two outstanding leadership medals. In 1995, she was inducted into the Florida Women’s Hall of Fame.
After serving as the director of External Relations and Business Development, she retired from NASA in August 2003.
Today, people are reflecting on the 50th anniversary of Apollo 11, looking back on photos of the only woman in the launch firing room and remembering Morgan as an emblem of inspiration for women in STEM. However, Morgan’s takeaway message is to not look at those photos in admiration, but in determination to see those photos “depart from our culture.”
“I look at that picture of the firing room where I’m the only woman. And I hope all the pictures now that show people working on the missions to the Moon and onto Mars, in rooms like Mission Control or Launch Control or wherever — that there will always be several women. I hope that photos like the ones I’m in don’t exist anymore.”
Follow Women@NASA for more stories like this one, and make sure to follow us on Tumblr for your regular dose of space: http://nasa.tumblr.com.
Scout
Muster rolls of USS Farallones, 1863-1867 (NARA ID 134419330)
NARA Digitizes More than 500 Volumes of U.S. Navy Muster Rolls
By Michael Davis | National Archives News
The National Archives partnered with the Joint Institute for the Study of the Atmosphere and Ocean (JISAO), the National Oceanic and Atmospheric Administration (NOAA), and the University of Washington to digitize more than 500 volumes of U.S. Navy muster rolls, making them accessible to the public through the National Archives Catalog.
The muster roll digitization is part of a $482,000 grant awarded to JISAO and the National Archives Foundation to support the Seas of Knowledge: Digitization and Retrospective Analysis of the Historical Logbooks of the United States Navy program at the National Archives.
“Through this partnership, hundreds of volumes of 19th-century naval muster rolls are now digitized, said Tim Enas, director of the National Archives Textual Records Division. “These historical records provide important insight into vessel crew members.”
Read more of this story at National Archives News.
‘Let’s Play: Dungeons & Dragons Behind Bars’, A Film About Inmates Who Fought for the Right to Play RPGs
Dutiful Son Remembers His Father While Packing a Suitcase in the Stop-Motion Animation ‘Negative Space’
An Incredible Real Time Recreation of the Iconic 1969 Apollo 11 Moon Mission Using Historical Flight Data
@frostbitepandaaaaa
How the heck does this gifset not have a hundred thousand reblogs? It’s amazing!
Finders Keepers, Dean Stuart
pls support https://www.patreon.com/ExtraFabulousComics
- Thor and his magic patu: notes on a very Māori Marvel movie
Coraline is a masterfully made film, an amazing piece of art that i would never ever ever show to a child oh my god are you kidding me
Nothing wrong with a good dose of sheer terror at a young age
“It was a story, I learned when people began to read it, that children experienced as an adventure, but which gave adults nightmares. It’s the strangest book I’ve written”
-Neil Gaiman on Coraline
@nightlovechild
This is a legit psychology phenomenon tho like there’s a stop motion version of Alice and Wonderland that adults find viscerally horrifying, but children think is nbd. It’s like in that ‘toy story’ period of development kids are all kind of high key convinced that their stuffed animals lead secret lives when they’re not looking and that they’re sleeping on top of a child-eating monster every night so they see a movie like Coraline and are just like “Ah, yes. A validation of my normal everyday worldview. Same thing happened to me last Tuesday night. I told mommy and she just smiled and nodded.”
Stephen King had this whole spiel i found really interesting about this phenomenon about how kids have like their own culture and their own literally a different way of viewing and interpreting the world with its own rules that’s like secret and removed from adult culture and that you just kinda forget ever existed as you grow up it’s apparently why he writes about kids so much
An open-ended puzzle often gives parents math anxiety while their kids just happily play with it, explore, and learn. I’ve seen it so many times in math circles. We warn folks about it.
Neil Gaiman also said that the difference in reactions stems from the fact in “Coraline” adults see a child in danger - while children see themselves facing danger and winning
i never saw so much push back from adults towards YA literature as when middle aged women started reading The Hunger Games. They were horrified that kids would be given such harsh stories, and I kept trying to point out the NECESSITY of confronting these hard issues in a safe fictional environment.
Also, in an interview, he said that Coraline was partially based on a story his not yet 6 year old daughter would tell him
SAGAL: No. I mean, for example, your incredibly successful young adult novel “Coraline” is about a young girl in house in which there’s a hole in the wall that leads to a very mysterious and very evil world. So when you were a kid, is that what you imagined?
GAIMAN: When I was a kid, we actually lived in a house that had been divided in two at one point, which meant that one room in our house opened up onto a brick wall. And I was convinced all I had to do was just open it the right way and it wouldn’t be a brick wall. So I’d sidle over to the door and I’d pull it open.
(SOUNDBITE OF LAUGHTER)
SAGAL: Right.
GAIMAN: And it was always a brick wall.
SAGAL: Right.
GAIMAN: But it was one of those things that as I grew older, I carried it with me and I thought, I want to send somebody through that door. And when I came to write a story for my daughter Holly, at the time she was a 4 or 5-year-old girl. She’d come home from nursery. She’d seen me writing all day. So she’d come and climb on my lap and dictate stories to me. And it’d always be about small girls named Holly.
SAGAL: Right.
GAIMAN: Who would come home to normally find their mother had been kidnapped by a witch and replaced by evil people who wanted to kill her and she’d have to go off and escape. And I thought, great, what a fun kid.
It’s anxious adults who desperately want to “soften” stories. Kids prefer the real thing: with monsters, bloodthirsty ogres and evil murderous stepmothers; where the littlest brother always wins and all the villains are horrendously punished in the end. The world is threatening to the eyes of a child, so they need a fictional universe where the little people have a fair chance against the big and strong.
This isn’t specifically about stop motion but it is about how sad or scary parts of movies aren’t really all that bad- IE the 80′s movies, particularly Don Bluth’s films. (X- The Melancholy of Don Bluth, by Meg Shields )
How the children’s animation of the 80’s made room for sadness, and what that taught us.
There was a time when McDonalds used to give away VHS tapes with happy meals, and by some stroke of luck, one day my mom picked The Land Before Time. It was the first film to etch itself onto me ‐ the way film tends to with kids. I would recreate the plot with stuffed animals and parrot the lines to whoever would listen; I pawed that VHS box until the cardboard went soft.
A couple years ago, I saw that Land Before Time was playing on t.v. and couldn’t remember the last time I’d watched it all the way through. Within five minutes I was completely obliterated and sobbing into a throw pillow. This is a shared experience for children raised with Don Bluth: that as a kid, I could only clock a hazy sense that his films felt different from Disney fare, but that the articulations of this difference, and their ability to emotionally floor me, are something I’ve only become aware of in retrospect.
There was a regime change in animation during the 80’s. Quite literally in the form of Bluth’s official break with Disney in ’79, but in a more elusive sense with the landscape of what children’s animation during that decade felt like. For whatever reason, be it Bluth’s departure or a diseased managerial ethos in the wake of Walt’s passing, the 80’s were a mixed bag for Disney. Don’t get me wrong, they’re amiable and charming films, but The Fox and the Hound and The Great Mouse Detective are not classics. And for all its ambition, The Black Cauldron cannot be redeemed on technical merit. Disney would eventually yank itself out of its slump in ’89 with The Little Mermaid ‐ but animation during the 80’s, along with the childhoods of a slew of millennials, were definitively shaped by Bluth.
That there is a dark tenor to Bluth’s work has been thoroughly, albeit perhaps vaguely, noted, often citing individual moments of terror (cc: Sharptooth, you dick). While I don’t doubt that frightening and disturbing scenes contribute to an overall sense of darkness in Bluth’s work, I’m unconvinced that they’re at the root of what distinguishes his darker tone. There is, I think, a holistic sadness to Bluth films; a pervasive, and fully integrated melancholy that permeates his earlier work.
These stories are full of crystalline moments of narrative sadness; specific story moments at which I inevitably mutter a “fuck you Don Bluth,” and try not to cry. There’s Littlefoot mistaking his own shadow for his dead mother; Fievel sobbing in the rain (a Bluth mainstay) convinced that his family has abandoned him; Mrs. Brisby shuddering helplessly after she and the Shrew temporarily disarm the plow. Other plot points are less tear-jerking so much as objectively miserable: the cruelty of the humans in The Secret of NIMH; An American Tail’s intelligent allegory for Russian Jewish pogroms and immigration; Carface getting Charlie B. Barkin drunk and murdering him at the pier.
You know — FOR KIDS!
Thematically, there is an ever-present air of death about Bluth’s work that is profoundly sad. Bones litter certain set-pieces; illness and age are veritable threats (shout out to Nicodemus’ gnarly skeleton hands); and characters can and do bleed. Critically, Bluth films don’t gloss over grief, they sit with it. From Littlefoot’s straight up depression following the on-screen death of his mom, to Mrs. Brisby’s soft sorrow at finding out the details of her husband’s death.
There is a space for mourning in Bluth’s stories that feels extra-narrative, and unpretentious. Critically, this is distinct from, say, wallowing. Bluth’s films have a ridiculously productive attitude towards mourning, most lucidly articulated through Land Before Time’s moral mouthpiece Rooter: “you’ll always miss her, but she’ll always be with you as long as you remember the things she taught you.” Disney meanwhile, tends to treat death as a narrative flourish, or worse, a footnote. And in comparison, even notable exceptions like Bambi and The Lion King seem immaturely timid to let palpable grief linger for longer than a scene, let alone throughout a film’s runtime.
Look at all the fun times they’re missing.
Musically, James Horner and Jerry Goldsmith’s impossibly beautiful scores are laced with a forlorn undercurrent. In particular, Horner’s tonal dissonance in The Land Before Time theme punches the Wagner-lover in me in the throat (admittedly, a good thing). Further to this, the first half of Goldsmith’s “Escape from N.I.M.H,” is reminiscently Tristan and Isolde-y. And while I’m here, I would also like to formally issue a “fuck you for making me cry in public” to American Tail’s “The Great Fire,” which when combined with visuals, is nothing short of devastating.
Speaking of visuals, backdrops of grim and vast indifference dot Bluth’s work; from the twisted Giger-esque caverns of the rats’ rosebush, to the urban rot of a thoroughly unglamorous New York and New Orleans. That these landscapes are in a state of decay is particularly dismal; there is a tangible barrenness, a lack of the warmth our characters are desperately hoping to find by their film’s end. These are depressed and morose spaces ‐ and that they are so seemingly unnavigable and foreboding makes them all the more compelling, and narratively resonant.
The way Bluth uses color is also notable, with dark, earthy tones prevailing throughout only to be blown out quite literally with the golden light characteristic of Bluth’s hard-earned happy endings. Before Littlefoot and friends reach The Great Valley, an event marked by gradually illuminating god-rays, they must slug it out through the parched browns, blues and pitch of their prehistoric hellscape. Like Charlie’s final ascendance into heaven, Fievel must endure similarly muted shades until he is finally (finally) reunited with his family and soaked in glitter ‐ a level of Don Bluth conclusion-sparkles perhaps only rivaled by the radiance of Mrs. Brisby’s amulet as she Jean Grey’s her homestead to safety at the end of NIMH. Because Bluth leans into darker, less saturated tones, these effervescent conclusions are all the more impactful, which speaks in part to the methodology of Bluth’s melancholy.
The plucky leads of Bluth’s early films are all fighting for the same thing: family. From Mrs. Brisby’s persistence to protect her children, to Charlie’s (eventually) selfless love for Anne-Marie, these are characters in search of home. Invariably, each of these characters gets their happy ending, but they have to go through hell to get there, literally in Charlie’s case. In a recent interview, critic Doug Walker asked Bluth if there was any truth to the rumor that he thinks you can show children anything so long as there’s a happy ending, to which Bluth replied:
“[If] you don’t show the darkness, you don’t appreciate the light. If it weren’t for December no one would appreciate May. It’s just important that you see both sides of that. As far as a happy ending…when you walk out of the theatre there’s [got to be] something that you have that you get to take home. What did it teach me? Am I a better person for having watched it?”
Melancholy isn’t just a narrative device for Bluth, it’s a natural part of navigating life, of searching for wholeness, and becoming a better person. Bluth acknowledges sadness in a way that never diminishes or minimizes its existence; he invites melancholy in, confesses its power, and lets it rest. Sadness is, for Bluth, an essential characteristic of the world and living in it. That is a wholly edifying message for kids, delivered in a vessel that is both palatable and unpatronizing. For this reason, among innumerable others, Bluth’s work has immense value as children’s entertainment…even if it means crying into a throw pillow twenty years later.
Reposting, because the value of sorrow is drastically underrated.
Free Online Language Courses
Here is a masterpost of MOOCs (massive open online courses) that are available, archived, or starting soon. I think they will help those that like to learn with a teacher or with videos. You can always check the audit course or no certificate option so that you can learn for free.
American Sign Language
ASL University
Sign Language Structure, Learning, and Change
Arabic
Arabic for Global Exchange (in the drop-down menu)
Intro to Arabic
Madinah Arabic
Moroccan Arabic
Arabe (taught in French)
Catalan
Intro to Catalan Language & Society
Intro to Catalan Sign Language
Chinese
Beginner
Basic Chinese I. II, III, IV , V
Basic Mandarin Chinese I & II
Beginner’s Chinese
Chinese for Beginners
Chinese Characters
Chinese for HSK 1
Chinese for HSK 2
Chinese for HSK 3 I & II
HSK Level 1
Mandarin Chinese
Mandarin Chinese for Business
More Chinese for Beginners
Start Talking Mandarin Chinese
UT Gateway to Chinese
Chino Básico (Taught in Spanish)
Intermediate
Chinese Stories
Intermediate Business Chinese
Intermediate Chinese Grammar
Dutch
Introduction to Dutch
English
Online Courses here
Resources Here
Faroese
Faroese Course
Finnish
A Taste of Finnish
Basic Finnish
Finnish for Immigrants
Finnish for Medical Professionals
French
Beginner
AP French Language and Culture
Basic French Skills
Beginner’s French: Food & Drink
Diploma in French
Elementary French I & II
Français Interactif
French in Action
French Language Studies I, II, III
French: Ouverture
Intermediate & Advanced
French: Le Quatorze Juillet
Passe Partout
La Cité des Sciences et de Industrie
Vivre en France - A2
Vivre en France - B1
Frisian
Introduction to Frisian (Taught in English)
Introduction to Frisian (Taught in Dutch)
German
Beginner
Beginner’s German: Food & Drink
Conversational German I, II, III, IV
Deutsch im Blick
Diploma in German
German at Work
Rundblick-Beginner’s German
Intermediate
German: Regionen Traditionen und Geschichte
Landschaftliche Vielfalt
Gwich’in
Introduction to Gwich’in Language
Hebrew
Biblical Hebrew
Know the Hebrew Alphabet
Teach Me Hebrew
Hindi
A Door into Hindi
Business Hindi
Virtual Hindi
Icelandic
Icelandic 1-5
Indonesian
Learn Indonesian
Irish
Introduction to Irish
Irish 101
Irish 102
Italian
Beginner
Beginner’s Italian: Food & Drink
Beginner’s Italian I
Introduction to Italian
Italian for Beginners 1 , 2, 3 , 4 , 5, 6
Intermediate & Advanced
AP Italian Language and Culture
Intermediate Italian I
Advanced Italian I
Letteratura italiana
Japanese
Genki
Japanese JOSHU
Japanese Pronunciation
Sing and Learn Japanese
Tufs JpLang
Kazakh
A1-B2 Kazakh (Taught in Russian)
Korean
Beginner
First Step Korean
How to Study Korean
Introduction to Korean
Learn to Speak Korean
Pathway to Spoken Korean
Intermediate
Intermediate Korean
Nepali
Beginner’s Conversation and Grammar
Norwegian
Introduction to Norwegian
Norwegian on the Web
Portuguese
Curso de Português para Estrangeiros
Pluralidades em Português Brasileiro
Russian
Beginner
Easy Accelerated Learning for Russian
Advanced
Reading Master and Margarita
Russian as an Instrument of Communication
Siberia: Russian for Foreigners
Spanish
Beginner
AP Spanish Language & Culture
Basic Spanish for English Speakers
Beginner’s Spanish: Food & Drink
Introduction to Spanish
Restaurants and Dining Out
Spanish for Beginners 1, 2, 3, 4, 5, 6
Spanish Vocabulary
Intermediate
Spanish: Ciudades con Historia
Spanish: Espacios Públicos
Advanced
Corrección, Estilo y Variaciones
Leer a Macondo
Spanish:Con Mis Propias Manos
Spanish: Perspectivas Porteñas
Swedish
Intro to Swedish
Swedish Made Easy 1, 2, & 3
Ukrainian
Read Ukrainian
Ukrainian Language for Beginners
Welsh
Beginner’s Welsh
Discovering Wales
Multiple Languages
Ancient Languages
More Language Learning Resources & Websites!
Last updated: April 1, 2018
A girl is Arya Stark
Insta