<>migaloo, one of only two known all white humpback whales, was photographed off the northern coast of new south wales as he made his annual migration north from antarctica. migaloo lost claim to being the only all white humpback in 2011, when an all white calf was spotted in these waters. most believe migaloo, now 35, to be the father. though often described as albino, migaloo has brown eyes and is more likely leucistic or hypopigmented. 

    <>(click pic or link for creditx, x,<> x)

    my favourite Bernini statue isn’t a real statue, but the damaged clay and straw angel that was the model for the bronze statue.

    Here’s some more of them! The exposed wires in the wings give off such a Vibe

    Wow I feel so much better about the fact that out of all the gloriousness of the vatican museum I was also completely enraptured by these broken angels as well. They were my favorites out of everything we saw that day. The lighting? The contrast of the rough substructure and the fine details? The implications of the subject matter against their degradation and subsequent elevation to museum piece? Idk but they stopped me in my tracks like nothing else.

    If anti-maskers existed during WWII

    Okay, here’s the thing though. It isn’t a question of if. They existed and this is exactly what they did.

    After the United States entered World War II at the end of 1941 and Germany subsequently declared war upon it, Great Britain recommended several steps the United States should take in order to safeguard their ships from Nazi u-boats. Recommendations included sailing ships in convoy (preferably with escort, but records proved ships in convoy without escort were still safer than ships sailing alone), if a ship had to sail on its own, it should avoid known navigation routes and markers, and towns and cities along the East Coast should adhere to strict blackouts at night. These recommendations came from the previous two years of experience in which u-boats absolutely ran wild in the North Atlantic and North Sea, obliterating British shipping. This period of time was referred to by Nazi u-boat captains as “The First Happy Time”. 

    Despite British warnings, the United States was slow to follow them and impose restrictions. Ships continued to sail along marked navigation routes and run standard navigation lights at night. Boardwalk communities along the coast were only requested they turn off their lights at night and the cities weren’t even asked that becaus<>e they didn’t want to offend the tourism, recreation, and business sectors. 

    Blacking out coastal communities would have made it infinitely harder for Nazi submarines to find and sink targets. A ship running with no lights is still visible against the backdrop of a lit city.

    Conversely, a dark ship running against a dark coast is virtually invisible.

    But because citizens living on the coast refused to adhere to wartime suggestions for amenity reasons, merchant ships sailing up and down the East Coast became sitting ducks of u-boats. The US government did not begin strictly enforcing blackouts until roughly August 1942. By then, the Nazis had been given 8 months to run rampant along American shores. This time period was referred to by u-boat captains as “The Second Happy Time” or “American Shooting Season”. 

    By August, Nazi u-boats had sunk 609 merchant vessels, totaling 3.1 million tons and costing thousands of lives, mostly of merchant mariners performing their essential jobs. 

    By comparison, only 22 u-boats were sunk.

    While the failure of coastal blackouts were not the sole reason the Nazis had such success during this time period (the Navy was slow to implement convoys and remove notable aids to navigation along the coast), I do not think it can be argued they did not contribute significantly to such great loss of American lives.

    If you can, please read the reply above or save it for whenever you have time. We need to break the habits of our history and that starts with applying our past to our present.

    <>Mohamed Bzeek, a Libyan-born Muslim, has been fostering terminally ill children for the past two decades. Since then, he has buried 10 children, some of who have died in his arms.

    One of his foster children is a six-year-old girl who has a rare brain defect. As a result, she’s deaf, blind, and her arms and legs are paralysed. “I know she can’t hear, can’t see, but I always talk to her,” he said. “She has feelings. She has a soul. She’s a human being.” He took this young girl under his wing when she was just one month old. Mohamed’s biological son, Adam, was born in 1997 with brittle bone disease and dwarfism.

    The DCFS said that Mohamed is the man they always call when they need to find a placement for a shock child. “He’s the only one that would take a child who would possibly not make it,” said a DCFS coordinator. In fact, he’s the only foster parent in the country that is known to take terminally ill children.

    After being inspired by Mohamed’s story, somebody set up a gofundme. Click here to donate. 

    Now that….that is a man.

    This is beyond incredible.

    Excuse me while I go cry my eyes out.

    The myth that knights could barely move in their armor has finally been dispelled byThrillist

    I could have sworn I reblogged this last year. Hmm.

    Accurate though. Makes sense; the knight’s kit is distributed across his body fairly evenly, and armour segments are very easily rotatable and fluid. It’s kind of like, to a degree, suddenly gaining weight. You don’t lose your natural strength and agility, but you have a little bit more extra weight to bear. You can still sprint, jump, run, roll, somersault, etc, but not for quite as long without training yourself to do so.

    I mean, Boucicaut had a book of fitness on all the insane stuff a knight should be able to do in full armour, and let me tell ya, the obstacle cause in the video doesn’t even come close.

    All the modern demonstrations of how full plate armour doesn’t encumber the way “everyone knows” are sound and sensible, but IMO they don’t come close to showing how well a REAL medieval knight could move in his exoskeleton. In a martial-reputation wealthy family he’d have been working out in well-fitting or at least cut-down genuine armour not just from youth but from childhood.

    Here’s a video showing what Jehan le Meingre, 1366-1421 (”Boucicaut”, mentioned above) did to keep himself in shape; the study subject wearing armour for the video - same guy as in the OP video, I think - is pretty fit, but I’m fairly sure hasn’t been doing this since he was five years old.

    It’s likely that some “child armours for very young children” were actually armourers’ samples, easier to ship to prospective clients than full-size. Some of the smallest armours in this picture probably fall into that category…


    …though the ones on the extreme right and second left seem to have “childish” proportions; all the others are more like miniature adults, which is what makes me think they’re examples of the workshop’s product. “Our work is this good in quarter-scale; imagine how well we can do it full-size.”

    However these Renaissance examples are for children of about 8 and 10 years old; the styles match, so both were probably made at the same time for two brothers.


    Considering the rate at which children grow - and how metal, unlike cloth, can’t stretch or be let out beyond a very limited degree - these are examples of astonishing conspicuous consumption. The eight-year-old probably grew into his big brother’s armour, but unless there was another child in the growth order, that smaller armour would no longer be of any use.

    I’m willing to bet there was a lively trade in hand-me-downs or hand-acrosses, as diplomatic or token-of-esteem gifts between allies or from higher lords to lower ones.

    Adam Savage gets a close look at some more children’s armour at about 28:00 of this video. The whole thing is well worth watching.

    <><>THE CURSE OF QUON GWON (1917)
    dir. Marion E. Wong
    “The first feature film made with an all-Chinese American cast and an all-Chinese American company, The Curse of Quon Gwon was written and directed by Marion E. Wong at her own Mandarin Film Company, based in Oakland, California. Offering an important counterpoint to racist depictions of Asian characters in other films of the period, the film explores western influence on traditional Chinese society and amongst Chinese American communities, suggesting Wong’s keen awareness of early twentieth-century transnational identity, as film scholar Jenny Kwok Wah Lau has observed.

    Marion, who was in her early twenties at the time, also played the film’s villainess. Nearly all the actors in the movie are family members and friends. The leading role of the heroine was played by Marion’s sister-in-law, Violet Wong. Family members were also involved in other aspects of the film’s production, including costumes and finance.

    Produced in 1916-1917, The Curse of Quon Gwon is the earliest example of Chinese American independent film known to exist t