He who throws dirt is losing ground.

michaeljruocco:

My amazing animator friend Kaukab has been caring for a feral cat colony in New Jersey for the last few years. These are cats trying to cope with living in highly urbanized areas and struggle to do so. Many of them are abandoned by their owners and need human care to survive.

She and her husband Juniad have been ever so vigilant making sure these poor cats are safe and sound. She’s fed them, given them medical attention and even gave them shelter from terrible weather conditions, including Hurricane Sandy. She’s done this all on her own time and on her own dime, all the while attending school and making a living as an animator. She’s passionate about these animals and goes out of her way to make sure they’re safe.

But now she and her husband are moving away and they can no longer care for these cats. They’ve searched for new caretakers for them, and even scouted for farms in the surrounding states that would take them on their property, but to no avail. Her neighbors have given her no sympathy or support since Day One, and given the opportunity they’d have these cats taken to a kill shelter, so it’s up to her friends to give her a hand. 

She found a feral cat sanctuary that is willing to take these cats, but for $350 a pop. She has 10 cats, so that’s $3,500 she needs to raise by the end of the month! And there’s some really great perks if you donate: amazing artwork from some of the most wonderfully talented animators in the business! 

Here’s the link to her IndieGoGo campaign: http://www.indiegogo.com/projects/feral-cat-colony-sanctuary-relocation-project

I know there’s a bunch of you out there who would be willing to donate a few dollars to her cause. Every little bit helps, so spread the word along!

(via fuckyeahtattoos)

cubicleparty:

If you’ve seen the movie “Argo”, then you’ll want to read the WIRED article from 2007 that served as the template for the film. It’s filled with a lot of tidbits that the film doesn’t feature and is worth a read:

As a specialist in forgery and counterfeiting, Mendez arrived with his watercolor kit and tools. But the rest of the exfiltration supplies had been sent ahead through diplomatic pouch and awaited him at the Canadian embassy. Mendez included everything he could think of: health cards and driver’s licenses, maple leaf pins, receipts from restaurants in Toronto and Montreal, the Studio Six business cards, a lens for the cinematographer, and the Argo production materials. The six passports were what Mendez called “real fakes”: genuine documents that the Canadian government prepared for the Holly wood aliases devised by the CIA. Acquiring those passports had been a coup for Mendez; Canadian law prohibits such falsification, but the country’s parliament held an emergency secret session, the first since World War II, to make an exception. Mendez rendez voused with ambassador Ken Taylor in his office, retrieved the Canadian passports, and imprinted them with Iranian visas. His ink pad was dry from the trip, so he wet it with some of the ambassador’s scotch and carefully entered dates indicating that the six members of the film crew had arrived in Iran the day before.

The Canadians really deserve a lot of credit for pulling out all the stops on this operation.