This is a 4 minute 30 second video about the Bay of Pigs Invasion. It covers basics behind the invasion, including the plans for the invasion, the leaking of the information to Cuban exiles, the actual failed invasion, and its aftermath. Also included is an assignment that asks students to research the Bay of Pigs Invasion and discover what went wrong, then consider possible preventative steps that might have changed the outcome of the invasion.

The lesson plan focuses on the students playing the role of adult effective decision-makers who can help the planet and imagine its future. Students will build upon their knowledge of climate change causes, effects, and solutions. Students use the four-language skills in content based and language instructions class. They work cooperatively and collaboratively utilizing different higher thinking skills. Students are assigned to write their reflection about the lesson using Google forms and turn their ideas for the planet future into a  projects.Photo was made by Salwa Aly using Canva App

This is the output of Etwinning Project BeYouthiful Media.
Media literacy includes the practices that allow people to access, critically evaluate and create media. We intend to promote awareness of media influence and create an active stance towards both consuming and creating media. We want to develop receptive media capability to critically analyze messages, offer opportunities for students to broaden their experience of media, and help them develop generative media capability to increase creative skills in making their own media messages and also fight with fake news.

Another venomous attack on the Lincoln administration by the artist of "The Commander-in-Chief Conciliating the Soldier's Votes, no. 1864-31," and "The Sportsman Upset by the Recoil of His Own Gun," (no. 1864-32). Here Lincoln and his cabinet are shown in a disorderly backstage set, preparing for a production of Shakespeare's "Othello." Lincoln (center) in blackface plays the title role. He recites, "O, that the slave had forty thousand lives! I am not valiant neither:--But why should honour outlive honesty? Let it go all." Behind Lincoln two men, one with his leg over a chair, comment on Lincoln's reading. "Not quite appropriately costumed, is he?" comments the first. The second replies, "Costumed, my dear Sir? Never was such enthusiasm for art:--Blacked himself all over to play the part, Sir!" These may be Republicans Charles Sumner and Thaddeus Stevens. Before them is a wastebasket of discarded documents, including the Constitution, Crittenden Compromise, Monroe Doctrine, "Webster's Speeches," "Decisions of Supreme Court," and "Douglass." At left five ballerinas stand beneath a playbill advertising "Treasury Department, A New Way to Pay Old Debts . . . Raising the Wind . . . Ballet Divertissement." Near their feet is a pile of silver and plate, "Properties of the White House." They listen to a fiddler who, with his back turned to the viewer, stands lecturing before them. At right Secretary of War Edwin Mcm.asters Stanton instructs a small troop of Union soldiers waiting in the wings to ". . . remember, you're to go on in the procession in the first Act and afterwards in the Farce of the Election." One soldier protests, "Now, see here, Boss that isn't fair. We were engaged to do the leading business." Nearby an obviously inebriated Secretary of State William Seward sits at a table with a bottle, muttering, "Sh--shomethin's matt'r er my little bell: The darned thing won't ring anyway cĚ_Ąonfixit'." Seward reportedly once boasted that he could have any individual arrested merely by ringing a bell. He was widely criticized for his arbitrary imprisonment of numerous civilians during the war. On the floor near Seward sits Lincoln's running mate Andrew Johnson, a straw dummy, with a label around his ankle, "To be left till called for." At far right Navy Secretary Gideon Welles slumbers, holding a paper marked "Naval Engagement, Sleeping Beauty, All's Well That Ends Well." In the background abolitionist editor Horace Greeley bumbles about moving scenery and complaining, "O bother! I can't manage these cussed things." Union general Benjamin F. Butler (directly behind Lincoln), dressed as Falstaff, recites, "We that take purses, go by the moon and seven stars; and not by Phoebus! I would to God, thou and I knew where a commodity of good names were to be bought!" He holds a sign "Benefit . . . Falstaff . . . Beauty and the Beast." By this time Butler had achieved notoriety as a dissolute plunderer. To Butler's right a man (who might be the stage manager) orders the crew, "Get ready to shift there 'ere Flats for the Temple of Liberty." The artist of this and nos. 1864-30 and -31 was an exceptionally able draftsman. Judging from the acidity of these satires, he may have been a Southerner, perhaps a Baltimorean. The only satires of the time that compare in artistic quality and political venom are those of Adalbert Volck.|Signed with monogram: CAL?|Title appears as it is written on the item.|Weitenkampf, p. 141.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-32.

An illustrated sheet music cover for campaign music honoring Constitutional Union party candidates John Bell and Edward Everett. The candidates' bust portraits are framed in floral and acanthus tracery. In the upper right a streamer with stars and stripes hangs on the twigs which sprout from the rusticated wooden letters of Everett's name. Below is an arrangement of motifs, including an eagle with shield, a cannon, flags, and a fasces. In the distance (left) is a harbor with several ships.|Entered . . . 1860 by Firth, Pond & Co.|Sarony, Major & Knapp Liths. 449 Broadway, N.Y.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1860-17.

How does media coverage of migration shape how Americans’ views of migration by youth? Why are so many young people trying to migrate to the United States? What are their journeys like? What happens when they get to the U.S.-Mexico Border? What role does U.S. policy play in this situation? These are the major questions that students will explore in this 4-day mini-unit, which results in media literacy and creative assessments.

This resource aims to generate ideas and possibilities about how to advance student understanding of logic in writing beyond the notion that logic is always a collection of data points or a reference to facts. Instead of reducing logic to numbers and statements, this source hopes to introduce students and teachers to the existential questions that are always involved in the logical appeals of a text: how do we know what we know and why does it matter?

In this history lesson, students learn about the epic life and exemplary character of Biddy Mason, a woman who was born into slavery in the Deep South, walked to California as part of a pioneer caravan, fought for her freedom in court, and died a millionaire real-estate investor in Los Angeles. In addition to the highs and lows of Biddy’s dramatic life, this lesson asks students to study how she demonstrated the virtues of courage and charity, both in securing freedom for herself and her family and, later, using her fortune to invest in her community and provide relief to poor Californians of all races and religions.The Woodson Center's Black History and Excellence curriculum is based on the Woodson Principles and tells the stories of Black Americans whose tenacity and resilience enabled them to overcome adversity and make invaluable contributions to our country. It also teaches character and decision-making skills that equip students to take charge of their futures. These lessons in Black American excellence are free and publicly available for all.

Another swipe at Whig candidate Winfield Scott's manipulation by antislavery Whigs Seward and Greeley. Here, Scott is a fly caught in a large web, spun by spiders Greeley (left) and Seward (right). Scott exclaims, "I think I've got myself into a hobble!" Greeley, hanging from a thread, decides, "I must hurry up & cover him with our slime as fast as possible!" Seward adds, "I hope he won't break through before I get him secured!" At lower left, Massachusetts Whig Daniel Webster and New York editor James Watson Webb look on. Webster remarks, "What an extraordinary web, Webb!" Webb replies, "Yes it's one of that crafty old spider Seward's and he has caught a large fly who wont get out Scot free--Can't you stir it up a little, Webster!"|Published by John Childs, 84 Nassau St. N. York.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 204.|Weitenkampf, p. 107.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1852-30.

Another parody of Van Buren administration efforts to end the long and costly Second Seminole War in Florida. The War Department was regularly subjected to public and congressional attacks for cruelty, waste, and incompetence in its prosecution of the war. It drew especially heavy fire for the introduction of Cuban bloodhounds to hunt the Seminoles in early 1840. (See "The Secretary of War," no. 1840-5). Several dandified soldiers lounge in a commodious tent as a corps of uniformed bloodhounds stand guard outside. Their standard says "Puppy Guard Sentinel." The soldiers are surrounded by luxury items like "Windsor Soap (soft)," cigars, and "eau de cologne," and one is fanned by an Indian squaw. One soldier remarks, brushing his long hair, "I say Major, as we are in no danger of losing our scalps, we may as well put our Soap locks on the Peace Establishment." Another, playing chess, says, "Since our new Allies from Cuba have joined us, we can have a quiet game of Chess without any fear of a check from our red friends in the Swamp." An older, pipe-smoking soldier laments, "Ah! the Army is not what it was! Where's the Hero of Tippecanoe." (He refers to Whig presidential candidate William Henry Harrison.)|Lith. & pub. by H.R. Robinson 52 Cortlandt St. N.Y. & Pennsa Ave Washington D.C.|Signed with monogram: HD (Henry Dacre?).|Title appears as it is written on the item.|Fowble, no. 338.|Murrell, p. 144.|Weitenkampf, p. 59.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-6.

The cartoon pertains to some instance of corruption in the Van Buren administration. Van Buren shovels coins from a great pile into a bag held by a man (probably a federal judge), who urges him, "Matty fill up the shovel, you are not the first man, I have helped out of a dirty scrape what is a little bribery and corruption to us limbs of the law, I have been the means of clearing hundreds." At left wait two other men, called "Black" and "Cooper," holding bags. Black to Cooper: "I mean to take my mint drops to Hansells the broker and get depreciated paper for it. that will do to pay my landlady her bill and all my other expenses too." Cooper: "Black dont you think the judge will preach a good sermon for this. when he gets in Georgia. I say Matty dont you mean to count it. I wish I had brought a larger bag." Van Buren: "No Mr. Cooper I'm above numbers a shovel full or two more or less is of no consequence I will charge it all to the account of the Florida War [i.e., the expensive conflict with the Seminole Indians which dragged on throughout Van Buren's presidency]." "Black.C.C." is probably the work of Napoleon Sarony, given its affinity in draftsmanship and lithographic technique to his "The New Era or Effects of a Standing Army" (no. 1840-3).|Printed & published by H.R. Robinson, 52 Cortlandt St. N.Y. & Pennsa. Avenue Washington D.C.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 62.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-4.

This collection uses primary sources to explore the Black Power Movement. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

In this video adapted from NASA, two members of a NASA research team working to produce carbon nanotubes share some background behind this new technology, show examples of how it will be useful, and explain the various tests being performed to ensure readiness for spaceflight.

A Whig campaign song in praise of William Henry Harrison, illustrated with a rural tableau of the candidate's fabled log cabin on the Ohio River. The cabin stands in a clearing, and flies an American flag. A cider barrel is beside its open door, around which grows a vine. Outside, Harrison, in shirtsleeves and with his hand resting on a shovel, speaks with a drover or farmer whose ox wagon waits nearby. The drover raises a glass of cider. In the foreground is a plough, and in the background a man works on a rail fence. The song is "Respectfully Inscribed to all true Republicans in the United States."|Entered . . . 1840 by G.E. Blake . . . Eastern District of Pena.|Sinclair's Lith.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-15.

A diverse group of abolitionists try to drag an unwilling black man toward the left with a large gaff hook. Holding the hook are (left to right) an old hag, a Quaker man, and two other homely men. The hag declares, "How perverse our dear colored brother is, I shall break my wind if I pull much longer." The Quaker says, "Verily it is hard work to set this Ethiopian at liberty. I fear we must break his back before we can succeed." A woman behind him enjoins "Pull on brethren till you have broken every yoke." Another young woman (center) asks the black, "Don't you feel the blessings of liberty?" The black protests, "Bress my soul, Massa Robolition, why you kidnap me 'way from Massa Clay? Let poor nigger go 'bout his bizness, and hab his own way dis once, and I berry glad." The black struggles to join Henry Clay and Horace Greeley, on the right, who stand with hands joined. The elderly Clay stands leaning on his cane. Greeley, in top hat and white coat, points toward the right and advises Clay, "Don't look behind you, friend Harry, but come and see my crack article on the Tariff." Weitenkampf dates the cartoon 1851, on the basis of the reference to Greeley's support of trade protectionism. The apparent double entendre of the word "hook" in the title is puzzling.|Probably drawn by H. Bucholzer.|Published by Nathaniel Currier, New York?|Title appears as it is written on the item.|Weitenkampf, p. 102.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1851-7.

The Storm of the Century: The Blizzard of 49 is a WyomingPBS documentary. This documentary tells the story of the worst series of storms in Wyoming's history. But for all the tragedy and loss, suffering, and death, there was hope and heroism, unselfish sacrifice, and generosity. Students will learn about the Blizzard of 1949 and how the State of Wyoming and the Civil Air Patrol responded.

The resource videos are based on this documentary and include associated lesson plans. There are three video clips. Clip one starts at the beginning and ends at 2:50 minutes, Clip two begins at 3:50 minutes and ends at 5:50 minutes, clip three begins at 6:00 minutes and ends at 8:41 minutes.

Sensitive: This resource contains material that may be sensitive for some students. Teachers should exercise discretion in evaluating whether this resource is suitable for their class.

A sensationalized portrayal of the skirmish, later to become known as the "Boston Massacre," between British soldiers and citizens of Boston on March 5, 1770. On the right a group of seven uniformed soldiers, on the signal of an officer, fire into a crowd of civilians at left. Three of the latter lie bleeding on the ground. Two other casualties have been lifted by the crowd. In the foreground is a dog; in the background are a row of houses, the First Church, and the Town House. Behind the British troops is another row of buildings including the Royal Custom House, which bears the sign (perhaps a sardonic comment) "Butcher's Hall." Beneath the print are 18 lines of verse, which begin: "Unhappy Boston! see thy Sons deplore, Thy hallowed Walks besmeared with guiltless Gore." Also listed are the "unhappy Sufferers" Saml Gray, Saml Maverick, James Caldwell, Crispus Attucks, and Patrick Carr (killed) and it is noted that there were "Six wounded; two of them (Christr Monk & John Clark) Mortally."|Engrav'd Printed & Sold by Paul Revere Boston.|The print was copied by Revere from a design by Henry Pelham for an engraving eventually published under the title "The Fruits of Arbitrary Power, or the Bloody Massacre," of which only two impressions could be located by Brigham. Revere's print appeared on or about March 28, 1770.|Title appears as it is written on the item.|Brigham, p. 41-57.|Cresswell, no. 246.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1770-1.|Published in: Viewpoints; a selection from the pictorial collections of the Library of Congress . . . Washington : Library of Congress, 1975, no. 56.|Exhibited in: Creating the United States, Library of Congress, 2008.

Another in the series of "bobalition" broadsides, marking the July 14 celebration of the anniversary of the abolition of the slave trade. (See no. 1819-2). The text, facetiously dated "Uly 14teenth 18 hundred and 30 tu," consists of a letter to "Captain Ookpate" from "Pomp Peters" and "Cezar Garbo" regarding the celebratory procession, along with notes on toasts, volunteers, etc. The broadside is illustrated with a cut of a standing black man facing right and another caricature of a strutting militiaman armed with a cutlass and broom.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Rei lly. Boston : G.K. Hall, 1991, entry 1832-4.

Having experienced the profound racial disparities in the rural South firsthand, writer and education reformer Booker T. Washington (1856-1915) dreamed of a school-building project for Black communities that could help begin to lift them out of poverty. In this history lesson, students examine Washington’s collaboration with philanthropist Julius Rosenwald (1862-1932), and learn how Washington’s hopeful dream slowly became the reality of nearly 5,000 new schools. Built in large part by the communities they served, Rosenwald schools were a ray of hope in the face of poverty and racial discrimination.The Woodson Center's Black History and Excellence curriculum is based on the Woodson Principles and tells the stories of Black Americans whose tenacity and resilience enabled them to overcome adversity and make invaluable contributions to our country. It also teaches character and decision-making skills that equip students to take charge of their futures. These lessons in Black American excellence are free and publicly available for all.

This collection uses primary sources to explore twentieth-century mining in the Mojave Desert. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.