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ChattanoogaChamber.com, INCubator, News
National Science Foundation Program Director Speaks at the INCubator
The INCubator welcomes the Program Director of the National Science Foundation, Dr. Rajesh Mehta, to speak on Catalyzing Commercialization at the National Science Foundation (NSF).
This presentation will provide an overview of the program with time for interactive Q&A, June 9 from 11:30 a.m. to 1:30 p.m. at the INCubator.
The NSF awards nearly $190 million annually to startups and small businesses through the Small Business Innovation Research/Small Business Technology Transfer program, transforming technological discoveries into products and services with commercial and societal impact.
The non-dilutive grants support research and development across all areas of science and technology helping companies de-risk technology for commercial success. The program increases the incentive and opportunity for startups and small businesses to undertake cutting-edge, high-quality scientific research and development. NSF provides grants in phases: a proof-of-concept/feasibility grant (6-12 months, $225,000), then potentially a longer development grant (2 years, up to $750,000).
Rajesh Mehta joined NSF in 2012 after a 26-year career at Kodak in Rochester, NY. He is currently a Program Director and manages the Advanced Manufacturing and Nanotechnology portfolio in the Small Business Innovation Research Program. He holds an undergraduate degree from IIT-Bombay, Ph.D. from Penn State and a Masters of Product Development from Rochester Institute of Technology. He also completed a post-doctoral fellowship at Imperial College, London.
RSVP at 423-752-4301.

redpajama_set_name: RedPajamaCommonCrawl


Above: Kit Harington plays Salen Kotch in Call of Duty: Infinite Warfare.
This holiday gaming season is overflowing with blockbuster shooter games, and that is potentially limiting the appeal of one of that genre's perennial hits … at least on PC.
Over the launch weekend for Call of Duty: Infinite Warfare, the sci-fi space-battling adventure's (read our review) player base dropped 76 percent compared to the launch weekend for 2015's Call of Duty: Black Ops III, according to data-intelligence site Githyp. The new game only generated a peak player count of 15,280 people on Steam through Sunday where Black Ops III hit more than 60,000 simultaneous players through the same weekend last year. Infinite Warfare didn't even do enough to break into Steam's top-25 most-played games. Activision launched Infinite Warfare for PlayStation 4, Xbox One, and PC on November 4, which made it the last of a crop of shooters to debut over the last few weeks from competing publishers like Microsoft and Electronic Arts.
"While sales have been on a constant decline year after year, Call of Duty: Black Ops III did surprisingly well last year ranking as high as No. 4 on Steam with a peak of 63,681 players during its big launch weekend," Githyp analyst Paul Curtin wrote in a blog post.
Infinite Warfare's peak simultaneous players so far today on the popular Steam PC-gaming service has topped out at 11,000, according to the Steam Store stats. That puts it just behind the Ubisoft SWAT simulator Rainbow Six: Siege and 2013 bank-heist shooter Payday 2, which are at 12,000 and 15,500 peak concurrent players today, respectively. Of course, some people specifically purchased Infinite Warfare to play Call of Duty: Modern Warfare Remastered — an updated version of the 2007 game — but that only adds another 4,546 players to the Infinite Warfare collective.
Livestream viewer counts have also taken a dive, and that includes the PC version of the game as well as the console.
For the last decade, Call of Duty has finished the year as one of the top-selling games in the world. It has taken the No. 1 spot on the best-selling retail games in the United States every year since 2007 except for when Grand Theft Auto V debuted in 2013. Infinite Warfare, however, is seemingly struggling to bring forth any of that momentum, and it's not just because of the U.S. presidential election.
Of course, Infinite Warfare isn't just a PC game — Call of Duty is primarily a console franchise. For proof of that, just look at how publisher Activision promotes it with esports. The company doesn't bring together the best PC Call of Duty players for its competitive-gaming events. Instead, teams take each other on using DualShock 4 gamepads and PlayStation 4 systems.
Regardless, Call of Duty's year-over-year drop in Twitch viewership and peak concurrent players still indicates that players are choosing other games instead. And 2016 has provided a deluge of excellent shooters like Titanfall 2, Battlefield 1, and Gears of War 4 — along with existing hits like Overwatch and Counter-Strike: Global Offensive. With that much choice, it is a tougher landscape than ever for one game to dominate all others.


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Alzner on Capitals: "We're trying to be the people everybody wants to hate"
By Joe YerdonApr 14, 2012, 1:18 PM EDT
Working up animosity in the playoffs can be pretty easy to do for opponents. An iffy hit here, a stick jab there, a few goal mouth scrums and face washes later and all of a sudden you've got a healthy dislike for each other worked up.
The Washington Capitals don't strike anyone as that sort of team, but Caps defenseman Karl Alzner wants to change that. CSNWashington.com's Chuck Gormley hears it from Alzner about how the Caps want to be the team that gets the fans up in arms night in and night out. They want to be the heels of the postseason.
"We're trying to be the people everybody wants to hate and does hate and can't stand," said Alzner, who is one of the most likable personalities in the Capitals dressing room.
"You try to get in their faces without saying anything. Same with the fans. Their fans didn't like that we weren't talking back with them as we would in the regular season. We need to play ugly. Every game in the playoffs you want to be the uglier team."
You could say that the Caps have been playing ugly all season for all the wrong reasons, but the kind of ugly he's talking about is the sort of thing coach Dale Hunter was famous (infamous?) for during his playing days. Getting down and dirty on the ice was his specialty and that sort of grit is what the Caps have been missing over the last few years and playoff failures.
Playing that way and not scoring goals, however, won't get the Caps anywhere and that's something they'll have to change against Boston. The Caps didn't generate many shots and weren't able to put any pucks past Tim Thomas, but working up that snarl is something they started doing based on the kinds of hits being thrown in Game 1. This afternoon's Game 2 gives them ample opportunity to up the hate level, especially if they pull off a victory.


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Elite Sports
Editor's Picks, Sports Development
Elite Sports will invest $25 million in five youth sports facilities across the Kansas City region, bringing the Olathe-based company's total footprint to 650,000 square feet.
The new facilities also will bring more than 500 new jobs to the metro area, according to a release from the sports development and management company.
"Our new facilities are paving the way for local clubs - practice is no longer a drop-off, but a lifestyle that goes well beyond the sport, and a unique experience that parents can enjoy as well," said Jason Bryson, CEO of Elite Sports.
The new, multi-sport facilities offer a one-stop shop for local athletes and parents with amenities such as medical clinics, fitness gyms, sports massage, classrooms, parent workstations, lounges, arcades, full-service bars, and nail salons.
In addition to state-of-the-art technology and equipment for training, the facilities go beyond the sport and introduce youth athletes to life skills through various educational classes and opportunities.
Clubs and leagues including MAVS Volleyball, Elite Softball Academy, Kansas City Scott Gallagher and Heartland Futsal call the facilities home. Elite Sports will also offer rental space to other metro-area clubs for multiple sports. The facilities will host local, regional and national tournaments.
"Not only do our facilities provide outstanding benefits for athletes and parents, but to entire communities and the general public as well," Bryson said.
Elite Sports will offer memberships to its fitness gyms and classes, known as The Burn KC. Two of the five planned Elite Sports centers - Olathe and Overland Park - opened earlier this year, and the remaining three facilities in Lenexa, Olathe and Kansas City plan to open later in 2018.
Tagged: Elite Sports, Olathe, Jason Bryson, MAVS Volleyball, Elite Softball Academy, Kansas City Scott Gallagher, Heartland Futsal, The Burn KC, Lenexa, City of Olathe, Kansas City


Viral advertising spreads messages, ideas and associations about a brand quickly, commonly using digital technology – in many ways viral advertising relies on the consumer to pass on information with the producer either seeding videos via YouTube, Facebook, Twitter or on many other interactive digital platforms with the consumer at the point, knowingly or unknowingly spreading the communication – viral advertising spreads like a cold virus, often quickly and efficiently affecting a large number of people. With advertising, even a negative reaction to a brand communication is considered to be impacting on a potential consumer in as much they have remembered the brand. I can remember many awful adverts from years ago for brands whose name I can remember, the visual images of which I can still see in my minds eye I the same way I can remember many of the viral 'mash-ups' of the Cadbury's Gorilla advert from 2007.


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Abraham Bloemaert (Gorinchem 1566 – 1651 Utrecht)
signed and dated in dark paint, lower right corner: "A. Bloemaert fe. 1624"
Currently on view: The National Gallery, London, Room 24
Van Tuinen, Ilona. "Lot and His Daughters" (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/lot-and-his-daughters/ (accessed February 02, 2023).
The prospect of human extinction can drive people to desperate measures. The morally charged story of Lot and his daughters, recounted in Genesis 19, demonstrates just how far people will go to ensure the continuance of their lineage. The old, righteous Lot, one of Abraham's nephews, lived in the doomed city of Sodom among its immoral citizenry. As a reward for his virtue, God spared Lot, along with his wife and two daughters, from Sodom's destruction. During their flight, however, Lot's wife defied God's command and looked back. As punishment, she was turned into a pillar of salt. Lot eventually settled inside a cave with his daughters. The elder sister, convinced that there was "no man left on the earth" (Gen. 19:31), devised a scheme to intoxicate Lot, enabling the two women to sleep with the old man on consecutive nights in order to "preserve the seed of their father" (Gen. 19:32). These one-time acts of incest, however questionable, yielded results. Nine months later, the sisters bore the sons Moab and Ben-Ammi, founders of the Moabite and Ammonite tribes. From the Moabite tribe eventually emerged Ruth, who, according to some theologians, was the ancestress of Christ.1
Already in the Middle Ages, depictions of this biblical story served to moralize on the danger of female seduction and the unfavorable effects of alcohol.2 In 1530 Lucas van Leyden (ca. 1494–1533) added a blatantly erotic dimension to the scene by depicting Lot and his daughters as cavorting nudes (fig 1).3 His vastly influential composition—the three protagonists in the foreground against the backdrop of the burning city and Lot's petrified wife in the distance—was adopted by many artists, including the Haarlem artist Hendrick Goltzius (1558–1617) in his 1616 painting of Lot and His Daughters (fig 2).4 When Abraham Bloemaert executed this painting in 1624, he drew inspiration from both Van Leyden and Goltzius, but he also altered the narrative thrust of their scenes. Much as had his predecessors, Bloemaert placed the main figure group in the foreground, depicted the bed at the left, and relegated Lot's wife and the burning city to the distant right. The position of Lot's legs and the cylinder-like smoke plumes also derive from Goltzius's example. Nevertheless, Bloemaert portrayed Lot and his daughters as mostly clothed and psychologically disconnected from one another, not as nudes engaging in a range of carnal pleasures.
In Bloemaert's painting, the bearded Lot gazes broodingly at the ground before him, his right hand placed somewhat stiffly on his daughter's bare shoulder, his left hand balancing a full tazza of wine on his knee. The patriarch is unreceptive to the advances of his youngest daughter, who has removed the top part of her dress, flung her pearl necklace and gold chain behind her on the bed, and placed her right hand on her father's lap. He is equally unresponsive to his eldest daughter, who stands behind him while reaching over his shoulder to undo his robe with her left hand. His detached attitude is reinforced by the shadow cast over his eyes by his broad-brimmed hat.5 Thus, in Bloemaert's rendering of the story, Lot is no longer portrayed as an active participant in the erotic character of the story, but rather as a disengaged participant.
Bloemaert's interpretation of the story of Lot and his daughters is consistent with the approach he had taken earlier in the century in two drawings of the subject.6 The first, a roundel in a Dutch private collection, which Bloemaert executed around 1600–5, depicts Lot fully clothed and wearing a similar hat.7 The second, an anonymous copy after a lost drawing that Bloemaert probably executed around 1610–15 (fig 3), similarly depicts Lot as a disengaged participant.8 In each of these works Bloemaert remained faithful to the Old Testament story, which explicitly recounts that, in both instances, Lot was unaware when his daughter "lay down, nor when she rose up" (Gen 19:33). As a practicing Catholic, Bloemaert would have been aware of how Lot was described in the New Testament and in biblical exegesis. In 2 Peter 2:7, Lot is referred to as a "righteous man," and in Luke 17:28–30, Christ uses Lot as an example of a virtuous man who was saved by God. Later theologians such as Erasmus and Calvin did not condone the inappropriate seduction, but they did not fully condemn it either: they understood that Lot was not consciously aware of the act and that the daughters were trying to save humankind from extinction.9
A striking feature in Bloemaert's rendition is the sumptuous still life spread out on a stone table partially covered by a plain white damask tablecloth. It consists of apples and grapes in a Wan-li porcelain bowl, half a bread loaf stacked on top of an old Gouda cheese, a pewter dish with oysters, and a knife balancing precariously on the edge of the table. These objects and motifs are typical of early seventeenth-century still-life painting. Some of them—the bread, grapes, and cheese in particular—appear frequently in depictions of Lot and His Daughters, including in Goltzius's version.10 Standing before the table is a large, ornate, gilded ewer and on it a covered goblet. Bloemaert probably based these vessels on actual prototypes, possibly by the Utrecht silversmith family Van Vianen.11 The rarity of still lifes in Bloemaert's oeuvre suggests that he intended this still life as a commentary on the complex moral and ethical issues surrounding this biblical narrative.
A prominent element of this still life is the plate of oysters—aphrodisiacs that allude to the imminent sexual consummation planned by Lot's daughters. Discarded shells of consumed oysters lying on the ground in the shadow of the elder sister's dress further indicate the sexual implications of the story. Nevertheless, also prominently displayed in this still life are bread and wine, fundamental elements of the Eucharist. Anne Lowenthal argued that the prominence of such Christological symbols in depictions of Lot and His Daughters presents the moral dilemma of this story to the viewer. They serve as reminders that Lot was a sinner, redeemed by Christ, but also that he was also an archetypal prototype for Christ.12
In most depictions of this scene, including Van Leyden's and Goltzius's versions, one of the sisters is shown pouring the wine into Lot's cup, a motif that echoes this ambiguity. While the pouring of wine is traditionally associated with the virtue of Temperance, in this context is also points to Lot's drunkenness and intemperance. The bread is usually depicted untouched, possibly suggesting that Lot and his daughters have neglected the most basic nourishment, Christ's body.13 Bloemaert chose a different approach. While he included oysters to emphasize the sexual character of the scene, he did not emphasize Lot's drunkenness by having one of his daughters pour wine into his cup. Instead, Lot solemnly holds his tazza made of gold, the color of Christ's kingship, much as a priest would do during the celebration of the Eucharist.14 The half a loaf of bread in the still life alludes to participation in the other central element of the Eucharist—the body of Christ. The red admiral butterfly hovering above the still life also has Christological implications, for it refers symbolically to the resurrection of the soul.15
The painting's correct attribution has long been obscured. Around the beginning of the twentieth century it was attributed to Peter Paul Rubens (1577–1640) on the basis of a false signature applied in the nineteenth century.16 Throughout most of the twentieth century it was ascribed to Jacob Jordaens (1593–1678) and, when it was sold in 2004, it was attributed to Abraham Bloemaert's son Hendrick (1601/2–72).17 With the discovery of Abraham Bloemaert's signature and date during the painting's restoration in 2004, it became possible to identify this work as the "grand gallery picture" auctioned on 14 February 1811 in London, which, according to the sale catalogue, had belonged to King Charles II of England (1630–85).18 Lot and His Daughters corresponds stylistically to the two other paintings by Bloemaert dated 1624: Parable of the Wheat and the Tares at the Walters Art Museum in Baltimore, and Adoration of the Magi in the Centraal Museum, Utrecht (fig 4).19 The Utrecht painting is especially similar in the bright, primary colors of the monumental foreground figures, the pastel palette in the background, and the inclusion of gilded goblets which are, just as in Lot and His Daughters, reminders of Christ's kingship.
- Ilona van Tuinen, 2017
Fig 1. Lucas van Leyden, Lot and His Daughters, 1530, engraving, 18.9 x 24.6 cm, Rijksprentenkabinet, Rijksmuseum, Amsterdam, inv. RP-P-OB-1587
Lucas van Leyden, Lot and His Daughters, 1530, engraving, 18.9 x 24.6 cm, Rijksprentenkabinet, Rijksmuseum, Amsterdam, inv. RP-P-OB-1587
Fig 2. Hendrick Goltzius, Lot and His Daughters, 1616, oil on canvas, 140 x 204 cm, Rijksmuseum, Amsterdam, inv. SK-A-4866
Hendrick Goltzius, Lot and His Daughters, 1616, oil on canvas, 140 x 204 cm, Rijksmuseum, Amsterdam, inv. SK-A-4866
Fig 3. After lost drawing by Abraham Bloemaert, Lot and His Daughters, black chalk, pen in brown and gray wash with white highlights, 19.5 x 23.9 cm, Staatliche Graphische Sammlung, Munich, inv.no. 1057
After lost drawing by Abraham Bloemaert, Lot and His Daughters, black chalk, pen in brown and gray wash with white highlights, 19.5 x 23.9 cm, Staatliche Graphische Sammlung, Munich, inv.no. 1057
Fig 4. Abraham Bloemaert, Adoration of the Magi, 1624, oil on canvas, 168.8 x 193.7 cm, Centraal Museum Utrecht, inv. no. 2575
Abraham Bloemaert, Adoration of the Magi, 1624, oil on canvas, 168.8 x 193.7 cm, Centraal Museum Utrecht, inv. no. 2575
See Anne Lowenthal, "Lot and His Daughters as Moral Dilemma," in The Age of Rembrandt: Studies in Seventeenth-Century Dutch Painting; Papers in Art History from The Pennsylvania State University, vol. 3, ed. Roland E. Fleischer and Susan Scott Munshower (Philadelphia, 1988), 12–27. In his Lectures on Genesis, Luther explicitly made the connection between Ruth and Christ. Lowenthal also makes reference to Dürer's famous Haller Madonna of ca. 1495–1500, oil on panel, 52.4 x 42.2 cm, National Gallery of Art, Washington, Samuel H. Kress Foundation, inv. 1099. The inclusion of Lot and His Daughters on the reverse of Dürer's painting might allude to Christ's lineage.
For the appearance of this scene in the so-called Power of Women series, see Yvonne Bleyerveld, Hoe bedriechlijck dat vrouwen zijn: Vrouwenlisten in de beeldende kunst in de Nederlanden, 1350–1650 (Leiden, 2000). The scene also appears on a coconut cup by Cornelis de Bye (d. 1598) (17.1 cm, The Walters Art Museum, Baltimore, inv. 57.1046) containing the inscription "Drunkenness is the root of all evil."
Ilja Veldman, "Lot en zijn dochters," in Lucas van Leyden en de Renaissance, ed. Christiaan Vogelaar, Jan Piet Filedt Kok, Huigen Leeflang, and Ilja M. Veldman. Lucas van Leyden en de Renaissance (Exh. cat. Leiden, Museum De Lakenhal) (Antwerp, 2011), no. 104.
Lawrence W. Nichols, "Lot and His Daughters," in Hendrick Goltzius (1558–1617): Drawings, Prints, and Paintings, ed. Huigen Leeflang and Ger Luijten (Exh. cat. Amsterdam, Rijksmuseum; New York, Metropolitan Museum of Art; Toledo, Toledo Museum of Art) (Zwolle, 1993), 304–5, no. 112.
The large, dark red hat Lot wears might allude to a clerical headdress, thereby emphasizing his role as a patriarch. It is similar in shape to the cardinal's hat that Bloemaert included in his St. Jerome Reading by Candlelight in the Bader Collection, also painted in the early 1620s. Marcel Roethlisberger, Abraham Bloemaert and His Sons: Paintings and Prints (Doornspijk, 1993), 223–24, no. 286. See also David DeWitt, The Bader Collection: Dutch and Flemish Paintings (Kingston, 2008), 68–69, no. 34, where the Bader painting is dated to ca. 1622. Bloemaert used the same model of a bearded old man for St. Jerome and Lot. The same man appears in numerous other paintings and drawings in his oeuvre. See for instance, Marcel Roethlisberger, Abraham Bloemaert and His Sons: Paintings and Prints (Doornspijk, 1993), 336, nos. 538–39, and 398, no. T34.
There are also four other, less related drawings of Lot and His Daughters by Bloemaert. See Jaap Bolten, Abraham Bloemaert, c. 1565–1651: The Drawings (Leiden, 2007), 23–25, nos. 20–25, for all six drawings, one of which is a drawing with black ink or chalk and brunaille on panel, dated to around 1646–47; see no. 23, present whereabouts unknown.
For the roundel, see Jaap Bolten, Abraham Bloemaert, c. 1565–1651: The Drawings (Leiden, 2007), no. 20, and Marcel Roethlisberger, Abraham Bloemaert and His Sons: Paintings and Prints (Doornspijk, 1993), 223–24, under no. 495, with earlier literature. The roundel is generally dated to ca. 1600–5.
For the second drawing, see Jaap Bolten, Abraham Bloemaert, c. 1565–1651: The Drawings (Leiden, 2007), no. 25a. The Rijksmuseum in Amsterdam preserves another copy of the lost prototype in Munich, pen and brush in brown on blue-gray paper, heightened with white, 20.5 x 14.7 cm, Rijksprentenkabinet, Rijksmuseum Amsterdam, inv. no. RP-T-1905-169. See Jaap Bolten, Abraham Bloemaert, c. 1565–1651: The Drawings (Leiden, 2007), no. 25b, and Karel G. Boon, Catalogue of Dutch and Flemish Drawings in the Rijksmuseum: Netherlandish Drawings of the Fifteenth and Sixteenth Centuries (The Hague, 1978), 17, no. 33, who calls the Amsterdam drawing an "[u]nimportant copy after a Bloemaert drawing." Bolten dates the lost prototype for the Munich drawing to ca. 1610–15 based on a stylistic comparison with Bloemaert's designs for Bolswert's engraved series of The Hermits. Considering that Bloemaert appears to have modeled the position of Lot's legs, which is identical in the Munich drawing and in the present painting, after Goltzius's 1616 painting, it appears that the Munich drawing should be dated slightly later, to around ca. 1616–24.
See Joshua Benjamin Kind, "The Drunken Lot and His Daughters: An Iconographical Study of the Uses of This Theme in the Visual Arts from 1500–1650, and Its Bases in Exegetical and Literary History" (PhD diss. Columbia University, 1967); Anne Lowenthal, "Lot and His Daughters as Moral Dilemma," in The Age of Rembrandt: Studies in Seventeenth-Century Dutch Painting; Papers in Art History from The Pennsylvania State University, vol. 3, ed. Roland E. Fleischer and Susan Scott Munshower (Philadelphia, 1988), and, more recently, Ilja Veldman, "Lot en zijn dochters," in Lucas van Leyden en de Renaissance, ed. Christiaan Vogelaar, Jan Piet Filedt Kok, Higen Leeflang, and Ilja M. Veldman (Exh. cat. Leiden, Museum De Lakenhal) (Antwerp, 2011).
For the development of still-life painting in the early seventeenth century, see, for instance, Arthur K. Wheelock Jr.'s introduction in Ingvar Bergström, Still Lifes of the Golden Age: Northern European Paintings from the Heinz Family Collection, ed. Arthur K. Wheelock Jr. (Exh. cat. Washington, DC, National Gallery of Art; Boston, Museum of Fine Arts) (Washington, DC, 1989), 11–25. For another, popular composition of Lot and His Daughters, by Joachim Uytewael in the State Hermitage Museum in St. Petersburg, ca. 1600, oil on canvas, 163.6 x 212 cm (with another, autograph version in the Los Angeles County Museum), which also includes bread, grapes, and cheese, see Irina Sokolova, "A New Acquisition by the Hermitage Museum: Joachim Wtewael's Lot and His Daughters," Burlington Magazine 133 (1991): 619–22.
Bloemaert may have looked at the metalwork of the Utrecht-based Adam van Vianen (1569–1627). The figure on the lid of the goblet, as Alfred Bader observed in 2008, resembles a similar goblet by Vianen in St. Petersburg. See Zeldzaam zilver uit de gouden eeuw: de Utrechtse edesmeden Van Vianen (Exh. cat. Utrecht, Centraal Museum) (Utrecht, 1984), no. 51. For a similar 1607 tazza with the Judgment of Paris by Paulus van Vianen at the Rijksmuseum (silver, 17 x 20.3 cm diam., inv. RBK-1953-13), see Reinier Baarsen in Dawn of the Golden Age, ed. Ger Luijten, Ariane van Suchtelen, Renier J. Baarsen, and Wouter Kloek (Exh. cat. Amsterdam, Rijksmuseum) (Zwolle, 1993), 506–7. Unlike Van Vianen's tazza, Bloemaert did not include any specific scene.
Anne Lowenthal, "Lot and His Daughters as Moral Dilemma," in The Age of Rembrandt: Studies in Seventeenth-Century Dutch Painting; Papers in Art History from The Pennsylvania State University, vol. 3, ed. Roland E. Fleischer and Susan Scott Munshower (Philadelphia, 1988). In her discussion of Uytewael's composition of ca. 1600, she also notes other Christological features, such as the disguised crosses in the background.
For a similar interpretation of intact bread, see Arthur K. Wheelock Jr., "Willem Claesz. Heda, Banquet Piece with Mince Pie," in The Collection of the National Gallery of Art Systematic Catalogues: Dutch Paintings of the Seventeenth Century (Washington, D.C., 1995), 99–102. For the diverse interpretations of cheese, which could allude to intemperance, see Eddy de Jongh in Still Life in the Age of Rembrandt, ed. Eddy de Jongh (Exh. cat. Auckland, Auckland City Gallery) (Auckland, 1982), 65–69, no. 4; Josua Bruyn, "Dutch Cheese, a Problem of Interpretation," Simiolus 24 (1996): 201–8. See also Alan Chong and Wouter Kloek, "Floris van Dijck, Laid Table with Cheese and Fruit," in Still-Life Paintings from the Netherlands, 1550–1720 (Exh. cat. Amsterdam, Rijksmuseum; Cleveland, Cleveland Museum of Arts) (Zwolle, 1999), 130–32, no. 10, where they refer to Goltzius's Lot and His Daughters, suggesting that the juxtaposition of cheese and wine signifies intemperance.
For the color of gold as a symbol for Christ's kingship in Bloemaert's Adoration, see Liesbeth Helmus, "Adoration of the Magi," in Liesbeth M. Helmus and Gero Seelig, Het Bloemaert-effect. Kleur en compositie in de Gouden Eeuw (Exh. cat. Utrecht, Centraal Museum; Schwerin, Staatliches Museum) (Petersberg, 2011), 112, no. 33.
For the statue of Lot's wife, Bloemaert may have used one of the female figures he drew between 1620 and 1625, which were later engraved in a series of fifteen prints by his son Frederick for the composition of the salt statue. Marcel G. Roethlisberger, Abraham Bloemaert and His Sons: Paintings and Prints (Doornspijk, 1993), 242–43, no. 357, 11.9 x 12 cm, probably engraved after 1635. This print is no. 7 in the series. On the symbolic meaning of butterflies alluding to the Resurrection in still-life painting, see Sam Segal, A Flowery Past: A Survey of Dutch and Flemish Flower Painting from 1600 until the Present, trans. P.M. van Tongeren-Woodland (Exh. cat. Amsterdam, Gallery P. de Boer; 's-Hertogenbosch, Noordbrabants Museum) (Amsterdam, 1982), 21. For a concrete example, see Arthur K. Wheelock Jr., "Jan Davids de Heem, Vase of Flowers," in The Collection of the National Gallery of Art Systematic Catalogues: Dutch Paintings of the Seventeenth Century (Washington, D.C., 1995), 103–6, in which a butterfly hovering above a poppy, symbol of the Passion, alludes to the Resurrection.
The painting was on loan to the Metropolitan Museum of Art in New York between 1883 and 1887, during which time it was recorded in several collection catalogues as being by Rubens. See Metropolitan Museum of Art, Metropolitan Museum of Art Hand-Book No.1: Pictures by Old Masters in the East Gallery (New York, 1883–84), 13, no. 46; (1884), 14, no. 51; (1884–85), 10, no. 49; (1885), 10, no. 48; (1885–86), 10, no. 51; (1886), 10, no. 48; (1886–87), 10, no. 48; (1887), 10, no. 49.
Between 1933 and 2004, the painting hung at the Des Moines Women's Club in Iowa as attributed to Jacob Jordaens. See Des Moines Women's Club, Des Moines Women's Club: Catalogue of Paintings and Byers Collection (Des Moines, n.d.), addendum, 8–9, no. 86, as by Jacob Jordaens; Des Moines Women's Club: Art Treasures: Possessions Catalogue (Des Moines, 1941), 14, no. 43; (1952), 10, no. 36, as by Jacob Jordaens. For the attribution to Hendrick Bloemaert, see the sale catalogue of Sotheby's, New York, 22 January 2004, no. 24.
See the sale catalogue, Farebrother, London, 14 February 1811, no. 90, where it was still attributed to Bloemaert. See also Marcel Roethlisberger, Abraham Bloemaert and His Sons: Paintings and Prints (Doornspijk, 1993), 319, under no. 495, where it was still recorded as a lost painting.
For the latest catalogue entry on that painting, see Liesbeth Helmus, "Adoration of the Magi," in Liesbeth M. Helmus and Gero Seelig, Het Bloemaert-effect. Kleur en compositie in de Gouden Eeuw (Exh. cat. Utrecht, Centraal Museum; Schwerin, Staatliches Museum. Petersberg, 2011), 112–13, no. 33. Parable of the Wheat and the Tares, oil on canvas, 100.3 x 137.8 cm, Walters Art Museum, Baltimore, inv. 37.2505. See, also, Marcel Roethlisberger, Abraham Bloemaert and His Sons: Paintings and Prints (Doornspijk, 1993), 260–61, no. 391.
Possibly King Charles II (1630–85), England.1
Baron van Dornick (his sale, Farebrother, London, 14 February 1811, no. 90, as by A. Bloemaert [for £39.18]).
[Possibly Charles F. P. Dillon, art dealer, New York, before 1883, as by Jacob Jordaens].
Nason Bartholomew Collins (1834–94), New York and Iowa, as by Rubens; by descent to his daughter Mrs. Robert Coskery (b. 1866; née Elizabeth N. Collins), Des Moines, Iowa, by whom bequeathed to the Des Moines Women's Club, 1938.
Des Moines Women's Club, Hoyt Sherman Place, Des Moines, Iowa, 1938, as by Jacob Jordaens; (sale, Sotheby's, New York, 22 January 2004, no. 24, as attributed to Hendrick Bloemaert [to Dr. Alfred Bader, Milwaukee and Gui Rochat, New York; Robert Simon Fine Art, New York, 2006]).
[Otto Naumann Ltd., New York].
Baron van Dornick's auction catalogue, 14 Februrary 1811, lists the Leiden Collection painting as "formerly in the Collection of Charles II." King Charles II was a significant art collector and Dutch and Flemish paintings made up about 31% of his collection overall. While three paintings of "Lot and his two daughters" were documented in the king's collection in 1651, it is impossible to determine whether any of these listings refer to the Leiden Collection painting based on current evidence.
New York, Metropolitan Museum of Art, on loan with the permanent collection, November 1883–October 1887 [lent by N. B. Collins, New York, as by Peter Paul Rubens].
Des Moines, Des Moines Women's Club, Hoyt Sherman Place, on long-term loan, 1933–38 [lent by Mrs. Robert Coskery, née Elizabeth N. Collins, Des Moines, as by Jacob Jordaens].
London, The National Gallery, on loan with the permanent collection, June 2020–February 2023 [lent by the present owner].
Metropolitan Museum of Art. Metropolitan Museum of Art Hand-Book No.1: Pictures by Old Masters in the East Gallery. New York, 1883–84, 13, no. 46; 1884, 14, no. 51; 1884–85, 10, no. 49; 1885, 10, no. 48; 1885–86, 10, no. 51; 1886, 10, no. 48; 1886–87, 10, no. 48; 1887, 10, no. 49, as by Peter Paul Rubens.
Des Moines Women's Club. Des Moines Women's Club: Catalogue of Paintings and Byers Collection. Des Moines, n.d., after 1933, addendum, 8–9, no. 86, as by Jacob Jordaens.
Des Moines Women's Club. Des Moines Women's Club: Art Treasures: Possessions Catalogue. Des Moines, 1941, 14, no. 43; 1952, 10, no. 36, as by Jacob Jordaens.
Roethlisberger, Marcel. Abraham Bloemaert and His Sons: Paintings and Prints. Doornspijk, 1993, 319, under no. 495.
Bader, Alfred. Chemistry and Art: Further Adventures of a Chemist Collector. London, 2008, 84–87, pl. 35.
Yeager-Crasselt, Lara. "Rembrandt and His Time: China and the Dutch Republic in the Golden Age." In Rembrandt and His Time: Masterpieces from The Leiden Collection. Edited by Lara Yeager-Crasselt, 6, no. 1. Translated by Li Ying. Exh. cat. Beijing, National Museum of China. Beijing, 2017. A slightly revised version of this essay appears in Rembrandt, Vermeer and Hals in the Dutch Golden Age: Masterpieces from The Leiden Collection. Exh. cat. Shanghai, Long Museum, West Bund. Shanghai, 2017, 27–36.
The support, a single piece of fine-weight, plain-weave fabric with tacking margins removed, has been lined. Cusping along all four edges indicates the original dimensions have not been significantly altered. There are no wax collection seals, stencils, paper labels, or import stamps along the lining canvas or stretcher reverse.
A gray-brown ground has been thinly and evenly applied. The image has been constructed in both glazes blended wet-into-wet and in smooth opaque layers with no use of impasto, even on highlights along the pearls and gold chain.
No underdrawing is readily apparent in infrared images captured at 780–1000 nanometers. The images and pentimenti reveal compositional changes to the body and spout of the gold vessel along the lower right corner and gray vertically oriented lines which delineate the central axis of each of the three gold vessels.1
The painting is signed and dated in dark paint along the lower right quadrant. A spurious "Rubens" signature was removed during a past conservation treatment to reveal Bloemaert's signature and date.2
The painting was cleaned, lined, and restored prior to its acquisition in 2006. The painting is in fair condition and in a fair state of preservation, with areas of unrestored abrasion and out-of-tone restorations along the background, tablecloth, and upper left and right quadrants.3
Noted by Ilona van Tuinen, The Leiden Collection assistant curator, when she examined the painting unframed.
Alfred Bader, Chemistry and Art: Further Adventures of a Chemist Collector (London, 2008), 85.
The painting was examined on-site with no stereomicroscope. Magnification provided by 5x Optivisor only.


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'Fionn'-Putting the 'Wow!' Factor into School Science
My Fish Face!
Originally uploaded by Speedie1.
But it is with schools, particularly through the 'Fionn' Primary School Science Project, that I devoted most of my working life over the last four years. Since January 2002, I have coordinated the award winning Galway 'Fionn' Primary School Science Project on behalf of the Galway Science & Technology Board.
'Fionn' provided 35 Galway primary schools with the equipment and training necessary to produce their own Science film. This government scheme was set up to facilitate the introduction of Science into the country's educational sector. A herculean undertaking to say the least! But necessary as there has been an alarming fall-off in students studying science at third-level colleges which will ultimately undermine the nation's development as a high-tech/R & D-based economy.
'Fionn' had a number of inherent innovative principles that contributed to its outstanding success:
Child-centred (narration & the main protagonists)
Multi-disciplinary (embraced art, heritage, music, drama…)
Fun orientated
Locality (look for Science in the classroom, the local field or street...)
The ability to take a boring and oftentimes difficult subject such as science and present it as something exciting, funny and educative can really only be done by children (or someone with a child's perspective on life). Adults can look at the pen in their hand and see exactly that- 'a pen'. Whereas, kids with their playful imagination and creativity (that older people seem to lose) can transform it into a rocket or a submarine or a comet or…
If you ask second-level or third level students to produce a film on 'buoyancy', you will probably get an end-product that will be professional, highly scientific, extremely informative but possibly very uninspiring. Whereas, I have seen one primary school class make a Fionn movie on the same subject that included a hilarious rendition of the Beatles's song 'Yellow Submarine' by the entire school; a practical demonstration of buoyancy using plastic cola bottles, stones & a glass tank; a visit to a museum; a classroom festooned with drawings of submarines and a powerful interview with a local man who served as a submarine commander in World War Two! Working on the same subject, another school took delivery of a 15foot tree trunk that they transformed, with a few months of hard work, into a fully functioning canoe using the tools and techniques of prehistoric man ('cutting and burning').
The range and the scientific themes covered by Fionn schools has been absolutely amazing- bats in the school attic, lobster fishing, lighthouses, a medieval abbey, fox-hunting, a disused mine, lake pollution, a school oyster farm, teeth…
The DERI Outreach Crew
A Wonderful Working Life in 2005
-Photo shows the some of the DERI Outreach crew at the Galway Science & Technology Fair
L-R Stefan Decker ('Top Dog'), yours truly & Ina O'Murchu (a 'one-stop-shop' for sourcing news on the latest Internet trends & gadgets)
I really enjoyed my job over the last year. How many people can honestly say that? To be able to work with young people, community groups and committed activists, visionaries, pioneering technologies, film production, art, drama, the sciences, the environment & wildlife is wonderfully exhilarating. I feel truly honoured.
My main areas of responsibilities revolve around developing and coordinating practical and meaningful programmes designed to facilitate the introduction of new technologies and sciences into the educational and community sectors.
Since the early 1990s, Ireland has been a vibrant economy and the envy of the rest of Europe. The 'Celtic Tiger' has transformed the country socially and culturally as well as economically.
But sadly there are still marginalised peoples that feel alienated and socially excluded from the whirlwind of change that we have experienced and have reaped few of the dividends of our economic boom. These groups include older people, the homeless, refugees, the disabled... As Community/Education Outreach Officer with the Digital Enterprise Research Institute (DERI) at Galway University (NUIG), I ahve been givern the opporuntunity to organise meaningful courses for this sector and help in the process of bridging the 'technology gap' in society that needs to be rectified if a stable sustainable Ireland is to exist in the future.
More of DERI Outreach anon
Birdwatching at Europe's largest Turlough
One of the most enjoyable events that I have attended over the last few years was the bird-watching excursion to Rahasane turlough at Kileeneen(Irish = 'Kileen's little church') in Co. Galway.
Early one Sunday morning, my son Dáire and myself gathered with over 40 enthusiasts to view the enormous range of birdlife that congregate at Rahasane, a lake that is recognised as one of the best examples of a 'turlough' in Europe. A turlough is a feature of limestone landscapes where a freshwater lake can vary enormously in its area from season to season due to the porous natiure of its rock. A heavy rainfall will led to a considerable increase in size; a dry season will inevitably lead to a dramatic reduction.
The nature trip was ably led by Pete Capsey a fellow work colleague from the DERI Institute at the National Universty of Ireland, Galway who personifies the term 'a true English gentleman'.
For the last few years, Pete has,on behalf of Birdwatch Ireland, been voluntarily cataloguing the number and type of avian life that visit Rahasane .
I was shocked to learn from him that some species of birds have declined by 90% since he began his activities. He blames enroachment on the lake by housing development and pollution. There is also the factor of 'Global Warming'.
Life on Earth under Threat
This observation only reinforces my belief that mankind's greed and selfishness is destroying the biodiversity of our planet. If we continue along this path, we will ultimately destroy our own species in the process.
In my little way, I am attempting, by working with other committed individuals though a series of local environmental campaigns, to halt this destructive deathwish. More anon on our eco-initiatives that are based on the 'green' principle of 'Think Global, Act Local'
The Drummers of Halloween
As with all parades organised by Macnas street theatre, the drummers are always exceptional. The solid constant rhythm beat of the young drummers keeps all the marches in step.
It is a sight and sound to behold
hallowkids
'Trick or Treat'!
My son Dáire (Red Power Ranger) and his friends calling house to house on Halloween night
halloweendancers
Troupe of Fairy Dancers on the Halloween parade through Ballinfoile.
The Burning of the Ram
hallowram
The Climax of the Halloween Parade as a 20foot Ram is burnt on Ballinfoile Hill in a reinactment of an ancient Celtic mythological story
Celtic Fairy Queen Slays The Horned Ram
Macnas, the internationally-renowned street theatre company, this year organised spectacular night-time community Halloween parades in socially disadvantaged areas of Galway city.
For weeks in advance, local children were enthusiastically learning to play drums, to make costumes and to rehearse their roles as dancers, actors and musicians.
The parade that I participated was in Ballinfoile and involved hundreds of children marching in unison pass or through four different housing estates. There were bands, dance troupes, fireworks and theatre. It ended in an awesome fireworks extravganza as a 20foot high Ram was burnt on a hilltop in an reactment of a mythological Celtic story.
The smiles and laughter on participants and watchers alike was beautiful to behold.
It was a true 'Reclaim the Streets' campaign and give local people a real sense of empowerment.
The only person that was annoyed about the whole activity was my friend Michael McDonnell who lived on the route of the march. Three of his pet birds died from the shock of the exploding fireworks!
hallowpumpkin
Halloween's Pagan Celtic Roots
(Sorry dear readers, I should have posted this article early last month. But a heavy work schedule put paid to that. Anyway, better late than never!!)
Today Halloween is celebrated by children across the Western world. But like many other annual family festivals, it has become so commercialised by 'Americanised' popular culture that its true origins and religious aspects have long being forgotten. I have nothing against many of the entertainment and children elements now so symptomatic of events such as Christmas, Easter and Halloween. After all, if they bring a bit of sparkle into the lives of our youth, that can only be welcomed
The Christianisation of Samhain
Many people though associate the origins of Halloween with the Christian festival of 'All Hallows Eve' or 'All Souls Day' when people remembered their dead family members.
But actually, this event was superimposed onto the ancient pagan Celtic festival of 'Samhain' which marked the beginning of winter and the beginning of the Celtic New Year.
Typical of many agricultural societies, the Celts had four major annual festivals based on the cyclical differences experienced in the changing seasons of nature and their corresponding weather patterns. The other three were 'Imbolc' (spring) 'Bealtane' (summer), 'Lugnasa' (harvest).
Samhain was a time when food was hoarded as people prepared for the cold season when nothing grew. As with all Irish festivals, bonfires were lit as people gathered together at warm fires to socialise.
Antecedents to the Pumpkin & 'Trick or Treat'
But it was also a time when creatures from the supernatural world could enter into the world of mortals. Fairies and the spirits of the dead would walk the earth. Many of these beings were benevolent and the spirits of dead ancestors; so families laid out extra food and set aside a table space for their ghostly visitors. Hence the modern Halloween custom of children dressing up as ghouls and witches, calling door-to-door and receiving presents of apples and nuts when they called. (Such fruits were common in Ireland).
But there were spirits that came on the night of Samhain that were malevolent. Candles were placed in skulls at the entrance to dwellings as light was feared by these dark foreboding creatures. This protection against evil became transformed in modern times into the positioning pumpkins with carved out faces and internal candles at windows and doorways
Irish Bring Halloween to USA
The Irish emigrants of the nineteenth century introduced Halloween and its rituals to America. Within a few decades, the festival was transformed into the fun and games event of today
British Military Fortifications, South Armagh 2005
britwatchtower
Somethings never change!
Over 750yrs after Castle Roche was built by the British to keep watch on the rebellious natives of South Armagh (see previous posting), there is today a network of British army watchtowers built to monitor the local predominantly republican population along the border with the Irish Republic.
What is fascinating for visitors to this area is to see isolated little villages and towns in this region openly display banners and memorials to the IRA.
No more so than in Crossmaglen, a town dominated by a large British Army watchtower and the constant sounds & sights of military helicopters flying in and out of the heavily fortified police base.
The military presence seems totally alien to the local landscape. There is no connectivity with the population whatsoever and the soldiers and police are treated as outsiders and occupiers.
A few years ago, I brought some friends into Crossmaglen for a days outing. As we went into a bar for a few drinks, everyone in the premises stopped talking and gazed in our direction. You could hear a pin drop. Nothing was said until I placed my order with the bartender. As my Dublin accent permeated the room, the locals then suddenly relaxed and, with a small outbreak of laughter, they then continued with their conversations! Until I spoke, they had suspected that we were a bunch of off-duty British military personnel!!
The DERI Outreach Crew Originally uploaded by ...
Birdwatching Originally uploaded by Speedie1. ...
hallowkids Originally uploaded by Speedie1...
halloweendancers Originally uploaded by Sp...
Witch Queen Originally uploaded by Speedie1....
hallowpumpkin Originally uploaded by Speedie1....


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This 1966 Ford Mustand convertible belongs to a Clavey Auto Service customer. It is equipped with a 200 c.i.d. straight 6 cylinder engine with a one-barrel carburetor that develops 120 bhp and an automatic transmission. The car was built at the Dearborn Michigan assembly plant. There were 72,119 Mustang convertibles built for the 1966 model year.
The Mustang was introduced as a 1964-1/2 model that was based on and shared parts the compact Falcon, to lower production costs. Originally named for the fighter plane, the P-51 Mustang, many references to horsepower and pony cars led to the horse becoming the emblem for the Mustang. Buyers loved its low price, long hood/short trunk styling and the long list of available options.
The 1966 model year saw further refinement of the Mustang. The instrument panel was all new, replacing the Falcon gauges that were previously used. The 260 c.i.d. V-8 was replaced by a 289 c.i.d. engine and could be had with a 4 barrel carburetor. The easiest way to tell the 1966 Mustang from the 1965 model is the later car's lack of horizontal or verticle bars in the grille – the running horse logo seems to float unsupported in the 66's slatted grille. There were 607,568 Mustangs built for the 1966 model year. That is stillo the most Mustangs ever sold during a single model year.


Ready or not, August is fast evaporating under the blazing sun, nearly forcing us into fall hair mode. Doesn't help that school bells start ringing soon. Can't ignore that ... Can you tell? I'm not ready.
So, it's time to start plotting a course for those fall hairstyles and colors. During the summer we are all generally outdoors, in the sun, running, swimming, traveling where the water can be soft, hard, salty or full of who knows what. A good majority of us have done some sort of chemical treatment (maybe two or three) on our hair from highlights to all-over color, perms and straighteners.
All that summer fun can do a lot of damage to your hair, so while you're flipping through those hair galleries on your phone and wondering what to do next, begin the transition to fall by getting your hair in healthy condition.
Maybe you want to make the move toward a rainbow color, like purple, green or one of the smoky greys. These colors have been trending strong and are here to stay for a while, partly because there is such variety. Or maybe you'll go for one of the natural colors, like chestnut brown, red or make a move toward a buttery blonde from a bright summer blonde. The blonde shades were very popular last fall and winter. Blonde never went away. Regardless, your hair will take new colors better and keep them longer if your hair is healthy.
Create a pre-fall hair routine. Clarify the hair once or twice a month, use a daily conditioner and incorporate a deep conditioner or hair mask at least once a week. On those 'lounge' days, let the hair air dry instead of blow drying. Your hair needs a break, too.


Castelli's Women's Free Tri Singlet features a half-length front zip for adjustable ventilation and soft-finish arm holes to prevent irritation. The front is made of SpeedFreak race fabric while the back is Velocity Mesh -- both light, aerodynamic, and highly breathable. The SnapLock fastener at the lower back attaches to shorts to keep things stable and flat against the body. Two aero- and hydro-optimized rear pockets provide storage.


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→What the Heck is a Podcast and why should I be listening to them?
What the Heck is a Podcast and why should I be listening to them?
What the Heck is a Podcast and why should I be listening to them? While some Boomers are moving back onto their Alma mater college campus and signing up for one class so that they have full access to all the university has to offer such as the cafeteria, library, fitness facilities and tons of youth to engage with, others are engaging in other ways such as traveling or simply listening to podcasts. What's a podcast? I had the same question a couple of years ago. So, I thought instead of you going through the pain of figuring this out like I had too, we are friends now and friends help each other out, so I wrote you a podcast how to.
Podcasts are free, downloadable audio shows. There are thousands, if not millions of podcasts available. While they've been around for over a decade now, podcasts are seeing a surge of popularity with independent shows like Serial and Radiolab, in addition to podcasts from the likes of ESPN and National Public Radio.
Unlike traditional radio or television, podcasts require a bit of work to set up, but once you're there a world of audio enjoyment awaits. It may seem a bit daunting at first, but once you get started the process becomes second nature.
A tool called a podcatcher is used to download podcasts. Think of a podcatcher like a TV or radio station where you get to choose all the programming. Most podcasts are available in all podcatchers, so in general you won't have to worry about missing out on your preferred device.
There are a number of different podcatchers available for Windows computers, Macs, iPhones, iPads, Android phones, Kindle Fire tablets, and even some televisions. Each tool should have a directory included where you can search for podcasts by name, topic, or keyword. Many also come with recommendations or charts to let you know what's popular.
After you've found the podcast you want to listen to, you can subscribe to it (similar to subscribing to a newspaper or newsletter). This will download the most recent episode and make sure that every new episode downloads as well. You can also download individual episodes if you want to check the back catalog, or if you just want one or two episodes before you decide to subscribe. Subscribing costs nothing, and helps the show creators gain visibility, so if you like a show you should subscribe!
Once the podcast you want to hear has downloaded, you can usually click or tap on it to play it back. You can listen to it as many times as you want. Some podcatchers will delete a show after you listen to it, but you can always download episodes again whenever you'd like.
To sum up, the steps to get started with listening to podcasts are as follows:
Download a podcatcher – we've got a handy guide for you HERE
Search the directory in that podcatcher to find the show you want to hear
Download individual episodes, or subscribe
Play your podcast!
Using Apple Podcasts on iPhones and iPads
Go to your Apple App Store.
Download and install the Podcasts app from the App Store.
Launch the app. You'll be greeted with a welcome screen with some basic info about the app. Tap Start Listening Now to proceed.
To search for a podcast, tap the Search icon in the lower-right corner.
Tap in the text field under Search and type in whatever you'd like to search for. For example: seniors, baby boomers, etc. Then tap the blue Search button in the lower-left corner.
The search results will load. Shows will appear at the top, and swiping them to the left will reveal more results. Individual episodes that match your search term will appear below.
Tap on an episode to reveal its details. You can press the Play button to stream the episode, or the + button to add it to your library, then tap the download icon to listen on the go.
If you tap on a show in your results, you'll then see the info page for that show, along with recent episodes. You can tap the + on an individual episode to add it to your library, or tap Subscribe to to have the app automatically download the most recent episode and all future episodes.
You can find unplayed and recently listened to podcasts by tapping the Listen Now icon in the lower-left corner. To see all your subscriptions, tap the Library icon to the right of the Listen Now icon.
Using Podcast Addict on Android
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Albany,n.y.
About Albany,n.y.
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Delmar, N.Y.
"The Mad Bomber" Lamonica weighs in on JA17
Albany,n.y. replied to Hapless Bills Fan's topic in The Stadium Wall
No it's not. Ralph was cheap and to deny it is revisionist history-class has nothing to do with stating historical facts. You really need to get that copy of Relentless to see the many things he did that resulted in many losing seasons.
Come on man! Sure you can be grateful to Ralph for keeping the team in Buffalo, but to deny he was a little tight with his money and did some very strange things as owner is just selective memory. For most of the Bills 1st 30 years Ralph was cheap and the typical cycle was the team was bad, attendance suffered, Ralph saw all the empty seats and decided he had to spend money, the team got to be pretty good, Ralph alienated the person most responsible for the team being good, the alienated guy left, the team got bad again and attendance suffered, Ralph realized he had to spend $ and hired new people, the team got good again-rinse & repeat. These are some of the things Ralph did in those 1st 30 years and then some afterwards: In the 1960s there was the whole debacle where Ralph neutered John Rauch to the point Rauch quit in preseason. OJ held out before signing that rich contract. Ralph had little choice but to pay OJ, who was the face of the franchise. The Bills became the 1st & only team in NFL history to lose a bidding war for the services of the #1 overall pick in the NFL draft to the CFL when Tom Cousineau signed with Montreal. This led to Chuck Knox being pretty angry and was the 1st thing that led to Knox's leaving after the 1982 season. Ralph never had success with head coaches in their 1st head coaching job. That's because he was too cheap and for years had coaches at the bottom of the NFL's coaching pay scale. Either the coach was a retread in need of a job or was a guy he could get away paying peanuts to. The exceptions were when the team got really bad and nobody was going to the games, then he'd spend $ for a guy like Chuck Knox. He had a lot of cheap coaches over the years. He got lucky when he hired Polian who was close to Levy, but even Levy originally came at a discounted price. When the USFL was around, he lost his starting RB Joe Cribbs and Jim Kelly because he was outbid. He only made Kelly the highest paid QB because he had to either sign Kelly or stare at 40,000 empty seats on Sundays. The Bills lost 3 years of Kelly's career because of Ralphs miserly ways. Even after the success that the 1990s Bills had, he fired Bill Polian, the unquestioned greatest GM in Bills history, because Polian didn't want to have to listen to "scout" Linda Bogdan, Ralph's daughter. Hiring Marv Levy & Buddy Nix as GMs: come on man! Yes Ralph did a lot of good, but his cheap & meddling ways led to a lot of seasons where the Bills were the NFL's laughingstock, especially in the 1st 30 years of the franchise. I'm sure if I wanted to go through the Bills history I could find a lot more examples than the few I listed. If you have the time get a copy of Relentless and read through it & then come back and tell us that Ralph wasn't cheap & didn't meddle far too much.
I have great neighbors. When I was away Thanksgiving week we had almost 2 feet of snow and my next door neighbor cleared my driveway & walkway. He also had done that when I was sick in the winter of 2017-18 and couldn't clean my driveway until March 2018. My mother told that story the rest of her life and laughed about it, although at the time she was pretty mad at me for not getting their friend's name.
I've got a great story about the original Mad Bomber. I grew up in the NYC metro area. Even though the Mad Bomber was caught in 1957 a lot of people in the area were still afraid of bombs years later. One of them was my mother. In 1959 my parents bought their 1st house, moving from an apt. in the Bronx to a house in Long Island. I was a 5 year old kid & was home one morning after we 1st moved in and one of their friends was on his way to work and in a hurry. He rang the bell, I answered & handed me a little gift wrapped box & said "give this to your mother" and left. I went to my mother & told her some man dropped the box off and told her what he said. I didn't recognize him as one of their friends. My mother's 1st thoughts went to the mad bomber (I don't know if she knew he was captured in 1957) and she called the police & they came over to check out the box. When they opened it they found a little figurine with a note congratulating them on their new homeownership. If you never heard of the Mad Bomber who terrorized NY, here's a link : https://en.wikipedia.org/wiki/George_Metesky
Super Bowl Tickets Selling for Record Amount
Albany,n.y. replied to Scott7975's topic in The Stadium Wall
I've been to 6 Super Bowls. Here's data from my spreadsheet updated to 2019 costs. For Super Bowl 50, I bought too soon after the prices went crazy for XLIX and if I had timed the market I could have saved $1,000-$1,500 per ticket-I bought 2 that year. All amounts are costs for 1 person/1 ticket. Year Transportation Car Rental Ticket Lodging Misc Parking Total Inflation Adj to early 2016 $ ADJ to 2019 Notes 1991 $158.00 $83.73 $1,165.00 $60.00 $50.00 $0.00 $1,516.73 1.75 $2,654.28 $2,783.81 Lodging is for 2 motel nights in Orlando, ticket is Disney Package 1992 $919.00 $0.00 $150.00 $0.00 $50.00 $0.00 $1,119.00 1.7 $1,902.30 $1,995.13 Transportation and lodging grouped, includes $779 for flight/motel 1993 $344.50 $52.08 $175.00 $64.42 $100.00 $10.00 $736.00 1.65 $1,214.40 $1,273.66 Lodging & Car Rental represents half total cost. 1994 $60.00 $0.00 $1,248.00 $0.00 $150.00 $0.00 $1,458.00 1.61 $2,347.38 $2,461.93 Ticket includes lodging & flight, transportation includes est. railroad cost to Buffalo 2014 $60.00 $0.00 $1,857.50 $114.99 $125.00 $105.00 $2,157.49 1.02 $2,200.64 $2,308.03 Transportation is for gas & tolls to drive to game 2016 $395.00 $0.00 $4,726.20 $0.00 $125.00 $20.00 $5,246.20 1 $5,246.20 $5,502.21 Parking is shuttle to & from Fremont $15,565.20 $16,324.78 Average cost $3,113.04 $3,264.96
I keep track every year of Super Bowl ticket prices and in a typical year the best time to buy tickets at the lowest price is the Sunday before the game through Monday morning. After that the prices rise slightly from their low point. The one exception in recent years was Super Bowl XLVII in Arizona when the marker went crazy for the Seattle/NE game and the get in prices reached around $10,000. The tickets just kept going up all week and a lot of people who bought through "ticket brokers" never got their tickets at the promised price. That also happened in Atlanta for the Bills last Super Bowl (at much lower prices in 1994) where many Bills fans never got their tickets. Still, if the Bills make the Super Bowl I'll be looking to buy my tickets the Sunday before the game. When I checked prices earlier today, the lowest prices were down around $500 to $700 from before the championship games.
Phillip Rivers has moved away from San Diego to Florida
Albany,n.y. replied to YoloinOhio's topic in The Stadium Wall
Why would Brady go to the Chargers? He'd have to be Tyrod's back-up. 🤣
So whatever will happen to "Right Josh" Rosen?
OK, he's as qualified to play in the NFL as all the other recent 1st round busts who got to hang on a few years past their expiration dates because at one time they were good in college. He was traded for pennies on the dollar because the other NFL teams realized the odds are he's a bust after watching film of him as a rookie. The closest thing in terms of QB devaluation in recent years was GB cutting 2nd rounder Brian Brohm after 1 season & the Bills eventually signing him off GB's practice squad months after he cleared waivers. Back when the Bills signed Brohm there were plenty of guys like you who said "I saw him play in college" and others saying "he was projected as a high 1st rounder" and proclaimed him to be a steal for the Bills. I warned them that QBs are treated like gold among GMs and for any prospect to flame out that quickly where you're getting him for pennies on the dollar is a very bad sign. They all know now they were wrong about Brohm as you are about Rosen. Face it, once they have NFL film on these QBs, NFL GMs by their actions know more than any of us on a message board. You haven't faced the fact that no matter how he was treated, Rosen was always going to bust. Almost every GM has that figured out by now.
You lost me at the stat thing. When you watch Rosen & Allen play there's a world of difference that stats don't reflect. Keep relying on stats & you'll never understand a game that needs to be seen to be understood. That's why the coaches & players review film instead of burying their heads in a bunch of stat sheets. After seeing film of Rosen vs NFL talent, there was very little demand for Rosen in the trade market, reflected by the fact Miami traded down before trading for Rosen knowing that they were getting back a similar pick, one year removed, to the pick they were giving up for Rosen, making the trade low-risk. Rosen has pocketed money for a job he is not qualified to have. If getting millions for lack of production is getting the shaft, you & I have a different opinion on what that means.
If you read the post you commented on you would know I stated that his teammates in Arizona, who do know him, never said he had a me me me attitude. Since none of the posters, you & I included know what he is like with teammates, the most reliable sources are the guys he actually played with.
I don't buy the attitude stuff. When he was drafted he said the 9 prior teams in the draft were wrong. That wasn't a me me me attitude-there were never any teammates in Arizona who said that about him. Successful athletes are pretty confident in their abilities. Nobody said Brady had a me me me attitude when as a 6th round rookie he told the owner of the team that drafting him was the best decision NE ever made (or words to that effect) He probably will be out of football soon-not because of attitude, just lacked the talent.
There are countless posts in the ashes of message boards where the poster says "I saw him play in college" & "he was screwed" when the true reason the guy flamed out in the NFL is simply he isn't good enough to perform at the next level. Most of the guys he's playing against in college will only get in a NFL game with a ticket. Heisman trophy winners like Leinart, #1 picks like Tim Couch, etc they all couldn't cut it at the next level because they lacked the talent to advance at the next level. Rosen is in the same boat. He wasn't screwed. Arizona spotted that he lacked the goods and was able to get something back, but the lack of interest as pointed out in an earlier post that mentioned Miami was able to trade down & still get him shows the league was on to him. Miami will get little or nothing when they drop him. 1)He lacks the talent to play in the NFL, it's that simple 2) He definitely wasn't screwed-he made millions while lacking the ability to be a NFL QB.
Buzzergate update (Again) Update: Beltran, Cora, Hinch & Luhnow (fired) for illegale sign stealing - compare to NFL & The Patsies
Albany,n.y. replied to Reed83HOF's topic in The Stadium Wall
The Mets should fire Beltran today. The Red Sox should fire Cora today. These bums have no business being MLB managers.
Joe B takes a look at Buffalo's four core free agents...
Albany,n.y. replied to blacklabel's topic in The Stadium Wall
Of the under the radar Bills free agents, I'd give Waddle another 1 or 2 year deal at a similar salary as he was paid in 2019. Reasonably priced competition at RT.
Lynch unsure about 2020
Albany,n.y. replied to Azucho98's topic in The Stadium Wall
Go watch his 60 Minutes interview and then I dare you to question his intelligence.
TSW 4.2.5 (Default)
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Tozai Games has announced its arcade classic game, R-Type Dimensions, will launch worldwide in Winter 2018.
The game will be available for purchase on Nintendo Switch via Nintendo eShop. Players can enjoy the game in classic 2D graphics or hi-res 3D graphics.
Full details and trailer below.
Tozai Games announced today that R-Type™ Dimensions will be launching worldwide on Nintendo Switch™ and Steam in late 2018. R-Type Dimensions includes both acclaimed arcade classics initially published by Irem, R-Type and R-Type II. Each title can be played in classic mode with the original 2D graphics and retro music or with hi-res 3D graphics and remastered audio.
Two new features will be introduced in this edition: Full power-up mode, allowing players to power their ships to maximum weapon in Infinite Mode, and Fast forward, the ability to speed up the game in any mode. The Switch version will also feature in-game achievements.


A necessary tool when using patio umbrellas, this patio umbrella base will fit umbrella poles up to 2" in diameter. This stand will securely anchor your patio umbrella and help keep it from blowing away in heavy winds. The heavy-duty platform is made from weather resistant resin. When filled with sand or gravel, this base can weigh up to 95 lbs. Available in a black, white, beige, green or bronze finish.


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Браун-Уилли (; ) — холм в Бодмин-Мур, Корнуолл, Англия. Является самой высокой точкой Корнуолла. Высота — 420 м.

Название на корнском «Bronn Wennili», что означает холм ласточки, считается что английское название возможно произошло от корнского из-за схожего звучания.

Примечания

Литература
 Weatherhill, Craig (1995) Cornish Place Names and Language

География Англии
Природа Англии
Горы Великобритании

redpajama_set_name: RedPajamaWikipedia


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Cate Blanchett wins Screen Actors Guild award in run up to Oscars
Photo: Cate Blanchett accepts the award at the 20th annual Screen Actors Guild Awards in Los Angeles. (Reuters: Mike Blake)
Related Story: Cate Blanchett nominated for best actress Oscar
Related Story: Cate Blanchett wins best actress Golden Globe
Map: Australia
Australia's Cate Blanchett has won the best actress award at the Screen Actors Guild (SAG) ceremony in Hollywood, adding to her honours list in the lead up to the Oscars.
Blanchett scored the outstanding female actor in a leading role award for her performance in Woody Allen's Blue Jasmine, after picking up a Golden Globe win earlier this month.
She is increasingly seen as the Oscar best actress frontrunner for playing a New York socialite struggling to cope after her husband kills himself and she is forced to go and live with her poor sister in San Francisco.
Blanchett defeated Hollywood heavyweights Meryl Streep and Judi Dench at the SAGs, and thanked Allen for his writing.
"For Woody, for writing role after role after role for women, and then for giving them the space to create them, thank you so much," she said.
"For those who voted for me, I thank you, and for those who didn't, better luck next year."
Con-men caper American Hustle won the top SAG gong for best ensemble cast at the ceremony on Saturday (local time).
Bradley Cooper accepted the award on behalf of a line-up that included Christian Bale and Amy Adams in addition to Jennifer Lawrence, and praised Russell, with whom they have all worked previously.
"He is an actor's director," Cooper said.
"That notion is tossed around; he is the embodiment of it. He's the reason why all of us wanted to become actors when we were children."
The award for best male actor in a leading role went to Matthew McConaughey for Dallas Buyers Club, based on the true story of a homophobic rodeo hustler who gets HIV and becomes an activist for early anti-HIV drugs in the 1980s.
In what is widely considered one of the best years for quality film in recent memory, Screen Actors Guild (SAG) and other guild awards to be handed out in the next two weeks could collectively steer the race in favour of one film for the industry's highest honour, the best picture Oscar.
The SAG ceremony is one of the most closely watched of the Hollywood awards season because it makes up the largest voting group or around 20 per cent of the 6,000 members of the Academy of Motion Picture Arts and Sciences that vote for the Oscars.
American Hustle stands out in the competitive field for receiving Oscar nominations in all four acting categories, while space thriller Gravity is basically a one-woman show starring Sandra Bullock and is most recognized for its technical innovation.
At the Oscars on March 2, Blanchett will face tough competition for best actress from Sandra Bullock (Gravity), Amy Adams (American Hustle), Judi Dench (Philomena) and Meryl Streep (August: Osage County).
In the last decade, the SAG awards have a mixed record on predicting the Oscar best picture with their choice of best ensemble cast for film. They have correctly predicted the Oscar in six of the last 10 years.
For best actor, they have tipped the Oscar winner in all of the last nine years, and for best actress, they have predicted six out of the last nine.
Photo: Bradley Cooper accepts the award for outstanding performance by a cast for American Hustle. (Reuters: Mike Blake)
Award winners - Film
Best ensemble cast - American Hustle
Best actor - Matthew McConaughey (Dallas Buyers Club)
Best actress - Cate Blanchett (Blue Jasmine)
Best supporting actor - Jared Leto (Dallas Buyers Club)
Best supporting actress - Lupita Nyong'o (12 Years a Slave)
Award winners - TV
Best ensemble cast, drama - Breaking Bad
Best actor, drama - Bryan Cranston (Breaking Bad)
Best actress, drama - Maggie Smith (Downton Abbey)
Best ensemble cast, comedy - Modern Family
Best actor, comedy - Ty Burrell (Modern Family)
Best actress, comedy - Julia Louis-Dreyfus (Veep)
Best actor, television movie/miniseries - Michael Douglas (Behind the Candelabra)
Best actress, television movie/miniseries - Helen Mirren (Phil Spector)
ABC/Reuters
Topics: actor, film-movies, arts-and-entertainment, australia, united-states
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Roman Catholic church's paedophile investigator jailed for possessing thousands of child porn images
Church orders review of child protection across the South West of England
Father-of-four was responsible for children's safety at 120 churches and community groups for nine years
Police found more than 4,000 child porn images on his church-supplied computer
By Anthony Bond
Updated: 12:05 EST, 28 October 2011
Paedophile: Christopher Jarvis hides his face as he arrives at Plymouth Crown Court today.The former child safeguarding officer for the Diocese of Plymouth was jailed for 12 months
A Catholic Church child safety co-ordinator who was in charge of investigating sexual abuse allegations was jailed for 12 months today for internet peadophile offences.
Christopher Jarvis, 49, a married father-of-four, investigated historic claims of child abuse, interviewing the victims when they were adults.
He was responsible for child protection at 120 churches and parish community groups for nine years.
He also, as a member of the Devon and Cornwall Multi-Agency Safeguarding Team, had access to police and social services information about victims of child abuse.
As a result of the conviction and sentencing, the Roman Catholic Church has ordered a review of child protection across the South West of England.
According to The Times, the Bishop of Plymouth, the Right Rev Christopher Budd, has asked the NSPCC to carry out the inquiry into child protection arrangements in Devon, Cornwall and Dorset.
The revelations that the church hired a peadophile in a key child protection role will add to the controversy surrounding the Roman Catholic Church in England and Wales over its handling of sexual abuse.
At the time of his arrest in March this year, Jarvis was leading an investigation into an historic sex abuse allegation at Buckfast Abbey, a Benedictine monastery in Devon.
He was arrested after uploading images of pre-pubescent boys on to the Ning social networking website.
The martyr of St Paul's: Cathedral chancellor quits over violence fears as armed police storm tent Pope Benedict apologises for Christian violence through the ages after condemning terrorism in the name of...
Police officers who traced him to his home in Plymouth, Devon, found more than 4,000 child porn images, mainly of boys aged 10 to 12, on his church-supplied computer and a memory stick when they raided the house in Penrose Road.
The court heard that 4,389 images were found on the laptop and memory stick.
The majority, 3,721, were at Level One, the lowest level for abusive images.
But there were 120 at Level Four, which includes scenes of child rape, and 12 at Level Five, which can include scenes of torture and sadism.
Jarvis, who the court heard claimed he was abused as a child, was sentenced at the city's crown court after admitted 12 counts of making, possessing and distributing indecent images at a previous magistrates' court hearing.
Inquiry: At the time of his arrest, Christopher Jarvis was leading an investigation into an historic sex abuse allegation at Buckfast Abbey in Devon. The Roman Catholic Church has now ordered a review of child protection across the South West of England
The court was told that Jarvis, who was fired as soon as he admitted his crimes to the police, has been barred from attending any Catholic services in Plymouth.
He felt 'ostracised' by the church since his arrest, the court was told, and had attempted to commit suicide.
Police who examined the computer after Jarvis's arrest found that, as well as the images, he had viewed erotic content about a relationship between a nine-year-old boy and an adult man.
Diminutive and bespectacled, Jarvis hid his face with his hand from the people in the public gallery for the majority of the hearing.
Passing sentence, Judge Paul Darlow dismissed attempts by the defence to have sentence deferred to examine whether Jarvis would benefit more from psychiatric help than prison.
Investigation: The Bishop of Plymouth, the Right Rev Christopher Budd, pictured, ordered a review into child protection arrangements in the South West following the arrest and conviction of Christopher Jarvis
Judge Darlow told him that, despite appearing to his work colleagues as 'caring, helpful and honest', he had been 'elective and cynical' in downloading and distributing child porn.
'You, of all people, were more aware than others of the massive theft of innocence and long-term damage exacted on the children whose images you downloaded for your own sexual gratification,' he said.
'In the circumstances, your behaviour was more elective and cynical than might otherwise have been the case.
'It had a deep impact upon the church. In the eyes of the public you had a respectable position in the church.
'The people who confided in you of their own misery and abuse may well themselves be shocked and horrified that the person they were speaking to was, in his personal life, downloading images of children being abused in the same way.'
The court heard that Jarvis had refused to sign a 'covenant of care' the church requires all convicted sex offenders to sign before they are allowed to rejoin congregations.
Defence barrister Jo Martin said: 'He feels ostracised by the Catholic Church and that is why he had decided not to sign the covenant of care.
'He has decided now that he will not go to church. The lack of forgiveness is very difficult for him to deal with as a man of faith.'
His public work persona was of a caring professional good at his job, while in his personal life he suffered from 'low self-esteem and his sense of inadequacy' stemming from his own abuse as a child.
It was this, she told the court, that had led him into downloading child pornography.
In a statement, David Pond, the independent chairman of the Child Safeguarding Commission for the Roman Catholic Diocese of Plymouth, said the NSPCC carried out an independent review of child protection across the South West of England and cases Jarvis had been involved with and found no evidence that he had acted improperly in his role with the church.
'The church is and remains absolutely committed to ensuring that a safe environment exists for all in the church and the knowledge that Jarvis was himself guilty of such offences has been a great shock to the many people who had placed their trust in him and worked with him to protect vulnerable children and adults,' he said,
'He was a fully qualified social worker and came to the role following a competitive recruitment process being of good character and with very good references.
'We need to be continually vigilant and aware of the need to have reliable checks and controls in place to manage the risk to vulnerable children and adults and we will continue to review and improve our responses to all forms of abuse.'
Jarvis was jailed for 36 weeks concurrently for each of six charges of possessing indecent images of a child and five of making an indecent image of a child plus a further 16 weeks consecutively for a single charge of distributing indecent images of children.
Roman Catholic church's paedophile investigator jailed for possessing thousnds of child porn images
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The Gospel According to Matthew is believed to have been written between 70 and 110 AD, likely around 80 AD. It contains most of what if found in Mark plus additional material. Written in an abbreviated, succinct style, it has been the most popular of the three synoptic gospels for many centuries and near universally appears as the first book in the New Testament. It has been accepted as canonical (genuine and true) by the church since its earliest days. In summary, the Gospel of Matthew describes the birth and yearly youth of Jesus, the activity of Jesus in Galilee, and the activity of Jesus in Judaea and Jerus followed by his death and resurrection.


Near Anchorage's Ship Creek, a new bronze statue of an elder named Olga, a Dena'ina matriarch from the village of Eklutna, stands and overlooks land that was once a prosperous Native fish camp.
Soldotna artist Joel Isaak, who is Dena'ina himself, worked on the statue for two and a half years. He said he doesn't take the opportunity to represent his culture through art lightly.
Isaak, a Dena'ina language professor at the Kenai Peninsula College, created his proposal for the statue after the village of Eklutna sent out a call for art. The parameters of the project included a piece that was in the likeness of Olga and that is tied into the fishing heritage at the site of Ship Creek.
Isaak said it's always a rare opportunity to himself as an Alaska Native in public art.
Isaak's work can be found in many places across Alaska. He worked on a beluga whale diorama in Anchorage's Ted Stevens Airport. Art of Isaak's can be found in the Sheldon Jackson Museum in Sitka.
Locally, Isaak completed statues in front of the Dena'ina Wellness Center and salmon skin bowls in the Kenai Courthouse.
Isaak had two photographs of Olga to base his statue on. The statue has Olga in customary Dena'ina clothing, like fish skin boots and a dress featuring quill work. Isaak said Dena'ina regalia has been important to him to him from an early age.
The Dena'ina culture is a matriarchal society. Olga was an elder and a leader in Dena'ina land north of Anchorage. Isaak said the piece was not only honoring Dena'ina history and heritage, but also women in our society.
Born and raised in Soldotna, Isaak has many connections to Dena'ina culture, and even Olga herself. His family comes from the Upper Cook Inlet area in Point Possession. He said he's distantly related to Olga, going back several generations.
In Dena'ina culture, clothing is used as fine art. Dena'ina people were semi-nomadic or sedentary and would move between summer fish camp and a winter village, which was sometimes in almost the same spot, Isaak said.
For this reason, art would move with the people in the form of clothing, which would represent things like where a person was from and what family they belonged to.
The statue is near Anchorage's downtown, which a busy and growing part of the city. Isaak said the statue is a reminder of the area's past.
Reach Victoria Petersen at vpetersen@homernews.com.