Sometimes, even in the midst of a raging wildfire, there's a silver -- or in this case, white -- lining.

In the middle of the Royal Gorge Fire that would destroy 3,218 acres, evacuate a prison of nearly 1,000 inmates and destroy over 20 structures, a rare white buffalo calf was born in the park.

"He's a pretty white bull calf, sired by the park's nine-year-old white buffalo bull, Chief Silver Bullet," said Peggy Gair, public relations manager for Royal Gorge Bridge and Park.

The bull calf was aptly named "Smokey," and born at 5:30 a.m. last Saturday.

According to Gair, about 25 percent of the park's calves are born white because of Chief Silver Bullet.

"The park's wildlife park has a small herd of buffalo, elk, and bighorn sheep, all miracleously survived the fire that swept through the park and across the Royal Gorge. They are all in very good shape, and are continued to be fed and watered until they can be safely moved," said Gair.

The day before the fire broke out, the park also welcomed a brown bull calf by the same father who was named "Fireball."
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Recently archaeologists have discovered America's oldest cave and rock art that has remained hidden for more than 6,000 years in Tennessee. The faded images were found in Tennessee's Cumberland Plateau and they are believed to be the most widespread collection of such art ever found in the U.S. Cumberland Plateau contains 280 caves - 21 of which are described as 'extensive' in size. Researchers claim there are 71 known prehistoric cave art sites in the greater south-eastern USA.

The preserved artworks were found by researchers Jan Simek, Alan Cressler, Nicholas Herrmann and Sarah Sherwood from the Department of Anthropology at the University of Tennessee and Mississippi State University. The researchers state that some of the pictures found remain extremely fragile because they were drawn into mud.

Researcher Nicholas Herrmann noted that, "Human images are often shown in activities suggesting heroic or ceremonial action, flying, transforming into animal shapes or reaching through the rock surface."

Rock art is commonly thought to have been drawn by Native Americans and other races as part of rituals and ceremonies. Mud was also traditionally used by Native Americans in the south east part of the country because it was readily available and was seen as an ideal canvas by prehistoric cave artists.

The images found vary in that some of the pictures were drawn using shallow lines made with a pointed tool. This type of art shows events such as hunting, or depicts animals that the Native Americans would have lived with and eaten.


Other images are more elaborate, depicting mythical creatures and representing the Native's spiritual beliefs. Some also were drawings of canids such as wild dog-like creatures that included wolves, foxes and jackals. Other animal images, such as quadrupeds and reptiles, are rare in open air art work but commonly found in dark cave settings.

According to the study, the researchers documentation of Tennessee rock art sites has led to a number of themes being spotted. The most common theme in open air rock art was a human figure or anthropomorph. Open air anthropomorphs were 'simply drawn, but sometimes they show details like eyes or horns and often have large hands with exaggerated fingers.'


Anthropomorphs are also depicted in petroglyphs and are one of the most common elements seen in caves. These images appeared first during the Archaic period. Woodland period sites also contain human images. The researchers have concluded that both open air and cave art sites in Tennessee share a central theme of human imagery.

Circles are also common in the open rock art sites. These include ‘sun’ pictographs and concentric circle petroglyphs. In at least three cases they are associated with falling water. Circles can also occur in the open with anthropomorphs. Other common motifs in both caves and open air sites are grooves and curving lines. In the open air, these are often produced by a pit and groove technique in soft sandstone and are frequently found in sites that also contain realistic motifs.


The researchers found that in contrast, 'birds are among the most frequent depictions in dark zone cave art. 'Frequently, although not exclusively, birds inside caves are depicted in flight,with their wings extended and flight feathers clearly delineated. The common presence of birds inside caves, but not in the open air sites, is perplexing if birds are creatures associated with the upper or celestial world, as has been interpreted by south-eastern archaeologists.


The drawings discovered in Tennessee are believed to represent the Native American's prehistoric world in three dimensions - the upper parts of the art are 'celestial' representing religious beliefs. The middle sections usually show plants, animals and the world in which they would have live. Art that is found in the lower parts of the caves and walls represent 'darkness, death and danger'.

It is known that people came to the Plateau to find specific foods, including animals and plants and to obtain non-food resources. Rock art was an integral part of how people conceived and used their landscapes.

In this case it's a cute but bedraggled burrowing owl who was captured looking disconsolate in a downpour by wildlife photographer Megan Lorenz.

Lorenz visited Cape Coral, Florida, in April and told Rex Features: 'I had a few days of heavy rain. Typically people that go on vacation don't want it to rain but photographers are a different breed!

'I knew that once it started raining the burrowing owls would dance around, spreading their wings and giving me some great photo opportunities,' she said.

The photographer continued: 'One evening in particular, the rain just kept on coming down and it was pelting hard enough to sting your skin.

'At that point one of the owls flew up to the roof and looked completely miserable.' These shots capture the emotions of this endangered species with matted feathers from heavy rain.


Burrowing owls are pint-sized birds with long legs that inhabit open, treeless areas. As the name suggests, they live in burrows created by animals like squirrels or prairie dogs.

The birds used to be found in suitable areas all over the Americas but their numbers have dwindled due to habitat destruction.

Now the burrowing owls are a species of special concern in Florida and large parts of the western U.S. They are endangered in Canada and threatened in Mexico.


Unlike most owls, these birds are active during the day, though they avoid intense afternoon heat and do most of their hunting at dawn and dusk.

The burrowing owls spend most of their time on the ground where their brown feathers provide some camouflage from predators.

The greatest threat to these owls, however, is the loss of their habitat due to land development.
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Dogs are some of the most loyal creatures on earth. Their devotion to their family members is amazing. The story of an 11 year old dog diagnosed with cancer shows just how strong that loyalty can be.

Kermie was diagnosed with cancer a month after her owner, Eric Ralston, left for an 8-month deployment. Eric's wife, Jennifer, wrote on her YouTube page that the family didn't expect Kermie to be able to make it long enough to see her 'dad' return.

Then just twelve days before Eric was to return home, the family got some very disappointing news. Jennifer wrote on her YouTube page, "The deployment was being extended indefinitely. I just KNEW Kermie would not make it until Christmas."

But Kermie did just that - she was able to hang in there until Eric did finally come home. Eric's return was "some sort of magic pill" for Kermie. She loved him so much that after he came home she began eating and drinking again and lived to see her 12th birthday that January. Sadly her tumor did get the best of her in late Febuary, 2013, but she had been able to spend her last days with the man that she loved so much.

Her family captured the miraculous moment of Eric Ralston being reunited with his dog, Kermie on video. Needless to say she was ecstatic about seeing him again. Watch the happy moments of their reunion below.

CURRENTLY on display at the Grand Hotel is a replica of an ancient warup (drum), dating back to the 1600s, carved by Torres Strait artist George Nona of the Tupmul Clan.

George’s story began in 1971 on Badu, where he grew up without specific traditional Western Torres Strait knowledge. He became passionate about learning his cultural history, and so the search began. He searched archives, oral histories and antique photographs determined to revive the traditions of his people, the Torres Strait Islanders.

George says the hour glass-shaped totemic drum was one of the first ever made, originating in the Western islands. “This drum in particular is what makes the Torres Strait unique in culture, he said. “The drums were traded a lot between island communities,” “Overall the drums may look the same until the intricate markings are put on, then it becomes ownership of the clan group. “There are three totems symbolically represented on the drum: the dugong, the crocodile and the turtle. “The sound of the drum resembles doima – thunder.” “The cassowary and cowry are put on for spiritual reasons, not totemic.” “This is the first time this drum has been replicated - made to the same size and with the same materials originally used. “This drum was used for initiation ceremonies, in funeral rituals for releasing the deceased’s spirit, and in hunting ceremonies associated with cult and war hero’s.” “The cultural and spiritual significance of drums and masks go deeper than many people realise, for this reason some things cannot be disclosed for spiritual reasons.” George cited one example under the drum.

“The cassowary eats the berries from the tree, the tree is then cut down to make the drum,” George explained. “The cassowary feathers are used to make dhoeri’s (head dresses). “It is a whole cycle – like a butterfly. All is connected in the spiritual sense.” A mesmerizing storyteller, George has the power to transport the listener to another realm with his delivery of cultural myths and legends from beportaim, from times long past.

“My idea is to re-enliven our traditions,” George said. “As a young boy of about seven years of age, growing up on Badu, I often wondered about the significance behind wearing head dresses.


“We would dance with shakers and wear head dresses made from cardboard. “I could clearly see the significance of the shakers - to dance to rhythm, but why the head dresses? What did it mean? “This question led me to much researching and speaking with Elders. “Through researching I learned there was much lost information.” George's works are now held at the National Gallery of Australia, the National Museum, the Gallery of Modern Art in Brisbane and the Gab Titui Cultural Centre on Thursday Island.

Clearly dedicated to revitalizing Western Torres Strait cultural heritage through his contemporary art practice, George explained the importance of fully understanding the cultural and spiritual significance behind symbolic tools such as the iconic masks, drums and headdresses of the Torres Strait.

“Headdresses are a spiritual thing. They are the key to the spiritual world,” George said. “Anthropologists who came here all those years ago spoke with Elders who spoke very little English, and as such the meaning of the masks and head dresses were simplified. The true meanings were never recorded. “I have met only three, maybe four Elders who know the depth of spirituality behind all this. “I want to re-release this information for the younger generations. “The concept of my art is to respect the markings, as the subtlety of the markings identify where the piece is from. “I want to go forward with respect to boundaries and I urge other young artists to do the same as the markings have deep, spiritual significance.”


Maluwap Nona traditional owner describes George’s art as giving a sense of belonging again. “This is the way forward to maintain our Torres Strait island customs and traditions. “With the 20th anniversary of Mabo upon us I feel George has given Native Title its true identity, not just in rhetoric but in the practical sense.

“His work is giving Torres Strait Islanders a sense of honour and dignity. “His unique style has given us scope to revive the whole concept of tribal drums, headdresses and other artefacts. Torres Strait Regional Authority chairperson John 'Toshie' Kris said George had created a new style of art that was vital to the continuation of traditional and cultural practices. “George’s contribution for raising awareness and respect for culture through his art is crucial for sustaining Torres Strait knowledge,” Mr Kris said.

“There is a strictness to his work and he abides by the values of tradition, giving explanations.” Mr Kris said that through George’s art, people had begun to realise there was deeper meaning behind dances. Winner of the 2009 Gab Titui Indigenous Art Award, George Nona's work is indicative of the raw talents in the Torres Strait arts community, Mr Kris said.

“George talks about history and is passing knowledge on for this generation and future generations to come,” Mr Kris said. “This process brings the wider community to understand the uniqueness of our culture.”

Chris Lemke, Publican of the Grand Hotel tells how he really loves the local art and likes to support artists of the Torres Strait.

“I have a lot of George’s pieces on display here at The Grand, with more dhoeri’s and masks to come,” he said. “I’m from Melbourne and I’ve noticed at the Melbourne Art Gallery the Torres Strait culture is pretty unrepresented. “I want to get the genuine pieces altogether in one place so people can have somewhere to really look at them outside from museums. “With this drum and other traditional pieces we’ll have the background story attached and on display for the public wherever permissible.”


Ait Koedal Initiation Ceremony

ON April 7 Marsat and Patrick Newman and Raymond Poipoi participated in a coming-of-age initiation ceremony in Bamaga in the presence of uncles and older men from the community. The initiation ceremony is an important stage of the life of a young male clan member. On the day of the ceremony, the young initiate is called “Kerngay Kazi” and his Uncles are called “Maway” and are the mothers’ brothers.

Knowing genealogy is very important as the participants must be blood-related. In the past these ceremonies were performed away from the presence of women and the whole village. In the 1800s, lots of practices such as these were banned and the knowledge went underground, although some Islander communities still practised, but not to a great extent.


Jeff Waia of Saibai Island, who is of the Ait Koedal clan, says in the modern day, Islanders are awakening their search to find their true identity and practices, and such initiations are again finding their rightful place in communities. “In order to interpret ones self the Totemic Islander must know the original languages,” Mr Waia said. “Yes, we adapt to suit today’s society, but we must also make it meaningful for the young Kerngay Kazi. “The ceremony performed is one of the main stages on the process of 'Minalay Waku', the mat of speciality, respect and royalty. “The Minalay Waku process is practised throughout Oceanic cultures.

“We, the Islanders believe that upon a mat the child is born, initiated, marriage takes place and important community decisions are made, then finally our loved ones are put to rest under the ground upon this mat.” Mr Waia said on the day of the ceremony, the initiates spent most of the morning with women folk and important female caregivers. “This symbolises the final time the young boy will eat and sit on his mothers lap,” Mr Waia said. “The male and female groups are not allowed to see each other.


“The initiations rituals take place on the main Maway’s residence or at a place of clans’ importance.” “When the time is right, the Maway will take the Kerngay Kazi out of his mother’s lap and led him to a specially built hut, Koedalaw Thikathik, the “House of the crocodile”.

The rituals in the Kod then take place around the Piti Muykun fire. “All the Maway is wearing the material wakaw around their waist,” Mr Waia said. “Older men outside the Kod will continuously sing crocodile chants and songs of Sager Gub. “Upon the completion of the ritual the Kerndgay Kazi is rubbed with coconut oil and Mai Shell is put around his neck. “The headdress Dhoery or Samu is tied on his head and a grass skirt is worn around his waist. “As the boys take the transformation to a young man of Ait Koedal, the women folks prepare themselves to receive the men. “A minalay waku is spread and women lay face down as the young men walk upon the back of the women.” Mr Waia siad the posture of lowering oneself symbolised the respect and the acknowledgement of the Torres Strait male dominant culture.


“It demonstrates the labour and burden of carrying and nurturing a male child to adulthood,” he said. “The wap (dugong/turtle spear) is presented to the Kerngay Kazi to symbolise that the young man is now independent. “He is now equipped to take care of himself and his family later in life. “Finally, the young man will sit amongst older men and perform the coconut drinking ceremony. “The night is enjoyed with feasting, Island dancing and singing.”