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NASHVILLE, Tenn. — Six Metro Nashville police officers have been commended for their heroic response early Christmas morning when an RV exploded. The officers responded to the call of gunfire and upon hearing an RV play a recorded message saying the vehicle contained a bomb, took several measures to evacuate as many people as possible from Second Avenue.City leaders applauded the officers for their swift action, putting the lives of others ahead of their own. "They immediately began knocking on doors, not knowing when the bomb would go off," Chief John Drake said at a press conference Saturday night. "They didn't think of themselves...they thought of the citizens of Nashville. They saved lives today, and their heroism should be noted."The responding officers were identified as:Officer Brenna HoseyOfficer Tyler LuellenOfficer Michael SiposOfficer Amanda ToppingOfficer James WellsSergeant Timothy MillerMetro police said the bomb squad was en route to the scene when the vehicle exploded. Officer Luellen arrived at the scene first. He said after five minutes, they heard a timer counting down from the RV. Officers noticed the shades were down on the vehicle but did not notice a tag. He said he didn't immediately notice the RV, but thought it may have been someone visiting town for Christmas. The officers contacted six to seven apartments and asked residents to evacuate.After some time, music began to play from the RV. Once the song finished, the announcement of a bomb continued. Officer Luellen said once the announcement resumed, he saw a man walking a dog. The man was notified of the warning and shortly after the RV exploded. Luellen said he was knocked over and the man was in shock.The second officer who responded to the scene was Brenna Hosey. She said when she heard the announcement coming from the RV she was confused. "Is this really what we're hearing right now," Hosey recalled thinking. She then began clearing apartments on Second Avenue floor-by-floor. They began these evacuation efforts as the RV announced there would be 14 minutes until detonation. Officer James Wells suffered hearing loss from the blast. Wells said once he heard Luellen call over the radio for an immediate response, he knew by the tone of his voice it was serious. Officer Topping said as she was getting to the area of Second Avenue and Commerce Street she began to hear the message playing from the RV. "That's a sound I'll never forget," she said. Sgt. Miller was not present at the press conference because he was traveling out of town on Sunday morning. This story was first published by Caroline Sutton at WTVF in Nashville, Tennessee. 2661

Neanderthals may not have been that different from us, after all.New evidence reveals that they created the world's oldest known cave paintings and even wore seashells as body ornaments. Both behaviors suggest that they thought symbolically and had an artistic sensibility like modern humans. Two studies published Thursday in the journal Science detail the latest findings."Undoubtedly it is showing that Neanderthals were thinking and behaving just like modern humans," Alistair Pike, co-author of the studies and professor of archaeological sciences at the University of Southampton, wrote in an email."We should no longer think of them as a different species, just humans in different places," he said.The new findings of symbolic thinking show that Neanderthals and modern humans were cognitively indistinguishable, the researchers said.Cave paintings and artifacts like painted seashells have long been regarded as the work of early modern humans, who were thought to have more advanced cognitive abilities than Neanderthals. Dating cave paintings can be a difficult process, and unreliable techniques never allowed for the possibility that these could be the work of Neanderthals.Until now, that is. A new technique called Uranium-Thorium dating is less destructive, is more accurate and can go back further in time than other methods. U-Th dating looks at the deposits of carbonate on top of the paint, which contain traces of uranium and thorium that indicate when those deposits formed. That allows the researchers to determine an age for what's under the deposits.The researchers applied this technique to paintings in the La Pasiega, Maltravieso and Ardales caves in Spain, which had never received "robust" dating. The paintings include red and black images of animals, dots, lines, disks and other geometric signs. There also are engravings, hand prints and hand stencils.Those hand stencils are particularly significant, and not just because they represent the hand size of a Neanderthal."A red line, a red dot or even a positive hand print could potentially be made 'accidentally,' " wrote Dirk Hoffmann, lead author of the studies and archaeologist with the Max Planck Institute for Evolutionary Anthropology, in an email."Of course, I am sure that this is not the case, since you would still need to bring [in] light and pigment, but one could argue that all you need is some pigment on your hand when you lean against a wall. A hand stencil cannot be explained like that. You have to hold your hand against the wall and the deliberately spray pigment over this. This is why we emphasize the hand stencil."The dating revealed that the cave art was created more than 64,000 years ago -- 20,000 years before modern humans appeared in what is now considered Europe.The shells were found in the Cueva de los Aviones, a sea cave in southeastern Spain. They are unique because they are perforated with holes and colored with red and yellow pigment. Others served as containers for the mineral pigments themselves. The pigments were used on the shells but could have also been used for the cave paintings and even as body paint.The deposit layer containing the shells dated to 115,000 years ago, which is even older than other shells recovered in Africa that were dated to modern humans."The standard archaeological interpretation of such finds is that they are body ornaments," Hoffmann said. "Similar finds were made in Africa or the Levant with similar age. In Africa or the Levant, these were made by modern humans, in Spain Neanderthals made them. So in terms of symbolism, early modern humans and Neanderthals were similar."The researchers are absolutely confident in their dating technique."We have spent 10 years refining the technique and have numerous quality controls," Pike said. "The dates respect the growth axis of the deposits we are dating, the oldest closest to the painting, the youngest at the surface."Once modern humans left Africa and migrated to Europe and other areas, mixing with the Neanderthals would've been inevitable. The researchers believe that the Neanderthals created this artwork on their own, without being influenced by any other population. But it's possible that they exchanged symbolism or that Neanderthals influenced the art and symbolism of modern humans. Modern humans were capable of symbolic behavior, so it "turns the who's copying who debate on its head," Pike said."The idea that culture only evolved with modern humans no longer makes sense," Pike said. Hoffmann suggested that Neanderthals now be referred to as "very close cousins" of modern humans.Is it possible that anyone else may have created the cave paintings?Pike said it is incredibly doubtful that a population of early modern humans migrated to Europe so early without any other evidence to suggest it."We cannot of course rule out that pre-Neanderthal populations made the art," Pike said. "This sounds like a project for the future."Hoffmann, Pike and their colleagues want to use their new dating technique in more caves in Spain, as well as France and Italy -- and anywhere else Neanderthals are known to lived.The findings also raise new questions for researchers."How far back does symbolic behavior go? Can it be traced to the last common ancestor of modern humans and Neanderthals? This is perhaps where we should be looking," Pike said. 5398

Money has never mattered that much to David Hockney, as long as he has enough to continue working. But equally, he's also always had a good memory for figures -- for the pounds, shillings and pence. As a student at London's Royal College of Art, he remembers selling a drawing to a friend and fellow student, the American painter Ron Kitaj, for a princely ￡5. It meant that he could buy cigarettes in packs of 20. He sold another early painting, "Adhesiveness" (1960), to photographer Cecil Beaton for ￡40. That meant he could begin planning to travel abroad.As it happens, Hockney also has a clear memory of what "Portrait of an Artist (Pool with Two Figures)" originally fetched shortly after he painted it. On Thursday, at a Christie's auction in New York, the painting was sold for .3 million, an auction record for a living artist. But back in 1972, his New York dealer sold it for just ,000.For Hockney, the memory is still bittersweet. He felt ripped off. Last year, at his studio in the Hollywood Hills, he told CNN, "I thought it was a lot of money at the time, but within six months, it was sold again for ,000."After the sale, Hockney's American dealer, Andre Emmerich, "realized the pictures (in the show) were underpriced. A lot had been underpriced." But by then, it was too late. And so, as is often the case in the art market, someone other than the artist made a swift and substantial profit.More is known about the creation of "Portrait of an Artist (Pool with Two Figures)" than virtually any other single Hockney painting. The 1974 biopic "A Bigger Splash" chronicled its creation, and Hockney himself wrote about the painting in detail in 1988's "David Hockney by David Hockney: My Early Years.""A Bigger Splash" was shot from 1971 to 1973 by British director Jack Hazan, who was given special access to Hockney, then living and working in London's Notting Hill, and his inner circle. A mix of fact and fiction, it centers on the painful unraveling of Hockney's five-year relationship with a young American artist, Peter Schlesinger.Hockney told CNN the painting was inspired by an accidental juxtaposition of "two photographs on my studio floor, one of the Peter and another of a swimmer, and they were just lying there and I put them together." In his 1988 memoir, "David Hockney by David Hockney: My Early Years," he wrote: "The idea of painting two figures in different styles appealed so much that I began the painting immediately."He worked on the picture for six solid months. The standing figure was always Peter Schlesinger. According to his official biographer, Christopher Simon Sykes, Hockney painted the swimmer first but then coated the canvas with a preparatory gesso, which prevented him from altering the position of the pool or the standing figure. It was a mistake.Hockney gradually realized the painting -- in particular, the angle of the swimming pool -- just wasn't right. He wrote that, "The figures never related to one another nor to the background. I changed the setting constantly from distant mountains to a claustrophobic wall and back again to mountains. I even tried a glass wall."Realizing the futility of his efforts, Hockney abandoned that effort and, reinvigorated, started the painting all over again. He chose a new setting, a pool by a house in the south of France that belonged to British film director Tony Richardson. He took two models with him: a photographer named John St. Clair and Mo McDermott, his studio assistant.He took hundreds of photos of the two. St. Clair, the submerged swimmer, dived into the pool in his white briefs so many times that he eventually cracked his head on the bottom and had to stop. McDermott acted as Schlesinger's stand-in, wearing his reddish pink jacket by the pool. Back in London, Hockney persuaded Schlesinger to pose for him early one morning in Hyde Park for yet more photos.Once back at his Notting Hill studio, Hockney painted for 18 hours a day on a canvas seven feet by 10. At one point, Hockney is filmed taking a Polaroid of the unfinished painting. At another moment, he paints in Schlesinger's brown hair with a long brush. "I must admit that I loved working on that picture, working with such intensity," he later told biographer Sykes. "It was marvelous doing it, really thrilling."While he spent six months of the first version, the final "Portrait of an Artist (Pool with Two Figures)" was finished in just two weeks, to meet a deadline for a New York show in May 1972. In "A Bigger Splash," Hockney, with his trademark bleached blond hair and black, owlish spectacles, stands in bright red braces and a bow tie, carefully checking out how the painting was hung and lit in the show. It was the star exhibit, perhaps an expression of Hockney's personal loss and his acceptance that his long affair with Schlesinger was finally over.But as we now know, all this wasn't without a sense of Hockney feeling cheated by what happened next. An American, apparently alerted by a British dealer, just came in off the street and bought it. The dealer then promptly took it to an art fair in Germany and sold it to a London collector for nearly three times the price. As he wrote in "My Early Years": "Within a year people had made far more on that picture than Kasmin (John Kasmin, his London dealer), Andre (Emmerich, his New York dealer) or I had. Considering the effort and trouble and everything that had gone into it, it seemed such a cheap thing to do."We can only imagine how Hockney will feel after this sale, when the painting he worked so hard on has sold for more than 5,000 times its original price. The current seller and the auction house will no doubt profit, but, as a Christie's spokesperson confirmed, "the artist will not be financially benefiting."Christie's hasn't named the seller, but he's believed to be British businessman Joe Lewis, who has famously collected postwar British art for some time.At 81, Lewis happens to be the same age as Hockney. He also has a net worth of billion. 6042

NASA’s headquarters in Washington, D.C. will be named after the first Black female engineer at the agency, Mary W. Jackson.“Mary W. Jackson was part of a group of very important women who helped NASA succeed in getting American astronauts into space. Mary never accepted the status quo, she helped break barriers and open opportunities for African Americans and women in the field of engineering and technology,” said NASA Administrator Jim Bridenstine.Bridenstine pointed out that NASA’s headquarters sits on Hidden Figures Way, which was re-named in 2019 with a bill from congress. Jackson, along with Katherine Johnson, Dorothy Vaughan, and Christine Darden, and their work in the West Area Computing Unit, were profiled in the 2016 book and subsequent movie ‘Hidden Figures.’Jackson graduated in 1942 with a dual degree in math and physical sciences, and took a job as a math teacher at first. In 1951, Jackson was recruited by the National Advisory Committee for Aeronautics, which in 1958 was succeeded by NASA. She was known as one of the ‘human computers’ at Langley. 1083

Nearly 200 feral horses were found dead in Gray Mountain, an unincorporated town on Navajo land in Coconino County, Arizona.Navajo Nation President Russell Begaye and Vice President Jonathan Nez traveled to Tuba City on Wednesday to address the situation, where 191 horses were found dead in a stock pond.President Begaye said their deaths are due to drought and famine."This tragic incident exemplifies the problem the Navajo Nation faces in an overpopulation of feral horses," Begaye said. Over the years, Gray Mountain has seen an uptick in feral horses. For instance, there's an estimated amount of 50,000 to 70,000 feral horses on the Navajo Nation. Government officials are at the site to keep the area closed off and prevent diseases from being spread, a press release said. The area will be fenced off permanently and the horses will be buried onsite after officials considered multiple factors."The horses are anywhere from thigh to neck deep in the mud," said Nina Chester, a government spokeswoman. "This is our most humane and safest option."The Navajo Water Management Branch confirmed that the plan does not pose a threat to groundwater.  1195