Podcasts about Anchorage Museum

The original soundtrack to the MARS multimedia exhibition at the Anchorage Museum - on display until September 7, 2026 - composed by Kurt Riemann, who is coincidentally the host of this show. 

Roman Dial is a scientist, educator and pioneering adventurer. For more than four decades, he's charted paths through Alaska's most remote and unforgiving landscapes — sometimes alone, sometimes with students, friends or family. He came to Fairbanks in the 1970s, a place he says was a hotbed of outdoor innovation — a kind of ground zero for reimagining what adventure could look like in Alaska. In the ‘70s, backcountry travel still looked a lot like it had for decades — heavy leather boots, wool layers, metal-frame backpacks and cumbersome skis. And then, in the 1980s, things started to look different thanks to a small community of skiers, cyclists, runners and packrafters who began to experiment with lighter gear, faster travel and more self-reliant approaches to the backcountry. They weren't following guidebooks, they were writing the playbook as they went. Influenced by competition, camaraderie and a love for the land. And through it all, Roman was taking photos — capturing the people, places and moments that would come to define a generation of exploration. This May, the Anchorage Museum will be exhibiting a selection of Roman's photographs from his early days exploring Alaska. These photos, many of them taken during the 1970s, 80s and 90s, document more than just rugged landscapes and remote journeys, they capture the spirit of youthful exploration, innovation, backcountry friendships and the raw beauty of Alaska before GPS, satellite phones and other digital safety nets. When Roman looked back at these photos, he didn't just see the wild places he traveled through, he saw his wife, his kids and the partners who shaped his journey. It was a reminder of how those relationships influenced not only the paths he took but the person he became. These weren't just snapshots of adventure, they were glimpses into a life built on trust, shared risk and curiosity. His adventures took him across tundra and glaciers, into rainforests and river valleys, and his perspective speaks not only to the power of wild places but to the relationships that shape our journeys through them. Photo by Taylor Roades

Roman Dial is a scientist, educator and pioneering adventurer. For more than four decades, he's charted paths through Alaska's most remote and unforgiving landscapes — sometimes alone, sometimes with students, friends or family. He came to Fairbanks in the 1970s, a place he says was a hotbed of outdoor innovation — a kind of ground zero for reimagining what adventure could look like in Alaska. In the ‘70s, backcountry travel still looked a lot like it had for decades — heavy leather boots, wool layers, metal-frame backpacks and cumbersome skis. And then, in the 1980s, things started to look different thanks to a small community of skiers, cyclists, runners and packrafters who began to experiment with lighter gear, faster travel and more self-reliant approaches to the backcountry. They weren't following guidebooks, they were writing the playbook as they went. Influenced by competition, camaraderie and a love for the land. And through it all, Roman was taking photos — capturing the people, places and moments that would come to define a generation of exploration. This May, the Anchorage Museum will be exhibiting a selection of Roman's photographs from his early days exploring Alaska. These photos, many of them taken during the 1970s, 80s and 90s, document more than just rugged landscapes and remote journeys, they capture the spirit of youthful exploration, innovation, backcountry friendships and the raw beauty of Alaska before GPS, satellite phones and other digital safety nets. When Roman looked back at these photos, he didn't just see the wild places he traveled through, he saw his wife, his kids and the partners who shaped his journey. It was a reminder of how those relationships influenced not only the paths he took but the person he became. These weren't just snapshots of adventure, they were glimpses into a life built on trust, shared risk and curiosity. His adventures took him across tundra and glaciers, into rainforests and river valleys, and his perspective speaks not only to the power of wild places but to the relationships that shape our journeys through them. Photo by Taylor Roades

Jason Borgstede is one-half of JB Deuce, a local snowboard and skateboard video that ran from the late-1990s to early-2000s. It was funded by Boarderline Alaska Snow and Skate shop — a retail business host Cody Liska's dad owned — and featured snowboarders and skateboarders from Alaska. Jesse Burtner was the other half of JB Deuce, and together he and Jason filmed their own video parts for it. They also produced all seven videos: Polar Bears, Dog Sleds and Igloos was the first. Then came Northern Exposure, 100%, Survival of the Tightest, The 49th Chamber, In For Life and Steezin' For No Reason. At first, the video premieres were small — projected onto a screen outside of Boarderline in Dimond Center. But as they grew, so did the venues. Until they were selling out the 4th Avenue Theatre in downtown Anchorage.  To this day, Jason and Jesse have continued to pursue their love of snowboarding and skateboarding. Jason is the owner of Blue & Gold Boardshop in Anchorage and Jesse is the co-founder of Think Thank, a series of snowboard videos with the motto "Progression through creativity." Skater Micah Hollinger and snowboarder Andre Spinelli also join this conversation. Micah is one of the most celebrated skaters from Alaska. He filmed for all seven JB Deuce videos and went on to bring a unique, creative and artistic vision of progression to skateboarding. Andre, also known as Big Air Dre, filmed for numerous snowboard videos, including JB Deuce and Think Thank. His signature style involves hitting big jumps in the backcountry. This conversation was recorded in front of a live audience in the Anchorage Museum Auditorium on Friday, January 17, 2025. That event was brought to you by the Northern Boarder's exhibition. The exhibition celebrates snow and skate culture and community in Alaska through art.  A lot of people helped make this episode possible. Julie Decker, Alex Tait, Danni Crombie and Max Kritzer at the Anchorage Museum. DJ Spencer Lee, and everyone on the panel.  A quick note about the episode: About 42 minutes in, DJ Spencer Lee asks a question, and at the end of the episode there's an audience Q&A. There, you'll hear questions from Ollie Burtner, Sharon Liska and Les Burtner. Photo by Hank Davis

Jason Borgstede is one-half of JB Deuce, a local snowboard and skateboard video that ran from the late-1990s to early-2000s. It was funded by Boarderline Alaska Snow and Skate shop — a retail business host Cody Liska's dad owned — and featured snowboarders and skateboarders from Alaska. Jesse Burtner was the other half of JB Deuce, and together he and Jason filmed their own video parts for it. They also produced all seven videos: Polar Bears, Dog Sleds and Igloos was the first. Then came Northern Exposure, 100%, Survival of the Tightest, The 49th Chamber, In For Life and Steezin' For No Reason. At first, the video premieres were small — projected onto a screen outside of Boarderline in Dimond Center. But as they grew, so did the venues. Until they were selling out the 4th Avenue Theatre in downtown Anchorage.  To this day, Jason and Jesse have continued to pursue their love of snowboarding and skateboarding. Jason is the owner of Blue & Gold Boardshop in Anchorage and Jesse is the co-founder of Think Thank, a series of snowboard videos with the motto "Progression through creativity." Skater Micah Hollinger and snowboarder Andre Spinelli also join this conversation. Micah is one of the most celebrated skaters from Alaska. He filmed for all seven JB Deuce videos and went on to bring a unique, creative and artistic vision of progression to skateboarding. Andre, also known as Big Air Dre, filmed for numerous snowboard videos, including JB Deuce and Think Thank. His signature style involves hitting big jumps in the backcountry. This conversation was recorded in front of a live audience in the Anchorage Museum Auditorium on Friday, January 17, 2025. That event was brought to you by the Northern Boarder's exhibition. The exhibition celebrates snow and skate culture and community in Alaska through art.  A lot of people helped make this episode possible. Julie Decker, Alex Tait, Danni Crombie and Max Kritzer at the Anchorage Museum. DJ Spencer Lee, and everyone on the panel.  A quick note about the episode: About 42 minutes in, DJ Spencer Lee asks a question, and at the end of the episode there's an audience Q&A. There, you'll hear questions from Ollie Burtner, Sharon Liska and Les Burtner. Photo by Hank Davis

  President Carter praised for his positive impact on Indian Country   IHS, Chickasaw Nation to sign agreement for Newcastle medical center   Anchorage Museum creates fellowship with wood carver Drew Michael  

Southeast Alaska's commercial golden king crab and Tanner crab fisheries will open on February 17. The Anchorage Museum will launch a new fellowship next year designed to support artists in Alaska and the Circumpolar North.

Southeast Alaska's commercial golden king crab and Tanner crab fisheries will open on February 17, and the Anchorage Museum will launch a new fellowship next year designed to support artists in Alaska and the Circumpolar North.

Monica Shah is the Deputy Director of Collections and Conservation at the Anchorage Museum. She's interested in the things that we surround ourselves with, the things that bring us comfort, familiarity and memories. Manifestations of culture and identity. These materials are important to us because they embody our stories. In areas affected by war, for example, we see people rallying behind architecture, art and religious structures. These things are targeted because by destroying them you dehumanize the people they belong to and subjugate them. The opposite is also true, that by creating these materials people are reinforcing their connections with each other and with their community. These concepts — creation, destruction and subjugation — weigh heavily on Monica in the work she does at the Museum. But why do museums have items from other cultures in their collections? This is an important question that museums around the world have been grappling with. For their part, the Anchorage Museum has put a lot of effort into decolonizing their collections. Sometimes this means working with Alaska Native communities to ensure that cultural materials are displayed accurately. Other times, it means giving them back. In both cases, the goal is to honor the origins of the materials and the culture and lifeways they represent. To understand this from a western point of view, you only have to imagine having something like a family heirloom or a personal keepsake or a diary taken from you without permission and then displayed for all the world to see.

Monica Shah is the Deputy Director of Collections and Conservation at the Anchorage Museum. She's interested in the things that we surround ourselves with, the things that bring us comfort, familiarity and memories. Manifestations of culture and identity. These materials are important to us because they embody our stories. In areas affected by war, for example, we see people rallying behind architecture, art and religious structures. These things are targeted because by destroying them you dehumanize the people they belong to and subjugate them. The opposite is also true, that by creating these materials people are reinforcing their connections with each other and with their community. These concepts — creation, destruction and subjugation — weigh heavily on Monica in the work she does at the Museum.     But why do museums have items from other cultures in their collections? This is an important question that museums around the world have been grappling with. For their part, the Anchorage Museum has put a lot of effort into decolonizing their collections. Sometimes this means working with Alaska Native communities to ensure that cultural materials are displayed accurately. Other times, it means giving them back. In both cases, the goal is to honor the origins of the materials and the culture and lifeways they represent. To understand this from a western point of view, you only have to imagine having something like a family heirloom or a personal keepsake or a diary taken from you without permission and then displayed for all the world to see.

Erin Marbarger is the Senior Education Director and Director of Climate and Sustainability at the Anchorage Museum. And for the last six years Erin, Museum staff and schools and communities have been collecting soundscapes from around Alaska. Anchorage at first and then other locations like Nenana, Nuiqsut, Portage, Seldovia, Sitka and Soldotna. They recorded sounds from rivers to traffic. Everything that punctuates an otherwise quiet environment because much can be learned from these sounds — weather patterns, animal behavior, human activity. It all shapes the world we live in, both natural and manmade.  How about climate change, though, does that have a sound? This is a question Erin has been thinking about a lot lately. She says that one way we hear it is in the lack of sound, an animal that no longer exists in a certain area, for example. Acoustic Phenology — the study of how climate affects plants, animals and microbes — is another way we hear it. Like with Springtime, we begin to hear birds and all their different songs. So, it's important to record these soundscapes because they're always changing and sound can be a measure of change. The soundscapes recorded today, for instance, could be completely different than they will be in 50 or 100 years. These areas could be more developed, causing it to sound more urban or industrial. Or if human activity is reduced, it could mean more sounds of wildlife and nature. It all depends on how we treat the natural environment today.

Erin Marbarger is the Senior Education Director and Director of Climate and Sustainability at the Anchorage Museum. And for the last six years Erin, Museum staff and schools and communities have been collecting soundscapes from around Alaska. Anchorage at first and then other locations like Nenana, Nuiqsut, Portage, Seldovia, Sitka and Soldotna. They recorded sounds from rivers to traffic. Everything that punctuates an otherwise quiet environment because much can be learned from these sounds — weather patterns, animal behavior, human activity. It all shapes the world we live in, both natural and manmade.  How about climate change, though, does that have a sound? This is a question Erin has been thinking about a lot lately. She says that one way we hear it is in the lack of sound, an animal that no longer exists in a certain area, for example. Acoustic Phenology — the study of how climate affects plants, animals and microbes — is another way we hear it. Like with Springtime, we begin to hear birds and all their different songs. So, it's important to record these soundscapes because they're always changing and sound can be a measure of change. The soundscapes recorded today, for instance, could be completely different than they will be in 50 or 100 years. These areas could be more developed, causing it to sound more urban or industrial. Or if human activity is reduced, it could mean more sounds of wildlife and nature. It all depends on how we treat the natural environment today.

Jonny Hayes is the the Chief Design Officer at the Anchorage Museum. But before he was at the Museum, he worked in architecture firms where he preferred to spend his time on projects that improved peoples' lives. Like playground design and transportation. He enjoyed what he was doing there, but the more he learned about the Museum, the more he appreciated it as a community learning space, a place of knowledge where people came to learn. And then he realized how much the local community could benefit from the knowledge that comes from the archives and the artists and the community members that the Museum works with. He believed then, as he does now, that by sharing more voices visitors get a better sense of who we are as Alaskans.  The work that Jonny does finds itself at a cross-section of people and the places they live. That includes how people interact with each other and their environment, and how both of those things shape them. But how do humans interact with each other and with their environment? For Jonny, this is an ongoing and ever-evolving question. It applies to the work he does at the Museum, as well as his insight into city planning. So, he's always thinking about how the city of Anchorage can be improved, be it through building construction, public spaces, or how roads impact communities and transportation. Because if we're better oriented to our environment — both natural and urban — then we're more equipped to live within the world that's around us.

Jonny Hayes is the the Chief Design Officer at the Anchorage Museum. But before he was at the Museum, he worked in architecture firms where he preferred to spend his time on projects that improved peoples' lives. Like playground design and transportation. He enjoyed what he was doing there, but the more he learned about the Museum, the more he appreciated it as a community learning space, a place of knowledge where people came to learn. And then he realized how much the local community could benefit from the knowledge that comes from the archives and the artists and the community members that the Museum works with. He believed then, as he does now, that by sharing more voices visitors get a better sense of who we are as Alaskans.  The work that Jonny does finds itself at a cross-section of people and the places they live. That includes how people interact with each other and their environment, and how both of those things shape them. But how do humans interact with each other and with their environment? For Jonny, this is an ongoing and ever-evolving question. It applies to the work he does at the Museum, as well as his insight into city planning. So, he's always thinking about how the city of Anchorage can be improved, be it through building construction, public spaces, or how roads impact communities and transportation. Because if we're better oriented to our environment — both natural and urban — then we're more equipped to live within the world that's around us.

Yours truly presents a show of music for live video without the video. So close your eyes and make your own video. From a live 2024 Anchorage Museum performance.

In this newscast: The roughly 5 ft. of snow that's hit Juneau in the last two weeks has made it harder for people to get to the city's emergency cold weather shelter in Thane; The Juneau animal shelter says a review of its 40-year old facility found problems, and they hope to build a new facility; An exhibit at the Anchorage Museum that spotlights the history of Filipino Americans in Alaska was defaced last week; Producers in the HBO series "True Detective: Night Country" consulted Nome residents to get insights and feedback for the show

On today's Midday Report with host Terry Haines: The 35th annual Anchorage Folk Festival got underway this past weekend.  A domestic violence organization in Anchorage is training people in the beauty industry to recognize signs of domestic abuse and offer support. And an exhibit at the Anchorage Museum spotlighting the history of Filipino Americans in Alaska was defaced last week. Photo: Folk Festival Bear.

Bethlehem Shalom is an artist of many talents: music, fashion, drawing, photography. In 2022 she was an artist-in-residence at the Anchorage Museum, showcasing her eclectic clothing design. This year, she is opening for the band Medium Build at the Bear Tooth Theater on January 26th. It's part of a series of three shows by Medium Build, all of which sold out in days. Bethlehem stopped by the ATMI studio to speak with producer Madison Dooley about her art, and play a few songs. She talked about creating music videos for her songs on her own, collaborating with other local musicians, and much more. They spoke on December 30th, 2023. Hosted by Ormund Alaois. Music by Kendrick Whiteman and Devin Shreckengost. Click the links to see Bethlehem Shalom perform her songs "Lemons" "Owe Me Money" and "Groundhog Day" in our studio. Alaska Teen Media Institute is based in Anchorage, Alaska. We would like to acknowledge the Dena'ina people, whose land we work on.

"The Last Frontier" is perhaps Alaska's most pervasive settler myth. But what does it mean to call Alaska a "last frontier?" How did it become so baked into our state's identity? And what does it mean to build Alaska's identity off a myth as antiquated as "the last frontier?"In this episode, we discuss settler myths, get real about "the real Alaskan," and learn how the 19th century myth of the frontier came to define Alaska's identity. Our guests include:-Tia Tidwell, Assistant Professor of Alaska Native Studies and Rural Development at the University of Alaska Fairbanks-Aaron Leggett, Senior Curator of Alaska History and Indigenous Cultures at the Anchorage Museum and President of the Native Village of Eklutna-Kevin Maier, Professor of Environmental Humanities at the University of Alaska Southeast-Steve Henrikson, Curator of Collections at the Alaska State MuseumFor more information, visit us at www.thealaskamyth.comInstagram | Facebook | Twitter

The premise of this conversation is based on a question that Aaron Leggett — the president of the Native Village of Eklutna and the Senior Curator of Alaska History and Indigenous Culture at the Anchorage Museum — and Cody are curious about: What happens to Alaska when oil is no longer economically viable for the economy of the state? Aaron says that his hope for the future is that people will have a better understanding about the role oil plays in Alaska, that although production is in decline we can take the wealth that's been created with it and invest it into Alaska's education system in order to prepare future generations for the new realities and challenges that await them. Permanent Fund Dividend co-creator and state legislator Cliff Groh says that, for decades, oil has been the primary driver of Alaska's economy and fiscal system. However, oil production has been in decline for about 35 years. In the late 1980s, the state had more than 2 million barrels of oil going through the Trans-Alaska Pipeline System every day. Today, it's well under 500 thousand barrels a day. Right now, many people are betting the economic future of Alaska on finding another Prudhoe Bay oilfield. There's the Pikka Oil Field, the Willow Project, and the Arctic National Wildlife Refuge, or ANWR. There are arguments for and against each of these projects. Tim Bradner has been writing about Alaska's natural resources since 1966, he's also the co-owner of the Alaska Legislative Digest. He doesn't believe oil in Alaska will ever completely go away because oil fields have a way of producing for decades, but oil will become less and less important to Alaska's economy. Ultimately, he's hopeful for the future, though, that there are other things that will come along to stimulate the economy. Commercial fishing and tourism, for example. He says that if we're smart, we'll use the Permanent Fund to sustain our public services and diversify the economy, meanwhile educating young people and giving them a reason to stick around.

Aaron Leggett is the president of the Native Village of Eklutna and the Senior Curator of Alaska History and Indigenous Culture at the Anchorage Museum. He grew up in Anchorage, so his memories of it involve all of the memorable and formative experiences that made him who he is today. The same is true for the other two people joining the conversation, Julia O'Malley and David Holhouse. They're both longtime journalists from Alaska and from pretty much the beginning of their journalism careers, they were the voice of the people. Alaskans who reported on cultures and countercultures, crime, food and anything else newsworthy that happened in their close-knit community.  At its core, this is a conversation about what a place means to its inhabitants. How it shapes and molds them. It's about why David, Julia, Aaron and myself all continue to try and capture the Anchorage we grew up in, before Alaska was so connected to the rest of the world. For my part, I've spent a lot of time trying to capture the essence and the feeling of the Alaska snowboard and skateboard scene of the 90s and early 2000s. Holthouse talks about his memories of the Anchorage punk scene in the mid-90s, another lively and sometimes provocative group of people. Aaron remembers a heavy metal group of Alaska Native guys who wore leather jackets, had long hair and smoked cigarettes. They were metal and they were Native. When recalling these stories, there's fondness, melancholy and nostalgia — a feeling Julia says is a cousin of grief. That if you become too nostalgic, you might lose track of how to listen to the present moment.

Aaron Leggett is the president of the Native Village of Eklutna and the Senior Curator of Alaska History and Indigenous Culture at the Anchorage Museum. He grew up in Anchorage, so his memories of it involve all of the memorable and formative experiences that made him who he is today. The same is true for the other two people joining the conversation, Julia O'Malley and David Holhouse. They're both longtime journalists from Alaska and from pretty much the beginning of their journalism careers, they were the voice of the people. Alaskans who reported on cultures and countercultures, crime, food and anything else newsworthy that happened in their close-knit community.  At its core, this is a conversation about what a place means to its inhabitants. How it shapes and molds them. It's about why David, Julia, Aaron and myself all continue to try and capture the Anchorage we grew up in, before Alaska was so connected to the rest of the world. For my part, I've spent a lot of time trying to capture the essence and the feeling of the Alaska snowboard and skateboard scene of the 90s and early 2000s. Holthouse talks about his memories of the Anchorage punk scene in the mid-90s, another lively and sometimes provocative group of people. Aaron remembers a heavy metal group of Alaska Native guys who wore leather jackets, had long hair and smoked cigarettes. They were metal and they were Native. When recalling these stories, there's fondness, melancholy and nostalgia — a feeling Julia says is a cousin of grief. That if you become too nostalgic, you might lose track of how to listen to the present moment.

Historian Ian Hartman is an Associate Professor and Department Chair at the University of Alaska Anchorage. He teaches history from the bottom up, meaning he looks for how regular, working class people have been agents of change throughout history. This is the opposite of how so much of history has been recorded, which has looked at it through the perspective of The Great Man Theory. The Great Man Theory, as it relates to history, looks at leaders and other perceived great men as heroes and the sole agents of change. Ian points to the Civil Rights movement and the general cultural upheavals of the 1960s and 1970s for shifting our understanding of history. Ian is also a public historian known, most recently, for his work on the history of the Alaska Railroad and a book he co-authored with Alaska public historian David Reamer about the history of the black experience in Alaska. The book, Black Lives in Alaska: A History of African Americans in the Far Northwest, details how Black men and women have participated in Alaska's politics and culture since before statehood. How Black history in Alaska is almost by default a history of the bottom up. It's a history that involves racial discrimination, but also involves people mobilizing themselves in the face of that discrimination. How they were, and are, agents who are capable of forging social movements and solidarity. They rose up and involved themselves in the workings of the state.  His work on the Alaska Railroad will soon be on display — along with the work of other experts — at an Anchorage Museum exhibition titled All Aboard: The Alaska Railroad Centennial. The exhibition highlights crucial moments, technological innovations and human stories connected to the railroad and its operations in Alaska. An interesting fact about the people who originally worked on the Alaska Railroad is that the majority of them came from Alaska. They were already in the state working the Klondike Gold Rush and, when that ended, workers — who were generally young, single men — found more work helping to construct the railroad.

Historian Ian Hartman is an Associate Professor and Department Chair at the University of Alaska Anchorage. He teaches history from the bottom up, meaning he looks for how regular, working class people have been agents of change throughout history. This is the opposite of how so much of history has been recorded, which has looked at it through the perspective of The Great Man Theory. The Great Man Theory, as it relates to history, looks at leaders and other perceived great men as heroes and the sole agents of change. Ian points to the Civil Rights movement and the general cultural upheavals of the 1960s and 1970s for shifting our understanding of history. Ian is also a public historian known, most recently, for his work on the history of the Alaska Railroad and a book he co-authored with Alaska public historian David Reamer about the history of the black experience in Alaska. The book, Black Lives in Alaska: A History of African Americans in the Far Northwest, details how Black men and women have participated in Alaska's politics and culture since before statehood. How Black history in Alaska is almost by default a history of the bottom up. It's a history that involves racial discrimination, but also involves people mobilizing themselves in the face of that discrimination. How they were, and are, agents who are capable of forging social movements and solidarity. They rose up and involved themselves in the workings of the state.  His work on the Alaska Railroad will soon be on display — along with the work of other experts — at an Anchorage Museum exhibition titled All Aboard: The Alaska Railroad Centennial. The exhibition highlights crucial moments, technological innovations and human stories connected to the railroad and its operations in Alaska. An interesting fact about the people who originally worked on the Alaska Railroad is that the majority of them came from Alaska. They were already in the state working the Klondike Gold Rush and, when that ended, workers — who were generally young, single men — found more work helping to construct the railroad.

GUEST HOST: Dave WaldronGUEST: Cody Carver, Program and Events Manager at the Anchorage Museum LINKS:Anchorage MuseumPass the Mic exhibit]]>

On a cold February night in 1921, Jack Sturgus, Anchorage's first police chief, patrolled downtown Anchorage. He strolled past local businessman Oscar Anderson at 9:00 P.M., and they exchanged pleasantries, but what happened over the next few minutes constitutes one of the biggest mysteries in Anchorage history. At 9:30 P.M., night watchman John McNutt discovered Sturgus lying in an alley behind the Anchorage Drug Store and the Liberty Café near Fourth Avenue and E Street. Sturgus was bleeding from a single gunshot wound to the chest. The watchman summoned help, and several men carried Sturgus to the hospital. Sturgus kept mumbling about being cold and needing to be turned over. In the hospital, he complained about the bright lights. He repeatedly called, 'Oh, Bobby, Bobby, Bobby." but when asked who shot him, he did not reply. Sturgus died at 10:50 P.M.   Who murdered Jack Sturgus? A hard look back into history reveals several possible suspects. Still, authorities never arrested anyone for his murder, and until now, no one has ever answered the question of who shot Jack Sturgus. Recent in-depth research by two Anchorage history buffs brings us as close as we will ever be to knowing what happened between 9:00 P.M. and 9:30 P.M. on February 20, 1921, in a back alley in the newly incorporated city of Anchorage, Alaska.     Sources: Koenig, Laura and Goodfellow, Rick. 2-18-21. The Life and Once-Mysterious Death of Anchorage's First Police Chief. Cook Inlet Historical Society Lecture. Anchorage Museum. https://www.crowdcast.io/e/4592q90u Reamer, David. Who killed Anchorage's first police chief? Nearly 100 years later, it's still a mystery. Anchorage Daily News. https://www.adn.com/alaska-life/2020/01/13/who-killed-anchorages-first-police-chief-nearly-100-years-later-its-still-a-mystery/ Accesswire. 2-19-2021. A Hundred Years Later, Shooter Is Identified in Death of First Anchorage Police Chief. https://apnews.com/press-release/accesswire/alaska-homicide-anchorage-shootings-police-1c3c0a5a199196c0224363f53b0a56c3 1812Blockhouse. 1-13-2021. Richland Roots: The Mysterious Shooting of Jack Sturgis. History and Tourism. https://1812blockhouse.com/history-tourism/richland-roots-the-mysterious-shooting-of-jack-sturges/ Our Haunted Hotel: Where Ghosts Are More than Just Stories. The Historic Anchorage Hotel. https://www/historicanchoragehotel.com/ ______________________________________________________________________________________________________ Available for Pre-Order Karluk Bones Audiobook is Now Available Join the Facebook Group Robin Barefield is the author of four Alaska wilderness mystery novels, Big Game, Murder Over Kodiak, The Fisherman's Daughter, Karluk Bones, and Massacre at Bear Creek Lodge. Sign up to subscribe to her free, monthly newsletter on true murder and mystery in Alaska. Subscribe to Robin's free, monthly Murder and Mystery Newsletter for more stories about true crime and mystery from Alaska. Join her on: Facebook Instagram Twitter LinkedIn Visit her website at http://robinbarefield.com Check out her books at Author Masterminds _________ If you would like to support Murder and Mystery in the Last Frontier? Become a patron and join The Last Frontier Club. Each month Robin will provide one or more of the following to club members. · An extra episode of Murder and Mystery in the Last Frontier available only for club members. · Behind the scenes glimpses of life and wildlife in the Kodiak wilderness. · Breaking news about ongoing murder cases and new crimes in Alaska · Merchandise or discounts on MMLF merchandise or handmade glass jewelry. Become a Patron! _______________________________________________________________________________________ Check out the store: Murder and Mystery in the Last Frontier merchandise.                

Priscilla Hensley is a writer and a documentarian. Before she started working on documentaries, her job history was varied — she had worked in communications and, having made a few short films herself, had some prior knowledge of filmmaking. There was also a period of time when she considered herself a poet. All these jobs have helped her to become a jack-of-all-trades. Her time in communications has helped a lot with her documentary work because so much of filmmaking is about logistics and making things happen. Her poetry has helped with her screenwriting. She says that the most important thing she's learned about screenwriting is to start. Just put the story on paper. You don't need to have great spelling, you can drop words, and you don't need to storyboard everything. Just start writing. And then, later, you can worry about editing and rewriting.   Priscilla grew up recognizing and honoring her Inupiaq heritage. Her dad, William Hensley, is a key figure in Alaska Native land rights. He's known for his role in the creation of the Alaska Native Claims Settlement Act. As a result of the act, Alaska Natives retained 44 million acres of land and about 1 billion dollars to settle Indigenous land claims in Alaska. Growing up around all of this is a big reason she pursues telling the stories that she does. The first documentary she worked on, for example, was “We Up,” a film about Indigenous hip hop of the circumpolar North. It was produced by the Anchorage Museum. In addition to it being a family affair — her husband also worked on the film and their children tagged along — it introduced her to the power of filmmaking. Priscilla has tattoos that commemorate her roots and her heritage. She gets them with her cousin every time she goes back to Alaska. The most recent one is on her hand, so she sees it when she's writing or operating a camera. She says that she loves seeing her tattoos when she works because they're a visual reminder of who she is, how she wants the world to see her, and her responsibility to being true to herself, her family and her community.

Priscilla Hensley is a writer and a documentarian. Before she started working on documentaries, her job history was varied — she had worked in communications and, having made a few short films herself, had some prior knowledge of filmmaking. There was also a period of time when she considered herself a poet. All these jobs have helped her to become a jack-of-all-trades. Her time in communications has helped a lot with her documentary work because so much of filmmaking is about logistics and making things happen. Her poetry has helped with her screenwriting. She says that the most important thing she's learned about screenwriting is to start. Just put the story on paper. You don't need to have great spelling, you can drop words, and you don't need to storyboard everything. Just start writing. And then, later, you can worry about editing and rewriting.   Priscilla grew up recognizing and honoring her Inupiaq heritage. Her dad, William Hensley, is a key figure in Alaska Native land rights. He's known for his role in the creation of the Alaska Native Claims Settlement Act. As a result of the act, Alaska Natives retained 44 million acres of land and about 1 billion dollars to settle Indigenous land claims in Alaska. Growing up around all of this is a big reason she pursues telling the stories that she does. The first documentary she worked on, for example, was “We Up,” a film about Indigenous hip hop of the circumpolar North. It was produced by the Anchorage Museum. In addition to it being a family affair — her husband also worked on the film and their children tagged along — it introduced her to the power of filmmaking. Priscilla has tattoos that commemorate her roots and her heritage. She gets them with her cousin every time she goes back to Alaska. The most recent one is on her hand, so she sees it when she's writing or operating a camera. She says that she loves seeing her tattoos when she works because they're a visual reminder of who she is, how she wants the world to see her, and her responsibility to being true to herself, her family and her community.

Melissa Chimera creates mixed media paintings and installations that are research-based investigations into species extinction, globalization and human migration. Her portraits are fictional, but they're based in empirical fact. She combs through the public record of peoples' lives, collecting information to better understand them beyond what DNA can tell us. She includes elements and details of what she finds into her paintings. She says that the Philippines are a confluence of so many tragedies. Politically, economically and environmentally. There's really no work for the people who aren't middle class. So they move, they immigrate for opportunity and to send money back to their family. This is the story that Melissa is telling, the one she's trying to better understand. As a descendant of Filipino and Lebanese immigrants herself, it's a personal one. She's currently in-residence at the Anchorage Museum, exploring the Filipino diaspora through research and interviews. To help make sense of all this information, she's putting two podcasts together. “Drift: Immigration and Identity in America” is an interview series, and “Land and People” looks at practitioners and people with ancestral ties to the land. There's also a component of cataloging what the land looks like right now for future reference. She says that as she's interviewing people they're also unpacking the psychology of internalized racism and what that looks like and what it feels like. It's complicated because there are so many facets to this project — there's immigration, there's the socioeconomic issues, the cost of living and it's all under the umbrella of capitalism. Photo courtesy of Josh Branstetter

Melissa Chimera creates mixed media paintings and installations that are research-based investigations into species extinction, globalization and human migration. Her portraits are fictional, but they're based in empirical fact. She combs through the public record of peoples' lives, collecting information to better understand them beyond what DNA can tell us. She includes elements and details of what she finds into her paintings. She says that the Philippines are a confluence of so many tragedies. Politically, economically and environmentally. There's really no work for the people who aren't middle class. So they move, they immigrate for opportunity and to send money back to their family. This is the story that Melissa is telling, the one she's trying to better understand. As a descendant of Filipino and Lebanese immigrants herself, it's a personal one. She's currently in-residence at the Anchorage Museum, exploring the Filipino diaspora through research and interviews. To help make sense of all this information, she's putting two podcasts together. “Drift: Immigration and Identity in America” is an interview series, and “Land and People” looks at practitioners and people with ancestral ties to the land. There's also a component of cataloging what the land looks like right now for future reference. She says that as she's interviewing people they're also unpacking the psychology of internalized racism and what that looks like and what it feels like. It's complicated because there are so many facets to this project — there's immigration, there's the socioeconomic issues, the cost of living and it's all under the umbrella of capitalism. Photo courtesy of Josh Branstetter

When it comes to nature, the idea of “pristine, untouched wilderness” is part of the American ethos. But the reality is most land was touched, valued and used -- by indigenous landholders. Recreating outside today means using that land in new ways. Yet honoring the past not only doesn't have to be complicated, it can also broaden our appreciation for the land and what it gives us by connecting us with those who called it home for centuries before we arrived. In this episode Aaron Leggett, president of the Native Village of Eklunta near Anchorage, Alaska and senior curator of Alaska History and Indigenous Culture at the Anchorage Museum shares with us his perspective on use of traditional Dena'ina lands and how outdoor lovers today can respect and honor the past. Connect with this episode: Learn about the Native Village of Eklutna Read about Aaron Leggett's work at the Anchorage Museum Join the Humans Outside Challenge Follow Humans Outside on Instagram Follow Humans Outside on Facebook Some of the good stuff: [3:03] Aaron Leggett's favorite outdoor space [5:15] About the Native Village of Eklutna [7:39] About growing up in Anchorage and getting passionate about Native history [11:13] Who are the Dena'ina and what is their land? [13:46] What is a Native Corporation? [21:12] How to tell where Native land is and isn't [24:50] What the Native place name project is and why it matters [34:00] What are the best practices for using traditional indigenous lands for recreation? [35:50] What “leave no trace” has to do with it [39:30] How to give back to a space while using it [41:00] What just having it in mind does [48:41] Aaron's favorite outdoor memory

Rob Kinneen has been an ambassador for Alaskan cuisine through his guest chef appearances, speaking engagements, cooking demonstrations and private caterings. His work has revolutionized how people see and understand the state's traditional foods. His understanding of traditional foods goes back to growing up in Petersburg, Alaska, where he remembers clamming with his uncles, fishing with his dad and picking berries. There was also venison and the first time he had fresh asparagus — it was so much better than the stuff that came out of the can.  He works for the food non-profit NATIFS now, where he promotes food relief, education, awareness and accessibility of traditional foods. He says that this position is a one-of-one, there's nothing else out there like it. It's not so much a job as it is what he does, and who he is as a chef and as a person of Tlingit heritage.  In his late-40s now, Rob says that he started to really notice the negative effects that alcohol was having on his body and his lifestyle. So, over two years ago, he became alcohol-free. He says that, right now, he's proud of being exactly who he wants to be — he has more hours in the day, and his mind is clear and he's confident. Chatter Marks is a podcast of the Anchorage Museum, and is available on Apple Podcasts, Spotify, Amazon Music and Google Podcasts. Just search "Chatter Marks."

Jimmy Riordan is a multidisciplinary artist and educator who's currently in-residence at the Anchorage Museum, digitizing and archiving the work of Yukon-Kuskokwim Delta musicians, as well as all the other Alaska music he's collected over the years. He spends a lot of time in thrift stores and going through junk bins and scouring the internet — anywhere old records might exist. When he first started listening to old Alaskan albums and radio programs, he thought he was going to hear a lot of tourist music and songs about things like reindeer and caribou. But he soon realized that there was a lot of diversity in what he was hearing. There was hip hop, psychedelic rock, metal, punk. He even found a record of soundbites from people talking about their experience during the 1964 earthquake.  His motivation is that of a fan, driven by interest and excitement. If he can provide a service that is useful, in exchange for all the information and all the stuff that he's getting, then that's what he's looking to do. His fascination with the music of Joe Paul is a good example. Joe Paul is a country and gospel singer originally from Kipnuk, Alaska, a community along the Kuskokwim River. And one day, while out digging for Alaskana, Jimmy came across one of his albums, “Eskimo Songs, Stories and Country Music.” He was floored by it and says that it rejuvenated his interest in collecting.

Jimmy Riordan is a multidisciplinary artist and educator who's currently in-residence at the Anchorage Museum, digitizing and archiving the work of Yukon-Kuskokwim Delta musicians, as well as all the other Alaska music he's collected over the years. He spends a lot of time in thrift stores and going through junk bins and scouring the internet — anywhere old records might exist. When he first started listening to old Alaskan albums and radio programs, he thought he was going to hear a lot of tourist music and songs about things like reindeer and caribou. But he soon realized that there was a lot of diversity in what he was hearing. There was hip hop, psychedelic rock, metal, punk. He even found a record of soundbites from people talking about their experience during the 1964 earthquake.  His motivation is that of a fan, driven by interest and excitement. If he can provide a service that is useful, in exchange for all the information and all the stuff that he's getting, then that's what he's looking to do. His fascination with the music of Joe Paul is a good example. Joe Paul is a country and gospel singer originally from Kipnuk, Alaska, a community along the Kuskokwim River. And one day, while out digging for Alaskana, Jimmy came across one of his albums, “Eskimo Songs, Stories and Country Music.” He was floored by it and says that it rejuvenated his interest in collecting.

Nyabony Gat says that her immigrant story started 22 years ago. In 1992, when her parents and older siblings fled from South Sudan and found refuge in Ethiopia — the Second Sudanese civil war was going on between the central Sudanese government and the Sudan People's Liberation Army. It was a long and bloody war and it caused four million people to be displaced.  Nyabony doesn't remember much from her childhood. She knows that she was born in Ethiopia and she knows that she and her family came to the United States when she was 3 or 4 years old. Other than that, she's had to rely on stories from her parents and her aunts and her uncles. Those stories are helpful in understanding her identity, but they're not a perfect substitute. She says that only personal experience can fill that void. Today, she works with Alaska's immigrant and refugee community. She helps them overcome challenges and achieve their goals. And in that process, she says, they're helping her better understand her background and herself. Chatter Marks is a podcast of the Anchorage Museum, and is available on Apple Podcasts, Spotify, Amazon Music and Google Podcasts. Just search "Chatter Marks."

When interdisciplinary artist LaMont Hamilton was young, he drew portraits of figures that he admired — Jimmy Hendrix, Che Guevara, Malcom X. He called it “scribble art,” a term he invented to describe abstract art that, the longer you look at it, the more it reveals. Then, as he got older, he became interested in photography. But he says that his first love, the one that he considers to be the foundation of his work, is poetry.  He says that a lot of what he does cannot easily be translated to words. It needs to be experienced and understood through our senses. To sit with it and to meditate on it opens us up to its energy and allows ideas to gravitate toward us. When this happens, we create a situation that nurtures a deeper conversation with the world around us.  Right now, he's in-residence, at the Anchorage Museum, working with poets, artists and musicians, and developing a light and sound installation called "To Hear the Earth Before the End of the World." It features sounds of elements — air, earth, fire, water, and aether. And field recordings from Europe and North and South America — sounds of our changing earth. He says that, unlike a painting, this exhibition is an experience that encounters you, you don't encounter it because it's going to be playing whether you're there or not. Chatter Marks is a podcast of the Anchorage Museum, and is available on Apple Podcasts, Spotify, Amazon Music and Google Podcasts. Just search "Chatter Marks."

When interdisciplinary artist LaMont Hamilton was young, he drew portraits of figures that he admired — Jimmy Hendrix, Che Guevara, Malcom X. He called it “scribble art,” a term he invented to describe abstract art that, the longer you look at it, the more it reveals. Then, as he got older, he became interested in photography. But he says that his first love, the one that he considers to be the foundation of his work, is poetry.  He says that a lot of what he does cannot easily be translated to words. It needs to be experienced and understood through our senses. To sit with it and to meditate on it opens us up to its energy and allows ideas to gravitate toward us. When this happens, we create a situation that nurtures a deeper conversation with the world around us.  Right now, he's in-residence, at the Anchorage Museum, working with poets, artists and musicians, and developing a light and sound installation called "To Hear the Earth Before the End of the World." It features sounds of elements — air, earth, fire, water, and aether. And field recordings from Europe and North and South America — sounds of our changing earth. He says that, unlike a painting, this exhibition is an experience that encounters you, you don't encounter it because it's going to be playing whether you're there or not.

Charles J. Tice is a visual and literary creative in Anchorage, Alaska with an emphasis on photography and gonzo journalism. He's currently in-residence, at the Anchorage Museum, working on a project called Artist Proof #6. It's a book that'll feature 100 photographs of strangers, assisted by a narrative. The writing is important, he says, probably the most important part of the project. So, he works on a typewriter because it's less about technical precision and more about getting his ideas onto the page. He says the project is a love song, and that it's as much about discovering who he is as it is about representing his community. Most of the work that he does is a first person narrative. He creates gonzo journalism, infusing himself into a story and becoming part of it. This was true when he quit a steady job to work on a political campaign that he believed in; It was true when he hitchhiked across the United States, photographing people and talking to them about their lives; It was true when he tracked down his birth mother; And it's true now. Because, more often than not, his life and his work are one and the same — they're forever intertwined and feeding off each other.

Charles J. Tice is a visual and literary creative in Anchorage, Alaska with an emphasis on photography and gonzo journalism. He's currently in-residence, at the Anchorage Museum, working on a project called Artist Proof #6. It's a book that'll feature 100 photographs of strangers, assisted by a narrative. The writing is important, he says, probably the most important part of the project. So, he works on a typewriter because it's less about technical precision and more about getting his ideas onto the page. He says the project is a love song, and that it's as much about discovering who he is as it is about representing his community. Most of the work that he does is a first person narrative. He creates gonzo journalism, infusing himself into a story and becoming part of it. This was true when he quit a steady job to work on a political campaign that he believed in; It was true when he hitchhiked across the United States, photographing people and talking to them about their lives; It was true when he tracked down his birth mother; And it's true now. Because, more often than not, his life and his work are one and the same — they're forever intertwined and feeding off each other.

Rico Worl owns a business in Juneau that aims to distribute money spent on Alaska Native art back into Alaska Native communities. His business is called Trickster for the raven in Alaska Native culture that represents the Creator and is always playing tricks. Trickster began as a skateboard company, so there's that association too. In fact, the idea for it started when Rico painted his clan crest onto his longboard and skated around Juneau. Before the pandemic, Juneau saw about a million tourists a year. Many of which purchase what Rico calls knockoff Alaska Native art. A small percent of that money actually goes back to the communities that developed the art form. Rico recognized this and came up with a plan: He would design and sell art that blends modern and traditional styles and make sure the proceeds go back to the Alaska Native communities from which they came. Chatter Marks is a podcast of the Anchorage Museum, and is available on Apple Podcasts, Spotify, Amazon Music and Google Podcasts. Just search "Chatter Marks."

Cal Williams is an activist and community archivist. He sees his involvement in activism as more of a pull than a draw. He didn't plan it, it just happened. Seven days after he was born, Pearl Harbor was bombed and most of the men in his life went to war. So, the influences he had at those early ages came from the women in his life. He saw how they did what they could to help the war effort. He's 80 now, and his list of achievements are extensive. They include the president of the NAACP of Alaska, the recipient of the St. Francis of Assisi Award and working with HistoryMakers, an organization that collects and preserves the well-known and unsung stories of African Americans. Considering his current work with HistoryMakers and the Anchorage Museum, Cal says that he chases the dead — he reads obituaries and attends funerals in order to collect the stories that would otherwise be lost forever.  Photo by Jovell Rennie Chatter Marks is a podcast of the Anchorage Museum, and is available on Apple Podcasts, Spotify, Amazon Music and Google Podcasts. Just search "Chatter Marks."

Cal Williams is an activist and community archivist. He sees his involvement in activism as more of a pull than a draw. He didn't plan it, it just happened. Seven days after he was born, Pearl Harbor was bombed and most of the men in his life went to war. So, the influences he had at those early ages came from the women in his life. He saw how they did what they could to help the war effort. He's 80 now, and his list of achievements are extensive. They include the president of the NAACP of Alaska, the recipient of the St. Francis of Assisi Award and working with HistoryMakers, an organization that collects and preserves the well-known and unsung stories of African Americans. Considering his current work with HistoryMakers and the Anchorage Museum, Cal says that he chases the dead — he reads obituaries and attends funerals in order to collect the stories that would otherwise be lost forever.  Photo by Jovell Rennie

Ben Huff believes that photography is gloriously incomplete, that it has the potential to start a conversation, but it takes the viewer to finish it — to bring their own history and their own knowledge to the table and fill in the blanks. That's one of the things that's wonderful about photography, he says, it prompts a narrative. It introduces a concept or an idea for further examination. Much of his work is interested in exploited landscapes, in the things that we've brought to places. His recent book, Atomic Island, details the U.S. military occupation of Adak Island during World War II and the aftermath of their departure that left so much abandoned infrastructure and debris. Chatter Marks is a podcast of the Anchorage Museum, and is available on Apple Podcasts, Spotify, Amazon Music and Google Podcasts. Just search "Chatter Marks."

Jennifer Loofbourrow is the owner of Alpine Fit, an Alaska-based outdoor clothing company that specializes in offering a variety of fit options for different body types. Jennifer's active, outdoor lifestyle influenced her decision to start the brand. From 2004 to 2009, she kayaked the outer islands of Alaska's southeast coastline. In that time, she gained an intimate understanding of what basic gear is needed on those trips and how it's important to consider things like weather and the duration of the trip. She's actually been told that she's the bullseye of her target audience.  She says that she lives her life like it's an endurance sport, so finding a balance between work and rest is important. That balance hasn't always been easy to find, but she's getting better at it.  Chatter Marks is a podcast of the Anchorage Museum, and is available on Apple Podcasts, Spotify, Amazon Music and Google Podcasts. Just search "Chatter Marks."

Episode No. 540 features curator Judith W. Mann and artist Nicholas Galanin. Mann is the curator of "Paintings on Stone: Science and the Sacred, 1530-1800," which is on view at the Saint Louis Art Museum through May 15. (Mann was assisted by Andrea Miller.) The exhibition, which includes more than 70 works by 58 artists, is the first examination of the pan-European practice of painting on stones such as lapis lazuli, slate and marble. The exhibition is accompanied by a terrific catalogue. Indiebound and Amazon offer it for about $50. On April 7-8 SLAM will be presenting a virtual symposium that explores painting on stone and the role that stone played in the meaning of individual artworks. The symposium is free but requires Zoom registration. Nicholas Galanin's work is on view in "The Scene Changes: Sculpture from the Sheldon's Collection" at the Sheldon Museum of Art at the University of Nebraska, Lincoln. The Sheldon acquired Galanin's 2012 The American Dream is Alie and Well in 2020. Galanin's work has been the subject of solo shows at Davidson College, the BYU Museum of Art, the Montclair Art Museum, the Missoula Art Museum, the Anchorage Museum and more. In 2018 The Heard Museum in Phoenix presented a survey of Galanin's career. Later this year the Weatherspoon Art Museum at the University of North Carolina Greensboro and the Crystal Bridges Museum of American Art in Bentonville, Ark. will present exhibitions of Galanin's work. Galanin is a Tlingit and Unangax̂ artist whose work examines contemporary Indigenous identity, culture and representation and interrogates the routine misappropriation of Native culture, colonialism and collective amnesia.

Julie Varee is the Community Outreach Archivist at the Anchorage Museum. So much of her life has been dedicated to helping others. She grew up in a household — back in Gary, Indiana — that put a lot of energy into philanthropy. In fact, her earliest memory is of tagging along with her mom and her grandmother to help the elderly people in her neighborhood. That sense of purpose and charity would define her professional life well into adulthood.  Julie got out of philanthropy and development at 60 years old and began pursuing another career with the Anchorage Museum. The first exhibition she worked on was "Black Lives in Alaska: Journey, Justice, Joy." It's told through archival photos and collected materials, and showcases the richness and resilience of Black lives in Alaska. Julie says that exhibitions like this one can help people be more open to the stories of other people's lives and experiences, that their way of experiencing the world is not the only way or the best way or even the right way.  

We discussed: - provincial thinking about museums - life in anchorage - the mob in alaska - conservation - repatriation - classification - no need for categorisation - climate change - artic tourism - funding a museum - effects of Covid on a museum - artist residency - sweat lodges     People + Places mentioned: Krispy Kreme - https://www.krispykreme.com Jonathon Keats - https://twitter.com/jonathonkeats     https://www.anchoragemuseum.org     Audio editing by Jakub Černý Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no  

Between the Seasons 5: Safe at Home: Baseball in Anchorage – Part 2 w/ Katie Ringsmuth   In this Between the Seasons episode we will continue talking baseball in Anchorage with our guest Katie Ringsmuth.  Katie is the Alaska State historian, a professor of History at the University of Alaska Anchorage. She is a baseball fan who curated the exhibition Home Field Advantage: Baseball in the Far North at the Anchorage Museum in 2015 and authored the article  “Fields of Dreamers: Baseball in Anchorage, Alaska” in the book Imagining Anchorage: The Making of America's Northernmost Metropolis in 2018.   Links to Photos: 1915 Anchorage 4th of July Baseball Game https://vilda.alaska.edu/digital/collection/cdmg2/id/131/   1915 Anchorage Team(s) for the 4th of July Baseball Game https://vilda.alaska.edu/digital/collection/cdmg2/id/353 https://www.facebook.com/TundraVision/photos/354451121616027   Game on the Field Where the Anchorage Museum Now Stands https://www.facebook.com/TundraVision/photos/354450228282783 https://vilda.alaska.edu/digital/collection/cdmg2/id/329/rec/4   Baseball Grounds at Potter Creek https://vilda.alaska.edu/digital/collection/cdmg2/id/4606/rec/1   1915 Newsreel of Anchorage https://vilda.alaska.edu/digital/collection/cdmg11/id/35593/   Benefit Ballgame Game https://vilda.alaska.edu/digital/collection/cdmg2/id/6313/rec/31   Anchorage v. Seward Game 1915 https://www.facebook.com/TundraVision/photos/354450504949422   Seward v. Anchorage Baseball Series –  August 1916 – Seward Newspaper accounts https://www.youtube.com/watch?v=pKYk0Yjxlic   1914 Women's Indoor Team https://vilda.alaska.edu/digital/collection/cdmg2/id/325/rec/1   Program for Satchel Paige's 1965 Visit to Anchorage https://www.facebook.com/TundraVision/photos/354450921616047   Alaska Baseball League Players https://www.alaskapublic.org/2015/07/03/homefield-advantage-baseball-in-the-far-north/ https://www.newsminer.com/sports/baseball/tom-seaver-75-dies-former-goldpanner-left-lasting-impression-playing-with-the-new-york-mets/article_50e74612-ee5d-11ea-ac7e-77c4d4bee2ce.html https://www.ebay.com/itm/363157972465 https://www.tcdb.com/GalleryP.cfm/pid/6362/Dave-Winfield?ColType=0&sYear=0&sTeam=Alaska%20Goldpanners&sCardNum=&sNote=&sSetName=   Links to More on Anchorage Baseball History: https://www.adn.com/culture/slideshow/photos-baseball-far-north/2015/05/15/   https://pointstreak.com/news_story.html?id=149432   https://www.alaskapublic.org/2016/04/06/video-frontier-baseball/   https://www.youtube.com/watch?v=txW0gWU3nrs   https://www.alaskapublic.org/2016/10/07/revisiting-alaska-baseball-history/   https://www.adn.com/culture/article/innings-under-midnight-sun/2015/05/15/   https://www.alaskapublic.org/2015/07/03/homefield-advantage-baseball-in-the-far-north/

Welcome to the fifth and final episode of Season Four of the Bagley Wright Lecture Series on Poetry podcast. This season, we're listening to the lectures of Cedar Sigo. Cedar Sigo's lectures plumb the particulars of influence, history, tone, and form to beget a singular ‘autobiography of voice.' Across these talks, Sigo explores his childhood on the Suquamish Reservation, his coming to poetry and the ‘dream of composition.' He pays homage to a glittering constellation of postmodernist and revolutionary teachers, artists, and peers, and builds enduring and pointed questions of agency, interdependence, lineage, and transformation. Today we'll hear "Shadows Crossing: Tones of Voice Continued," originally given October 24, 2019 at the Anchorage Museum in Anchorage, Alaska. Visit us at our website, www.bagleywrightlectures.org, for more information about Bagley Wright lecturers, as well as links to supplementary materials on each lecturer's archive page, including selected writings. Cedar Sigo's book based on his BWLS lectures, _Guard The Mysteries_ (Wave Books, 2021) is forthcoming in June, and is available for preorder here. Music: "I Recall" by Blue Dot Sessions from the Free Music Archive CC BY NC

In this episode we continue to unpack the legacy of colonialism with these guests: Shawna Larson (Deputy Director of the Native Movement) Aaron Leggett (Senior Curator of Alaska History and Indigenous Culture at Anchorage Museum and the President of the Native Village of Eklutna) TJ Smith (President of the Indigenous Ministers Association and Pastor of New Song Covenant Church in Anchorage) Curt Karns (Executive Presbyter of the Presbytery of Yukon) Curtis Ivanoff (Superintendent of the Alaska Conference of the Evangelical Covenant Church) More from our guests / resources they mentioned: All about the excellent work of Native Movement including the trainings they offer: https://www.nativemovement.org Mark Charles TED talk on the Doctrine of Discovery:  https://www.ted.com/talks/mark_charles_the_truth_behind_we_the_people_the_three_most_misunderstood_words_in_us_history Is an apology in order? By Curtis Ivanoff: https://issuu.com/eccaksinew/docs/spring_2017 About the Indigenous Ministers Association of the Evangelical Covenant Church: https://www.northwestconference.org/interview-with-the-rev-tj-smith-president-of-the-indigenous-ministers-association/ About indigenous leaders in the Evangelical Covenant Church: https://covenantcompanion.com/2020/03/12/sacred-stories/ News Story about the Presbyterain Church apology:  https://www.alaskapublic.org/2017/02/08/presbyterian-church-formally-apologizes-to-north-slope-natives-for-denouncing-culture/ Resources Used to Create this Episode: https://www.theparisreview.org/interviews/1720/the-art-of-fiction-no-139-chinua-achebe https://slate.com/culture/2019/11/history-is-written-by-the-victors-quote-origin.html George Santayana (1905) Reason in Common Sense, p. 284, volume 1 of The Life of Reason  https://www.gutenberg.org/files/15000/15000-h/15000-h.htm#vol1 https://www.ted.com/talks/chimamanda_ngozi_adichie_the_danger_of_a_single_story?language=en https://ltgov.alaska.gov/information/alaskas-constitution/ Jones, P., 2010, City for empire: An Anchorage history, 1914-1941, University of Alaska Press, Fairbanks.