Flashback Friday: Celebrating Mother's Day at The Great Plains Zoo
SIOUX FALLS, S.D. (KELO) – Mother's Day is on Sunday and people all over will be finding different ways to say thank you to mom. But it's not just humans who have a special connection with their mothers. In this week's Flashback Friday, Keloland's Bobbi Lower takes us back to 1982 to see how a family of Lions joined in on the celebrations at the Great Plains Zoo.
This is Apollo, a three-month-old African lion club, and this is her mother, and father. For educational use, Apollo is taken away from her mother and father at the Great Plains Zoo, but in the wilds of Africa, the family would all live together, with mom taking care of Apollo.
'Lions are very good mothers. In the wild, a lion cub and its mother are real close, and like the lion cub will stay with the mother for like two or three years. They get a real close bond'
She says it's really not necessary for cubs to stay with their mothers for two years, it's just a way of life. They hang around till they take a mate.
'They're a social animal, they live in groups, and it's just…how they're…they're that type of animal, they live close together. They'll just say were there is protection and food.'
As you can see, lions aren't the only social animals, but people may be the only ones that honor their moms.
There's one thing for sure, The Great Plains Zoo is a grand place to spend mother's day, and that's no lion. Bobbi Lower, KELOLAND News.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
San Francisco Chronicle
7 hours ago
- San Francisco Chronicle
Can a new art space succeed in San Francisco's struggling Tenderloin?
TnT Art Lab isn't officially open, but people walking by its future location on Turk and Taylor streets in the Serif building are already curious. Video installations, paintings and textile works are already on view in the unfinished space that often draws passersby to peer inside. Bradley McCallum, founder of the project through his 36-year-old nonprofit Conjunction Arts, usually invites them inside. 'Our goal is to really activate the corner with regular viewing hours and events,' said McCallum, a multimedia artist whose work is rooted in social practices and activism. McCallum envisions TnT as a hub that will bring social art to the Tenderloin, a genre focused on making work that emphasizes collaboration, community building and human impact. In social art practice, creativity is viewed as a catalyst for positive change and collective transformation. To that end, McCallum's plans include an international artists residency, exhibitions, a dialogue series and other community programming. The 2,000 square foot space is already framed out for different areas, with studio space, a media library and a flexible gallery all key to the overall mission of TnT Art Lab. McCallum also knew it was important to build a kitchen. 'One way we come together as a community is through food, and being able to gather for a cup of tea or for a glass of wine,' said McCallum. 'This is about standing beside people and not in front of them, joining a community and joining the table.' 'The idea is that TnT can be this open, porous space and exist as part of that larger arts network too,' said Natasha Becker, McCallum's wife and a member of Conjunction Art's Board of Directors. 'It's an amazing opportunity to be one of the nodes in this already rich network.' McCallum and Becker relocated from New York after she accepted a position at the Fine Arts Museums of San Francisco as its first-ever curator of African art. He recalls driving from his studio at the Minnesota Street Project through the neighborhood in the evenings during a bleak moment of the city's pandemic recovery. 'Bearing witness to some of the most visible and difficult challenges of homelessness, drug addiction and poverty on Sixth Street left a lasting impression,' said McCallum. 'Here was an opportunity, adjacent to some of the most difficult challenges, to invite artists to come in and look more deeply at these problems instead of turning a blind eye.' McCallum learned the space was available in the fall of 2024 through gallerist Jonathan Carver Moore. His eponymous gallery, on the Market Street side of the Serif, has helped bring new life to the building since opening in March 2023, with shows that often spotlight LGBTQ+, female and Black artists. In January, McCallum began fundraising with a dinner in the space during San Francisco Art Week. He later hosted a closing party in May for TnT's benefit auction, which featured works by local artists including McCallum, Arleene Correa Valencia, Michele Pred and Reniel Del Rosario as well as Nigerian textile artist Daàpo Reo, Lebanese painter Hiba Kalache and South African photo artist Zanele Muholi (who is on the organization's advisory committee). The auction raised $108,600, with $50,000 dedicated to building out TnT's space and the remainder shared with the artists. At a time when institutional and government financial support for the arts is grinding to a halt, McCallum has mostly sought private donors — though TnT has received an SF Shines grant for $10,000 and a grant from the Mid-Market Alliance for $5,000 for their graphic window display. (He notes TnT Art Lab's website donation page is open.) Joy Ou, president and CEO of the Serif's developer Group I, said she has long believed in the Tenderloin's potential for the arts. She recently sold the neighboring Warfield Building for $7.3 million to the Community Arts Stabilization Trust and KALW Public Media. Plans for the nine-story building center around Warfield Commons, a hub for media, journalism and literature. KALW will occupy two floors, while the CAST will manage the property and occupy one floor. For all its challenges, arts in the Tenderloin have been on an upswing in recent years. In 2023, experimental art and performance space Counterpulse completed a $7 million fundraising campaign and entered into a partnership with CAST, enabling the nonprofit to buy its longtime building at 80 Turk St. The Tenderloin is also part of the Compton's Transgender Cultural District, which was established in 2017 to recognize the historic trans and queer population in the neighborhood. 'It feels like a very exciting time for the neighborhood, and for arts in the neighborhood,' said McCallum. 'There is a synergy that can be created between all these things.' When plans with the Magic Theatre to take over the space at 67 Turk St. as part of the building's community benefits package fell through, Ou said she began looking for an organization that would bring steady foot traffic. 'I told Brad, it's a 24/7 activation that's needed here,' said Ou. 'It needs that social justice type, like him.' Ou, a board member at the Museum of Craft and Design in Dogpatch and advisor for the Luggage Store Gallery on Sixth and Market, said she was familiar with McCallum's 2024 painting series 'Inescapable Truths: James Foley's Indelible Legacy,' which transformed video of the late journalist murdered by ISIS in 2014 into paintings with augmented reality components. That work, she said, confirmed for her that TnT was a fit for the building. 'For anybody who takes this on, they have to believe in the arts,' Ou stressed. 'You have to be a strong artist and you have to understand how this community works.' Ou has promised McCallum a 10-year, rent-free lease on the space if he can raise the $175,000 needed to complete the buildout. But she didn't just work with McCallum on favorable lease terms, she made a $25,000 donation to TnT from her personal foundation and joined the organization's advisory committee. So far, McCallum has raised $125,000 toward completing the space and is seeking an additional $350,000 for the first year's programming. He hopes to open TnT with a show featuring Bay Area artist Hector Zamora and Muholi this fall. 'We are trying to revitalize downtown, including Mid-Market,' said Ou. 'And how do we do that? It's by bringing art.'
Refinery29
2 days ago
- Refinery29
These Archive Photos Honour The Windrush Generation's Legacy Of Style
My grandfather, originally from Barbados, passed away when I was 2. It didn't leave much time to get to know him outside of family stories, but elders in my community would tell me that they could see him – a very tall man whose suits were always razor sharp — in me. 'Look, she!' they would laugh in patois as I walked past. 'She is Mr Blackett, himself.' I recently began searching through old photographs of my grandparents — they have all 'gone to glory' now, as they would say — and marvelled at their elegant and immaculate presentation. My grandmother on my mother's side, originally from Antigua, passed away earlier this year. She was a woman known for her faith, a powerful voice that turned everyone's heads in church, but also for her style. She was known to wear a fascinator with a long matching dress on an average Wednesday. Like many Caribbean people who migrated to this country in the 50s and 60s, my grandmother's adjustment to the UK wasn't easy. But she took extra special pride in her appearance — a value that was passed down to my entire family. I've been thinking a lot about the legacy of style left behind by this generation. It's soon Windrush Day (June 22), and more than 75 years ago, the first Caribbean migrants arrived on the HMT Empire Windrush in 1948. It's said there were 1027 passengers on board hailing from Jamaica, Trinidad, St Lucia, Grenada, and Barbados. Many of those who arrived had served in the British armed forces during the war and were recognised as citizens of the United Kingdom — part of the 'Empire'. As they arrived in England, hopeful for the life and opportunities promised by the 'Mother Country', many wore their Sunday Best as they traversed to this new frontier. It's said that Caribbean migrants received a pamphlet ahead of going to Britain, documenting how they should dress for the cold (freezing weather my grandma would describe as 'wicked!'). Yet, as was reported in The Thurrock Gazette in 1948, they arrived via the Empire Windrush 'Dressed in an odd assortment of clothes, many wearing ties of dazzling designs.' ' The origins of the Black British aesthetic — the fusing of Caribbean and African influences in British fashion, music and culture — arguably began here. ' You may have seen the incredible photos from this arrival and the other ships that followed over those years: Caribbean men, like my grandfather, in tailored suits, wide-brimmed hats and Fedoras, overcoats, and shined-up shoes. Women, a picture of sophistication, in frilled blouses, dresses, and bold jewellery. In many ways, these photos capture the start of the Caribbean's influence on British culture. The origins of the Black British aesthetic — the fusing of Caribbean and African influences in British fashion, music and culture — arguably began here. Today, we continue to see echoes of that original elegance in contemporary fashion. Cast your mind back to May, when Vogue unveiled the theme for the 2025 MET Gala, fashion's biggest night of the year: ' Superfine: Tailoring Black Style.' With its chair of stylish Black men — Colman Domingo, A$AP Rocky, Pharrell Williams, and Lewis Hamilton — the event successfully introduced the fashion world to Black Dandyism. As Unbothered writer Taryn Finley explained at the time, a Dandy is, by its official definition, 'a man unduly devoted to style, neatness, and fashion…' However, during the transatlantic slave trade, 'enslavers dressed Black people in extravagant clothing and paraded them around, calling them 'luxury slaves.' It was used as a dehumanising form of minstrelsy that further objectified Black men.' Taryn explained that as time went on, Black people reclaimed Black dandyism. The Met Gala intended to illustrate this reclamation, and it largely achieved this. As celebrities stepped out in flamboyant suits, exaggerated wide-brimmed hats, perfectly rounded afros, prints and more in honour of the MET Gala's theme, my immediate thoughts went back to those photos taken on the Windrush ship (Lewis Hamilton's suit, made by Black British designer Grace Wales Bonner, paid a subtle homage in its small details). Though they may not have described their style by the same name, the Windrush generation also embodied the spirit of Black dandyism. The Sunday Best suits and tailoring (from my parents' accounts) gave them an unmistakable swagger that disrupted the common status quo of British fashion. They were seen, and this visibility formed part of the resistance. Mahoro Seward put it best for British Vogue back in April, 'Black contributions to Britain's sartorial canon are as extensive as the existence of Black communities on these isles, with dressing long serving as a crucial means of resisting against and rising above diminishing perceptions – and defiantly asserting an empowered, dignified sense of identity.' Indeed, for the Windrush generation and the generations that followed, dressing wasn't just about style but dignity in a time when they faced the ugliest sides of Britain; from Notting Hill slumlord Peter Rachman's discriminatory housing policies, race riots and rampant racism. Like the best of fashion, it can reflect a time and space — economic stability or instability, social unrest, a disillusionment in government, etc. In this case, by dressing with intention, Black men and women helped challenge dominant ideas about race; tailored clothing was a point of pride, in a time when your skin colour made you both visible and vulnerable. And so, they gave them something to look at. Now, where the injustices of the Windrush scandal — when Caribbean immigrants were wrongfully threatened with deportation and denied rightful citizenship in 2018 — are still felt, looking through these photos has felt like a balm. I am reminded that here in the UK, Black Brits continue to shape culture. Our legacy isn't just stitched into the seams of sharp suits and Sunday hats — it's woven into the very fabric of British culture.
Yahoo
2 days ago
- Yahoo
Parties, pyres and pharoahs: Africa's top shots
A selection of the week's best photos from across the African continent and beyond: The women at the centre of Somalia's construction boom 'No-bra, no-exam' rule at Nigerian university sparks outrage Why the death of a blogger has put Kenya's police on trial Go to for more news from the African continent. Follow us on Twitter @BBCAfrica, on Facebook at BBC Africa or on Instagram at bbcafrica Focus on Africa This Is Africa
