International Peace Museum
Dayton, OH

Here’s another not-new-to-me museum. My personal history with the International Peace Museum is a bit different than that with the Harmon Museum or Behringer-Crawford Museum in that an earlier visit was documented. That first visit took place more than a year before this blog was born, when this sort of thing was covered as an Oddment. The Oddment entry for my 2009 visit is here.

Another difference between this museum and those others is that the Peace Museum has moved since I last visited. It now shares a building with a Ludlow Street address, and that is how I entered. But the museum extends all the way through its half of the first floor and can be accessed from Courthouse Square. That’s the side pictured in the opening photo. A straight-on view of that mural is here, and of the adjacent text panel here.

The lobby was set up for a presentation scheduled for later in the day. The column to the left of the first photo is called the Peach Pole. Among the images covering it, the word “peace” appears in the twenty most commonly spoken languages in Dayton. Hand-drawn panels hanging overhead make up an exhibit named “Bridges”. The lobby also contains a pretty cool neon sign.

The Anti-War Gallery was the first room I entered off the lobby. Most of the artwork is from Beryl Bernay and J. Kadar Cannon. The sculpture in the middle of the room is by Lori Park.

The founding of the International Peace Museum in Dayton in 2004 was at least partially an outgrowth of the city being the site of the signing of the Dayton Peace Accords in 1995, and the museum contains a sizable exhibit devoted to that event. The accords did end the violence of the Bosnian War, but, like so many agreements before and since, left lots of problems unsolved.

An equal amount of space is devoted to the North Atlantic Treaty Organization. Last year’s 75th anniversary is noted, along with many of its peachkeeping successes during those years.

This guitar is the only item I distinctly remember from my 2009 visit. As described here, it belonged to conscientious objector  Ted Studebaker, who was killed in Vietnam in 1971 while helping farmers there. Studebaker was from nearby West Milton, OH. 

Movie Review (JK)
The Wizard of OZ
Metro-Goldwyn-Mayer

Of course, I’m just kidding about reviewing the greatest movie ever made. What I am reviewing is seeing The Wizard of Oz in a theater for only the second time. The first time was in 2022, when it was shown in theaters nationwide to commemorate Judy Garland’s 100th birthday. This time, it was shown as part of Ohio Goes to the Movies, a Signature Event of America 250-Ohio.

Ohio Goes to the Movies sponsors free showings of movies with Ohio connections at locations spread throughout the state. One of The Wizard of Oz showings was in Wilmington on Sunday. That’s where my daughter lives, and she and my grandson attended too. Not every seat was filled, but the event’s popularity prompted a second showing. Megan and Wes got there early and secured tickets for the first showing. Good job.

The movie is connected to Ohio through having two major roles played by actors from here. I was aware that Margaret Hamilton, who played Almira Gulch and the Wicked Witch of the West, was from Cleveland, but I don’t believe I knew that Uncle Henry was played by a fellow from Xenia, Charley Grapewin. Grapwin literally left home to join the circus and first played Uncle Henry in the 1903 Broadway stage production of The Wizard of Oz. Xenia is about twenty miles north of Wilmington.

There were some prizes awarded by raffle, but I didn’t bother to register, so I’m not sure how that worked. There were also some live games being administered by familiar-looking characters, and the concession stand staff was very much into the spirit of the day.

Once we were in our seats, all of the Oz folks except for the Scarecrow (possibly too busy selling popcorn) hung out near the screen for a round of trivia. I would not have done well and stayed quiet. Did you know the flying monkeys were paid $25 per “swoop”? Everybody knows what came next, and it was just as cool as I remembered it.

I think I’ll probably attend at least one more Ohio Goes to the Movies event. 1935’s Annie Oakley will play at Greenville’s Wayne Theater in July, and I’d like to be there. Maybe I’ll see Buffalo Bill Cody or Chief Sitting Bull at the concession stand.

Behringer-Crawford Museum
Covington, Kentucky

When I reported on my visit to the Harmon Museum in Lebanon, OH, and mentioned that other museums not entirely new to me were candidates for future blog posts, the Behringer-Crawford Museum in Covington, KY, was very much on my mind. I’ve been there before and counted its pleasant setting in Devou Park among reasons to return. Friday was not quite the perfect spring day I’d been thinking of for a visit, but it was sunny, pretty darn warm (60°+) for mid-February, and I was in the area.

The attendant indicated that there really wasn’t a suggested sequence for exploring the museum. I decided to start at the top and work my way down. The visitor guide discusses just three floors, but the elevator goes to four. Some offices are located here, along with a play/learning area for young children.

There are displays, including the upper deck of a USS Wake Robin mockup, in an adjacent area overlooking third-floor displays identified in the guide. They are reached by descending the spiral stairs or by elevator. The Wake Robin was built in 1926 as a lighthouse tender, became part of the Coast Guard fleet in 1938, then spent several of its later years as the USS Nightmare, a Halloween-themed attraction on Covington’s riverfront. Folks with a good imagination might see some similarity between the third picture and this blog’s page-topping image of the Delta Queen making its final departure from Cincinnati under the real Roebling Bridge.

A peek through one of the round windows on that level shows a bit of Devou Park Golf Course and offers a sense of the pleasant setting mentioned earlier. Beside it are some of the museum’s original displays of the area’s natural history.

I knew they had to exist somewhere, but commodes of the past aren’t displayed all that often. Child-sized ones seem particularly rare. Just across the hall, the actual available-for-use restrooms have a rustic yet inviting appearance.

The third floor is also where temporary exhibits are displayed. This space is currently occupied by “Treasures From the Attic: 250 Years of Fashion and Furniture”. The middle photo is of Lee Meriwether’s costume from an appearance in Star Trek, along with her 1955 Miss America trophy. For some reason, both costume and trophy are currently in the possession of Augusta, KY, native and 2000 Miss America Heather French, as noted here. The gown in the third photo was worn by 1948 Miss America Bebe Shopp.

I took no notes regarding this furniture or this fashion, but each is properly described by placards at the museum.

Among the few pieces of furniture that I did have any thoughts on were these home entertainment systems. The one on the right is quite similar to the one I cranked up my Beatles and Dave Clark 5 LPs on when Dad wasn’t home.

The museum has a nice display on the development of roads in the area. Yes, that’s a Dixie Highway map in the lower part of the information panel. There is a Buick to watch movies (actually old TV commercials) in, and a Studebaker (once the “World’s Largest Vehicle Manufacturer”) hanging from the ceiling.

Obviously, the museum is a first-class operation with outstanding exhibits on the history of northern Kentucky. Ironically, its most infamous exhibit is a two-headed calf that was actually born in Ohio. It is certainly a most unusual creature. The placard in front of the case is here, and the paper inside the case is here.

The calf is there fulltime as are all those informative displays of rivers, roads, rails, runways, and the rest of northern Kentucky. “Treasures From the Attic” is there through August 9, 2026.

Rembrandt at the Taft

There is currently an exhibit at the Taft Museum of Art called “Rembrandt: Masterpieces in Black and White“. I’m not very knowledgeable about art, but I thought the black and white part of that might not really be necessary. I would not call any of the few pieces of art I connect with the Dutch Master overly colorful. Yes, the fellow at the center of his most famous painting, The Night Watch, has a reddish sash and another fellow is wearing a reddish hat and uniform, but neither is particularly bright, and they are essentially the only splashes of color in the entire scene.

There is, as advertised, even less color in the works in this exhibit. It is made up of monochrome prints from etchings. The etchings are often rather small, and they can be quite detailed. Loaner magnifying glasses are available near the entrance to help make that detail visible. Also near the entrance is a timeline that places Rembrandt’s life (1606-1669) within the context of world events and other artists. The man had quite the impact. Bright colors, it seems, aren’t really necessary.

There are 49 prints from Rembrandt etchings on display, and, as noted and as can be seen, most are just a few inches in size. The cost of materials and a desire for portability were both reasons for this. Rembrandt made several self-portraits during his career, but this one from 1633 is said to be the first he signed and dated.

Since I know even less about etching than I do about almost every other art form, I found this display quite helpful. It seems the artist etches into a waxy layer applied to a copper plate, then acid does the etching into the metal.

In addition to the 49 Rembrandt etchings, the exhibit includes nine etchings he inspired others to create. One of those inspired was James Whistler, who, as we see here, used his niece as a model in addition to his more famous mother.

Admission to the Taft Museum of Art includes access to all permanent galleries, as well as this traveling exhibit of etchings from the Rembrandt House Museum in Amsterdam. Here is one of several connections between the two. This 1651 etching of Clement de Jonghe is cited as an example of Rembrant’s mastery of light and shadow and of his use of people’s expressions and gestures. The 1633 Portrait of a Man Rising from His Chair is an even better example of Rembrandt’s use of these.

“Rembrandt: Masterpieces in Black and White” is here through May 17, 2026.

Trip Peek #153
Trip #164
Wild and Wonderful Again

This picture is from my 2021 Wild and Wonderful Again trip. “Wild and Wonderful” is West Virginia’s tourism slogan. When I went there for Christmas in 2013, I called the trip “Wild and Wonderful Christmas”. When I did it again in 2021, “Wild and Wonderful Again” seemed like a rather natural name. Both outings were centered around state parks, but not the same state parks. In 2013, it was North Bend State Park. In 2021, the parks involved were Chief Logan, Pipestem, and Hawk;s Nest. The picture above was taken in the town of Matoaka, which I passed through on my drive from Chief Logan to Pipestem. As I said in the journal, I was getting a little down from the near-poverty I was seeing on the way to Matoaka, and the smiles and waves there put me in a much better mood.  On the way to West Virginia, I spent a night in Marietta, Ohio, and while in the state, paid a visit to New River Gorge.


Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full-sized photo and the associated trip journal.

Book Review
Coast to Coast on a Tandem
Tracy & Peter Flucke

The Fluckes were presenters at last year’s Route 66 Miles of Possibility Conference in Joliet, IL. The primary connection was their 2016 trek along Historic Route 66, which was their third unsupported cross-country trip on a tandem bicycle. This book covers the first of those trips, a 4,300-mile ride from Bellingham, WA, to Bar Harbor, ME, in 2014.

They smoothly alternated lines during the Route 66 presentation like co-anchors on the evening news. Their teamwork in a situation where it was nice but not mandatory hinted at how that team performed on one pair of skinny pedal-powered tires, where it was crucial. That’s also true of their teamwork on the pages of this book. In fact, the form of Coast to Coast on a Tandem seems closely aligned with the realities of tandem bike travel.

There are no passengers on a tandem bicycle. The person in front(captain), in this case Peter, is responsible for steering, which requires constant awareness of what is immediately in front of the bicycle. Bits of debris or small potholes that are no more than inconveniences when traveling on four wheels can be disastrous on two. The front rider is also responsible for gear selection and braking. In the back (stoker), Tracy is responsible for navigation, which means keeping Peter informed of upcoming turns, stops, and such. She also keeps an eye on traffic to the rear and keeps Peter informed of that as well. Both are responsible for powering and balancing their vehicle.

Their views from the saddle are not the same. Peter has a clear view of the landscape ahead, but is mostly focused on the road surface just a few feet away. Tracey has more time to contemplate the scenery, but her view is limited to the left and right. Anything more than short glances to the rear is uncomfortable and potentially unsafe, and the view ahead consists of little more than the back of Peter’s head.

The idea of two different views is carried into the book’s text. Instead of collaborating on a single combined narrative, Tracey and Peter each write their own version of events, and the two versions are interleaved. Sometimes, the pair of synchronized tales differ by no more than the distance between tandem bicycle seats, and sometimes they offer very different takes on a single set of events.

We all know that travel is enhanced at least as much by people as by location. The Fluckes meet and describe people in campgrounds, hostels, restaurants, grocery stores, motels, and through a cyclist-oriented home-sharing organization called Warm Showers. They also meet a few bicycle mechanics as they deal with the wear — especially on tires — and tear of long-distance pedaling. Almost all are friendly and either helpful, curious, or both.

Some of the people they meet are fellow cyclists. The Fluckes are barely twenty miles out of Bellingham when they encounter a cyclist on his way to Boston. Peter and Tracy are following the Adventure Cycling Association’s Northern Tier Route. Peter writes that an estimated 2,000 people travel this route each year. Some do it all, and some do short stretches of a few days or so. Some do it unsupported, like the Fluckes, while some do it as members of packaged tours with a support vehicle tagging along and carrying their gear. Are any of those people on a tandem?. Peter guesses “maybe 1 percent”. The Fluckes encounter none.

The book begins with descriptions of acquiring gear for the trip, physical training, shipping the bike, etc. Preparing their home world for a near three-month absence takes some effort, too. Once the trip is underway, each chapter begins with a map of the area covered in that chapter, and each day’s journal begins with the date, incremental and cumulative miles traveled, and a brief description of conditions. An example from a day in Montana is:

Day 21
June 21 — Havre to Malta, Montana
93 miles (total miles – 1,147
65-75 degrees, sunny with a nice tailwind to push us along

Not every day is sunny, and not every wind pushes them forward.

Coast to Coast on a Tandem is not a photo-heavy book, but there are several. All are in color. One is of the couple hoisting the bicycle overhead in Bar Harbour to celebrate completing the trip. Tracy calls it perfect—and lucky. “What were we thinking? Bike all the way across the country and have a complete stranger take only one picture to commemorate the event. Crazy.” Surely she knows better than to think that’s the only crazy thing described in the book.

Anyone even slightly familiar with me will know that the chances of me cycling across the country (or surviving if I did) are essentially zero. I assumed that the chances of my having anything in common with the trim and athletic Fluckes other than a love of traveling were also pretty much zero. I was surprised to learn that we share a fondness for craft breweries. Apparently, Peter and I even share a fondness for porters and Scotch ale. Furthermore, we both like to “collect” breweries. I, traveling in a medium-sized SUV, do it by logging them in an app on my phone. The Fluckes, traveling on a vehicle with the storage capacity of a medium-sized hummingbird, do it by purchasing souvenir glasses, which they then mail home fairly often.

Coast to Coast on a Tandem: Our Adventure Crossing the USA on a Bicycle Built for Two, Tracy & Peter Flucke, M&B Global Solutions (November 2, 2017), 6 x 9 inches, 230 pages, ISBN ‎ 978-1942731283
Available through Amazon.

Happy (Actual) Imbolc

Ten years ago, I wished everyone a Happy Imbolc for the first time. In 2023, I reused that post to wish you all Happy Imbolc Again. I’m doing it once more, and this time, it’s for real.

In 2024’s Happy Imbolc (Again/Exact/Maybe) post, I wrote about Imbolc being the instant that marks the halfway point between the winter solstice and the spring equinox, but in the end admitted that it was almost certainly originally seen as a day, and that that is pretty much how it is seen today. Furthermore, almost all Imbolc celebrants have surrendered to the arbitrariness of man-made calendars and tied the holiday to February 1, regardless of the sun’s position. Ask the internet when Imbolc 2026 is, and the most common answer you get will be February 1, although the actual solstice-equinox midpoint occurs on the third. Defining the holiday as sundown on the first until sundown on the second seems quite popular.

The last time February 1 fell on a Sunday was 2015, which was a year before I knew Imbolc existed. With that one year of ignorance as an excuse, I can say with sincerity that this is the first time in my personally recorded history that the widely recognized day of Imbolc coincides with the weekly publication of this blog. Happy Imbolc and Groundhog Day Eve to all.

ADDENDUM Feb 1, 2016: Almost as soon as this was posted, I realized that “actual” was the wrong word to use in the title. February 1 is more accurately called official Imbolc. Actual Imbolc is February 3.

It’s a Mad, Mad, Mad, Mad Exhibition

Almost from the minute the Cincinnati Art Museum announced that What, Me Worry? The Art and Humor of MAD Magazine was on the way; I have been part of a group numbering 2 to 6+ that made and scrapped multiple plans to attend. At last, three of us made it on Friday. We all had Mad Magazine memories. Two of us were almost exactly the same age, with memories from the late 1950s through the 1960s and maybe a little beyond. The third member of the group was some three decades younger with memories correspondingly offset. The exhibit covers Mad from its 1952 beginning, which means we each saw things we remembered, even if we didn’t remember everything.

Of course, one thing that everybody remembers is Alfred E. Neuman. He first appeared in the magazine in 1954 and soon became a near constant presence on the cover. There is definitely a connection with the 1914 “Original Optimist” drawing, but the image goes back even further. The opening “Will worry for food” image is much newer. It is the October 2009 cover, which I don’t believe I had seen previously, but it sure fits what I would expect from Mad in the twenty-first century.


Mad started out as a comic book, then became a magazine with this cover in July 1955. Note that Alfred E. Neuman appears in the banner at the top, although he had not yet been identified by name. Among the changes this brought was the ability to satirize government officials, which was something disallowed by the Comics Code Authority of 1954.

Don Martin was an absolute favorite of mine, and seeing his artwork for the cover of 1962’s Don Martin Steps Out! was a real treat. His “PAY TOLL FIFTY FEET” from the March 1980 magazine back cover is a true classic.

This was the biggest surprise for me, though maybe it should not have been. I know of Frank Frazetta from his outstanding work in fantasy and science fiction, but did not realize that he had ever been connected with Mad. This is one of three back covers he did for the magazine, and he also did one cover. “Early One Morning in the Jungle” was in the October 1966 issue, so it is possibly the first Frank Frazetta piece of art I ever saw.

One of the things Mad Magazine did best was satirizing movies and TV shows. It also had a knack for slipping jokes into comic strips that had nothing to do with the story and which (at least in my case) might not even be caught until the second or third reading. This spoof of “Wonder Woman” is an example of both. Diana Banana (Woman Wonder) and Steve Adore engage in a silhouetted display of affection near signs pointing to “Proving Grounds”, “Inproving Grounds”, “Coffee Grounds”, etc.

A long-running feature that first appeared during my peak Mad infatuation was the fold-in. Presented as the opposite of fold-outs from Playboy and others, fold-ins began appearing in 1964. As I looked over these framed examples, I wondered at the lack of “folded” versions, but was relieved to see a rack of creased pages on the wall. Some of the folding had probably not been all that precise, and certainly wasn’t after a bunch of repeats, but they all worked just fine to reveal the “real” pictures. If you want to do some digital “folding-in” on your own, there are some interactive examples here.

The exhibit is organized in a loose chronological sequence, and I was starting to get concerned about finding something on one of my favorite features. “Spy vs. Spy” came along in 1961, and I was well into the second half of the exhibit before these popped up. It’s pretty fuzzy, but there’s a slightly more readable version of that second image here. Incidentally, small sketches often appeared in the margins of the magazine, and that is sort of mimicked here with sketches on the walls, like the one with both spies in a bomb. Antonio Prohías, a Cuban refugee, originated the strip and drew it until 1987. The first pictured strip is his from March 1983. Peter Kuper picked up the strip full-time in 1997 and switched to color in 2001. The second pictured strip is his from June 2004. That one doesn’t work for me. That’s not in any way a dig on Kuper’s talent. I remember black-and-white drawings of a black character and a white character, each believing they were the good guy, even though it was starkly evident there was no difference between them at all. I suppose that’s still there with colored backgrounds, but it somehow seems less obvious.

What, Me Worry? The Art and Humor of MAD Magazine is here through March 1. It’s even free on Thursday evenings between 5:00 and 8:00..

Trip Peek #152
Trip #180
NOTR and PPOO Part 1

This picture is from my 2024 NOTR and PPOO Part 1 trip. A drive on the National Old Trails Road and the Pikes Peak Ocean to Ocean Highway had originally been conceived as a single trip, but it didn’t work out that way. Shifting schedules and commitments resulted in the parts of these two historic auto trails east of the Ohio-Indiana line being driven in August and the remaining parts being driven in October. This Trip Peek refers to a drive that began by heading east on the NOTR, reversed direction in the general vicinity of the Statue of Liberty, and ended on the PPOO near — but not quite at — the eastern edge of Indiana. In their final forms, both trails connected New York City with Los Angeles but managed to do it via mostly different paths. East of California, the PPOO was generally a bit north of the NOTR. In California, they were mostly one and the same. The selected picture is, of course, The Statue of Liberty. I have no evidence that the statue was a significant feature of either of the targeted trails, but it stands near the eastern terminus of the PPOO, and visiting it while “between trails” seemed a sensible thing to do.

Because I have driven the National Road, a major component of the NOTR, several times, the eastbound portion of this trip was over known territory as far as Washington, DC. East of DC, things were less familiar. Bridge closures and other new roadside items kept all of it from being boring. My oldest son lives a bit north of NYC, so I also worked in a “between-trails” visit with him and his family. Despite never having driven the actual PPOO east of Ohio, I had driven some of its components, so I had some recognition of the many small towns it passed through. But there were new things here also, so it too was not at all boring. The plan was to end Part 1 at the Indiana border, but a flat tire led to ending it about a hundred miles shy of the line, and moving that bit to Part 2.


Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full-sized photo and the associated trip journal.

Trip Peek #151
Trip #113
Lincoln Highway Centennial Caravan

This picture is from my 2013 Lincoln Highway Centennial Caravan trip. This trip was truly epic and one that was unique in multiple ways. It is one of only two trips on which I drove a classic car, or at least a car old enough to be called a classic. The car was a 1963 Plymouth Valiant selected to be half the age of the road it traveled. The other trip happened a year earlier when I drove the same car to the Lincoln Highway Conference in Canton, OH. Of course, that in-state drive to a city around 200 miles away is not in the same class as the full-length Lincoln Highway outing of 2013. The 2013 trip also stands out as the first trip that resulted in a published travelogue. I have now published nine, but “By Mopar to the Golden Gate” was the first, and it’s all about this trip.

The 35-day, 7,300-mile trip began with a drive east to reach the eastern LH terminus in Times Square, NYC. The centennial of the founding of the original Lincoln Highway Association would be celebrated in Kearney, NE, near the road’s midpoint. Caravans from the two ends would meet there for a parade and celebration. My friend John traveled with me from New York to South Bend, IN, but returned home from there. I drove on to Kearney with the caravan, then continued to San Francisco, where I connected with my son, as part of a much smaller group. From there, I drove home through Yosemite National Park and along much of Historic Route 66. Picking a few highlights to list in this Trip Peek would be pretty much impossible. As I said, it was an epic trip. Anyone interested should page through the online journal or read the book. And drive the Lincoln Highway if you possibly can.


Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full-sized photo and the associated trip journal.