Monthly Archives: February 2025

Voice of America Museum Revisited

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The nearby National Voice of America Museum of Broadcasting reopened last month after a seven-month closure for refurbishing. I visited the museum back in 2022 but had been hearing about the update and decided to fill an idle Saturday with a return visit. One thing that is different from the last time is noticeable from the outside. Visitors now enter from the side rather than the front. I’m guessing that’s part of the recent rework, but it might have been that way beforehand.

I arrived a few minutes ahead of the day’s first guided tour, and I used those minutes to look over the Cincinnati radio and TV displays near the entrance. Cincinnati was a real leader in the early development of both forms of broadcasting. The pictures are of the Larry Smith Puppets and the Ruth Lyons set. Smith came to fame on the Uncle Al Show and later had a show of his own. Ruth was a true pioneer in daytime talk TV. Note the converted-to-color Predicta TV next to Ruth’s sofa.

When I visited in 2022, the display of Cincinnati’s commercial broadcasting history was kind of like a big attic. These nicely designed exhibits are typical of the improvements made during the recent refurbishing. 

When the United States entered World War II, Cincinnati’s WLW was using this 50,000-watt transmitter to broadcast entertainment to South America via shortwave. The newly created Voice of America initially rented the transmitter and started broadcasting on February 1, 1942, less than two months after the bombing of Pearl Harbor. In the second picture, Joe, our guide, demonstrates how shortwave signals reflect off of the ionosphere and bounce around the globe.

The Volksempfänger (people’s receiver) existed to bring Nazi propaganda into German homes, and USSR-built transistor receivers did the same for the Soviet Block. The VOA never managed to get its programming to the Volksempfängers, but the BBC did. People figured out how to tweak the Soviet radios to pick up both. Incidentally, VOA has never broadcast propaganda, rightfully believing that broadcasting the truth is more effective.

Within about a year and a half, the building that is now the museum was complete, equipment was in place, and a huge array of antennas was erected. The last picture is just the front panels of the 250,000-watt transmitter, which is not just room-sized — it’s a room. I think at least half of our tour group stepped inside at the same time without a hint of crowding.

Here is something left over from World War II that is still pretty useful. 

Book Review
Leaving Tinkertown
Tanya Ward Goodman

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My October Tinkertown visit began with a nice chat with owner Carla Ward. We had exchanged a few emails when I reviewed her 2020 book, The Tinker of Tinkertown, so of course, that was a topic, and talking about that book naturally led to her mentioning that the Tinker of Tinkertown’s daughter had also written a book about her dad. Leaving Tinkertown was published about a month after what had been my most recent visit to the museum, so maybe I can be forgiven for not knowing about it. It took a while for the copy that went home with me in October to reach the top of my reading list, but once it did, it quickly made an impression. Tanya Ward Goodman has remarkable writing talent — and she’s not afraid to use it.

There is a lot of not being afraid, or more accurately overcoming fear, in Leaving Tinkertown. Ross Ward, Tinkertown’s creator and Tanya’s father, was diagnosed with Alzheimer’s Disease at age 57. Everyone around him had plenty of fear to overcome.

Tanya was living in Los Angeles at the time but was present in New Mexico when the diagnosis was delivered and even moved back to the museum that had been her childhood home for a while to help with things as the disease progressed. On the day of the diagnosis, she found herself remembering stories her dad told her as a child and wondering just how the plaques and tangles the doctor tried to describe would affect her father’s brain. She asks herself, “Will he survive this? If he doesn’t, who will tell the story?”

It seemed pretty obvious that it would be Tanya who told the story, and that sort of reinforced the idea that the book was about Ross Ward. I did certainly learn a lot about the incredibly creative artist from this book, but I soon realized that the book really was about its author. I suppose I should have known that from the title.

Tanya’s life wasn’t exactly typical. That her parents divorced and her dad remarried when she was quite young is hardly unusual, but that her mother and stepmother were both important influences as she grew up was a bit so. Even more unusual were occasional trips with her father as he traveled the country, painting rides and signs for carnivals and the like. The house she grew up in had walls made of concrete and empty bottles. It was filled, like a museum, with her dad’s artwork, and part of it was an actual museum open to the public.

Alzheimer’s is a main character in the book. When Ross is diagnosed with it, his mother insists on leaving South Dakota to be with her son in New Mexico. Before long, the disease had grabbed her too. It moves fast and is a sort of highspeed preview of what to expect with Ross. Tanya writes about the strain this places on everyone in the family with complete frankness and uncommon skill. This is what I had in mind when I spoke of her not being afraid to use her writing talent.

Of course, she must have overcome a considerable amount of fear in writing about other aspects of her life, such as the budding romance she put on hold in California to spend time in New Mexico. And overcoming fear and other emotions surely played a role in dealing with all those issues in real life, too.

I have some experience with Alzheimer’s. It is what took my dad. But he was in his 80s, not 50s, and was as far from rebellious as it is possible to be. Also, I was close to it for only a few months and not a few years. So, there are many problems Tanya and others had to deal with that I cannot relate to. But watching a guy that could once do anything turn into someone who can do nothing… Yeah, that’s tough.

Leaving Tinkertown is part of the Literature and Medicine Series from the University of New Mexico Press. Part of their stated mission is to showcase “the texture of the experience of illness,” which this book does incredibly well. It’s been out for more than a decade now, so I don’t think anyone would call it a spoiler if I let it be known that the budding romance bloomed and that Tanya is happily back in LA with a husband and a couple of kids.

Leaving Tinkertown, Tanya Ward Goodman, University of New Mexico Press (August 15, 2013), 6 x 9 inches, 232 pages, ISBN 978-0826353665
Available through Amazon.

Happy Lupercalia

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Two weeks ago, I had nothing planned for this blog and was preparing to dust off an old Groundhog Day or Imbolc post when I spotted a notice for a motorcycle show on Groundhog Day Eve. That led to Beer and Bikes, and the Imbolc and Groundhog posts were left on the shelf for another day. When I found myself in the same situation around Valentine’s Day, I got to wondering if Valentine’s Day had the same relationship with older, often pagan, holidays that days like Easter, Christmas, and Candlemas have. After all, its full name is Saint Valentine’s Day.

For me, the answer is probably. Almost all online articles about the history of Valentine’s Day mention the Roman feast of Lupercalia but most stop short of firmly linking the two with phrases like “many believe” there is a connection or that a connection “has been suggested”. Count me among the many who believe.

Lupercalia comes from the Latin word lupus which means wolf. Theories about its association with the feast include a deity that protected herds from wolves and the wolf (pictured above) that kept Romulus and Remus alive so they could get Rome started. Some descriptions of Lupercalia imply it was a one-day event held on February 15. Others say it was a three-day affair that filled the 13th, 14th, and 15th.

Regardless of how long they say it lasted, everybody describes it as a quite raucous celebration. Participants were drunk and naked. Men sacrificed goats and dogs then whipped women with strips of the animal’s skins to increase fertility. At some point — which I assume was after the slaughter, skinning, and whipping — men and women were paired up by lot for the duration of the festival. Trysting with a possibly blood-splattered random lady after trying to make her more fertile doesn’t seem all that wise or even fun, but times were different.

That the Christian Church would want to replace that with something more sedate seems natural, but the origins of Valentine’s Day are not well documented. There seems to be no shortage of saints named Valentine. Two are connected to February 14 by virtue of reportedly being executed on that date in different years. The Eastern Orthodox Church celebrates a different Saint Valentine on July 6 and yet another on July 30. One of those guys executed on that special day in February was sentenced to die because he persisted in marrying Christian soldiers when the Roman emperor forbade it. That could be what initially got the day associated with love and romance, but I’m betting it was the Lupercalia lotteries.

Associating romance with the day really picked up steam after Chaucer published “The Parlement of Foules” in 1375, and a few Valentine cards were sent between lovers during the next couple of centuries. Then Cadbury came up with heart-shaped boxes of candy for the day in 1868, and Hallmark started printing Valentine’s Day Cards in 1913. It is predicted that Americans will spend $2.5 billion on candy this year and $1.4 billion on cards. Throw in jewelry, flowers, and romantic dinners, and the total bill is expected to reach $27.5 billion. I’m sure goats and dogs are also celebrating, but they’re doing it very quietly.

The opening photo is of the Capitoline Wolf in Cincinnati’s Eden Park, taken June 1, 2014. The statue has been admired, denounced, stolen, and replaced. Read about it here.

America’s Packard Museum Revisited

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On Friday, my friend Terry and I visited America’s Packard Museum in Dayton, Ohio. This seems to be a once-a-decade thing for me, with my first visit coming in September 2000 and the second in March 2011. Even though this was my third visit and Terry’s first, we both saw — or at least noticed — some new things. For me, those things embarrassingly included this Adonis, a.k.a, Sliding Boy, hood ornament. 

I was familiar with the Goddes of Speed and Cormorant ornaments described here. But, despite having seen plenty of Packards, both in and out of museums, the existence of the Adonis ornament had never registered with me. The ornament in the opening photo is on a 1930 Boat-Tail Speedster and is the one that finally caught my attention. Any thoughts that this was my first time being exposed to an Adonis ornament are completely done in by this detail from a photo of that same car taken in 2011.

By coincidence, we were there on a day when Lola Signom, widow of museum founder and namesake Robert Signom, was volunteering. It was Lola who explained to me that a choice of three different hood ornaments was once available to Packard buyers. The Sliding Boy seems to have been the least popular of the three. Another friendly museum staff member also answered multiple questions and supplied lots of information. Although I read his name tag with the best of intentions, my memory has again failed me, so I have to thank him namelessly.

And now for some cars. Straight ahead of the entrance is a 1902 Model F, which I believe is the oldest car in the museum. Just to the right of the entrance is the museum’s newest car, a 1958 Packard Hawk. Packard merged with Studebaker in 1954, and the products essentially became Packards in name only. The prominent front corner spot is occupied by a 1934 Super 8 7-passenger Touring car that has carried General Eisenhower, Admiral Nimitz, and other big names.

Many things about this 1934 Super Eight Sport Phaeton impressed me, but I think the two biggest are that it has not been restored and that it was purchased new for a 16-year-old girl who might have been a little bit spoiled. Read its placard here. 

Although this 1941 One Twenty convertible is only seven years newer than the convertible in the last paragraph, it has a column shift which our poor little rich girl may have found easier to drive. Of course, she still might have disliked the color.

Here is that Boat-Tail Speedster whose hood ornament appears in the opening photo. Packard built trucks between 1908 and 1923 and they were used quite a bit by the Army in WW I. The top speed of this 1919 Model E Five Ton Truck is 11 MPH which is no doubt more than enough for a driver depending on those solid rubber tires for cushioning. The 1918 Twin Six Runabout competed in the 2002 Great Race and is now available as a photo prop at the museum.

There is now an enclosed walkway to the museum’s annex. Signs say that post-war cars are featured there, though some might see a problem with the first car pictured. It sure looks like the “Dutch” Darrin-designed cars that people like Clark Gable and Errol Flynn liked to be seen driving in the late 1930s and early 1940s. It is exactly like those because it was built by “Dutch” Darrin using existing castings and molds in 1971. There is no question about the other two pictured cars being post-war. The 1951 200 Club Sedan placed fifth overall in the 1951 Carrera Panamericana with the help of a young mechanic named Pablo Merrigan. In 1995, Merrigan completely restored the car and began racing it himself. The last car pictured is the one that took Don Corleone to the cemetery in The Godfather. It’s a 1948 Henney Landau 3-Way Hearse. The 3-way designation comes from the rear-hinged side doors allowing coffins to be loaded from either side or the rear.

Packard began building cars in Warren, Ohio, in 1899 but moved to Detroit, Michigan, in 1902, where it remained until the merger with Studebaker in 1954. Plans to restore various parts of the immense complex never came to fruition. According to Wikipedia, “By late December 2024, all structural components of the plant had been razed, except for two adjacent sections along E. Grand Boulevard which are slated for preservation.” This is the lintel from the west entrance to the Packard office building on East Grand Boulevard in Detroit.

There is a Packard museum in Warren, and I’ve visited it three times (2011, 2012, 2023) between Friday and my most recent visit to the Dayton museum. The National Packard Museum in Warren and America’s Packard Museum in Dayton are both great museums, and both are worth visiting. I do naturally feel some regional pride in the Dayton museum, and I like that it is housed in a building constructed as a Packard distributorship, which served that purpose for many years and now has its original neon sign hanging outside. Visiting either is good. Both is better.

Beer and Bikes

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Descriptions of Cincinnati’s Rhinegeist Brewery often mention the size of the taproom. It is housed in the former Christian Moerlein packaging plant, and it is big. Knowing that whiffle-ball tournaments have been held there should give you some idea of just how big. Events I’ve attended here include the library’s Maker Fair and a birthday party that was one of about a half dozen that were happening simultaneously, but Saturday’s Garage Brewed motorcycle show was a first for me.

I had breakfast at nearby Dunlap Cafe, then dawdled until just a few minutes before the scheduled noon opening. A block-long line of attendees who hadn’t dawdled as long as I did greeted me when I arrived. The doors soon opened, and the line started moving, but there was a lot of sidewalk and three flights of stairs to cover, so the taproom was already hopping by the time I entered.

The FAQ on the show’s website said 55-60 bikes were expected, but I think the count was well above that. I won’t claim that I’m showing a representative sample, but it is a sample.

Putting two engines in a motorcycle involves some pretty impressive engineering in addition to some very impressive craftsmanship. There is a closer look at the Triumph from the other side here.

There were some bikes on an upper level I don’t believe I’d ever seen before. I snapped an “overhead” shot from the landing on the way there.

All those heavily modified motorcycles were pretty cool, but I liked the vintage stock entries — even those showing some patina — at least as much.  Of course, some of those vintage bikes looked even better than they did when brand new.