Book Review
The Last Ride of the Pony Express
Will Grant

I have read and reviewed more than a few books about modern retracings of historic routes, including some I was personally responsible for. Almost all of them involved automobiles, with the result that those doing the retracing typically traveled significantly faster than the route’s original users. For the original travelers on the route that Will Grant followed in 2019, speed was far and away the main consideration. Relay riders moved mail over the nearly 2,000-mile-long route in ten days. Grant’s main consideration was safety. About 75 horses were ridden to near exhaustion in each Pony Express run. Grant’s safety and the success of his ride depended on two horses covering the entire distance. Will, Chicken Fry, and Badger got to know each other quite well during the 142 days they spent together during The Last Ride of the Pony Express.

I’ve been to the stable-turned-museum where Grant and all of those Pony Express riders began their journies west, and I have crossed the Missouri River at Saint Joseph, but it somehow never registered with me just how close that stable was to the riverbank. The stable and the river are less than half a mile apart. When I finally realized that, my first thought was to question why the Pony Express did not just place its eastern terminus on the other side of the river. It was a dumb question that I almost instantly answered. The Missouri River marked the border of the United States in 1860. St. Joseph was on the frontier. Pony Express riders began their westward dash with a ferry ride. Will Grant began his unhurried retrace with a police escort over a bridge.

Grant was very familiar with horses from a lifetime of riding, and I suspect he was more familiar than most with the history of the Pony Express and the geography of the American West. But he became a lot more familiar with these subjects as he prepared for his ride, and he shares that knowledge throughout the book. He also shares what I see as a sense of awe at the logistics of managing the hundreds of horses and men involved in the Pony Express. Many of us see only a galloping horse and rider when thinking of the Pony Express. Some may also think of brave station masters. Grant thinks and writes about all the men, and probably a few women, responsible for a constant supply of water, hay, and other necessities to those isolated stations, for the speedy breaking of horses to be ridden, and for all the other behind-the-scenes details of keeping an operation this big and spread out functioning.

The lack of that widespread support organization might be just as big a difference between Grant’s ride and those of 1860 as the speed of travel. Grant had the benefit of modern resources, including a sometimes-connected cell phone, and numerous generous routeside residents provided meals, showers, and places to camp. But he was basically self-contained and, despite several invitations, never slept in someone’s home. Surroundings ranged from too much civilization to essentially none at all. The severe isolation of parts of the trail is illustrated by Grant arranging for six caches of water and hay to be placed along the route through the Great Salt Lake Desert to make up for the lack of staffed and provisioned Pony Express stations.

The routeside residents also provide conversation. Sometimes history is explored, and sometimes the topic is something very current. Some subjects, like corporate ranches, wind farms, and wild mustangs, have the potential to become political, but Grant somehow manages to avoid that. Not only in his real-life conversations but in his informative writings. He’s really good at sharing facts, and maybe even describing a couple of viewpoints, without letting his own opinion distort them. In fact, most opinions held by others are reported with any rough edge they might have had removed.

I enjoyed encountering place names I recognized. Just as parts of the Pony Express route followed paths marked earlier by wagon wheels, feet, and hooves, some of it would later be followed by the tires of automobiles. Saint Joseph, MO, where it started, is where the Jefferson Highway and the Pikes Peak Ocean to Ocean Highway crossed. I recognized one of Grant’s camping spots, Hollenberg Station, from having stopped there while driving the PPOO. Farther west, the Lincoln Highway has led me to Dugway, Fish Springs, and other Pony Express-connected places that Grant mentions.

At Willow Spring Station in Callao, UT, another place the Lincoln Highway has taken me, Grant pauses for a day to rest himself and the horses. The last of his arranged caches lies between Callao and the stateline and beyond that, Nevada and California. There was still a long way to go, but the big desert was essentially behind him, and the day of rest may have prompted a look back. “No one, I thought, knows the ride of a Pony Express rider, but I’d come pretty close. My time in the desert, free from the distractions of population or vegetation or paved roads, had revealed what no book had conveyed, what I could not fully articulate, but what I knew was a past informant to our current psyche.”

On September 22, 2019, 142 days after crossing that bridge in Saint Joseph, Will Grant rode Chicken Fry up to the Pony Express statue in Sacramento with Badger in tow. The three had surely traveled more than the 1,966 miles said to comprise the actual Pony Express route. I’m still not sure whether I think the Pony Express was insane or brilliant. Crossing a 1,400-mile-wide gap in our country on horseback once in ten days is an impressive accomplishment. Establishing a system to do that in both directions twice a week is incredibly so. It is commonly estimated that something like 500 horses were used. Grant’s not buying it. He thinks a number between 1,500 and 2,000 is more believable.

I doubt I have ever spent much more than an hour on horseback at any one time, and I certainly don’t intend to try it now. I gained a slight sense of what multiple days in the saddle might be like without risking snakebites, saddle sores, or wild mustang attacks, and that’s close enough for me.

The Last Ride of the Pony Express: My 2,000-mile Horseback Journey into the Old West, Will Grant, Little, Brown and Company (June 6, 2023), 6.3 x 9.55 inches, 336 pages, ISBN ‎ 978-0316422314
Available through Amazon.

Returning to the Scene

In the days of my youth, Greenville, OH, had two movie theaters. I’m sure there were differences between the two, but I recall them as interchangeable. I know that I saw new movies like The Vikings and Ben Hur at these theaters, but I can’t remember which. I do remember that I saw Gone with the Wind at the State Theater when it was re-released for the centennial of the Civil War in 1961. I also remember that the Wayne Theater was where I saw Bambi. Oh boy, do I remember.

The 1942 animated feature has been re-released multiple times. One of those was in 1957, when the Wayne Theater must have looked pretty much the same as it does in the 1956 photo above. Our parents dropped my sister and me off at the theater with admission money and probably an extra dime for a pop. I was ten; my sister was seven. As hard as it is for some to believe, there really was a time and a place where this was not considered child endangerment. As everyone now knows, Bambi’s mom meets her end fairly early in the movie. That brought my sister to tears. Unable to stop the crying, I eventually headed to the lobby with her. In time, the crying stopped, but Sis had no desire to watch any more of that horrible movie. I, on the other hand, seeing no reason for me to miss out on the big screen entertainment, returned to my seat. At movie’s end, I hastened to the lobby, where, despite assurances she would wait, my sister was nowhere to be seen. She had tired of waiting inside and was standing just outside the theater when Mom and Dad arrived to pick us up. I don’t recall any particular punishment for abandoning my sister in the lobby, but I sure got a lecture.

My attendance at both Greenville theaters dropped to zero once I moved to Cincinnati. The State Theater closed in 1980 and was demolished a few years later. The Wayne Theater divided itself into two screening areas and soldiered on. I made it back inside the Wayne in 2006 when I happened to be in Greenville on the weekend that Cars was released. I had been anticipating the movie, and saw it for the first time at the Saturday matinee. This was still the era of 35mm film. Partway through the showing, the film or projector temporarily malfunctioned, and the house lights were turned on. Kids made up most of the crowd, and they immediately turned to the projectionist and began pointing and laughing. Just like the good old days.

In 2014, the Wayne Theater and three other movie houses owned by Alan Teicher closed. The Wayne found new owners, and there was initially hope for a quick reopening. The need to convert to digital projection was part of the reason for the closure, but additional issues and expenses were soon discovered. The new owners eventually threw in the towel.

Things were looking rather grim for the Wayne when Mike Jones and his family stepped up to save it. Mike and wife, Sherri, have saved other pieces of Greenville history, including St Clair Manor, the home of Henry St. Clair. Mike took on the theater about the time that the COVID pandemic hit. It and related problems, such as supply chain disruptions, interfered with the project, but a complete renovation of the theater was completed in 2023.

In November of 2023, there was a big-time grand opening with Hollywood premier-style searchlights and other major hoopla. I wasn’t there, although I really wanted to be. I had every intention of checking out the resurrected theater ASAP. Within weeks, I thought. Worst case, within a couple of months. After just about two years and four months, I finally made it.

In early 2025, the theater began hosting Senior Movie Days with bargain prices and older movies. Many of the first-run features filling the theater’s normal schedule did not appeal all that much to this old man, and there were scheduling problems with the few that did. It seemed possible that the “classic” nature of Senior Movie Day movies would better match my tastes. They did, but it still took nearly a year for things to click. On Wednesday, a long-time friend, his wife, and an aunt of mine joined a theater-filling crowd of similarly aged folk to watch Casablanca on the big screen.

The renovated theater definitely lived up to all of the good things I’d heard. The concession stand is first class, although none of our group took advantage of it. The lobby is fresh and inviting, with a large copy of the photo at the top of this post prominently displayed. Because I got our tickets and I did not understand the layout, we found ourselves in the front row. Not to worry, as the comfortable recliners positioned us for a proper view even from there. Of all the movie joints, in all the towns, in all the world, I’m glad we walked into this one.


The year 1920 is cast into the front of the theater. I have read that it opened on April 18, 1921. While poking around the internet, I stumbled upon this photo from the Wayne’s first decade. But the photo is only part of the reason I’ve tacked this paragraph onto the end of the post. I also learned that the Wayne Theater had an American Fotoplayer when it opened. I followed that tangent to a number of videos of Fotoplayers being played, and believe you deserve to see one. Check out Stars and Stripes Forever. Not every silent movie was accompanied by a prim schoolmarm on an upright piano.

Musical Review
Wizard of Oz
Loveland Stage Company

Loveland’s got talent! That’s the phrase that came to mind to lead off this review as I left the Loveland Stage Company theater on Friday. I put it aside when I realized it was exactly how I started the review of my first visit to the theater in 2023 (Company). But it did not stay there, and in the end, being repetitive didn’t seem so bad. The amount of talent this community theater group brings together is awesome. You, I told myself, can say that again.

This is a happy time for the Wizard of Oz and me. I’ve seen the 1939 movie on TV screens numerous times, then last month, I saw it in a theater for only the second time (The Wizard of Oz). Before this month ends, I hope to visit the Oz Museum in Wamego, KS. It seems a near-perfect time for me to see the story presented live on stage for the first time ever.

Many versions of the story exist. The Loveland Stage Company’s production is based on the classic 1939 movie. Almost every difference is because a theater stage is not the same as a Hollywood sound stage. There are no horses of any color, nor is there a sty filled with pigs for Dorothy to fall into. The stage backdrop is a screen that provides views of the really big stuff. These include the tornado, Dorothy’s flight to Oz (yes, there’s a bike and a boat), the field of poppies, and even (pay attention) the Wizard flying off in his balloon. One big thing that is not a projected image, even though it was in the movie, is the Wizard. Here he is free-standing and majestic. The stage design, on what I assume is a limited budget, is truly impressive.

Most, but not all, of the differences between the movie and the stage are pragmatic omissions. There is at least one example of something in the stage production that was not in the movie. It’s a scene featuring the song Jitterbug. Although it was filmed in 1939, it did not make the final cut. The official video has been lost, but you can catch a glimpse of the scene here, even though I’m sure you’ll like the LSC version better.

Every bit of music, including the Jitterbug, comes from a ten (or maybe fourteen) piece orchestra behind that rear stage screen. The uncertainty comes from the difference between a list and individual biographies in the program. I could not count them live, of course, because they are hidden. They sound great and are a key part of the production. An awful lot of the talent behind this article’s first sentence is hidden. Check out the program to identify that hidden talent.

Of course, that program also identifies the unhidden talent. The cast of The Wizard of Oz is comprised of ten players in named roles plus a sixteen-member ensemble. Quite a few ensemble members fill individual speaking roles at various points. Loveland’s talent clearly runs deep.

Dorothy, Scarecrow, Tin Man, and Lion are played by Kelly Johnson, Derek Harper, Matt Truesdell, and Derek Foster, respectively. These four handle much of the singing and dancing, but the ensemble definitely carries its share of the load. Olivia Munro appears as Glinda, and Ginny Johnson is the Wicked Witch of the West. Jim Tobergta plays the Wizard and contributed tremendously to set design and construction. Toto is brought to life, marionette fashion, by Jonah Human. Human is probably on stage as much as any character, yet manages to be nearly invisible most of the time. There are several instances where his facial expression adds to the on-stage action; none where it detracts.

Six performances remain: Friday and Saturday evenings plus Sunday matinees for the next two weeks. At the moment, none are completely sold out, but they are all getting close. If you make it, see if you think Ginny Johnson might be channelling Margaret Hamilton in the delivery of a few of her lines, and maybe a couple of laughs, too. I did.

Drawing Board at ASM

Sketches are big in Cincinnati right now. Last month, I looked over some sketches by Rembrandt at the Taft. Yesterday, I looked over some sketches by various sign designers at the American Sign Museum. I missed Thursday’s opening reception for the ASM’s Back to the Drawing Board: The Art of the Sign Sketch 1925-1975 exhibit, but made it to Saturday’s tour by ASM founder Tod Swormstedt. The introduction placard speaks of the difference in how commercial art and fine art are perceived and invites folks to “consider what counts as art”. Early in the tour, Tod shared his oft-repeated observation that “The difference between fine art and commercial art is the number of zeros in the price.”

The exhibit is placed in what I believe is the museum’s largest event space. It marks the first use of the large movable panels made for just this purpose. The area’s walls have been used for previous exhibits, but the wheeled panels provide significantly more wall space while allowing the area to be easily cleared for dining, and dancing, and such.

Most of the sketches are placed in chronological sequence on the movable panels. A fixed wall displays a timeline of significant world events, along with examples of sign designs from the identified periods. marked times. Some of the noted events, such as the 1965 Highway Beautification Act, had a sizable direct effect on advertising and signs.

Among the things Tod pointed out as he led us through the exhibit was the start of using black backgrounds to better illustrate the impact of lighted signs and the increasing use of backgrounds and buildings rather than just the sign by itself.

Items on the exhibit’s last panel, as well as many of the previous items, can hardly be described as sketches. Some of the older sketches had truly been salvaged from trash cans and dumpsters. Some items in this photo were borrowed from collections displayed in homes and on office walls. The exhibit provides some real insight into the design and marketing of signs, but doesn’t help at all — Tod’s “zeros” comment notwithstanding — in distinguishing fine art and commercial art.


This picture has nothing at all to do with the Back to the Drawing Board exhibit. It is a detail from the billboard reproduction advertising the Lincoln automobile in the background of the last exhibit-related photo that might interest my named-auto-trail-loving friends. 

Trip Peek #154
Trip #49
Ohio & Erie Canalway

This picture is from my 2007 Ohio & Erie Canalway trip. The canalway closely parallels the Ohio and Erie Canal between Cleveland and New Philadelphia. That’s a distance of only seventy-five or so miles. I covered the byway on the second day of a three-day trip. The picture is of the “Helens III”, a working canal boat in Canal Fulton. Due to a lack of planning, I arrived too late in the day to ride the boat or visit the museum. Bummer and bummer.

On the trip’s first day, I traveled from home to Dover, OH, to see Patrick Sweany, for the only time, in what had more or less been his home bar. Patrick moved to Nashville within the next year or two. On the third day, I drove a little of US-36 on the way home.


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.

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.