Category Archives: Attraction

Sub Terrain and Marine

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This week my friend Terry and I succeeded in seeing something we’ve been talking about for quite a while. That something is in the picture at right. It’s the USS Cod moored in Cleveland, Ohio. We toured the retired WWII submarine on Tuesday after a leisurely drive to within striking distance on Monday. range the day before. That leisurely drive included a little sightseeing and something of an unplanned adventure.

We drove on “America’s Oldest Concrete Street” (1893) in Bellefontaine, then stopped at Indian Mill and crossed over the Parker Covered Bridge near Upper Sandusky.

I knew absolutely nothing about Seneca Caverns and Terry knew only that we would be passing nearby. Both of us thought it would be a nice diversion which is exactly the sort of thinking that can lead to, as it did this time, an unplanned adventure. The pictures here are of our guide Allie, a fairly rare horizontal section of the cave, and an elegant 1893 done-by-candlelight inscription.

Seneca Caverns is unique among Ohio show caves in being formed by an earthquake crack and by being maintained pretty much in its natural state which explains its nicknames of “Earth Crack” and “Caviest Cave in the USA”. These pictures show Terry and others descending one of the stairways made of natural stones, another natural stone stairway without people, and our farthest penetration (110 feet below the surface) into the cave.

After returning to the surface, we still had time to check out the cemetery for Confederate soldiers on Johnson’s Island and the nearby Marblehead Lighthouse before ending our day. Confederate prisoners, mostly officers, were kept on the island between April 1862 and September 1865. More than 200 died here and are buried in this cemetery. By the time we arrived, the lighthouse was closed for the day but we were not overly disappointed. Having just climbed up from 110 feet below the Earth’s surface, we didn’t feel a burning need to climb 50 feet above it.

Our short drive to the trip’s primary target was fairly wet but the rain was really letting up by the time we got there and we were headed inside anyway. The USS Cod was commissioned on June 21, 1943, and completed seven successful patrols before the war’s end. Following the war, she served a variety of training roles until 1971 when a group of Clevelanders campaigned to save her from being scrapped. The submarine was turned over to the civilian group in 1976.

Entry to the submarine’s interior is through a hatch in the forward torpedo room. Stepping back from the torpedo tubes shows folding bunks where crewmen sleep in the space between torpedos. The aft torpedo room is similarly equipped and there are other sleeping areas midship. Other necessities are nearby. The third picture is of the captain’s quarters showing that one’s concept of luxury clearly depends on perspective.

Red light is used to preserve sailors’ night vision and some sections of the Cod are illuminated in red to let visitors see what this was like. Submariners reportedly ate better than any other members of the military. Meals were prepared in this stainless steel galley and most were consumed here. Note the books and games stored near the tables and other entertainment was also available. Movies were sometimes shown in the dining area. One of the four 1,600 HP diesel engines is shown and there is a 500 HP auxiliary engine as well. These engines generate electricity which is stored in batteries to turn the propellers. Two stills at the front of the forward engine room provide fresh water for batteries, drinking, and other uses.

Visitors normally exit the USS Cod through a hatch in the aft torpedo room but that was closed because of the rain. We traveled back through the ship and where we had entered in the forward torpedo room. I exited first and got a picture of Terry climbing the ladder and another proving he made it out.

The fellow at the gate of the USS Cod suggested we walk over to the International Women’s Air & Space Museum which we took as permission to leave our car in the Cod’s parking lot while we did so. Amelia Earhart and Katerine Wright are among the many women honored with exhibits there. 

A Pair of Zippers

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I don’t know that I’ve ever heard anyone else call those who travel on ziplines zippers but it seems reasonable to me. Of course, John and I weren’t all that concerned about what we should call ourselves while we were flying through the air with the greatest of ease. That last phrase comes from an 1867 song titled That Daring Young Man on the Flying Trapeze. Yeah, we weren’t on a trapeze and neither were we all that daring or the least bit young. Plus, to be honest, our flying was not actually done with the greatest of ease — or grace. But it was fun.

The two of us have talked about trying a zipline for a few years. For the last couple of years, our excuse has been COVID-19 shutdowns. I don’t remember what our excuses were before that. When Ozone Zipline Adventures reopened earlier this summer, our last excuse was gone. Last week we picked a date based partially on a ten-day weather forecast.  When we headed to the site on Friday morning, it was quite apparent that the forecast had been right for at least one day out of the ten. It was perfect.

Ozone is operated by Camp Kern YMCA near Fort Ancient Earthworks & Nature Preserve. Multiple ziplines in the trees provide what is known as a canopy tour. A restored 1806 stone house that once operated as Cross Keys Tavern serves as the meeting place for zipline patrons. We were a few minutes early but a note on the front door assured us that we were at the right place and guides and other zippers began arriving in short order. A small bus carried us up the hill where we were helped into sturdy harnesses and supplied with hardhats. We took a picture because we could.

The group paused for some instruction at the base of the first tower. Two guides accompany each group. KJ, on the left, would be our “receiving guide”. He crossed each line first and unhooked subsequent crossers as they arrived. Jesse was our “sending guide”. She connected participants to each line and signaled when it was time to go. She and KJ coordinated crossings by radio. As part of their presentation, one of them mentioned that, if you were nervous, it was best to go early to avoid watching everyone else. When it came time to climb the stairs, no one moved and it eventually became apparent that all the others were waiting for John and me. We were clearly the senior members of the group but we were also the only zipline rookies. We had been silently elected “Most Likely to Be Nervous”.

So John headed up the stairs and I followed. At the top, KJ pointed out a few things as he was hooking up then zipped off into the trees. Then it was John and then me. Only when I was about to step off of the wooden platform did I realize that the vote at the bottom of the tower had been pretty accurate. Until that point, I had been thinking of this as something very similar to going down the big slide on the school playground. I realized how different it was as I looked out at all those trees and not much else. Maybe I had been nervous before but didn’t know it. Now I knew I was nervous but didn’t have time for it. I also didn’t have much time for pictures. I had my little Panasonic with me but it was usually tucked deep in a pocket and did not get used a lot. The picture at left is of a member of our group crossing after I did. I’m not even sure if it is the first or second line.

The third line is the longest of the tour and one of two that cross over the Little Miami River. Because of its length, zipping to the end is not automatic. At its beginning, KJ gave us some pointers on increasing our likelihood of making it and some instructions on what to do if we didn’t. The advice was essentially to do more of what we had been practicing on the first two lines which was to keep your legs tucked in (called “cannonballing”) and your body in line with the cable. If forward travel ended short of the platform, you were to grip the cable (Ahead of the trolley!) to keep from traveling backward and KJ would come out and tow you in. The second picture is KJ heading over the river to be both “receiver” and “retriever”. No one rolled back to the middle of the river but more than half of our group did require a short tow. This was accomplished by KJ hanging almost upside down in his harness and sort of “walking” with his feet on the bottom side of the cable. Pretty impressive.

The line back across the river is a little shorter. Once there, this swinging bridge leads to the last two ziplines of the tour. We had crossed two similar bridges earlier in the day.

The canopy tour really was fun and truly scenic when I could pull my eyes away from what was directly in front of me. My “nervousness” certainly diminished and would no doubt disappear completely after a few more trips but I’m not sure there will be more. With the possible exception of climbing that first tower, there was nothing really strenuous but neither is it the carefree floating I’ve seen in some photos. There’s a reason that retired folk comprised only 20% of our group and I’m sure that was higher than average.

Fried or Roasted Daily

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I usually try rather hard to avoid chain restaurants but here’s one I went to less than a week after it opened. Not the chain — which opened in 2012 — but the latest link. Florida-based Ford’s Garage opened its first Ohio restaurant in the former LeBlond Machine Tool Company powerhouse in Norwood on Thursday, May 5. I stopped in the following Wednesday.

The first I became aware of the chain was when I read an announcement about this one being planned for Cincinnati. Of course, any restaurant featuring ‘burgers and beers has a good chance of catching my attention but it sounded like this place had a little more going for it. It is an official licensee of the Ford Motor Company which allows it to use the Ford name and logo and it uses Ford cars for decoration. It was obviously a place I was likely to visit eventually so I decided to do it sooner rather than later.

The 1917 powerhouse, which was most recently occupied by a Don Pablo’s, is accessorized to resemble an early service station. Gas pumps and a pair of Model A Fords stand near the entrance and there is a Model T and another Model A inside. The cars and the building are of similar vintage. A Library of Congress photo shows the building when it was younger.

The building’s high ceilings allow faux Fords to circulate around the restaurant on a simulated assembly line and a stationary Model A hangs over the bar. A penny-covered wall holds forty beer taps. As I was taking the picture of the taps, a restaurant employee told me there were 21,004 pennies on the wall. I have a suspicion he made that up on the spot but I’m not sure so I’m repeating it.

Of course, it takes more than decor to make a restaurant. There’s a lot more than hamburgers on the menu but that’s sort of their featured item so that’s what I ordered. This is the quite tasty Mushroom & (Tillamook) Swiss. A couple of other things in this picture deserve mention. One is the shop towel napkin inside the hose clamp. The second is the frost-covered surface beneath the West Sixth Porter. About eight years ago I saw a similar setup in a bar in Kingman, Arizona, and figured it would be in every watering hole in the country before I got home. But this is the only other one I’ve ever seen which is not much help at all to my reputation as a futurist.

Despite it being a chain with a plethora of gimmicks, I basically liked the place. The chain is fairly small with twenty stores in five states and the gimmicks are mostly harmless (the napkins) or cool (the cars). One gimmick, however, seemed a bit overly silly to me. I noticed the funnel behind the bar and had vague intentions of asking about it when I overheard one of the bartenders talking about it with a visiting friend. He flipped an unseen switch to open a valve in the transmission (He called it the crankcase.) that allowed some liquid to drop into the funnel and into a glass placed below it. He said it was for a drink called the “Oil Change” although I’ve found no such drink on the menu. As I said, it struck me as quite silly but who am I (a fan of Max & Erma’s double-breasted beer taps) to judge.

Our Shared Story at CMC

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Joseph Jonas is thought to be the first Jew to actually settle in Cincinnati. That was in 1817. In 1821, he was one of a handful of men who purchased land for a cemetery so Benjamin Leib’s deathbed request that he be buried as a Jew could be met. The creation of that cemetery, the Chestnut Street Cemetery, is recognized as the event that formally established the Jewish community in Cincinnati. It was renovated last year and its rededication on September 26, 2021, marked the official beginning of the Jewish Cincinnati Bicentennial.

But it wasn’t a visit to the cemetery that led to this post. It was the “Our Shared Story” exhibit at the Cincinnati Museum Center that led to a visit to the cemetery. In 1821 Cincinnati really was a frontier town and the Chestnut Street Cemetery was not just the first Jewish cemetery in the state but the first west of the Alleghenies. In 1824, K.K. Bene Israel was established. Now known as Rockdale Temple, it is the oldest Jewish congregation west of the Alleghenies. Cincinnati’s Jewish community experienced great growth and had significant impact on the religion in the U.S. with things like major support for Reform Judaism and the founding of Hebrew Union College. The exhibit tells of this influence but has even more examples of the impact Cincinnati Jews had on the world at large.

Quite a number of community and business leaders are recognized. This picture is of a wall where several of those business leaders are identified. Some of the businesses are Manischewitz, Frank’s, Fleischmann’s, and Frisch’s. I got a kick out of seeing a “Jewish Cowboy” promotional record put out by Manischewitz. I got an even bigger kick out of listening to it on YouTube.

As befitting a place that started professional baseball, one Jewish business found success in sporting goods. The Cincinnati Red Stockings began play in 1869, the P. Goldsmith Sons Company was founded in 1875, and a Jewish player named Lipman Pike joined the Reds in 1877. Of course, there are now Jewish players in every professional sport and Jewish fans too as this Bengals yarmulke shows.

Chestnut Street Cemetery is less than a mile from the museum. A double-sided plaque contains information about the cemetery and the two centuries of Jewish history. The information panel visible in the opening photo says that Benjamin Leib’s grave is unmarked but believed to be “in the back left corner”. I’m guessing that means it’s in the left rear of this picture.

Treading the Trails of Trolls

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This is the second Thomas Dambo art installation I’ve visited, and, like my visit to the Kentucky Giants, waiting for good weather and available time was required. Things came together two Fridays ago, on April 22.

Dambo’s creations are always big, always made of repurposed material, and always have a story. “The Troll That Hatched an Egg” is installed at Aullwood Audubon near Dayton, Ohio. With Dayton being the home of the Wright Brothers, it makes sense that this story involves flying. It can be read here. Aullwood Audubon consists of a nature center and a farm with trolls in both sections. A trail connecting the two will be closed for another month or so meaning a short drive is required to see all of the trolls. Because of the distance, some may want to drive regardless.

I began my visit at the nature center. That’s kind of at odds with the storyline but that really isn’t much of a consideration. Inside the Education Center, Karen and Susan teamed up to take my money and provide me with a sticker, a map, and some insight. Karen is one of the volunteers that helped with constructing the trolls. She told me that the faces were made in Denmark and shipped to Dayton but that everything else was built on-site using materials collected before Dambo arrived. Construction took about a month. I had anticipated taking the shortcut over the creek but this group was having so much fun that I couldn’t bring myself to disturb them so took the longer — and probably safer — paved path. I did cross the creek on my return, however.

There are three trolls and a nest in the installation. Had I crossed the creek as originally planned, I would probably have seen the nest first. As it happened, my first view of any of the sculptures was the one in the opening photograph. That’s Bibbi learning to fly which is actually the climax of the story. Out of sequence or not, it’s a great first contact. The only thing comparable to Bibbi’s look of joy at flying is a kid’s look of joy at watching her do it. Karen had told me that this is the only time Dambo created a troll standing on one foot and some extra engineering was required. The observation tower was built to provide a view of the prairie but it is also a great place to see Bibbi’s launch.

I caught a glimpse of the eggs as I approached the nest and a better view as I entered from the other side. When I first saw some photos of this installation without having read any of the story, I thought that maybe these tanks were the closest Dambo could get to something that looked like a big egg. Later I realized that these tanks were just right for representing something dropped accidentally from an airplane. By the way, despite the story’s title, none of these eggs hatch. As I stood inside the nest, I took a photo that was posted to Instagram/Facebook/Twitter with the caption “One of these eggs is not like the others.” In case you missed it without wanting to, it is here.

From the nest, I headed back to the parking lot for the drive to the farm. Once there, it was an easy walk to where Bodil held another egg in her hand. Although only the beginning of my walk at the nature center had been on pavement, all of it was fairly level and clear. That was pretty much true of the walk to Bodil although there was a little more elevation change along the way. The walk to see Bo was a different matter.

Although well under half a mile, the walk to reach Bo was the longest excursion of the day. No portion is particularly steep but there is a steady descent to the resting troll which means a steady ascent on the return. Along the way, numerous exposed roots and a few exposed rocks provide ample opportunity for tripping. I say that not to discourage going but to encourage caution.

These last two pictures are clearly out of sequence. They are included for different specific reasons. The etiquette sign is here so you’ll know how to behave in case this is the only thing you read before visiting Bo, Bodel, and Bibbi. The other is included in case it isn’t the only thing you read and were wondering why it did not have a full-frontal shot of Bibbi taking flight like all the others.

I decided to make it an all-troll day by stopping at the Troll Pub for the first time. The pub shares a historic building with Wheelhouse Lofts. I don’t know where conversion and occupancy of the lofts stands but the pub has been in operation for four years. I also do not know why I haven’t stopped here before given that it is barely a block from one of my favorite Dayton establishments, The Barrel House. With The Barrel House that close and my first meal there being pretty good, I do expect to return. The building was constructed in 1868 by an agricultural implement manufacturer. Its later uses included making bicycles (Stoddard) and car parts (Dayton Motor Car Company) plus the assembly of some automobiles (Courier and Maxwell). Could Jack Benny’s car have been built here?

Buddy, Can You Lend Me a Sign?

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When the American Sign Museum announced its “first-ever traveling exhibit” at the National Museum of the Air Force, I felt pretty confident that I would see it someday. I was less certain that I would see the signs the museum had loaned to the Cincinnati Shakespeare Company. Then, with almost no planning and a fair amount of luck, I saw both borrowed batches of brightness this week.

On Saturday, I learned that my previously made plans for the week had fallen through then almost immediately recalled an email about a museum member discount for the play featuring the loaned signs. I went to the CSC website looking for something later in the week but was surprised to find that a front-row seat was available for the next day (Easter Sunday) and that the performance was one followed by a Q&A with some of the performers. I snatched it up.

CSC’s production of The Comedy of Errors has a modern setting with the play’s Ephesus presented as a Las Vegas-like city. Wanting to add some Vegas-style glow to the stage and realizing that an outstanding repository of neon and such was just a few miles away, the CSC reached out to the ASM, and here (with permission and a phone camera) is the result. The play is hilarious and the cast is superb. In addition to the neon, modern touches include a number of songs to make it a sort of Shakespearean musical. All my roadie friends will be happy to learn that among those songs is a version of “Get Your Kicks on Route 66”. The production runs through April 30.

With some pictures of one set of borrowed signs in my pocket, it wasn’t long before I began thinking about a blog post on the subject, and almost immediately realized that any such post would benefit greatly by also including the other set of current loaners. On Tuesday, I headed to Dayton and, after breakfast at the nearby Hasty Tasty, the Air Force Museum.

Using the life of real sign maker William H. Hahn as inspiration, placards displayed with the signs tell the story of the fictional Joe Signman. On display are examples of the lightbulb, neon, and plastic signs Joe would have dealt with during his career.

My birthday has been the subject of a couple of recent blog posts so you might already be aware that the United States Air Force and I were established the very same year. I have about five months seniority on the Air Force and am all done celebrating. The museum, however, intends to talk up the big anniversary throughout the year. “The Signmaker’s Journey” will be there through October 10.

Science Behind Pixar

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The Science Behind Pixar exhibit at the Cincinnati Museum Center opened last October meaning I’ve had plenty of time to see it. There are two reasons that I waited until it had barely three weeks remaining before checking it out. The first is that I believe 2006’s Cars is the only Pixar movie I’ve actually seen in its entirety. The second is that I thought the exhibit was for kids only. Reason one is undeniable fact; reason two is pure nonsense.

The picture at left is of a divider in the exhibit. Some of the figures on it do look familiar to me because I’ve seen them in commercials or maybe in a movie that was playing somewhere I walked past. But I can’t connect any of them with movies or commercials they are in, and I sure don’t know their names. Characters are used to demonstrate different pieces of Pixar science, and I don’t doubt that knowing who they are would make things more fun — watching kids experiencing the exhibit proved that — but it’s not required.

The idea of a creative pipeline is central to Pixar’s operation. The steps that go from story and modeling to lighting and rendering are identified in an introductory movie and panels explaining them are arranged in a circle near the center of the exhibit.

The bulk of the exhibit space is filled with hands-on stations where kids and old men can pretend to participate in each of those pipeline steps in a variety of ways. I don’t know how many job openings Pixar expects over the next few years but I’m sure that, with this sort of recruitment tool, they will all be easily filled.

There are also a number of these smaller kiosks around with Pixar employees describing their jobs or how certain problems were solved. If neither the hands-on stuff nor the technical descriptions make you want a job at Pixar, maybe seeing the enthusiasm these employees have will do it.

Heck, after playing with some animation, lighting, and other pipeline steps, I was almost ready to ask about job openings myself. And I have no intention of ever working anywhere ever again. I am, of course, joking about this whole thing being a recruitment tool for Pixar — mostly. I am not joking at all about the exhibit showing how much fun and satisfaction there can be in science.

I attended The Science Behind Pixar on Friday, April 1. It is open through April 24.

Leo da Vinci and the Forty Machines

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I’ve read that, once upon a time, ordinary people rarely needed to count past forty and that forty became another way of saying “a whole bunch”. That implies that Noah and family might not have watched it rain for precisely forty days and nights and that Ali Baba may not have encountered exactly forty bad guys. We have outgrown that, of course, and today use numbers like gazillion when we are tired of counting even though that probably occurs long before we reach forty. That is not, however, the case with this post. The Leonardo da Vinci: Machines in Motion exhibit currently at the National Museum of the Air Force in Dayton contains exactly forty of Leo’s “machines”.

I took in the exhibit on Friday. It is set against the wall farthest from the entrance which means there is some walking involved. Not only does this provide an opportunity for a little exercise, but there are also plenty of opportunities for getting distracted on the way by the many other, mostly permanent, displays in this wonderful museum. I skipped my favorite gallery, Early Years, and focused on the da Vinci exhibit and still spent at least as much time getting to and from it as I did experiencing it. It’s simply impossible to ignore all those unusual planes and their engaging stories.

A fair number of the displayed machines have to do with flight. That is certainly appropriate for the Air Force Museum although the exhibit’s makeup was not tuned for the location. In fact, this appearance seems to be a recent addition that is not yet listed on the schedule at the Machines in Motion website.

The high ceiling at the museum allows some of da Vinci’s concepts to be suspended overhead as if in flight although they sometimes have to share space with flying things of more recent vintage. The overhead displays include the “parachute” in the opening photograph. The version here is not quite full size. A full-sized version and a description of a real-world use of the design were part of the Da Vinci the Genius exhibit I saw in Cincinnati in 2016.

Leonardo’s flying machines may not have been practical but many of his other ideas certainly were. I don’t believe it is a proven fact that he invented ball bearings but his design of a revolving stage using them might have been their first practical application. His designs for converting one form of motion to another (e.g., rotary to linear) were definitely practical. Check out the kid getting a real hands on education in the background of the second picture. The third picture shows a machine combining several devices to raise heavy pillars.

Seeing this machine for grinding concave mirrors was a real learning experience for me. The sign next to it talks about burning mirrors and mentions that one of their uses was welding. Believing that welding was at best an eighteenth-century concept, I had to look into that and discovered that the welding of soft metals like gold and copper goes back much further and was rather common in da Vinci’s day.

The exhibit runs through May 8 and, like the museum itself, is free.

Went to the Chapel

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I don’t know if we are entering an era of fine art circuses or if they are merely a passing fad. Apparently Michelangelo’s Sistine Chapel: The Exhibition has been in circulation since 2015. My impression is that the various immersive Van Gogh shows (I recently saw this one.) date to 2020 or so but I’m not certain. Those dates make me think that the current popularity of the Sistine Chapel thing might be fallout from the popularity of the Van Gogh things but I am not, of course, certain of that either. What I am certain of is that I didn’t hear of either before late 2021 and the hoopla surrounding one made me receptive to the hoopla surrounding the other.

One characteristic the two exhibitions have in common is physical size. Lots of space is needed to either immerse people in wall-sized projections or surround them with ceiling-sized prints. The Sistine Chapel exhibition in Dayton occupies one floor of a former Elder-Beerman department store. Not knowing the location of the now unmarked store within the mall meant driving around until I spotted a sign-covered entrance.

It was a bit before the stated opening time and that entrance was locked. Several people moved on when they discovered this but I and a few others waited. Timed tickets came with instructions to arrive at least ten minutes ahead of the scheduled entrance, and the doors were unlocked with almost enough time to make good on that. Three women entered ahead of me. As we got our tickets scanned, a group approached from inside the building. I’m guessing these were people familiar with the mall and aware of another entrance to the store that may or may not have been open earlier but which clearly required a walk to the exhibition entrance. One of the ladies in front of me opted to watch a video before entering and the others paused at the gift shop. I entered the exhibit first and alone.

I have seen photos taken of Sistine Chapel exhibits in other cities where some of the prints are displayed overhead to simulate, I presume, the ceiling of the real chapel. Thankfully that wasn’t the case here as that would at least partially nullify the “up close” claim of exhibit promotions.

There’s no question that the most familiar image from the chapel frescoes is of God’s finger bestowing life to Adam. That detail is from The Creation of Adam which is placed very near the entrance. I’ve seen plenty of reproductions of this scene but I guess I have always focused on the hands or maybe the faces of God and Adam. Before today I’d never noticed the young lady on the right with wide-open eyes aimed directly at Adam.

I was completely unfamiliar with the majority of images displayed and that includes, perhaps surprisingly, The Creation of Eve. I don’t recall ever seeing a reproduction of this image before. I may have missed one here or there but it certainly hasn’t been given a whole lot of attention by the world at large. Michelangelo thought it was important enough to put it in the very center of the Sistine Chapel ceiling. There is a placard by each print that gives some information about the image and shows its position at the chapel. The one for The Creation of Eve is here. A clearer view of the ceiling, taken from a poster in a window at the entrance, is here.

The Creation of Adam and The Creation of Eve are visible from the main room but are set back a bit. I had actually viewed every picture in that entire room, with very little company, between viewing Adam and then Eve. Behind me, the steadily increasing crowd was doing the same.

Almost nothing in the main room was familiar to me. The same was true of the prints in the area beyond Eve — with one exception. This image of God with arms extended is one I’ve seen several times. In fact, it and the almost touching hands from The Creation of Adam were both used in promotional materials for this exhibit. However, I really knew nothing about it and my previous interpretation was completely wrong. I’d thought God looked pretty angry in the painting and assumed he was telling someone to get off his lawn or out of his garden. The Creation of the Sun, Moon, and Plants contains two images of God. His expression in the righthand image is not one of anger but an indication of the force being used. The lefthand image is of a true “dark side of the moon” moment with God turned away from the viewer as he creates Earth’s vegetation.

Once I’d passed by all the prints, I sat down to watch that video I’d skipped on the way in. It was not tied directly to the exhibit but was primarily comprised of PBS programming on Michelangelo. One of the things I learned from the video was that, in exchange for carving a crucifix for the Church of Santo Spirito, he was allowed to study corpses awaiting burial at the church. The Deluge and The Drunkenness of Noah are just two examples of how he made use of the knowledge of anatomy gained there.

A fair-sized line existed when I started watching the video but it was pretty much gone by the time it had cycled through. The video mentioned The Last Judgement and reminded me that I had seen it mentioned in exhibition ads but had not seen it at the exhibition itself. Michelangelo painted The Last Judgement at the Sistine Chapel altar twenty-five years after he had painted the ceiling. Thinking I might have somehow missed it, I stepped back inside to take another look. No luck, and I was eventually told that it was “lost at the airport”. The exhibition images are described as “life-sized” and a picture on the exhibition website makes it look like that includes The Last Judgement. As we’re often reminded, “Many Bags Look Alike” so maybe someone accidentally walked off with the wrong 40′ by 45′ suitcase.

I have seen comments online about the exhibit being unrefined and knocking the lighting in particular. Those comments are, in my opinion, accurate. The prints are not displayed and lighted as would be expected in a good art museum. There are actually some similarities, starting with the fact that it’s set up in an abandoned store, between the exhibit and those “starving artists” sales that used to pop up in furniture outlets and such. The process that accurately transferred the images from the curved ceiling to large flat panels is remarkable and the prints are quite impressive but, at the end of the day, they really are just printed versions of paintings.

There is certainly no possibility that the defunct Ohio department store will be mistaken for a five-century old Italian chapel. But there is a very real possibility that attendees will get a sense of the magnitude of Michelangelo’s accomplishment that just isn’t there when looking at normal-sized reproductions of the artwork. The images are big and there’s a lot of them. Yes, the exhibition is a circus and its staging leaves plenty to be desired but I came away with a pretty good appreciation for the six thousand square foot (plus 1800 sq. ft. Last Lost Judgement) masterpiece without crossing the Atlantic. And I got a much better look at the details than I could ever get craning my neck to peer at images nearly forty feet above my head.

Voice of America Museum

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I attended Airwaves Kite Fest in 2006 and 2010. 2006 was the second of eight; 2010 was the sixth. It was a cool way to greet springtime and I wish it was still around. It was held at the Voice of America Bethany Station site where a huge array of antennas once broadcast news and more to Europe, Africa, and South America. I believe that parts of the building were open in 2006 and I took some photos inside but the entire month of April 2006 has gone missing from my photo archives. The building held the beginnings of a museum in 2006 and in 2010 it was being renovated to improve the museum operation. Since then, it has gone from being open sporadically to being open every Saturday and Sunday. I’ve driven by it countless times since 2010 but Saturday was the first time I actually did what I told myself I should do on most of those drive-bys. I made it inside where those 2006 beginnings have turned into the impressive VOA museum.

I arrived just as a volunteer was wrapping up his introduction to a sizable group which turned out to be all one family. I accompanied them past a beautifully restored Crosley Hot Shot to watch a short orientation movie.

Then it was a stop at the “Ham Shack” operated by the West Chester Amateur Radio Association. Several members were present (and behind me in the photos) and we were given an overview of the operation. We also got to listen in on a conversation with a fellow in Finland while we were there.

The claimed purpose of the Volksempfänger (people’s receiver) was to make radio reception affordable to the general public but its real purpose was to make the general public accessible to Nazi propaganda. Of course, it could also be used to listen to the BBC and VOA although that was quite illegal. Knowing that Hitler sometimes referred to the VOA broadcasts as “the Cincinnati liars” was and is a source of pride for the locals.

Hitler was completely wrong. For one thing, from its beginning, VOA realized that broadcasting reliable and truthful news would have more impact than broadcasting false propaganda. Secondly, although transmission was from near Cincinnati, the content was not. It came from New York and Washington on telephone lines which were routed to one of six 200-kilowatt transmitters. There were no liars involved and definitely none in Cincinnati. Before it was shut down in 1994, Bethany Relay Station saw several upgrades in transmitters and antennas. People living nearby often reported receiving the station on the plumbing in their bathrooms and the fillings in their teeth.

There were multiple reasons for locating the station here including it being a safe distance from the coasts. But a possibly bigger reason was the existence of Powell Crosley and Crosley Broadcasting. After starting elsewhere at 50 watts, Crosley’s WLW (World’s Largest Wireless) was broadcasting AM from just down the road at 50,000 watts. Between May of 1934 and February of 1939, it had transmitted at an incredible 500,000 watts. Here’s a closeup and description of that pictured metal ball. Across the road from the AM station, a Crosley shortwave station was retransmitting its programming. This became WLWO (Overseas), increased power to 75,000 watts, and, as told here, begat VOA.

Crosley begat a lot of other stuff too. There were cars like the previously pictured Hot Shot. Radios, though, were the money makers. Some products were invented in-house and some were purchased patents. The purchased category included the Icyball and Shelvador. Although refrigerators with door-mounted shelves are commonplace these days, hardly anyone makes a fridge with a good built-in radio anymore. The Reado could deliver and print the news overnight but was done in by the Great Depression.

Crosley was the pioneer and long-time leader but Cincinnati’s TV and radio story goes far beyond that. The museum includes lots of memorabilia from others who spent some time living on the air in Cincinnati.