August '21: Stained Glass Trip, Part V: What I Came For

 This is part five of a series; you really should read them all, and in order, starting with Part I. All the pictures for this trip are in a Google Photos album that you can see by clicking on this link.

I had planned to be at the museum at Forest Lawn, in Glendale, when it opened at ten o'clock this morning. I woke up right at 6AM, so I guess I must be used to Pacific time. Had breakfast at Noah's Bagels, a couple of miles east of my hotel. I had breakfast there a year and a half ago when I'd just bought the Sacramento Jag & was taking it to its new home, & I remembered that I really liked everything about the place. It's a little different now -- all the restaurants here are, because of all the restrictions about masks and indoor dining. But the food & coffee were still good, the employees were still helpful, and the prices were still reasonable (for Los Angeles).

Being up so early meant I had some time to kill. First I went for a walk down Beverly Boulevard for a few blocks. I seem to be in the Jewish District. I passed two synagogues, and there are several Kosher restaurants (including a Kosher French Bakery & Cafe), and some other businesses with signs in Hebrew or names that reflected their Jewishness; all this mixed in, of course, with Salvadoran and Thai and Italian and Greek and a few things I don't really recognise. 

There was a guy standing on the sidewalk, leaning against a doorway, and he had some kind of black box on a strap on his head. It looked at first glance kind of like a jeweler's loupe, pushed up onto his forehead. Overall, he looked like I imagine a diamond merchant would look during a break from work. We said hello as I passed by headed east. A few minutes later I'd turned back, and he was still there. He said hello again and commented on my having just passed not five minutes before. I said something about it being as far as I'd wanted to walk, and started to go by when I decided I was going to ask him about his loupe. So I said, "Are you a jeweler?" and he said yes. I asked him about the thing on his forehead, which he called by a word I couldn't catch (it was probably in Hebrew) and said it contains a scripture verse on a little roll of parchment. It's used when you pray in the morning. Kind of like a mezuzah, I guess; that little metal box you put on the front door frame. We talked about that for a while, and about judaism (like I know anything about it) and then I moved on, back to my hotel. It was only when I got back to the room that it occurred to me that he must have thought I had asked him, "Are you a Jew?", which even I would think a rude question, coming out of nowhere like that. Especially since, as I started to tell him I was curious about his loupe, I couldn't remember the word "loupe", so I just kind of waved at the thing on his head. 

Still a load of time to kill, so I got on the internet, where wasted time goes to live forever. Some of you may have gotten my morning blast of funny signs put up by the Indian Hills, Colorado, Community Center ("Welcome to the Assumption Club! I think we all know why we're here!"). Putting that together and sending it out took up even more time than I had to kill, mostly because I was laughing and not paying close attention to the time. But I got to Forest Lawn pretty soon after ten.

I thought Forest Lawn was where all the famous movie stars are buried. Maybe they are, but if so, it's an oddly understated cemetery. There are, actually, half a dozen or so Forest Lawn Cemeteries scattered around California, so maybe there's another one somewhere that features the kind of self-important carved marble tombs one expects the very vain -- and ordinary New Orleanians -- to be buried in. This one has a number of mausoleums scattered around, each with a name like you'd expect an unctuous sales committee to have given out in the 1950s. All the graves have flat headstones in the modern style, with just names and dates and maybe one short descriptive line ("beloved husband"; "together always now"; that sort of thing). And the place is huge; L-shaped, probably two miles front to back and side to side.

The attendant at the entrance helpfully gave me a map with the route to the museum highlighted, so I had no trouble finding it. Besides, there were signs at every intersection. (Temple of This to the right, Temple of That straight ahead, museum to the left.)

museum on the right, cathedral on the left

The museum looks like a small building. That's partly because it stands next to a large Gothic Revival building that looks like a medieval cathedral from some unspecified place in Western Europe. Inside it's a cross (get it? Cross?) between an underused convention hall and a government building. The main attraction in the place is a painting called The Crucifixion. The painting is enormous, nearly 200 feet from end to end and fifty from top to bottom. It was painted for a worlds' fair by an artist from Poland who couldn't afford to get it home with him. Now it hangs on a curtained wall behind a shallow stage and in front of seating for probably three hundred people. It is an impressive painting, and not just for its size.

But the museum. It's showing an exhibition called "Judson Studios: Stained Glass from Medieval to Street". This is why I'm in Los Angeles, to see this before it goes away.

St-Gaudens, Lincoln

When I stepped into the museum, I was taken by surprise. It never occurred to me that the Forest Lawn Museum might have its own permanent collection of art, real art to exhibit, but there it is. Not a lot of it, just one good-sized room; they may have more, of course, but there's just the one room on show: half a dozen exquisite bronzes by famous American sculptors like Remington and Borglum and St-Gaudens. Beautifully carved marbles. Copies of a few famous sculptures. (They used to have a full-sized copy of Michaelangelo's David, until an earthquake knocked it over. Now they exhibit the head, and so for the first time I could see, up close, just how monumentally big that statue is.)

It was truly an impressive little collection. 

In the room behind that is the museum's gift shop. And in the two rooms behind that is the glass exhibition I've come all this way to see. 

Can you feel tension building? If you're not really interested in the techniques of glass, I suggest you skip pretty much the rest of this post. I'm really only writing it for me anyway.

There are now three kinds of stained glass in the world. (Four, if you count dalle glass, which is big chunks of brightly-coloured glass stuck into cement; it was popular mainly in church architecture in the 1970s and '80s, but we got over it.) All three kinds are usually called "stained glass", but actual Stained Glass is the kind of thing you see in medieval churches: pieces of coloured glass, painted (or stained) with a dark layer of something like soot, most of which is then removed, leaving behind part of a picture. 

actual stained glass

Look at the face of Mary Magdalene in this photograph. The thick, heavy lines that go across her mouth, along her jaw, over her eye? Those are lead-lines, where pieces of "stained" glass are joined together. Her face consists of five or six pieces of flesh-coloured glass. Each of those pieces was painted with a soot layer, then an artist scraped away soot to leave behind her features -- eyes, nose, mouth, teeth -- like a drawing. The shadow on her neck is made by leaving behind some of the staining layer, sort of like an artist working with pencil will do crosshatching to make the appearance of a shadow. The glass, after the extra stain is scraped away, is then fired and the bits of the soot layer that were left merge into the glass, and these stained pieces are assembled into a whole with lead.

Then there's the kind of craft that I practice. It's called "stained glass," but it's more properly called "leaded glass," or "leaded-and-foiled glass." The technique I use takes pieces of coloured glass and assembles them into an image or design without using the staining process, which takes an artistic talent that I've never exhibited, like the ability to draw.

Torrey Pine

This is the kind of work I do. This panel is done by foiling, where the edge of each little coloured piece of glass is individually wrapped in a thin piece of copper, and the wrapped pieces are then soldered together to make the image. You can also join the pieces using long strips of lead, which is soft enough to bend around the edges of pieces of glass. Copper foil (now, thankfully, manufactured with adhesive backing) is much more flexible than lead, while lead produces a more even line. You can zoom in on this picture and see that the black lines where pieces are joined together vary in thickness; up close, they're irregular. (The lead lines on Mary Magdalen are a little bit irregular, but that's because lead calme -- the strips of lead that join the glass pieces together -- were made by hand back then; nowadays, they're just extruded from a machine like pasta.)

Then there's fused glass. This technique started to become popular back in the 1970s, but unlike dalle glass, which was just an architectural fad of the era that required no artisanal sensibility, fused glass has become more and more popular with wider availability of the needed equipment and supplies. I've never tried it myself; I don't have the equipment, and it's only recently that I've given some thought to getting it.

This is fused glass. Tiny pieces of coloured glass called frit are laid out in a design and slowly melted together to form an image. The ovens needed for this process are now cheap enough, a couple hundred dollars, that normal people can afford small ones; that's why, when you go down to the Sasquatch Hunt or the Boudin Festival, you see pop-up booths where people are selling jewelry made from glass beads they've made themselves. Commercial concerns, and serious artists, use ovens that have gotten bigger and bigger; they're similar to the room-sized ovens that ceramics companies use. 

Most of the works in this exhibition are a combination of fused and stained glass.  All of them show a level of artistry and technical expertise that blow me away. I'm tempted to put all the pictures I took of them into this post and describe each at length, but nobody I know is really that interested in any of it. If you wanna see some pretty glass art, look at the photos in the album that goes with this series of blog posts. I will, though, show you my favourite piece, a modern piece of actual stained glass:

 

 

 

Sangre Nueva, by Mike MacGregor

Now, then: plans for the rest of this trip consist of a visit to the Petersen Automobile Museum tomorrow morning; lunch with a lawyer I know out here, and watching the Liverpool match on Saturday morning at a bar in Culver City, half an hour south of my hotel, where the local LFC fan club hangs out. I had planned to drive the Palos Verde Peninsula scenic route, but now I think I'll wait until I can put the top down again. 

My point being, there probably won't be much to write about after this. Besides, I'll probably be starting on my article for automotivemuseumguide.com, and that'll likely take up all my computer time. So don't expect more of this weird prolix drivel. It may come, but no promises.

County Count Update

Other people seem to take my county-counting more seriously than I do. It started maybe 20 years ago when I came across a large United States map that had all the nation's counties shown on it, and I started to wonder how many of them I'd been to. I started colouring them in (devising rules for those trips made when I was very young: if I could remember the trip, and knew its final destination, I was confident that my father would have driven the most direct route; he was not a man to wander aimlessly about the countryside, so I knew, to a sufficient degree, that I had been in the counties along the way. There may have been other trips I don't remember, and there may even have been a digression or two from the bee-line route; but if I don't "know" that, then I don't count those counties) and discovered that I'd been to quite a lot of them.

As the years went by I kept on filling in new counties when I'd go to them. I was living in West Virginia at the time -- West By God Virginia -- and since I had no family and no property there (and there being nothing in the world to do in West Virginia, except incest and arson) I started taking routes to destinations that led me through counties I'd not already been in. Heading up to Pittsburgh to catch a flight? Let's go through Grafton this time. Flying out of DC? Lots of counties in western Virginia, a new route every time.

Then, living in Wyoming, I took little opportunities to visit counties I would not otherwise have gone to. I missed my exit off I-80 one time, and the next exit was in Utah, where I'd never been before. Another time, I noticed that if I went a couple of miles farther along the road I was on, I'd be in Scott's Bluff County, Nebraska. Sure, why the hell not.

Eventually it became an excuse to go to places that I had no independent interest in. My first trip to Wisconsin, in 2007, was grafted onto a trip to Minnesota to visit in-laws, which in turn was grafted onto a trip to Montana, Wyoming, and North and South Dakota because my wife had never been to places like Devil's Tower and the Black Hills. All that, in turn, was grafted onto a trip to Toronto to meet up with a Canadian friend. And as long as I'm up that way, why not run over to see the Finger Lakes on the way back? And the Corning Glass museum. And let's see if Steve wants to come up from the Metropolis to meet me for a couple of days. (The result, not surprisingly, became the longest trip of my life -- 10,000 miles in 5½ weeks, and it would have been longer had northern Indiana not proved so incredibly boring to drive around in. Every rural intersection of line-straight roads gets a four-way stop, whether it needs one or not.)

This trip just finished was plenty long. It started as a trip to Wisconsin to deliver and install some stained glass panels (see prior post), with a stop along the way to visit friends in Kansas City. This time I went up through western Missouri, because there were counties there that I'd not been to already, while I'd been to all the counties in eastern Oklahoma and Kansas. (I can see that trips to Kansas City will be getting longer and longer, as I arc farther and farther east or west, in order to go through a few new counties.) The way from KC to Wisconsin started off as a wander through remote parts of Missouri, Iowa, and Minnesota, but in the end I decided I'd attempted too much, and went more or less directly --- still managing to visit more than a dozen new counties along the way. This decision came about because, by the time I made the drive, the trip had expanded from a two-week sojourn in Wisconsin to a week in Wisconsin and a week in Maine (for humanitarian reasons, if you can believe it. Yes, me!) plus the time required to get from one to the other (on the freeway; ugh! But I did get to go through 5 more Pennsylvania counties, plus a side-trip to Sullivan County, New York) and then home. In the end, the trip was 23 days. It would have been 22, but there was this traffic jam in Virginia....

Anyway: so people seem to think that I'm seriously trying to visit every county in the country. I say I am, and apparently manage to say it without an appropriately ironic or sarcastic expression, since I frankly don't care if I do it or not. The County Count business is trivial. I like seeing new places; I like travelling around the country. I like meeting strangers, even if our meeting consists of just a fifteen minute conversation about some local oddity, or their new truck, or why Obama is a-fixin' to drive this country bankrupt, or how the police arrested that guy for robbing the IGA.

The county-count is why I'm driving up to Washington (state) later this year, instead of flying like normal people. Well, that, plus the fact that I have so little tolerance for airports and airlines, plus the mockery of airport security. (Not that I feel unsafe; I just feel like the TSA is wasting more public money than any other agency these days. And that, my friends, is saying something. I get too pissed off at them to reliably pass through their mock-tech screenings. It's one of the reasons I choose not to own a gun: I would use it, eventually.)

So. Trip to Wisconsin: done. Stained glass panels: installed. Three days on the freeway: done. Humanitarian concerns: answered. Four and a half more days on the freeway: done. County count? I've now completed ten states, with the drive through Coos County, New Hampshire. I went to 49 new counties this trip --- not a lot, considering the distances involved, but I was in kind of a hurry for a change. I've now been to 2,114 of the 3,096 counties in the USA. In a month or so, I'll start on the last big trip of the year, out west. Haven't planned it yet, but I know that I'll visit the last county in New Mexico, and will go to two states that I've never set foot (or wheel) in before. There'll be a whole lot of new counties visited then, I reckon.

And then, I think, that may be it.

Second Attempt: the trip to Los Angeles; Prologue

 The last time I was in Los Angeles was in August 2021. Was the pandemic still going on then? I don't remember. Anyway, I had gone to see a museum exhibit on stained glass, and to get there I had plotted out a route that would get me all the way to Los Angeles from San Antonio with only two hours of freeway driving, the unavoidable passage through the West Texas wasteland from Sonora to Fort Stockton. 

 Well. If you've read the blog posts from that trip, you may remember that, while it was a good trip overall, certain things prevented me from taking my intended route; three things, in particular. (You probably didn't read them, and if you did you probably don't remember. That's OK; I really only write for myself.) First, I had no cell service in the area west of San Antonio, so I couldn't access the route-plan on my phone; and I had also neglected to bring along paper maps. I couldn't remember the route I'd laid out several weeks before, so ended up getting to the freeway in Junction, Texas -- normally a two-hour trip from San Antonio -- in just about four hours. And that was just the first hurdle.

 Second, the roof-raising mechanism on my convertible broke in the middle of nowhere, at that time located in west-central New Mexico, near the Arizona state line. That eventuality meant I had to abandon the middle portion of my planned route, and instead go into Phoenix for repairs...which proved to be unavailable. But the shop there at least got the back windows up and deactivated them. So the top stayed up from that point on, until I got the repairs done after returning home. (It's just now, as I'm writing this, that it occurs to me: would the top have gone down without the back windows going down first? I don't know; I never tried.) Anyway, having the top up for the entire trip kind of negated the whole point of having a de luxe touring convertible.

 Third, Google Maps stopped talking to me. I had not realized this until I found myself on a freeway entrance somewhere in Los Angeles County. That was when I realized I wasn't on the route I'd so carefully planned out. Now, I have had many issues with Google Maps, despite it still being (far as I can see) the best navigational aid available. It used to tell me the names of streets to turn on, and the names and numbers of freeway exits. Then it lapsed unbidden into Brit-speak, and would say things like "take the slip-road on the left." Then it stopped speaking altogether, as during my last trip to LA. 

 We're on speaking terms again, Google Maps and I, but it's of a strained and limited variety: now it'll just say, "In two miles, take the interchange on the right." Usually that's adequate, but when, as occasionally happens, there are two possible turning points in very close proximity, I never know which to take. It has never worked out well.  At the worst point, it not only stopped speaking altogether, it stopped moving the map to show my position. Ask me about Dayton. Thank goodness that didn't last long! (I noticed that, when we were using my sister in law's version of Google Maps in North Carolina last month, street names abounded.)

 In the case of the Stained Glass Trip, I ended up trying to wing it; I got off the accidental freeway, selected a destination that I knew was along the intended route, and asked for directions. It gave me what I wanted, but it wouldn't say anything. I would have to look at the phone to see if I was going the right way. If I missed a turn, I got a little electronic noise, but as someone who wears trifocals, I can't actually see my phone in the car unless I hold it in front of my face. You will agree that this is not the best way to drive, especiallly in an unfamiliar area.

 Since that trip, I've figured out that if the phone is connected to the car radio by bluetooth, Google Maps won't say anything unless the radio is on. As long as I remember to turn it on, I should get some instructions from the program, even if I still don't get the names of streets. I've also made sure to have a paper map in the car this time, and I've highlighted the route through the Hill Country. I've also laid out the route on Google Maps on my computer and sent it to my phone. Twice. I hope at least one of these things works. Because I'm leaving again for Los Angeles soon, and I'm going to try basically the same route, with a few changes: adding a waterfall in New Mexico, dropping a couple of places in New Mexico and Arizona that, I've since learned, are just fire watchtowers in the national forests. (From their descriptions on RoadTrippers, they sounded like scenic viewpoints.) And since I left off the places along the old route that I actually went to on that trip, I could change the route enough to (a) stop over in Havasu, where we have a house I can stay in, and (2) add a whole bunch of potential places I probably won't go to and a few I probably will (like the out-of-tune singing road in Lancaster, California).

 So fingers crossed! Will the car function within acceptable parameters? Will the weather cooperate? Will any of the sites I've picked out on my route prove at all worth seeing? Will I be attacked by a bear, or a mountain lion, or a MAGA Republican? 

 I'm meeting my friend the Hankmeister in LA; he flies in on the Thursday after I leave for LA, so I have six days to get from here to there. Since San Antonio-to-Los Angeles is normally a long two-day trip or an easy three-day trip, I have the luxury of no real constraints on my wandering. (I suspect this is proving a little irritating to my sister-in-law, who has to deal with the caretaker of the house in Havasu; but she's being flexible.) That is the best way to wander, the way I always try to plan, but seldom actually get to do. May this time be different!

 When the Hankmeister flies home on Sunday, I'll go back to Havasu that night. At least, that's the plan. It's a 5-hour drive and he doesn't have to be at the airport until about 4:30 in the afternoon, so I may be driving late into the night. I don't like that thought, but one does what one must.

KCMI Trip: The Excitement Builds

 Planning a trip is almost always more fun than actually taking it. Planning costs nothing, fills time admirably, and is an infinitely flexible undertaking with no calories. There is no chance of car trouble, or flight cancellations, or weather delays, or lost reservations, or pickpockets, or unexpected charges or medical contamination. There are no impulse buys to tempt me in the planning stage.

 I always think about the trip to Portugal for the 2002 Euros: spent months thinking about it, planning it, researching air fares and hotels and figuring out what to see and do (besides the matches, of course). It was going to be a great trip. Then the dollar's exchange rate tanked and my $12,000 trip for two became more like $18,000; so we decided to stay home, drink some Madeira (which we didn't), listen to some fado music, and watch the games on TV. It was still great. 

 So: at the moment I'm planning my next Big Trip. I have three stained glass panels to deliver and install in a house in Kansas City, so I know I'll actually make this trip, at least that far. These panels took me about a year to build, so I'm not about to change my mind. And as long as I'm going as far as Kansas City, I figure I might as well wander around the country some: visit some of those counties I've never been to, and see some more of this part of the world that I think of as Home. 

 There's not really that much of it that I haven't already been to; 135 counties (in 14 states; plus Alaska, which has no counties) out of about 3,000. Consulting my maps of what remains, I decided that Michigan, with twenty counties to target, was the place to go. It suited the time available to me (limited as always by my level of tolerance for being away from home, and, in this case, the need to get ready for the next trip, an annual excursion to the Mojave desert), and it was vaguely in the same direction as Kansas City. And along the way, with only a slight bit of backtracking, I could also pass through some other, less beckoning counties, in Nebraska and Iowa. And on the way back -- if I stick to the plan -- I could visit the few remaining counties in Kentucky and Tennessee. 

 I don't usually stick to the plan. Every intersection is an opportunity to change course, so despite the detailed plans I make I seldom feel at all reluctant to discard them because some sign on the side of the road alerts me to something that I hadn't planned on, be it a giant ball of string or paint, or an oddly-designed pedestrian bridge. This is OK.

 But because there are now so few counties left to colour in on my map of Where I've Been, I find I need another meaningless concept to draw me out from Paradise South. And I've found it, in the form of automotive museums. Who knew there were so many of them around, and so nicely scattered as to justify a trip in any direction? Well, I can tell you right now that, much as I enjoy car museums, I've overloaded this trip with them: 17, at last count. So I'm pretty sure that at least some of them will be left out: put off for a later visit, or skipped altogether. (There are five of them in one commercial subdivision in western Michigan alone; I plan to visit all of them, but don't be surprised if I decide not to.)

 In addition to the dozen or so things I've identified as worth seeing or doing in Kansas City itself while I'm there -- mostly things I won't have time for; I'm only going to be there two days and three nights -- I have an itinerary of 180 waypoints spread over more than 5,200 miles. Just the leg from San Antonio to Kansas City, normally a day-and-a-half drive, I expect will take four days. A few waypoints are just points on a highway that I had to include to make the route go through a particular county; but there are also a couple of dozen additional points of interest that are "on the side" -- places I might decide to go to but am not planning on. Places that are plan-adjacent, put on my map for awareness purposes. Maybe, when I get to Tulsa, for example, I'll actually feel like spending a couple of hours in the interesting-sounding art museum, even though I'm pretty sure I'm going to spend at least that long in the art museum in Kansas City. That's just how I roll. (I'm more likely to skip the ice-cream parlour in Tulsa, because I now know that I'll be able to get Superman ice cream in Michigan.)

 In the Olde Days, I'd just pick a place on a map, call it a destination, and see what there was to see between Here and There and Back. Now, of course, there's the Internet, which makes it all so much more complicated. I have Roadtrippers to build the itinerary on, and Roadside America to alert me to the view-worthy weirdness that lies along the backroads. And Atlas Obscura. And OnlyInYourState.com. And a nearly useless site called Make My Drive Fun. (I say nearly useless because, no matter what I plug in as starting and ending points, it tends to show me routes that begin in Lisbon, Portugal, and end thousands of miles away in Russia or southeast Asia. And even when I get the route I'm looking for, the preview of the interesting points identified along the way tend to be described as a convent in Barcelona or a medieval building in Romania.) And there's AutomotiveMuseumGuide.com, and any state I go through has web sites of its own to "aid" my research. And books! I recently was given a book called USA State By State; but that turns out to be an actually useful first resource.

the best part of Condo Week

 I usually take several of these wandering trips a year. During the pandemic, I still managed a trip to Ohio, and another around East Texas, and another to Park City, Utah, and another to Los Angeles. And I may be forgetting some. That's why I take pictures. But this year I've been homebound. Early in the year I couldn't go anywhere because the top mechanism on the convertible wasn't working; once I got that fixed, I had to stay home because my wife had a trip already planned, and somebody has to stay home and look after the dog. Then I needed to get the stained glass panels finished, a task that was interrupted by our annual Condo Week, this time close by in Corpus Christi (and, of course, by my Olympian procrastination skills). Once the panels were ready to go, I had to stay home and look after the dog again because my wife had a tournament out of town. Then the weather was too hot to go anywhere. It'll still be too hot when I leave -- as I write this for later publication, I'm a little more than a week out from T-Day. But because of the timing of the annual Mojave Desert Classic, which can't be shifted, I have to be back from this trip by a certain day in September. So: August it is, and pray that the Midwest doesn't get another heat wave like the one they had earlier this summer.

 Since I'm travelling alone this time, I expect to have plenty of free time in the evenings to sort through my pictures and write blog posts. This is your warning to expect them.

August '21 Stained Glass Trip: Day 2

This is part two of the Stained Glass Trip. You can read Part 1 here.

I love planning trips. I sometimes love planning a trip more than actually taking the trip. Planning is a way of learning, costing only time, while travelling usually costs both time and money. But for all the planning I do, usually meticulous, sometimes obsessive, I always say that every intersection is an opportunity to change plans. Today was a day that put that maxim to the test, and the result shows why I prefer planning to execution. 

The day started early. Way too early. I woke up between 2 and 3 o'clock in the morning. By five I had given up on going back to sleep, so I was on the road very early. My first stop was a 24-hour convenience store about 200 yards down the road in Cloudcroft, where truly mediocre coffee was available at a not-outrageous price. Okay, it was a pretty good price, or would have been had the coffee been better, but I'm in kind of a mood now and so my instinct is to say the price was just not outrageous. I stood in the parking lot drinking my coffee and smoking a cigarette and watching the garbage truck try with limited success to empty three large dumpsters. It took several tries and the driver had to get out and pick up all the trash that missed the truck, so there was some entertainment value there. I threw away about a third of the coffee and headed down the road to my first stop, which was only about half a mile away.

Mexican Canyon Trestle

Back in the day, someone built a railroad up to Cloudcroft, which sits above 8600 feet altitude, to bring
tourists up so they could escape the lowland heat. On the west side of town is a remnant of that railroad, a curved trestle across Mexican Canyon. I had asked the doyenne of last night's hotel about it, and she said that it was about an hour's hike each way, and the return trip was very steep. So I decided just to go to the overlook and see it.  I did that. Not really sure why it's a sight to see, but there it is: a trestle, sans rails. And I'm pretty sure the woman at the hotel has never in her entire life been there, because it's only about a 300-yard hike each way from the trailhead, and couldn't possibly take an hour each way unless you're on crutches.

Next stop was about ten miles farther down the road to Alamogordo, which drops about five thousand feet over about fifteen miles. A place called Tunnel Overlook, I suppose because it's just past the one tunnel along the road. The tunnel is nothing special; the attraction is the south-facing cliff opposite the road, which is, according to signboards at the parking area, an archaeological site used by native Americans of the Ancient Culture, or maybe the Fresnal Culture; the sign wasn't clear about that. In any case, I couldn't make heads or tails of the signage in relation to the actual cliff face, so I just read all the signs and took some pictures and moved on. 

Down in the valley, I stopped for breakfast at Denny's and had their version of eggs benedict. While it was not at all authentic, it wasn't bad; and the coffee was much, much better than what I'd gotten at the convenience store. I didn't throw any of it away.

Feeling restored, I started down the highway toward Las Cruces, where I'd pick up I-10 for about 60 miles to Deming, then go back up into the higher elevations with a couple of stops in New Mexico before going into Arizona. I figured to get to around Payson today, with the high point being a view of the Mogollon Rim, which I've never seen. Fifteen miles out of Alamogordo, plans changed. The United States Air Force had the road closed. "For at least an hour," the 80-year-old MP told me. I pulled over to wait with everybody else, and checked my GPS guide. It told me that if I went back to Alamogordo and then south to a point just north of El Paso, I could be half an hour ahead of the game. So, what the hell. Drove back to Alamogordo and then south towards El Paso. About halfway down the road, Google Maps told me that Interstate 10 near the Texas-New Mexico line was now closed and the Alamogordo route was now the fastest. 

 Not having a paper map to consult, I pulled into a C-store to see if maybe they had one. Maybe there was another road that crossed the short distance between the highway I was heading south on, and the Interstate that headed north just a few miles away to the west. The clerk there told me the Air Force closes that highway every time they plan to test a missile. They launch a drone that tows a target, then launch a Patriot missile to bring down the target. It all takes maybe three seconds, but they close the road for at least an hour, from an abundance of caution. 

Anyway: there's no other road, but now Google Maps shows the interstate is open again, so on I go. Very unpleasant drive, because the speed limit on the southward highway changes frequently, for no apparent reason, and because the connector from that highway to the interstate is a pothole testing ground. Only about five miles long, but five miles of really bad road. I'd have preferred a gravel road to that. Then up the interstate to Deming. Had lunch there, at a local burger chain known apparently for its glacial service. Oh, and let me tell you one other thing: that part of New Mexico swarms with flies. I took more than a dozen on a ride up to my next stop. (I tried to get them out, but more came in than went out.)

Bird of Paradise bush, maybe

Rock Wren, probably

That next stop was City of Rocks State Park. The rocks are tufa ("Kneeling Nun Tufa," according to the park's brochure, but it doesn't explain where the name comes from), a fairly soft and relatively lightweight volcanic rock. There are a number of outcrops clustered in the park, with a botanical garden near the entrance and a number of short hikes around the edges, plus one hike that goes right through the middle. I ended up spending a lot longer at this park than I'd expected to. I head for the botanical garden, because somebody I know is really into that stuff. The plants are almost all cacti that are common enough from Texas to California to Mexico, but there is one very pretty flowering plant with no label that I take a picture of (see left). Then I hike up through the middle of the park about halfway, until I encounter a Little Brown Bird that makes clear I'm not welcome in its territory. I take a picture of it, too (see right); it comes so close to me I could have reached out and touched it.  I showed the pictures to the park ranger, who told me with absolutely no confidence that the plant might be a Bird of Paradise, and the bird might be a Rock Wren. I've decided to believe him.

The next planned stop is The Kneeling Nun, which Roadtrippers says is Silver City's favourite sculpture. (I suspect that it has something to do with why the local rock is called Kneeling Nun tufa.) I only put it on the trip because I wanted the route to go through Silver City, and it was either that or some bar that managed to get a listing. So I drive up to Silver City, which twenty years ago was a charming old town but now is a booming sea of suburban sprawl. My GPS took me to the center of town and told me my destination was on the right. I parked and got out at what looked like an old high school but is now a public utility office. There was no sculpture that I could see, so I opened up the Roadtrippers listing and read that it's located eighteen miles east of Silver City at a place called Santa Rita. Well.

So. On to my next stop. I realise I'm not going to get as far as Payson, thanks to the Air Force, so I'm thinking I'll be staying in Show Low tonight. The weather now is fine, so the top comes down, and I'm cruising along a nice little two-lane highway, heading northwest towards Arizona, when it starts to rain a little. I pull over and hit the button to put the top up ... and nothing happens. There's a whirring noise but no action. I get out the owner's manual and read about how to put the top up manually. I manage that chore in about 20 minutes, just in time for a gullywasher of a thunderstorm, complete with impressive displays of lightning. 

I decide that I'm not going to be able to spend a week in LA without being able to put the top down or the back windows up (they're operated by the same mechanism), so I look up the nearest repair shop. It's in Scottsdale, outside of Phoenix, five hours away according to Google Maps. Okay, that'll have to do, so I start down the road, heading now for Scottsdale. After about 20 miles, I decide I should make an appointment for service for tomorrow morning (because I know I'm not going to get there before they close today). I pull over to look up the number, but there's no service. And I manage to erase the directions. I plug in the address again and set off looking for a signal. A few miles along, Google Maps kicks in, and now it tells me to turn around and go the other way. Grrrr.

The forested road it takes me down is a road that would be the perfect drive if only I could put the top down, and not have to drive in the heaviest rain I've seen since the last flood back home. The wipers can't keep up, and in my mind I know that water is pouring in through the open rear windows, and I'm driving through the forest, making hairpin turns and going up steep climbs and down steep descents all at around fifteen miles an hour because I can't see shit. Eventually the rain ends, and I finally got a phone signal and call for a service appointment for 9am tomorrow, and book a hotel in Globe, which is a little less than two hours from Scottsdale, so I'm pretty sure I can make that. And that's where I am now, in Globe, worried that it might rain again and my car is sitting outside with the windows down.... 

But I'm still optimistic that I can get the roof mechanism fixed and still get to LA on Wednesday. Actually, I might get there sooner, because there's not much to see along I-10 out of Phoenix. Though I still plan to head up to the San Gabriel Crest on the way across southern California. We'll see what can be salvaged, when the car is fixed. But I'm pretty sure I won't get to see the Mogollon Rim.

Oh, and by the way, the pictures from this trip are all in this gallery.

Boeing Tour and Tacoma Museums (September 16, 2010)

Boeing has three big facilities in the Seattle area: a factory at Renton, where they assemble 737s; Boeing Field, which doubles as King County Airport, and which includes the Museum of Flight; and another factory at Mukilteo, north of the city (called The Everett Plant, after a nearby larger town), where they assemble 747s, 767s, and 787s. This was the place we went to for their factory tour and a visit to "The Future of Flight," a sort of museum showing what might be coming down the road ... er, runway.

Bus-sized groups of visitors are carted from the visitors' center, across the freeway to the factory, which is, as our tourguide made clear again and again, huge. It's something like a third of a mile from end to end. The doors that allow parts to come in and planes to go out are, of course, huge as well, and the photograph decorating the door is the largest printed picture in the world. (Sixty-seven d.p.i., our guide pointed out, but so big it looks incredibly sharp.) The building was the largest in the world when it was built in the '60s, so much bigger than anything that came before that its designers had no idea that it would have its own weather system. Once it was occupied, it started raining inside. That problem's been solved --- I forget how; ceiling fans, maybe --- and the building's not air conditioned. If it gets too hot (and with all that machinery going in there, it does), they just open the door a crack.

They build 747s, 767s, and now 787s in this building. The tour takes you up to the catwalks several stories over the factory floor, and you can see how the assembly line is put together. The jumbo jets have a U-shaped line, but the 767s and 787s can be done in a straight line. The 787s, the so-called "dreamliner" that is Boeing's future, is assembled here from parts made all over the world. Some of the parts are so big that Boeing had to adapt several 747s with oversized fuselages, so they could fit the components inside and fly them to Washington for assembly. These five "DreamLifters" are, as a result, the largest cargo aircraft in the world. Four of the five were on the ground outside the factory. (A few weeks before this trip, Boeing announced that it was returning production jobs to the US because it found it lacked adequate quality control over its foreign producers. I reckon that means that they'll have to build a much, much bigger building at some point.)

After the tour of the factory, the bus takes the group back to the welcome center, where there's a gift shop (of course) and museum of sorts that is supposed to be about what's in store for air passengers, but is mainly about Boeing's history. It wasn't interesting enough for me to walk all the way through it, especially after that hike through the factory. One of the featured exhibits is a series of computer terminals where you get to "design your own aircraft." What this means, it turns out, is that you get to pick the wing configuration from about 8 options, and choose from three exterior paint patterns and half a dozen logos. Then you get to print it out for free, or buy a shirt or other souvenir with your design on it. Big woo. There's more than enough little boy left in me that I was excited by the build-up this exhibit got, but disappointed by the reality of it.

We made a quick stop at Mukilteo Lighthouse, not very far away, because Jeff has decided to be interested in lighthouses. I may have mentioned that earlier. Something to do with a recent trip to Long Island. Anyway, we didn't miss an opportunity to visit any lighthouse we came across, and Mukilteo is among the more quaint that we saw. Not as dramatic as Hecata Head in Oregon, but with all the fog they have in this part of the world you come away kind of surprised that there's not a lighthouse on every rock.

After the lighthouse and lunch at a New-Yawk-Style pizza place (not bad, for pizza by the slice), we headed down to Tacoma.

There's been a little paragraph of newsprint on my refrigerator door for about a year now, briefly describing the Glass Bridge that leads to the Museum of Glass in Tacoma. Someone wrote on it, "Sounds like a day trip," and ever since posting it I've been looking forward to this part of our trip. I have something of a collection of art glass myself, only about 30 or 40 pieces, but I love this particular art form, and was soooooooo looking forward to it: a whole museum, dedicated to art glass.

I should have known I'd gotten my hopes too high. Yes, it's an entire museum dedicated to art glass. The building itself is architecturally interesting, clever, and, surprise, attractive. A modern building destined to be a classic, I'm sure. Inside, the space is very limited. There are two galleries, the lobby, a café, a studio, and the gift shop.

The entire space was taken up by just three and a half exhibits when we visited. One was an exhibit of children's glass art. You can imagine how non-plussed I was by that waste of space. It was the museum equivalent of fingerpainted pictures on the refrigerator door.  Next to that was a one-man show featuring the work of a local artist, Preston Singletary. He is Native American, and this, plus the fact that some local rich person likes his work, has brought him to the point of prominence where you can get a one-man show in a leading museum. There were about sixty pieces in the exhibit, and while there is no disputing his command of the techniques of glassblowing, I found the One-With-Nature-Native-American focus more than a little heavy-handed. A few of the pieces had truly pleasing lines, and several were innovative (at least to me, who only gets to see what's going on in the world of art glass through occasional visits to shops, studios and galleries), but only one was what I would consider museum-quality: one of two pieces named Raven Stealing The Moon (after one of the artist's tribe's creation myths, duly told on a small placard next to the work). One of the two pieces named this hung on the wall like a rainspout on Notre Dame, a sandblasted black-on-red stylized bird with a big marble in its beak. It evoked a totem pole, with rounded lines and framed images inset. I didn't care for it. But the other one was stunning, and not surprisingly I found that this was the piece used on the promotional materials for the show. It stands on end, about a foot and a half tall; like its namesake, it's a black-on-red bird's head with a large marble in its beak, but this one has magnificent proportions and truly pleasing lines. One is art; the other is Art.

The studio contains the third full exhibit, the museum's "Hot Shop," where you can watch glassmaking live. They were on break when I was there, and I wasn't about to wait around for them to come back so I could see something I've seen in studios all over the country; and often enough to know that everybody does it pretty much the same way. Jaded, I am, when it comes to watching glassblowers at work.

The half exhibit is a couple of tables set up in the back of the lobby, whereon are gathered a number of birds by Finnish artist Oiva Toikka, a master craftsman at some factory in Europe who specializes in bird shapes. Some are pretty; some are ugly; some are just silly, possibly intentionally so. It seems these birds have become collectible, a 21st-Century alternative to Hummel. Anyway, the exhibit excited me about as much as the Steuben Glass room at Dillard's Department Store used to back in the '80s. The exhibit had the look and feel of an afterthought, as though somebody had said "We need to fill that space over there," and then they rushed around gathering up a flock of glass birds, put them on the table, then got busy with other things and forgot to make a show out of it. Kind of sad, really.

The stunning part of the Museum of Glass was the gift shop, for two reasons. First, there were the works of the aforementioned Preston Singletary offered for sale: tiny little glass baskets and boxes at positively astronomical prices, as though someone had accidentally added two extra zeros to all the price tags. Second, there were some genuinely magnificent pieces by other artists on sale there, at prices approaching reasonable (or, at least, museum-gift-shop-reasonable): Cohn-Stone Studios in San Francisco (whose web site, unfortunately, is all about cutesey pumpkin and leaf shapes, instead of the elegant type of stuff I saw at the museum), and a Canadian guy named Jeff Holmwood. I was sorely tempted to buy something, but I promised myself I wouldn't buy any more glass until I have a place to display it. (I plan to build a shelf above the french doors and windows in my living room, lighted from below and running the length of the room, just to put some of my glass pieces on. Been planning that for years....) Plus, there's the problem of getting it home, or the expense of having it shipped.

Outside the museum, crossing the adjacent railroad tracks and highway, and leading to other museums in the district, is the Chihuly Glass Bridge. It's a pedestrian bridge with three installations of art glass. In the middle are two poles with big chunks of blue-green dalle glass on them, like giant rock candy sticks. At one end is a wall of about a hundred cubicles, each containing a single vase by Chihuly, the local glass artist who's become the biggest name in the business, although to my mind he hit on a popular style back fifteen years ago, and has since turned into a one-trick pony, churning out the same products time and time again. I took pictures of almost every one of the vases, so I could look at them at my leisure (ah, the wonders of digital photography: it costs nothing to waste memory like that). Some of them are nice. All are technically proficient but most are unpleasant in their proportions, though that doesn't seem to matter in matters artistic these days. Some are gaudy, some are busy, some are subtle, but none rise above the level of expert craftsmanship.

At the other end of the bridge is an overhead exhibit, a space containing vaguely sea-creature-shaped glass. I suppose on a bright sunny day this would look downright pretty, but when's the last time Tacoma had a bright sunny day? (Oh, sure, they must've had one some time.) All of these pieces look like the Chihuly vase in Frasier's living room, or like the elements of the formulaic sculpture that some real salesman talked the Friends Of The San Antonio Public Library to shell out hundreds of thousands of dollars for. Same old, same old, and not even pretty to boot.

Edward Bruns, ca. 1910

All in all, I found more of interest in the Washington State Historical Society museum at the other end of the glass bridge. If I were to go back to Tacoma, that is the museum I'd head for. On the top floor is a model railroad (always worth seeing, and this one was particularly well done, if not as big as the one I saw in San Diego) and other exhibits relating to local history. My favourite parts were the exhibit of Arts-and-Crafts architecture and design (especially, of course, the stained glass windows on exhibit, and some prints that I photographed for my friend Rick, who's into that), and the "Washington Icons" exhibit, featuring a few things that museum visitors chose as representative of the state: notably, Galloping Gertie (the Tacoma Narrows Bridge, which famously collapsed soon after opening in the 1940s), and a series of hilarious and imaginative Rainier Beer commercials playing on continuous loop.

8 miles offshore, heading out to sea

A propos of nothing: I have a DVD-based GPS navigation system in my little convertible that was probably not state of the art when it was designed in the late 1990s. It causes me a great deal of irritation because it's tedious to find things on, and won't plan out the kind of route I want, and sometimes it just plain gets lost. But after using Nancy's up-to-date GPS feature on her Blackberry (or whatever), I feel a whole lot better about my rickety old in-dash navigator. It, at least, does not ask me to exit a freeway, immediately re-enter the freeway, go to the next exit, take the turnaround, go back to the original exit, turn where there's no street, and then go three blocks past my destination.

Just thought I'd throw that in; it's the first kind word I've had to say about that device since I bought the car.

2022 KC/MI Wander: Kansas City

Days 4, 5 and 6

 This is the fourth installment of the blog post documenting my epic wandering around the middle part of the country. You really should read them in order. To that end, here's a link to Part One. At the bottom of each post, click the link for "Newer Post" at the bottom. And here is a link to ALL the pictures I took on this trip. Viewing them will require that you scroll through God knows how many pictures of parts of old cars, so you might want to just skip that altogether.

Day Four of my trip, Friday, began with a walk up the street to a breakfast place we'd passed the previous evening on the way to dinner on Main Street. I was seated next to a very young couple who were engaged in a group phone conversation with some guy in what sounded like a techno-chic night club. Or maybe he just liked to blast dance music in the background. Whichever: the young couple could only overcome the noise from his location by shouting into the phone about their gym routines. I had to move to another table, where I was made privy to the thoughts of a 73-year-old woman who likes dirty martinis and has some unpleasant thoughts about sexual practices in West Africa. Fortunately, live voices are easier to tune out.

The food was good, the coffee not so much. Service excellent, values not so much. Overall I'd give the place an average rating, two and a half jalapeños out of five. 

National Toy & Miniatures Museum

After going back to the house and writing up my blog post from Day 3, I walked over to the National Toy and Miniature Museum, about three blocks away. The museum was started when two wealthy old KC women decided to pool their collections. One collected miniatures, the other collected toys. The museum has toys on the second floor, miniatures on the first, though naturally there's some overlap, especially when it comes to doll houses.

The attraction of the upper floor was, of course, the nostalgia of seeing things I used to play with locked up in plexiglass cabinets where they couldn't be played with: the Lockheed Constellation model airplane, the Marx Garage, &c. I pretty much skipped over the doll exhibits, and I was disappointed to find an entire cabinet of Hot Wheels cars, but not a single Matchbox. (We die-cast model snobs disparage Hot Wheels as morally and physically inferior to the Matchbox models.) But there was an old video of the Matchbox manufacturing process produced by Lesney, the company that made the toys (starting in 1952, I learned, with a model of Queen Elizabeth's coronation coach). 

But it was the miniatures on the first floor that are really the heart of this museum. They were astounding. 

nesting tables 1" x 1.5"

The miniatures museuem I visited in Victoria, British Columbia a few years ago had dioramas of great scenes created with phenomenal detail: battles, a dogfight, a car show, circus parades. I was expecting, even hoping for something similar. But instead I found thousands upon thousands of items rendered in perfect tiny proportion. And while they were often arranged in complete sets -- Art Deco Jewelry Store; Country Cottage; Anteroom in the Doge's Palace -- the main thrust of the museum was educational, showing how these incredible items are created. The exhibits highlight the special tools used, the techniques applied, the various stages of production. In one room, I got to try putting the hands on a miniature grandfather clock with a pair of tweezers. The first hand went on easily; the second took me a dozen tries, and I wasted a lot of time looking for it after it squirted out of the tweezers' grasp.

table & chair, full-sized & miniature

captain's chair on a pin

Probably the most fascinating item was a copy, in miniature, of a writing desk from the palace at Versailles. The model is only about six inches across, but it perfectly duplicates the full-sized furniture, right down to the gold leaf decoration, the inlaid roll-top (including the entire brass mechanism), the dovetail drawers, the complex lock, and the mechanism that enables the writing desk to double as a reading stand. There was a documentary film, engaging despite its leisurely pacing, showing how the piece was made.

There were miniature copies -- apparently perfect copies -- of oil paintings; there were porcelain figurines and dishes and vases; there were candles and chandeliers and kitchen tools, even tiny flowers and food and animals, all of them perfect in every detail. The result of these collections is absolutely breathtaking.

When I left the museum it was mid-afternoon and much hotter than I cared for. I briefly considered going to the Nelson-Atkins Museum, or driving around the city checking out other locations I'd marked to visit on RoadTrippers; but after walking back to the house, I decided instead to settle on the back porch with a glass of ice water, my computer (to start putting down these thoughts) and my cellphone.

I found that relaxing.

Saturday (Day 5 of the trip) was set aside for a visit with my friend Marty, who lives out in Olathe, a suburb of the city in Kansas. His house isn't far from the Kansas City Automotive Museum, and he expressed an interest in going there with me. Perfect. 

Since he works nights and doesn't usually get up until around ten in the morning, we planned for me to come by his house and fetch him a little after that; then we'd have brunch and go to the museum together. Easier said than done: every decent breakfast place in the area had long wait times. At the third restaurant we checked, with a 25-minute wait, I said let's just wait. If we'd waited at the first one we'd gone to, we'd have already eaten by then. But by the third restaurant we were both a lot more desperate and a lot less proud. I had gone out to an ATM that morning and stopped for really good coffee at a convenience store I'd passed on the way, and had thought about getting something to tide me over (this was around 7:30AM) but decided not to. Since I expected to eat around 10:30, I figured there was no need. In the event, it was about 11:15 before we finally sat down at a restaurant table. We had a good breakfast -- I had eggs benedict and coffee, lots of coffee -- and sat talking well into the afternoon. 

So we didn't get to the museum until around 2pm. It's not a large museum, but it's an interesting one. It has special shows, a different one every month, and most unfortunately, their Jaguar Month is September. If only I"d known. When we pulled up and went inside, they immediately started trying to convince me to leave my car in their museum for the month. "We haven't got any newer Jag models lined up yet for the show." Too bad, I said, because this car will be in Michigan by the first of September.

1954 Lincoln

Among the unusual cars they had on display were a 1925 Jordan, similar (I've been told) to the one my grandfather drove; a 1954 Lincoln, a rarity in car museums; a 1935 Bentley 3.5-litre saloon; an Essex Super Six; and a 1957 Chrysler Imperial Crown convertible. All the cars were fully restored and beautifully presented, although the lighting in the museum is fairly harsh and my photos are, as a result, mostly overexposed and filled with glare spots. There was also a 1957 Messerschmidt two-seat tandem car, which prompted a long conversation about postwar industrial recovery in Europe and Japan, and the persistence of rationing in Britain. 

1939 Racine Ford

But the most interesting car was something that, normally, I wouldn't have bothered with: it was, according to the sign, a 1939 Racine Ford -- not something I'd ever heard of, and I suspect that it's actually a fairly recent artifact. It was built using parts from a number of cars, ranging from a 1934 Ford, a Jaguar, an MG, and several others. All these odd parts were cobbled together by various local mechanics (a complete list of the parts and the builders was given on the accompanying sign) into one of the most attractive 1930s-Style vehicles I've seen outside of the top car museums.

Marty and I spent about an hour at the museum, and another hour or so sitting outside talking. Just before we left I went back in to toss some trash, and an older man who hadn't been privy to our conversation on arrival immediately set to work trying to get my Jag into their Jaguar Month show. I spent about 20 minutes talking with him and the other three museum employees about which cars are the most beautiful (and which aren't): Jaguars in general, yes; Jaguar XK-150s, no; Delahayes in general, yes; Bugatti Atlantics ... we agreed to disagree. 

In any case, I'm now up to seven "nice car" comments, including Marty, who gushed. He'd expected me to be driving my Subaru (because I was bringing the stained glass panels up). But while bringing up the glass is the Official Reason for this trip, the convertible is the Real Reason.

Speaking of stained glass: while I was out in Olathe, the panels got hung up at David's house. (The installation had been delayed because the hooks originally bought for the hanging were only rated at 4 pounds each, and the center panel weighs almost 10 pounds, so bigger hooks were needed.) Since this installation is the Official Reason for the trip, I guess I should mention that it's been accomplished, and show the result. So:

Ginko Triptych, Installed

We had dinner down at an Italian restaurant in The Plaza, a shopping district built in the 1920s and famous for two things: (1) being the first shopping center designed for cars (there are parking garages hidden all over the 6-block area) and (2) a plethora of public art. I have photos from a previous trip of a magnificent fountain at the eastern end of the Plaza with several monumental bronze statues in it; this time we were at the western end, where the statues are more modest, and whimsical. After dinner, we strolled around the area for a while, as David pointed out where everything used to be. Seems the tenancy of the Plaza has been extremely fluid in the past few years; not really a surprise, but it always promotes a certain feeling of regret-tinged nostalgia when important parts of your home town go through big changes. I feel the same way whenever a longtime River Walk business folds or moves away, and when some national chain takes over a space that, morally, should have a tenant with a local connection.

Sunday (Day 6) started off with pouring rain. I started my laundry and then sat on the back porch, pondering coffee sources until there was a lull in the downpour. I rushed out to a convenience store a mile and a half north, filled their biggest cup, and brought it back to the house. By the time I moved my laundry from the washer to the dryer, it was plain that the lull in the rain would be lasting for some time. So I found a place for breakfast called the Neighborhood Cafe, three miles south, and went there. Four and a half jalapeños. Had a good-enough breakfast burrito, and more coffee; but the best things about the place were (a) the prices; (b) the lagniappe (hot-from-the-oven cinnamon rolls); (3) the service; and (d) they had the Forest:Spurs match on the TV over the counter. I was tempted to remain until full time, but I had laundry in the dryer.

I spent the entire afternoon at the Nelson-Atkins Museum. The best part of that museum is that it's free, so I don't feel like I have to see everything in order to get my money's worth. That's really a good thing: I don't know how many times I've gone, and I have never seen even half of it. I had gotten there around noon, figuring I'd spend, oh, a couple of hours and then go for a late lunch. Instead I was there until closing, in which time I saw about 2/3 of one floor. (I don't even know how many floors they have; at least two, probably more.) I spent a pretty good chunk of that time considering a single painting, John the Baptist in the Wilderness, painted in the 1500s by Caravaggio. I'd seen it for the first time years ago at the Kimbell Museum in Fort Worth, but the Nelson-Atkins is its home. It is, to me, one of the most enigmatic and important paintings in the entire history of art. 

I managed to get all the way to the medieval cloister at the western end of that floor -- the Plaza Level -- and around the corner to the Assyrian and Egyptian art section before closing time. I find so much of interest there that I had never before gotten that far along that floor. On this occasion I spent a good bit of time with French porcelain and Italian Baroque -- did not see a single English painting on this visit -- and who'd'a ever have thunk it? They have a section on stained glass! Wonders never cease. 

It didn't even occur to me to have lunch. Now, that's engagement.

Well, now: my wandering resumes tomorrow morning, destination Nebraska. I might even get as far as the Iowa border. The chance of rain predicted for tomorrow is the same as it was this morning, but I"m hoping it moves off to the east. Fingers, once again, crossed.

Click on "Newer Posts" to continue

August '21: Stained Glass Trip, Epilogue

This is the last post of a series; you really should read them in order. You can get to Part I here, and then click on "newer post" at the bottom as you finish each part.

The pictures from this trip are all in this album. 

OK SO ONE LAST LITTLE BIT. The rest of the trip went pretty much as I anticipated. I spent Friday morning at the Petersen Automotive Museum, They have a parking garage, but there's also metered parking on all the nearby side streets, and it's much cheaper, a dollar an hour.

I had parked at a meter the other day, farther up towards town. The meters LA uses have LCD screens that, after a certain number of years in the Southern California sun, are pretty much unreadable. But on that occasion, I stuck in my credit card and kind of guessed at what the screen was saying, and ended up buying two hours' worth of parking when I only wanted about half an hour. This time, when I saw I couldn't read the screen, I checked the other five or six vacant meters in that block and couldn't read any of them. Then I noticed a phone number to call when there's a problem with the meter; so I called it, thinking maybe they could walk me through the steps. There were 26 calls ahead of mine. Their recording kept telling me I could report problems with a meter on their website, and after hearing it 2 or 3 times I could remember the URL well enough to plug it into my phone and see, while on hold, what it might tell me. After wandering around their poorly organized website for about ten minutes, I finally located a link that allowed me to report the meter. I put in the information, got a confirmation email from them, and went into the museum. When I came out two hours later, I had a $63 parking ticket which I expect to get dismissed when Monday comes. 

1924 Mercedes Targa Florio

Jaguar XKSS

Ferrari Barchetta

The Petersen is nearly completely rearranged since my last visit. The concept cars that were on the third floor, the ones I found so interesting last time, are all tucked away in the Vault (a separate storage area of the museum). The movie and TV cars are now down on the first floor. The top floor now hosts an exhibition that deals with the relationship between auto racing and production. It starts off with a 1924 Mercedes Targa Florio that was built to be both a racer and a road car; it ends with a line of "supercars" that ... well, you can figure out that relationship yourselves. I was particularly struck by the juxtaposition of a 1952 Ferrari Barchetta Superleggere (super-light), in gorgeous black, with a 1955 Mercedes-Benz SL (for SuperLeight, a designation they still use) gullwing coupe, also in gorgeous black. Each car influenced the designs of a number of later vehicles, but in two distinct lines. The Ferrari became the Ford Thunderbird and cars in that line, while the Mercedes, after a long interval, is the stylistic ancestor of a great many currently manufactured sporty vehicles, particularly from Audi, Volkswagen, Hyundai and, yes, Mercedes. 

After the museum I spent some time with a friend of mine, a lawyer formerly in banking but now doing non-profit work. I met him on an earlier visit to LA and have sort of kept in touch. Then I went back to my hotel and started writing my article for automotivemuseumguide.com. 

Saturday morning I checked out of my hotel and went down to Culver City, a suburb about half an hour south of LA, to watch the Norwich:Liverpool match with a couple hundred of my new best friends, the Los Angeles chapter of the Liverpool FC Fan Club. Wow! what an atmosphere! It's like being in the Anfield Road end of the stadium. They sing pretty much the whole time, and loudly, and every now and then I could even understand the words. (About half of them had British accents, but I don't know if that had anything to do with the trouble I had understanding their songs.) A really fun way to watch a match. I compare it to those occasions when we go watch a match at the Winchester in Alamo Heights, where the San Antonio chapter of the fan club meets. There, nobody sings; there are seldom more than fifteen or twenty people there and nobody talks to anybody not at their table. 

After the match I headed east, getting as far as a suburb of Phoenix before calling it a day. (I nearly killed myself shortly before that, falling asleep at the wheel. Thank God for those noisy ruts they carve on the edges of the freeway these days. Naturally I was wide awake after that.) Today I felt a little tired early in the day, but after taking a walk in Deming, New Mexico I felt fine the rest of the trip, and have now arrived in Fort Stockton, Texas for the night, about six hours from home.

The last picture of the trip.

Postscript: while reading one of my old blog posts, trying to fix dead links from years ago, I came across this in a post from September 2009:

Had I had the luxury of time, I could have made the trip from San Antonio to Phoenix, and presumably on to San Diego, much more interesting than it is when we just get on I-10 at Hildebrand and get off at the 202. I could drive west out of San Antonio to Camp Wood, and up the South Llano River, or over to Langtry and up through the Big Bend Country or the Davis Mountains; I could cut across the corner of New Mexico, through Cloudcroft and Alamogordo, and up through Silver City and into Globe. It'd take a long, long time, and it's all country I've covered before.

 Considering how this trip started, I find that almost eerie.