Update to June 11th post on carousels – Lakeside Park

In my previous post of June 11th (On a Carousel trying to catch up with you) I mentioned that I would be going to see this antique carousel in St. Catharines and how excited I would be to see it; and it did not disappoint! Every hand carved animal and chariot has been lovingly restored to its former glory by a group called Friends of the Carousel who help to keep it maintained with some help from City Council and public donations.

The Lakeside Carousel was carved between 1898 and 1905 in Brooklyn, New York by Charles I.D.  Looff’s factory workers.  The carousel was relocated in 1921 from its earlier home at an amusement park in Scarborough to St. Catharines. It was purchased for the amusement park flourishing in Port Dalhousie, which had 58 attractions. In those days, more than a quarter million people annually crossed the lake in steamships to visit Port Dalhousie on weekends. The carousel has 68 animals, including horses, lions, camels, goats and giraffes, plus four chariots. The accompanying music is played by an antique Frati band organ which uses a system of paper music rolls to serenade riders. Each animal was hand carved, and the horses still have real horsehair tails.

The Lakeside Park Carousel is one of approximately 350 antique hand-carved carousels still operating in North America – only nine of which are in Canada. The original Looff lion on the Lakeside Park Carousel is one of five existing Looff lions in North America and it is the only one that has its head turned to watch onlookers as it circles by.

The second lion on the Carousel was carved in 2004 by the Friends of the Carousel to replace the original lion that was stolen in the 1970s.  One of the stipulations on selling the carousel to the City of St. Catharines was that the fee for riding the carousel would remain at 5 cents.  This is the kind of attraction that you should take your kids and grandkids to see, not just for the history but for the genuine craftsmanship that went into its making and the fun of riding around in a circle with no place you have to be. 

Unique Public Toilets Around the World

If you have done any extensive travelling you will have been introduced to various types of toilets (washrooms, etc.) around the world. Some not so nice, like those at some gas stations in North America to opulent bathrooms in higher end hotels. Access to these may be free, through a key on a peg or a swipe card, to a metered door lock but everyone needs a place to relieve themselves from time to time and the older you get the more frequently you need to use these facilities. I believe there is even an app now that tells you where a convenient location exists near you at anytime.

You cannot begin to understand my excitement and pleasure at coming across public toilets in New Zealand and Australia. They have taken mural art to the nth degree far from the boring half moon door in the outhouse behind a cottage in northern Ontario.

Bathroom in Lake Taupo
Women’s toilet in Napier
Men’s toilet in Napier, New Zealand

We have also come across some very inventive banos in Mexico on our travels. Sometimes just the markers that let you know whether they are male or female or unisex are pretty cool.

Institute of Art in San Miguel de Allende bano
Public Bathroom in Puerto Vallarta
Outhouse at Chapel of Jimmy Ray

Some unique restrooms that we have heard of but not yet experienced are:

1. A toilet in Arosa, Switzerland that is made of glass and sits over an old elevator shaft, letting you look straight down while you do your business through clear glass.

2. A club in Frankfurt, Germany where men step inside a giant, glittering set of red lips to use the urinal.

3. Kawakawa, New Zealand features public toilets designed by artist Friedensreich Hundertwasser using colorful tiles, stained glass, and a living tree growing right through the roof.

4. Tianmen Mountain in China features a clear glass restroom built onto the side of a sheer rock cliff, offering massive canyon views.

5. The Ice Igloo Restroom in Norway is built seasonally near famous hiking trails; these minimalist stalls freeze your surroundings into a stunning winter wonderland.

Blue Star Memorial Hwy rest stop on the way to Nashville,Tennessee

What are some of the best/worst public toilets you’ve experienced?

A goddess in repose

Lalique Glass: From Jewelry to Iconic Art Deco and the ROM connection.

The Lalique company was founded by René Lalique – a leading figure of the Art Nouveau movement. He designed jewels, perfume bottles and art objects with curved lines inspired by flora, fauna and feminine figures, using original materials like horn, coloured glass or semi-precious stones.  

In 1907, perfumer François Coty commissioned Lalique to design elegant labels and bottles. This sparked a permanent shift in Lalique’s career from unique, handmade jewelry to high-quality, mass-produced glasswork. He revolutionized the perfume industry by making beautiful packaging affordable to the public.

By the time the Art Deco movement peaked at the 1925 Paris Exposition, Lalique was famous for his molded, opalescent glass. His studio produced everything from luxury vases to monumental glass fountains and the dining saloon doors for the ocean liner SS Normandie.  

Between 1925 and 1931, René Lalique created a famous series of 29 or 30 molded glass hood ornaments intended to adorn the radiator caps of luxury Art Deco automobiles (such as Packards, Bugattis, and Bentleys). They were illuminated from below by small colored bulbs wired into the car’s electric system. He successfully bridged the gap between fine art and industrial manufacturing, creating a luxury glass brand that still operates today.

Grande Libellule by Rene Lalique

Built in 1920 by legendary glassmaker and jeweler René Lalique, the Villa René Lalique in Wingen-sur-Moder, France, was transformed by CEO Silvio Denz into an ultra-sophisticated 5-star hotel and 2-Michelin-starred gourmet restaurant that opened in 2015.  The mansion underwent a multimillion-dollar, five-year restoration that focused on preserving its historic architecture while integrating Lalique’s artistic vision. Key features, such as grand fireplaces, have been preserved and enhanced with contemporary glass sculptures.

Just a few minutes drive away is the Lalique museum opened in 2011 close to the site of Lalique’s workshop in Wingen-sur-Moder. Lalique has been owned by Lalique Group SA (formerly known as Art & Fragrance SA), a Swiss luxury goods company, since 2008.

Following the 1925 Paris Exposition Internationale des Arts Décoratifs, major Canadian department stores—most notably the T. Eaton Company—began directly importing and heavily marketing Lalique’s molded Art Deco glass in their catalog sales and model rooms.

Because Lalique’s luxury items became popular accent pieces among wealthy 20th-century Canadian families, many private collectors over the decades eventually bequeathed their holdings and personal estates to the museum.

The ROM intentionally expanded this area of their European Decorative Arts collection to document how French Modernist designs transitioned from luxury creations into everyday Canadian consumer culture.

The ROM has showcased these pieces extensively in dedicated, major exhibitions over the years: “Déco Lalique: Creator to Consumer” (2006): A landmark featured exhibition and published catalog by curator Carolyn Hatch that highlighted the history of Lalique glass in Canada. These glass mascots—featuring famous Lalique designs like sweeping female profiles (Victoire or Spirit of the Wind), roosters, and stylized animal figures—were prominently highlighted in the ROM’s landmark Déco Lalique: Creator to Consumer exhibition. “The Art of Collecting” (2011):  Featured a curated selection of Lalique glass alongside landmark European modernists like Peter Behrens, Carlo Scarpa, and Dale Chihuly.

The ROM does not release public market appraisals for its specific permanent collection items for insurance and security reasons. However, given that the ROM holds dozens of individual pieces—ranging from perfume bottles to large demi-crystal chandeliers—the institutional value of the collection as a whole is easily in the hundreds of thousands to low millions of dollars, with immense added historical and cultural value.

The collection is not on full permanent display. Like most major museums, the ROM rotates its vast decorative arts inventory, keeping the majority of its Lalique holdings protected in deep storage archives. At any given time, only a few select pieces (often iconic demi-crystal chandeliers or molded glass vases) are out on display in the Level 3 European Decorative Arts galleries or temporary design showcases.

Erté: A Journey Through Art and Elegance

Romain de Tirtoff was born on  November 23, 1892 in Saint Petersburg, Russia to an aristocratic family. He was a pioneering Russian-born French artist and designer known as the “Father of Art Deco”. His designs included dresses and accessories for women; costumes and opulent sets for opera, ballet, and dramatic productions; and posters and prints. Moved to Paris, France, in 1912 against his family’s wishes to pursue art. Adopted the pseudonym Erté, which is the French pronunciation of his initials R.T. (Romain de Tirtoff).

He wrote his autobiography, Things I Remember in 1975. Erté’s legacy serves as a reminder of the intersection between art and society, illustrating how a singular artistic voice can resonate across generations and shape cultural narratives. The name remains a symbol of elegance and aesthetic excellence, firmly rooted in the annals of art history.

The Hoover Dam: Engineering Marvel of the Great Depression

Imagine we are stepping into the dirty 1930s—a time when the American nation was brought to its knees by the Great Depression, yet somehow we reached for the sky to accomplish the impossible.  Imagine standing at the edge of the Black Canyon in 1931 which straddles the borders of Nevada and Arizona. Below you, the wild Colorado River rages—an untamed beast fed by the distant, melting snows of the Rocky Mountains. For decades, it had been a force of devastation, unleashing relentless floods that swallowed nearby farms, wiped out settlements, and threatened the fragile dream of expanding the American West.

Over five grueling years, thousands of men descended upon the desert heat to carve through solid rock, plunging more than 500 feet into the canyon walls. They carved out miles of subterranean tunnels and laid massive 30-foot-wide steel pipes known as penstocks. Together, they poured a mind-boggling 3.125 million cubic yards of concrete—creating a monolithic arch-gravity wall that weighs more than 6.6 million tons and rises to an astonishing 726.4 feet.

Not an AI generated photo but an actual aerial view of Hoover Dam

Initially called the Boulder Dam before being renamed the “Hoover Dam”, this structure didn’t just tame the river—it redefined the Southwest. It birthed Lake Mead, the largest man-made reservoir in the United States, plunging to depths of 532 feet at full capacity and holding enough water to submerge the entire state of Pennsylvania a foot deep. It provided life-giving irrigation to arid desert fields, provided steady jobs when the country needed them most, and fired up massive hydroelectric generators that sent clean, roaring electricity straight to the burgeoning neon lights of Las Vegas and the sprawling neighborhoods of Los Angeles. It was, quite rightfully, crowned by the American Society of Civil Engineers as one of America’s Seven Modern Civil Engineering Wonders.

While the concrete titan itself may stand virtually forever, its functional heart is racing against time. Lake Mead is shrinking. When regional leaders signed the 1922 Colorado River Compact, they made a critical error: they promised more water to surrounding states than the river actually possessed. Today, that mathematical miscalculation has caught up with us. Driven by long-term drought, hotter temperatures evaporating the reservoir’s surface, dwindling snowpack in the Rockies, and the relentless demand of millions of people and farms, more water is being pulled out than the river can replenish.

Iconic Hood Ornaments: Styles from the 1930s-1950s

Winged Goddesses & Flowing Figures

Human figures—particularly wind-swept, winged women—were widely popular to symbolize elegance, freedom, and speed.

Packard “Goddess of Speed” (1930s):   Features a graceful woman leaning into the wind while holding a rubber automobile tire out in front of her.

Cadillac “Flying Goddess” (1930s–1940s): Introduced in the early 1930s, this sleek figure evolved throughout the decade, becoming progressively more streamlined to complement Cadillac’s V-8, V-12, and V-16 flagship models.

Rolls-Royce “Spirit of Ecstasy”: Though originally designed in 1911, it became lower and more swept back during the 1930s and 1940s to match lower hood profiles, including a kneeling variation introduced in 1934.

Animals in Motion

Speed and grace were frequently represented using athletic animals captured mid-leap or mid-flight.

Lincoln Greyhound (1930s): A sleek, elongated chrome greyhound leaping forward, chosen by Edsel Ford to represent speed, stamina, and elegance.

Packard Pelican / Cormorant (1930s–1940s): Used alongside the Goddess of Speed on senior models, this stylized bird with outstretched wings was based on the Packard family crest.

Dodge Leaping Ram (1930s–1940s): Designed by sculptor Avard Fairbanks in 1931, the muscular ram standing on its hind legs became an iconic symbol for Dodge’s ruggedness.

Ford Model A “Flying Quail” (1930–1931): Featured a quail with its wings spread, symbolizing quick acceleration (“quick as a quail”).

SS Jaguar / Jaguar Leaper (Late 1930s–1940s):  The classic leaping jaguar mascot made its debut on the 1936 SS Jaguar 2½ Litre sports saloon.

Cultural, Mythological & Heraldic Figures

Automakers often drew from history, mythology, or folklore to imbue their vehicles with strong brand identities.

Pontiac Chief / Indian Head (1930s–1940s):  Designed in honor of Chief Pontiac, these ornaments ranged from full-bodied statues in the early 1930s to amber-tinted lucite heads in the late 1940s that glowed when the headlights were turned on.

Plymouth “Mayflower” (1930s):  Detailed representations of the historic Mayflower ship, blending maritime heritage with 1930s styling.

Duesenberg Pegasus (1930s):  The rare and massive Duesenberg Model J cars featured a striking Art Deco winged horse taking flight.

Jet Age, Aviation & Streamline Motifs

As the 1930s drew to a close and manufacturing resumed after World War II, hood ornament design shifted toward locomotives, fighter planes, rockets, and torpedoes.

Buick “Bomb” / Torpedo (1940s): Sleek, bullet-shaped, chrome projectiles with rear fins that heralded post-war design trends.

Chevrolet “Locomotive” / “Jet” (1940s):   Post-WWII Chevrolet models featured chrome hood ornaments that mirrored streamlined locomotive fronts and emerging jet aircraft designs.

Oldsmobile “World & Wing” / Futuristic Bombers (Late 1940s): Evolving into rocket-like silhouettes as Oldsmobile introduced its famous “Rocket V8” engine at the end of the decade.

The decline and eventual disappearance of hood ornaments was driven by a combination of lost practical function, safety regulations, aerodynamic demands, and cost/security concerns, Some makes like the Jaguar, Bentley and Rolls Royce still retain these fabulous works of art. Modern Rolls-Royce vehicles feature motorized mechanisms that automatically retract their famous hood ornament, the Spirit of Ecstasy into the bodywork upon impact or when the car is locked specifically to prevent theft and comply with safety regulations.

Death is Inevitable so enjoy life while you’ve got it!


1. The Logic of Inevitability

  • Accepting the Unavoidable: Death is simply a guarantee. Fearing it is described as being as counterproductive as fearing basic, everyday bodily functions.
  • A Release from Anxiety: Acknowledging that you cannot stop death allows people to drop the burden of trying to avoid it, freeing them from “unjust anxiety.”
  • Probability and Modern Life: In the modern world, the vast majority of people live to old age. Because it is a distant certainty for most, there is no logistical reason to let it overshadow the present.

2. The Preservation of “The Present”

  • Living Mindfully: As Bob Marley suggests, if you know what life is worth, you look for it on Earth. The human brain is naturally wired to focus on waking up, making plans, and looking forward to tomorrow.
  • Lessons from Tragedy: Witnessing the loss of a loved one—even a child—often highlights just how fleeting and fragile life is. Instead of causing fear, this realization inspires people to face life with excitement, wonder, and gratitude.
  • Avoiding a Half-Life: To fear death is to stop living entirely. It is better to live a short life full of vitality than a long life paralyzed by fear. As one person noted: “If the grim reaper wants me, he knows where I am.”

3. The Nature of Consciousness (The “Switch” Theory)

  • The Absence of Experience: You cannot actively “experience” being dead. Just as you do not consciously experience the hours spent in a dreamless sleep every night, you won’t be there to miss life or feel nothingness.
  • The Sweet Release: In death, all suffering, pain, and fighting cease. Even though joy is gone too, you lack the consciousness to miss it. It is a state of total, permanent peace.

4. The Metaphor of “Leaving the Party”

  • Knowing When It’s Time to Go: Life is compared to a great party. Eventually, you have had your fill, the crowd thins, and the music changes to tunes you no longer recognize. Staying longer means risking becoming a burden or watching your quality of life deteriorate.
  • Comfort in the Next Generation: There is peace in seeing the “newer guests” keeping the party going, allowing the older generation to step away gracefully.
  • The Desire for Rest: For those who live to a ripe old age, the thought of living forever becomes exhausting. Death is reframed not as a terrifying void, but as a beautiful, well-earned, “good, long sleep.”

In this song is he talking about the ability to fly or that dying is the biggest flight your soul will take?

As soon as you are born, you are on the road to death. I’d rather live a short life full of life than a long life of nothing. Some people have no fear of death because they get the point. They enjoy the trip without worrying about the destination.

LOW RIDER

The song “Low Rider” from the 1975 album “Why Can’t we be Friends” by War is often thought of as a drug song due to the take a little trip chorus and the line that says the low rider is a little higher but that was not the intention according to the members of the band.

A low rider is a car, and also a culture. “Low Riders” are modified with hydraulic lifts that allow the driver to lower each wheel and make the car bounce. They are often customized with outrageous paint jobs, tiny steering wheels and swivel seats. The culture formed around these cars is big in the Southwestern US, and popular in Latino culture. Most of the band grew up in Southern California and were immersed in low rider culture.

As for War’s history, they are a multi-ethnic musical group formed in 1969 in Long Beach, California. They are known for their blend of jazz, rock, funk, and R&B and their politically charged lyrics. They have released several critically acclaimed albums and are considered one of the pioneers of the funk rock genre.

“Calling ourselves War was a positive thing: we were waging war against war and the conflicts going on in our back yard. Our weapons were our instruments, which fired rhythms, melodies and most of all harmony. We were a multi-ethnic band and we used our songs to bring peace and love.”

  The iconic lead vocals of “Low Rider” were performed by War’s saxophonist, Charles Miller.

“Marilyn Monroe Buildings”

Monroe buildings

If you’ve ever driven through Mississauga and thought, “Wait, are those skyscrapers dancing?”—you’re not entirely wrong! Officially named Absolute World, these two jaw-dropping residential condos are fondly known to locals and architecture nerds worldwide as the “Marilyn Monroe Towers.”

Back in 2006, the project developers decided they were tired of the usual, boring “box-shaped” suburban high-rises. They launched an international design competition to find something truly unique for the intersection of Hurontario and Burnhamthorpe in Mississauga, Ontario.

A young, up-and-coming Beijing-based firm called MAD Architects (led by founder Yansong Ma) swooped in with a daring, fluid design and took home first prize. It was actually the first time a Chinese architectural firm won an international competition for a major North American skyscraper!

The nickname caught on almost instantly. The taller tower (standing at a proud 56 storeys) features a stunning, hourglass silhouette that twists from its base all the way to the top. Locals instantly likened the building’s voluptuous, dramatic curves to Hollywood icon Marilyn Monroe.

The design was such a massive hit that the apartments sold out in mere days. The hype was so real that the developers quickly decided to add a second, 50-storey sister tower next door to keep her company (affectionately making them the “Condo Couple”).

Besides looking incredible on the skyline, the wavy design serves some pretty neat functions:

  • 360-Degree Views: Because each floor plate rotates every single condo unit gets its own unique angle and a continuous, wraparound balcony with breathtaking panoramic views.
  • Working with Nature: The continuous, deep balconies naturally shade the apartments from intense summer sun while letting in plenty of daylight.
  • Award Winners: In 2012, the Council on Tall Buildings and Urban Habitat officially crowned them the Best Tall Buildings in the Americas.

Ode to the Waterlily*

O stately queen of the marshy pond,

Of mirror-pools and lakes beyond

You rise from the dark depths and mire,

To greet the morning’s solar fire.

With roots anchored deep in the heavy clay,

You stretch your spine to meet the day.

Your emerald pads, like floating shields,

Transform the waves to verdant fields—

A resting place for dragonfly wings,

Where the hidden frog securely sings.

When early light begins to break,

Your tightly folded heart awakes.

Petals of porcelain, pristine and bright,

Unfurl to drink the golden light.

Whether in robes of snow or blush,

You break the swamp’s chaotic rush

With silent grace, a tranquil form,

Untouched by mud, unbowed by storm.

For in your bloom, the sages see

A blueprint of eternity:

The soul that climbs through murky night

To bloom, unblemished, in the light.

And when the daytime shadows close,

You sink back into calm repose,

To dream beneath the starry deep,

Until the sun rewakes your sleep.

*Fair play to AI, produced a poem that isn’t too bad but I want to be transparent of my posts and any that are done with the help of AI will be duly noted.