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?
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.
Note: On Sunday, July 5th, 2026 three masked thieves broke into the Musee Lalique at approximately 5:30 am wielding sledgehammers and for about 11 minutes smashed six display cases and stole around 20-27 crystal and jewelry pieces valued at roughly €4.5 million (approx. 5 million US.). The Lalique burglary comes just eight months after the spectacular theft of the Crown Jewels from the Louvre and in the wake of a series of similar violent crimes targeting jewels and gold in French museums.
The Royal Ontario Museum (ROM) at 100 Queens Park, Toronto, ON built Canada’s largest public collection of René Lalique glass primarily through a combination of retail history and private donations.
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.
Note: This may be prudent considering the thefts in France this past year.
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 joins the ranks of the elite who are known worldwide by their first names, such as Cher, Madonna, Twiggy, Elvis, Bono, Adele, etc. Erté designed over 240 covers and thousands of illustrations with Harper’s Bazaar over 22 years starting in 1915. (A collection of Harper’s Bazaar illustrations was published in Designs by Erté [1976] with text by Stella Blum.) He also crafted extravagant costumes and stage sets for the Folies Bergère in Paris, Ziegfeld Follies in New York, and Hollywood films. This is the stage of his career that entrances me the most. His costumes were exceptionally brilliant and unique. He worked in many fields, including jewelry, sculpture, and interior decor. He worked for nearly eight decades and died in Paris, France in 1990 at 97 years of age of kidney failure.
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 only thing I have seen that comes close to the theatricality of Erte is in some of the wearable float costumes of Toronto’s Caribana festival. If you have the opportunity, you should try to get to spend the week-end at the Parade, a tad pricey for a hotel room during that time but the amount of colour, tinsel, sparkles, feathers, skin, and dancing is incredible. A cornucopia of visual delight or a photographer’s idea of heaven!
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.
The nation needed a solution, and thousands of desperate workers needed a lifeline. Enter the United States Department of the Interior’s Bureau of Reclamation, supported by a coalition of two hundred visionary engineers tasked with designing a structure so immense it defied belief.
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.
Against all odds, the workers finished the dam, its power plant, and its striking Art Deco architectural details in 1936—a full two years ahead of schedule.
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.
Today, if you visit, you can walk for free along its 1,244-foot crest, looking down at a structure engineered so masterfully that its concrete physical body is estimated to endure for thousands—if not tens of thousands—of years. However… here is the tragic twist in our historical narrative.
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.
The Hoover Dam stands as a monumental testament to what human ingenuity can conquer when pushed to the brink. But as we look at its receding waterlines today, it presents us with a profound question for the 21st century: We proved we could tame the wild river—but can we learn to live within its limits?
The 1930s to 1950s Hood ornaments (or mascots) tell the story of automotive design, reflecting the spirit and personality of each car model in a small but evocative icon of the industry. To some, an automobile was just that – an automobile – four wheels, an engine, driver and passenger seating, and a trunk. Function came first, and form followed.
To others, an automobile was a work of art. And no other aspect of the automobile embodied this more than the hood ornament; often elegant, sometimes gaudy, and on occasion ridiculous. The hood ornament gave motor vehicles personality, distinction, and above all, sex appeal. Heavily influenced by the Art Deco movement, streamline moderne, and post-WWII aviation design, these ornaments transformed functional radiator caps into striking works of art.
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.
For many, fearing death is seen as an unnecessary tax on the mind because it is completely unavoidable. Since it is a universal certainty that applies to everyone, worrying about it is viewed as a waste of precious energy.
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”
Obsessing over death actively ruins the only thing we actually possess: life. Those who do not fear death choose to focus entirely on the quality of their Earthly existence.
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)
Many individuals derive peace from the biological and philosophical reality of what death actually is: the total cessation of consciousness.
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”
Perhaps the most poignant reason people do not fear death is the natural weariness that comes with a long, full life. Death is not seen as a failure, but as the natural culmination of a book’s chapters.
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.
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.
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.
So, next time you spy these twisting beauties on the skyline, you’re looking at a piece of architectural history that threw out the rulebook (and the right angles) to give the city an iconic landmark!
*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.
A long time ago, 1987 to be exact I had the good fortune to tag along with a travel agent who was checking out Cartagena for her agency in order to make suggestions to their customers on where to stay, what to see and do and rate some restaurants. Not a hard assignment really. We stayed at the Hotel Capilla del Mar which had opened only two years previous. I recently looked it up and the rates are still very reasonable (at least off season) and the reviews complimentary, especially regarding the breakfast buffet. Other things going for it are the proximity to the beach, the rooftop pool and the friendly staff; and though we took a cab from the airport at the time, they now offer a shuttle bus.
At that time the luxury hotel of choice which we walked to was located at the very end of the peninsula – the Hotel Caribe. As Cartagena’s historic premier property, it was the city’s original grand resort (built in 1945). Known for its beautiful neocolonial architecture, expansive tropical gardens, and prestige, it remained a legendary social hub and flagship for high-end travelers throughout the 1980s. We only had cocktails there as we were not members of the posh elite.
We did however, have a great time in Cartagena. Seeing what looked like 15 year old kids toting machine guns was a little off putting but I’m pretty sure things have changed since then. During the late 1980s and 1990s—the height of Colombia’s drug war and internal conflicts—visible military personnel carrying automatic weapons were a common security measure in major cities and tourist zones to deter cartels and insurgent groups. While you don’t have to worry about a war-zone atmosphere, modern safety concerns have shifted to opportunistic street crime. The biggest nuisances on the beaches today are incredibly aggressive street vendors, pickpockets, and overcharging scams.
We body surfed in the ocean and sun bathed by the pool and bought fresh fruit when we needed a snack and walked for long distances on the beach, stopping every so often at a little pizzeria or patio for a refreshment and later on at night to listen to local musicians and RELAX.
Perched on the highest point in Cartagena, Convento de la Popa (The Convent of the Stern) is an absolute must-visit for the best panoramic views in the city. Built by Augustinian monks in the early 17th century, the convent gets its unique name because the hill it sits on resembles the stern (la popa) of a ship. Historically, it served a dual purpose: a sanctuary for faith and a strategic lookout point to spot approaching pirate ships.
Today, it offers a peaceful, historic escape from the bustling streets below. The convent features a stunning, Spanish-style interior cloister filled with bright, cascading flowers and beautiful colonial arches.
Travel Tip: Do not attempt to walk up the hill, as the path isn’t safe for pedestrians. Instead, take a licensed taxi or an organized tour right to the entrance at the top. It’s best visited in the morning or late afternoon to catch the golden light and avoid the midday heat!
Castillo San Felipe de Barajas is a formidable fortress dominating the Cartagena skyline, and is a designated UNESCO World Heritage site.
Located on the Hill of San Lázaro, it was strategically positioned to protect the city from landward attacks and to guard the vital entrance to the bay. Built in 1657 and expanded significantly in 1762, the fortress was virtually impregnable. The fort is designed so that if attackers managed to breach one section, the defenders could retreat to a higher point and fire down onto the captured area. Its geometric angles left absolutely no blind spots for approaching enemies.
One of the most fascinating features is the vast underground network of tunnels. At the very top of the fortress, a massive Colombian flag flies proudly, providing a great backdrop for photos. Just like La Popa, it offers incredible views of the city, but from a closer vantage point. You get an excellent look at the Old Town walls and the surrounding water.
Travel Tip: There is very little shade on the fortress, and the stone traps the heat, making it feel like an oven by midday. Visit early in the morning right when it opens, bring plenty of water, and wear a hat!
Just outside the Walled City, Getsemaní is the cultural heartbeat of Cartagena. Historically a working-class neighborhood settled by artisans and freed slaves, it has transformed into a vibrant hub of street art, music, and local life. Gathering on the walls to watch the sun sink into the Caribbean Sea is a daily ritual.
What to do: Walk down the colorful, umbrella-lined Calle de las Sombrillas and check out the political and cultural murals.
The Night Vibe: In the evening, head to Plaza de la Trinidad. Locals and tourists gather here to eat street food, drink cold Aguila beers, watch street performers, and listen to live music.
You cannot leave without eating local Caribbean food. La Cevicheria (made globally famous by Anthony Bourdain) is still a legendary spot for fresh, lime-cured seafood, though you should expect a wait!
Doris was widely considered the most traditional, upscale, and celebrated restaurant in Cartagena during the 1970s and 1980s (famous for its exquisite seafood and massive lobster festivals), it unfortunately has closed it’s doors but we had a splendid seafood dinner there. Unlike Doris, La Langosta Latina is still around, successfully serving seafood in Cartagena for nearly 40 years. Opened back in 1985, it is one of the city’s true legacy seafood establishments. It retains a very traditional, white-tablecloth, upscale Caribbean-classic atmosphere. Because it sits slightly outside the frantic main tourist grid of the Walled City, it usually offers a more relaxed, white-glove dining experience that recalls Cartagena’s golden era of dining.
Colombia produces anywhere from 70% to 90% of the world’s finest emeralds, Because Cartagena is a massive cruise ship and international tourist hub, it is flooded with high-priced tourist traps, aggressive commission-seeking tour guides, and outright street scams. Always buy at a reputable shop and ask for a certified authenticity Guarantee. Never buy on the Street as they are almost universally fake. Don’t take recommendations from tour guides, taxi drivers, and in some cases hotel concierge as their will be 10 -30 % kickback commissions added directly to the price tag. Walk in on your own. You can get a lovely stone at a decent price if you know what you are doing.
Now the main reason I wanted to tag along besides the fact that my room was paid for was that I would be able to go scuba diving in just a bathing suit in temperate 82 – 84 degree water and see colorful coral life and dense schools of colorful reef fish: blue tangs, parrotfish, triggerfish, angelfish, and macro life like seahorses and arrow crabs; instead of a rubber suit dive in the usual weeds and old truck tires of cold, murky Canadian lakes. You don’t always have to go all the way to the islands. There are some fascinating spots closer to the city lines, including a collection of about seven intentionally sunken barges, ships, and even an airplane that create excellent wreck dives
That to me was the highlight of the trip, when you are swimming below the water and marvelling at all the activity, color and beauty of the ocean, it is like time stands still and another different world opens up. It was simply breathtaking and something I shall never forget. Image below is AI generated as I did not possess an underwater camera at the time
When adventure calls
I have been lucky enough to have travelled to some of the most beautiful places on earth but there are still many places I'd like to see.
REFLECTIONS OF A SWAMPER 