Tag Archives: Missouri

SubTropolis

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Early April 1999.

Just returned from Kansas City, which has its interests, but I was too occupied to see much of it, except for a “tour” given by an office developer. He knew the market well, and as you’d imagine, liked to talk.

We visited SubTropolis at one point, which is an underground warehouse and distribution complex, created from a former limestone mine, which was dug straight into the side of a KC hill. The former mine space now houses all kinds of goods, plus some thousands of people who work there. One of their big tenants is the post office, which stores millions of stamps there.

Postscript 2013: I toured a fair amount of commercial real estate in 1999, so this description sounds blase, but actually I was taken with SubTropolis, as I often am with places I’ve never seen before.

More recently, Steve Nadis wrote in The Atlantic: “With 5 million square feet of leased warehouse, light-industry, and office space, and a network of more than two miles of rail lines and six miles of roads, SubTropolis is the world’s largest underground business complex… [and not the only one in KC]. More than 10 percent of the industrial space in greater Kansas City is located ‘down under,’ covering about 25 million square feet—an area bigger than the downtown business district. Mining limestone for use in roadway construction and agriculture continues, with additional acreage carved out each year.”

Branson Leftovers

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Back again on Sunday, as the long Thanksgiving weekend peters out. We will be home for the occasion, since just the thought of going anywhere is tiring.

Branson is full of shows, but Joseph beat everything else I saw for sheer spectacle. Joseph is a South & Sight Theatres production, whose specialty is elaborate stagings of Bible stories, but “elaborate” hardly does it justice. The theater’s enormous, seating about 2,000, with a large stage that accommodates massive sets, large troupes of actors (including live animals, such as goats and camels), and impressive lighting and effects. The sets alone for Joseph—fittingly evoking ancient Egypt much of the time—would be worth seeing all by themselves, but fortunately not all of the effort went into sets and effects. The script tells the story of Joseph well, both in song and dialogue.

Christopher James, emcee on the Branson Belle showboat, told the trip’s best joke. I forget the exact wording, but it was a line about knowing better than to shine a bright light on stage, since too many of the audience would respond by getting up and heading toward it.

Indeed, at some of the shows I was a youngster compared to most of the audience. Such shows were heavily spiked with ’40s and especially ’50s nostalgia. But the showmen of Branson are preparing for the future. At one point, we had to wait for a few minutes outside a theater as the audience emerged from a John Denver tribute show. That is, a show spiked with ’70s nostalgia. The audience looked much younger than at most of the other shows—roughly my age.

No presidents were from Branson or are buried nearby, unless you count Harry Truman up in Independence, Mo. But I did see one presidential item: a bronze of the elder George Bush, as a young naval aviator, at the Veterans Memorial Museum.

We also visited the College of the Ozarks, which is a few miles from Branson. It’s a private Christian school whose students pay no tuition, but rather work for the school 15 hours a week. The fruits of all that work are many: among other things, we saw the greenhouses that grow orchids, a crafts building, the small hotel that the school runs, and the school’s restaurant, where we had Sunday brunch, done as a large buffet. The food was really good. Much of it is raised by students on the college’s farm.

Speaking of food, I had breakfast at a number of other places during my visit, and none of them—not even at the College of the Ozarks—offered grits. I was puzzled. I thought Branson would be south of the Grits Line, but maybe I’m wrong about that. Biscuits and gravy were widely served, but not grits. Odd.

Veterans Memorial Museum, Branson

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On Sunday, November 4, I had the Veterans Memorial Museum in Branson practically to myself, though I knew that only a week later, on Veterans Day, the place would be full. Or for that matter, more crowded during much of “Branson’s Veterans Homecoming Week,” which was from November 5 to 11 this year. The 18,000-square-foot museum opened in 2000 on Missouri 76, one of the town’s main streets, and is essentially the work of a Nebraska sculptor and “museum entrepreneur” named Fred Hoppe. Glowing information about him is at the museum’s web site; a less flattering story is at the Branson Tri-Lake News.

Be that as it may, the Veterans Memorial Museum is a fine little museum, traditional in design and subject matter. That is, most of the displays are static, relying mainly on artifacts, with a fair amount of expository text. The place runs counter to the line of modern museum thinking – which might be accurate, for all I know – that exhibits should be interactive two-and-a-half ring circuses to keep museumgoers happy. But I’m OK with static, text-heavy displays, especially if I’m by myself and have some leisure to look and read.

The subject and layout reminded me a little of the Imperial War Museum in London, as well as the Musée du Débarquement in Normandy, at least as those places appeared in the early 1990s, though both are larger and much more comprehensive about their subjects. The Veterans Memorial Museum is composed of ten rooms covering U.S. wars of the 20th century, beginning with a small room containing a large model of the U.S.S. Missouri, a newsreel about the Japanese surrender aboard that vessel on continuous loop, and a few other artifacts. After that, the exhibits began with World War I and proceeded chronologically. Because of my own inclinations, I spent more time with World War I than in any other room.

There was a lot to see just in that room: photos, paintings, uniforms, weapons and other gear, objets d’ art, and more, and not just representing the U.S. or even the Allies, though they were the main focus. I’m pretty sure I’d never seen an actual Blue Max before, nor a WWI German artillery helmet. Artillery helmets of that time, it seems, didn’t have the famed spike on top, but a ball-shaped peak. The room also sported a nice collection of trench art, especially decorated shell casings, including some remarkably elaborate carvings. One way to pass the tedium of trench life, I suppose.

Among the photographs was, I thought, a particularly poignant one. It depicted graves, a common enough sight, but with a caption explaining that they belonged to men of the 324th Infantry, all of whom “died in the last three hours of the war.”

One long wall of the World War I room looks, at first, blank. Then you notice that it’s covered, floor to ceiling, with sepia-tinted doughboys’ faces, each about the size of a dime. The faces are repetitive, since the effect is created by putting together long strips seemingly copied from the same panoramic regimental photo. No matter. The point of the wall is to impress you with a vast number of faces, and it does. One face, a sign says, stands for every two Americans who died in the Great War, which was about 117,000 men all together.  A wall of doomed youth, looking out at you from behind glass and nearly a 100 years.

The other rooms include a sizable number of interesting artifacts, both American and from other nations, including in what I can only call the Axis Room. (As the History Channel knows, Nazis are always interesting.) Besides Nazi and imperial Japanese paraphernalia, one can also find an Enigma encryption machine in that room, the likes of which I’ve seen at the Museum of Science and Industry and (I think) the Science Museum in London. I should have taken a moment to mock the machine: Ha! We decoded your ass! But I didn’t think of it.

The centerpiece of the museum is in a World War II room – there’s more than one room devoted to that war – that includes 50 bronze life-sized soldiers charging in two lines. A work of sculptor Fred Hoppe, “Each figure in the WWII centerpiece is modeled after an actual combat soldier, one from each of the fifty states,” notes the museum web site. “Leading the charge up the beach is Fred’s father, the late Fred Hoppe Sr.”

The room is long and narrow, as you’d expect, and the names of each American serviceman to die in the war, about 416,800 in all, are written all along its walls. An effective reminder of the war’s cost to the United States, certainly, but I have to say the doughboy faces on the WWI wall were more moving, even though that was only pictorial representation, and not a detailed accounting of individuals.

Janice Martin, Aerial Violinist

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A favorite fact about the showboat Branson Belle, which plies the waters of Table Rock Lake, Missouri: when the ship was launched in 1995, she slid into the water on a ramp greased with 4,000 pounds of bananas. The yellow fruit was a eco-friendly alternative to standard lubricants, and perhaps even cheaper, though I’m not up on the economics of boat launching.

Branson Belle is the property of Herschend Family Entertainment Corp., the company that also owns Silver Dollar City and a lot of other properties.– including Dollywood, but that’s part of another tourist-magnet area. The showboat’s a paddle-wheeler – two twin wheels, 24 feet in diameter each, and it’s a smooth ride, because while sitting in the theater I didn’t notice the ship getting underway. Later I wandered around taking pictures, making it as far as the topmost deck.

The 4 pm show included dinner plus entertainment: magician-comedian emcee Christopher James, who told the best jokes among the various shows I saw, a number of musicians, and “the world’s only aerial violinist,” Janice Martin. That alone was worth getting on the showboat for.

Janice Martin also happens to be a fine singer and pianist, which was part of the act, but I think everyone was waiting to see just what an aerial violinist would do. Climb up a couple of silk lines and do the kind of act you might see in a circus, to begin with. But strapped over one of her shoulders somehow was a special violin built for the purpose, which she played skillfully while dangling from the silks in one way or another. Flat-out amazing.

How did the remarkable combination come about? From the little she said, she’s been a musician always, including training at the Julliard. As for the aerialist skills, she said she first learned rope climbing during her stint in the U.S. Army as a musician. At what point did a light bulb go off? – hey, I can do both of these at the same time. Couldn’t say, but it did, and I hope the Branson Belle is making it well worth her while.

Table Rock Lake Sunset

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Those formerly eager dam-builders, the U.S. Army Corps of Engineers, built Table Rock Lake near Branson in the 1950s to control flooding by the White River. Since then the lake has also done its part to attract visitors to Branson. It’s a fine lake.

We spent the afternoon of November 2 on the lake, aboard the showboat Branson Belle, which wrapped up its 4 pm cruise just as the light was disappearing in the west.

The Titanic Museum Attraction

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When you buy a ticket for the Titanic Museum Attraction in Branson—that’s its slightly odd name—you get a “boarding pass.” On the front the pass says “permission to come aboard” and gives the sailing dates of the doomed steamer, which sailed from Southampton to Cherbourg to Queenstown to Unwanted Immortality.

On the back is a short bio of one of the passengers or crew, but not his or her fate on Titanic. That’s the hook. To find out what happened, you have to consult a wall in the museum that lists all those who lived and all those who died, and wall is designed to be the last thing you see (besides the gift shop) in a normal tour of the museum. Of course, not quite every “boarding pass” has that kind of suspense. Another fellow on our press trip got Capt. Smith, and I’m afraid we all know what happened to him.

I got William Sloper, First Class Passenger from New Britain, Conn., who was a young stockbroker and son of a banker who’d just finished spending three months in Europe. A wealthy swell, in other words. I won’t maintain the suspense: he survived. Lived on until 1955, in fact, according to the Encyclopedia Titanica.

“When the Titanic struck the iceberg, Sloper was playing bridge with some friends,” the Encyclopedia notes. “Sloper was rescued in lifeboat 7. The lifeboat was one of the early boats sent away and First Officer William Murdoch was freely allowing men into the starboard side lifeboats when there were no women around. According to Sloper, he owed his life to Dorothy Gibson, an actress and one of his bridge companions, who got into the lifeboat and insisted that he join her.”

Luck was with him, in other words. Even first-class passengers needed some. But the experience haunted Sloper in an unusual way: “A New York Herald reporter identified Sloper… as having dressed in women’s clothing to escape the ship,” the Encyclopedia continues. “On the advice of his father, other family members and trusted friends, Sloper did not sue the Herald nor the reporter. He decided that the fuss would eventually pass [but] spent the rest of his life refuting the charge.”

On the outside, the Titanic Museum Attraction is built to look something like the ship, only smaller. I knew little about the place going in, and was prepared for a Disneyfied version of the disaster or worse. So I was astonished to find a first-rate museum inside, a fine blend of standard displays and written information with various kinds of interactivity. Besides actual artifacts from the bottom of the Atlantic, it features a wealth of photographs and other images, models, maps, period clothing and items and accoutrements, and a full-scale replica of the ship’s grand staircase, which is a functioning staircase between the museum’s two floors.

Since Titanic amounted to a floating city, it’s a large subject, yet the museum does a good job of illuminating the larger story of the disaster, which is hardly obscure, but also dozens of smaller stories. One story in particular caught my attention: the photographs of Father Frank Browne, a Jesuit who sailed from Southampton to Queenstown, and then disembarked with a large cache of pictures he made on the ship.

For some reason, I’d never heard about him, though I think I’ve seen some of his pictures. The better part of a room in the museum is given over to the story of the priest and his camera, and I’m glad I spent some time finding out about him. That’s all I ask from a museum: to come away knowing something new.

Underground Branson

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I’ve finally learned to take passable snapshots in caves. While visiting Branson, I took the tour of Marvel Cave, which begins with a long walk down steel stairs and then passage along a trail to the bottom of the enormous Cathedral Room, where I caught an image of a man and woman holding hands in front of a formation called The Sentinel.

The guide was happy to regale us with certain size comparisons, such as that the fact that the Statue of Liberty, not counting the pedestal, would fit easily in the Cathedral Room. I had to check that later, and sure enough, the Cathedral Room is 204 feet high, while the statue is 151 feet high. The room is large enough to accommodate hot air balloons in flight, and in 1963 balloonist Don Piccard set the “underground altitude record” in the room. The guide also said that someone stood on top of a hot air balloon once and touched the ceiling of the room, probably the only person ever to touch it.

Marvel Cave is the original Branson-area tourist attraction. Tours began in the 1890s, after the commercial uses of the cave, namely the extraction of bat guano, had played out. That’s older than the area’s many theaters, museums, and other attractions, older than massive local lake built by the U.S. Army Corps of Engineers, older even than The Shepherd of the Hills, the 1907 book that inadvertently encouraged travelers to come to the Ozarks. Silver Dollar City, which is on the surface directly above the cave, owes its existence to the fact that people were coming there anyway—a theme park ought to work on the site, and it has. It opened in 1960, during the immediate post-Disneyland boom time for theme parks.

The cave’s bats must be hibernating already, since we didn’t see or hear any. White nose syndrome hasn’t reached Missouri yet, and we were warned not to enter the cave wearing any clothes worn in caves with infected bats, since the fungus that apparently causes the disease is thought to travel that way.

Marvel Cave offered up one of the more difficult walks I’ve ever taken in a cave, or maybe I’m just getting old. The paths are slippery in places, and not all the stairs are even. The ceiling comes down to meet your head in a lot of spots, especially one called Tall Man’s Headache. The walk down was easy enough, but the climb up involved a lot of stairs, though the last part of the tour involves being taken out of the cave by a short cable railroad.

But it was worth the exertion. It isn’t the largest or the most feature-packed commercial cave I’ve ever toured, but it’s an impressive one with a range of pretty features, only a few of which include the use of colored lights.

It Isn’t Christmas in Branson Until Andy Says It Is

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The Andy Williams Moon River Theater in Branson is a theater, naturally, and a spacious and well-designed one, but it’s also an art gallery. I didn’t see everything, or even that many works, but included are paintings and sculptures by Willem de Kooning, Henry Moore, Kenneth Noland, Donald Roller Wilson, Jack Bush, Jacque Lipchitz, and Robert Motherwell. There’s also a collection of pre-modern (or maybe Meiji era) kimonos, which are in glass cases on the back wall of the theater. The nearby Moon River Grill also displays artwork, for that matter, with Andy Warhol works especially prominent.

The story I heard was that Andy Williams lived near Andy Warhol for a time in New York, and the singing Andy became friends with, and a patron of, Andy the artist. I hope that’s true, but in any case Andy collected Andy’s works.

We toured the theater, including some dressing rooms and the green room downstairs, and our guide told us that Andy William’s nickname, Mr. Christmas, wasn’t just about the Christmas specials he used to host. In Branson, the guide said, it wasn’t Christmas until Andy Williams said it was Christmas. For many years before his death, he said that Christmas began on November 1.

Marketing and his showman’s instincts must have been a factor in that date. But I suspect that he really wanted to see his theater, and the town, decked out for Christmas two months out of the year. And so it is. The town’s streets are adorned, lights are up everywhere, and the shows switch to Christmas iterations around the first of November. I’d prefer that Christmas not eat up early December, much less November, but Branson’s a whole other world, so I didn’t mind the early Christmas so much during my short stay, when the weather was warm and un-Christmas-like and Halloween had just ended.

Besides, when Branson decorates for Christmas, it pulls out all the stops. After dark in Silver Dollar City, for instance, you can see these kinds of lights.

It’d be churlish not to be impressed by all that, even in November.

Branson III

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Since the previous BTST broke down, I’ve been a few places, worked a lot, voted in an election that a lot people believed important (and maybe I did, too), even watched “The Great Vegetable Rebellion” on a whim because I saw it was available on Hulu, and because it’s Irwin Allen at his best.

To kick off November, I took a trip to Branson. Not sure how the AP feels about Branson as a dateline, but I think it should stand alone: Branson, rather than Branson, Missouri, so famed has the place become. I’ve heard that I visited Branson when I was small, and when Branson was small, in the mid-60s, but remember nothing of that. En route elsewhere in 2001, we drove into town, ate lunch, and took away vague impressions. Mostly, I remember liking Yakov Smirnoff’s billboards lining the road between Springfield and Branson.

So this time might as well have been a first visit, even though it was my third. It was a busy press trip. Being Branson, that meant seeing more musical-variety-comedy shows than I might see in many ordinary years. In fact, I realized in the middle of my stay that when the variety show died out from television, it was reborn in Branson. The shows I saw included singing, dancing, visual gags, bad jokes, good jokes, sometimes lavish sets and costumes, adaptations of classic theater and movies and the Bible, and even an aerialist – who played violin during her aerial act, which I’ve never seen anyone else do, not even in a circus. We also met a handful of entertainers in person, namely a couple of Lennon Sisters, as well as a fellow whose act is a Neil Diamond tribute.

I noticed some relics, too. Saints’ relics aren’t what they used to be, since we tend to prefer celebrity relics in our time. At the Andy Williams’ Moon River Grill, the late entertainers’ gold records are on walls. That includes, of course, the LP Moon River (pictured), but also the Love Theme from The Godfather, among many others. That’s a movie I hadn’t realized had a love theme, much less one sung by Andy Williams. Its actual title, I’ve discovered, is “Speak Softly Love (or You’ll Sleep With the Fishes).” (Parenthesis added by me.)

Branson wasn’t all live entertainment. During my three full days there, I also managed to ride a train made of vintage railroad cars a short way into Arkansas, wander around the Silver Dollar City theme park, take the tour of Marvel Cave, and visit the surprisingly interesting College of the Ozarks – but not, unfortunately, see the Beverly Hillbillies’ truck, which is there. Branson also sports some museums, and I went to three of them – one about a maritime disaster, another about war, and a third, smaller one about Branson and environs.

On foot one day, I checked out the newly developed downtown riverfront and its attendant open-air retail space, and not far away examined a store that called itself a Five and Dime and had an usually large assortment of merchandise, over and above Branson-oriented gimcracks and gewgaws. Those can be found everywhere in great profusion.