This blog post is part of an ongoing series about storage relocation and improvements that we are able to undertake thanks to a grant from the Institute of Museum and Library Services (IMLS).


A typical aisle in the Collections Storage Building before object removal.

Autumn of this year marks the end of a three-year IMLS-funded grant project to conserve, house, relocate and create a fully digital catalogue record for over 2,500 objects from The Henry Ford’s industrial collections storage building. This is the third grant THF has received from IMLS to work on this project. As part of this IMLS blog series, we have shown some of the treatments, digitization processes and discoveries of interest over the course of the project. Now, we’d like to showcase the transformation happening in the Collections Storage Building (CSB).


A view of the aisle and southwest wall before dismantling to create a Clean Room.

Objects were removed from shelves allowing an area in the storage building to be used as a clean space for vacuuming and quickly assessing the condition of these objects before heading to the conservation lab. Since the start of the grant in October 2017, 3,604 objects have been pulled from CSB shelves along with approximately 1,000 electrical artifacts and 1,100 communications objects from the previous two grants. As of mid-March 2020, 3,491 of those objects came from one aisle of the building. As a result, we were finally at a point of taking down the pallet racking in this area.


Pallets of dismantled decking and beams. A bit of cleaning before racking removal.

While it has taken multiple years to move these objects from the shelves, it took only three days to disassemble the racking! Members of the IMLS team first removed the remaining orange decking. On average, there were four levels of decking, separated in three sections per level. Next, we unhinged the short steel beams that attach the decking to the racking. Then was the difficult part of Tetris-style detachment of the long steel beams directly by the wall from the end section of height-extended, green pallet racking. As you can see this pallet racking almost touches the ceiling! After that, the long beams could be completely removed before taking down the next bay. Nine bays were disassembled this time to reveal the concrete wall and ample floor space. Just as the objects needed cleaning to remove years of dust and dirt, so did the floor!


The aisle in 2018. An open wall and floor!

What’s next? We will methodically continue pulling objects and taking down racking until no shelf is left behind! We are grateful to the IMLS for their continued support of this project and will be back for future updates.



Marlene Gray is the project conservator for The Henry Ford's IMLS storage improvement grant.

21st century, 2020s, 2010s, IMLS grant, collections care, by Marlene Gray, #Behind The Scenes @ The Henry Ford

With the North American International Auto Show now moved to June, we’ve had an unusually long dry spell in the Motor City when it comes to automotive exhibitions. The drought was finally broken by the annual Detroit Autorama, held February 28-March 1. Always a major show, this year’s edition was no exception with more than 800 hot rods and custom cars spread over two levels of the TCF Center.


Ed “Big Daddy” Roth’s “Outlaw,” honored as one of the 20^th Century’s most significant hot rods.

The most memorable display this year was immodestly (but quite accurately) labeled “The Most Significant Hot Rods of the 20^th Century.” It was a veritable who’s who of iconic iron featuring tributes to Bob McGee’s ’32 Ford, Ed “Big Daddy” Roth’s  “Outlaw” and “Beatnik Bandit,” Tommy Ivo’s ’25 T-Bucket, and Norm Grabowski’s ’22 T-Bucket – the last immortalized as Kookie Kookson’s ginchy ride in the TV show 77 Sunset Strip.


“Impressive” indeed. The 1963 Chevy wagon that won this year’s Ridler Award. (The chrome on those wheels practically glows!)

The biggest excitement always surrounds the Ridler Award, named for Autorama’s first promoter, Don Ridler. It’s the event’s top prize, and only cars that have never been shown publicly before are eligible. Judges select their “Great 8” – the eight finalists – on Friday and, for the rest of the weekend, excitement builds until the winner is revealed at the Sunday afternoon awards ceremony. The winner receives $10,000 and the distinction of having her or his name engraved forever on the trophy. It’s among the highest honors in the hot rod and custom car hobby. This year’s prize went to “Impressive,” a 1963 Chevrolet two-door station wagon built by a father-son-grandson team from Minnesota. With a Ridler now to its credit, no one can question the car’s name again.


Replica race cars – a Ford GT40 and a Ferrari 330 P3 used in the 2019 film Ford v Ferrari.

There’s always a little Hollywood magic on the show floor somewhere, and this year it came from a pair of replica cars used in two big racing scenes in the hit 2019 movie Ford v Ferrari. From the 1966 Daytona 24-Hour was the #95 Ford GT40 Mk. II driven by Walt Hansgen and Mark Donohue. From the 1966 Le Mans 24-Hour was the #20 Ferrari 330 P3 driven by Ludovico Scarfiotti and Mike Parkes. How accurate were the copy cars? Judge for yourself by looking here and here.


The Michigan Midget Racing Association introduces kids to the excitement of auto racing.

Those who are worried about younger generations not being interested in cars could take comfort from the Michigan Midget Racing Association. The organization’s Autorama display featured a half dozen cars that kids could (and did) climb into for photos. Quarter Midget cars are sized for kids anywhere from 5 to 16 years old. And while they look cute, these race cars aren’t toys. Their single-cylinder engines move the cars along at speeds up to 45 miles per hour. M.M.R.A.’s oval track in Clarkston is surfaced with asphalt and approximately 1/20 of a mile long.


Our 2020 Past Forward Award winner – a 1964 Pontiac GTO that matured with its owner.

Each year, The Henry Ford proudly presents its own trophy at Autorama. Our Past Forward Award honors a vehicle that combines inspirations of the past with innovative technologies of the present. It exhibits the highest craftsmanship and has a great story behind it. This year’s winner put a novel spin on the “Past Forward” concept. It’s a 1964 Pontiac GTO owned by Fred Moler of Sterling Heights, Michigan. Fred bought the car while he was in college and, appropriately for someone at that young age, drove it hard and fast. When adult responsibilities came along, he tucked the Goat away in a barn. Some 40 years later, Moler pulled the car out of the barn for restoration. He wanted to relive his college days but knew that neither he nor the GTO were the same as they were decades ago. Moler kept the trademark 389 V-8 but replaced the drivetrain with a more sedate unit. He added air conditioning, improved the sound system, and ever so slightly tinted the glass. In his own words, Moler enhanced the car to make it comfortable for his “more mature” self. He brought a piece of his own past forward to suit his present-day wants and needs. Like I said, a great story.


Autorama’s oldest entry – an 1894 horse-drawn road grader.

Autorama veterans know that the grittiest cars are found on TCF Center’s lower level – the infamous domain known as Autorama Extreme. Here you’ll find the Rat Rods that take pride in their raw, unabashedly unattractive appearance. By all means, take the escalator downstairs. There are always gems among the rats. This year I was thrilled to find an 1894 horse-drawn road grader manufactured by the F.C. Austin Company of Chicago. Utilitarian vehicles like this are rare survivors from our pre-automobile age. Autorama Extreme is a great place to tap your feet as well. Live music fills the lower level throughout the weekend – lots of 1950s rockabilly, of course, but plenty of blues and soul too.


Don’t miss Toy-a-Rama with its assortment of vintage car books and brochures.

Each year, I make a point of visiting Toy-a-Rama at the back of TCF Center. Vendors sell hundreds of plastic model kits, diecast models, memorabilia, and toys. But it’s the great selection of auto-related books, magazines, and vintage sales literature that always reels me in – and leaves my wallet a little lighter on the way out.


A beautiful 1:1 scale model of “Uncertain-T” – some assembly required.

And speaking of model kits, maybe the coolest thing I saw all weekend was down in Autorama Extreme. It was a beautifully crafted, partially-assembled model of Steve Scott’s “Uncertain-T” just like Monogram used to make – but this one was life-sized. Really, the giant sprue was terrific enough, but the giant hobby knife and glue tube took the whole thing to the next level. (Skill Level 2, as the box might’ve said.)

All in all, another great year celebrating the wildest, weirdest, and winningest custom cars and hot rods around. If you’ve never been, make sure you don’t miss Autorama in 2021.

Matt Anderson is Curator of Transportation at The Henry Ford.

21st century, 2020s, toys and games, racing, Michigan, Detroit, cars, car shows, by Matt Anderson, Autorama

While the concept of the e-bike has been around since the 1890s, it was not until the 1990s that battery, motor, and materials technology had advanced to the point where motorized bicycles became practical. While fully motor-driven units do exist, most e-bikes are of the “assist” variety. The rechargeable battery-powered motors on these bikes aren’t intended to replace muscle. Rather, they deliver a boost on steep hills or provide a few moments’ rest for a fatigued pedaler. The motors supplement rather than supplant human effort.

The Henry Ford acquired its first examples of electric-assist bicycle technology in 2017, with two prototype bicycles from Ford Motor Company’s Mode:Flex project. This 2015 initiative came out of the company’s efforts to position itself as a “mobility provider” for a post-car future. With the millennial generation returning to cities and, to some extent, turning away from automobiles in favor of public transit and other alternative forms of transportation, Ford charged teams of designers and engineers to create prototype bicycles specifically tailored for its automobile customers.


One of two Mode:Flex units acquired by The Henry Ford in 2017, this prototype bicycle is fully functional and capable of carrying a rider. Made of mostly steel, it weighs around 80 pounds – considerably heavier than a typical road bike’s 20-30 pounds. Bruce Williams, who led the Mode:Flex project, contended that the weight could be halved by using different materials if the bicycle ever went into production. THF172635

The Mode:Flex team – led by Bruce Williams, a Senior Creative Designer who had previously worked on the redesign of Ford’s F-150 pickup – developed a concept for a jack-of-all-trades bicycle that is easily disassembled for compact storage in any Ford vehicle. The front and rear ends are interchangeable between city, road and mountain bike configurations. (The bike’s seat post, which houses its 200-watt electric motor and rechargeable battery, remains the same in any configuration.)

The Mode:Flex connects to an app that controls the electric-assist motor; operates the LED headlight, taillight and turn signal (inspired directly by the units on the Ford F-150); and provides speedometer and trip odometer functions, navigation assistance, and real-time traffic updates. Running in “No Sweat” mode, the app monitors a user’s heart rate. When the heart rate climbs, the bicycle’s electric motor kicks in with a corresponding level of assistance, allowing novice bikers to ride to work in standard office attire (rather than Lycra or Spandex).


This non-functional mock-up of the Mode:Flex bicycle was largely created from thermoplastic materials rendered on a 3D printer. Built for promotional display purposes only, it lacks a working motor and is unable to support the weight of a rider, but it clearly illustrates the Mode:Flex bike’s foldability. THF172637

While the Mode:Flex could be used as a commuter’s sole mode of transportation, it is particularly geared toward those making multi-modal commutes. Someone might drive in from a distant suburb, park in a satellite lot outside the urban core, and then bike the “last mile” to work, shopping or entertainment. The bicycle’s app is designed to work seamlessly with an owner’s car as well. It can lock and unlock doors, monitor gas mileage or electric vehicle charging, track parking locations and perform other similar functions. The bicycle’s battery can be pulled out for remote charging or connected directly to a Ford vehicle’s electrical outlet.

The Mode:Flex bikes in The Henry Ford’s collection are concept prototypes, and Ford has no immediate plans to put them into production. Nevertheless, they represent concrete efforts by automakers to broaden their product lines and customer bases in response to evolving trends in personal transportation.

Matt Anderson is Curator of Transportation at The Henry Ford.

design, 21st century, 2010s, Ford workers, technology, Ford Motor Company, by Matt Anderson, bicycles

Starting a drag race at the first NHRA national championship meet, Great Bend, Kansas, 1955. (THF122645)

If you’ve visited Henry Ford Museum of American Innovation in the past several months, then you’ve undoubtedly noticed the large construction walls in the museum’s northeast corner, just behind Driving America. That 24,000 square-foot space will soon be home to our newest exhibit, Driven to Win: Racing in America presented by General Motors.


Racing gloves worn by Danica Patrick while competing in NASCAR’s Monster Energy Cup Series, 2016-2017. (THF176306)

Driven to Win will be among the most comprehensive looks at automobile racing in the United States. We’ll cover every major American racing type, and we’ll do it from 1895 – when the Chicago Times-Herald sponsored the country’s first formal auto race – right up to the present day. We’re featuring 26 vehicles in the show, including some old favorites and a few new surprises. We’ll also have more than 225 artifacts from the museum’s collection – many of them newly acquired for this exhibit.


George Heath driving his winning Panhard #7 at the first Vanderbilt Cup race, 1904. (THF277321)

Guests entering Driven to Win will first encounter what we call the “Dawn of Racing” where they’ll learn about American racing’s earliest days, whether on repurposed horse tracks or requisitioned public streets. Fittingly, the first vehicle they’ll see in this section is a successful little racer built and driven by a certain Henry Ford, the 1901 Ford Sweepstakes.


Dan Gurney signing autographs for young fans at the Indianapolis 500, 1966. (THF110522)

Just behind this introductory zone, we talk about “Igniting the Passion.” We’ll see some of the ways in which young people are introduced to motorsport through toys and games. Some of them will go on to become lifelong fans. Others might take up racing-inspired hobbies like tether cars. A few may go on to careers in the sport, whether behind the wheel, behind the pit wall, or behind the scenes. This area also serves as the entrance to our film experience, which forms the literal and figurative center of the exhibit. Inside, audiences will enjoy the sights, sounds, and spectacle of race day, and be inspired by young people pursuing dreams at legendary locations like Daytona, Indianapolis, and Bonneville.


One of the 3.2 million bricks used to resurface Indianapolis Motor Speedway in 1909. (THF152054)

Outside the film theater, visitors can step into The Henry Ford’s own Winner’s Circle presented by Rolex. Here they’ll see the innovative and influential cars that changed the game. They’ll find the 1956 Chrysler 300-B from Carl Kiekhaefer’s phenomenal Mercury Marine team, which dominated NASCAR in the mid-1950s. Nearby is the Penske PC-17 that Rick Mears drove to victory in the 1988 Indianapolis 500, giving him the third of his record-tying four Indy wins – and Team Penske the seventh of its astounding 18 Indy victories. (The Chevrolet-powered Penske chassis is loaned to us courtesy General Motors, the exhibit’s presenting sponsor.)


Bobby Unser charging up Pikes Peak on his way to victory, 1962. (THF218104)

Moving around the exhibit’s perimeter, visitors will encounter the major forms of racing popular in the U.S. They’ll learn about land speed racing at Bonneville, where Goldenrod topped 409 mph in November 1965; they’ll see hill climbing at Pikes Peak, where Bobby Unser and his legendary family reigned supreme; they’ll visit the ceremonial heart of American racing at Indianapolis, where Harry Miller designed some of early racing’s most beautiful (if not always successful) open-wheel racing cars; they’ll travel overseas to Le Mans, where Ford Motor Company raced American sports cars in the 1960s and the 2010s; they’ll visit Daytona, birthplace of NASCAR and home to one of the country’s greatest stock car tracks; and they’ll see an homage to the vanished Detroit Dragway, where gassers and rail jobs once battled for the title of Top Eliminator.


Lyn St. James instructing young students at her Complete Driving Academy, 2008 (THF58563)

But racing isn’t just about the cars, it’s about the people behind them. Driven to Win visitors will have the chance to train using some of the same methods as today’s top drivers. There’s strength training with special machines that mimic muscle motions in a race. There’s neurocognitive training with interactive stations that test vision, memory, and reaction time. We’ll also have a pit crew activity where visitors can try their hand changing tires and refueling cars – though probably not in the 15 seconds it takes a top NASCAR crew. And for those eager to get behind the wheel, we’ll have a set of sophisticated simulators that are about as close to driving a hot lap as you can get without wearing a helmet.


Running the measured mile at Bonneville, circa 1950. (THF238926)

It’s been a long time coming, but Driven to Win: Racing in America promises to be worth the wait. Its blend of exciting immersive experiences will be unlike anything else in Henry Ford Museum of American Innovation – or in any other automotive museum, for that matter. We couldn’t be prouder of the work we’ve put into it, and we look forward to sharing the results with everyone this summer.

Matt Anderson is Curator of Transportation at The Henry Ford. See more racing artifacts in our collection in this expert set.

21st century, 2020s, Michigan, Dearborn, racing, race cars, race car drivers, Henry Ford Museum, Driven to Win, by Matt Anderson

A Half Century in the Making, the Journey from Yuletides to Holiday Nights

What we know and love today as Holiday Nights did not spontaneously appear in 2000 when we first opened Greenfield Village on December evenings for an immersive holiday experience. Holiday Nights has evolved and grown based on many experiences and inspirations from decades of village “Christmases past.” and the work of many talented people.

The ability to transport our guests to a different time and place is most powerful after dark as the modern world that constantly pushes closer to our borders can be temporarily pushed away. When all is said and done, Greenfield Village provides the most perfect “set” in which to bring the past alive. With over 300 years of history represented, the possibilities are endless; a world where Charles Dickens’, A Christmas Carol, and It’s a Wonderful Life can seamlessly collide. A place where a small town from the distant past comes to life for several hours on December evenings, bringing forth the magic of the holiday season.

Holiday Nights in Greenfield Village is a classic example of “if you build it, they will come.” What began with conservative hopes for several hundred people in attendance has continually grown year after year.

Information Booklet, "Christmas at Greenfield Village 1964." THF112439

The holiday experience in Greenfield Village has a long history. As early as the mid-1960s, Village buildings were decorated both inside and out for the holiday season. Historic Christmas recipes were prepared in the village kitchens in fireplaces and wood burning stoves. Early on, all the guest experiences were limited to daytime and varied from guided tours, to full access, to tour on your own. Decorations were very elaborate, and included many collection items, but were not always based on sound historical research. Every building got a bit of Christmas, whether it would have been celebrated or not. During this period, attendance was vigorous, especially on December weekends.

Guests at Clinton Inn (Eagle Tavern) During "Yuletide Evening in the Village," 1975. THF144738

By the mid-1970s, new evening holiday experiences, called Yuletide Evenings, were introduced. Guests had the choice of a formal dinner in either the newly constructed Heritage Hall (now the Michigan Café) or the Clinton Inn (now the Eagle Tavern).The experience included horse drawn wagon, or if conditions allowed, sleigh rides into the Village, and depending on which package was purchased, a tour of 4 different decorated historic buildings, either before or after dinner. By the early 1980s, the Clinton Inn became Eagle Tavern, and the evening program changed to become an immersive 1850 dining experience much like the program offered today. Eventually, the Village tour portion of the evening was discontinued, offering a dinner only experience.  

In the early 1990s, a concerted effort had been made for some years to reinvigorate the daytime program. By paying attention to historical accuracy, but at the same time, broadening the scope and allowing for a wider interpretation of how Americans began to celebrate Christmas in the 19^th century, more engaging programs were offered.  Hundreds of artifacts were chosen to fit out the dining rooms, parlors, and where appropriate, Christmas trees. Additional research was also done to lift-up the historic cooking programs and infuse a “living history” approach to the historic structures with the addition of period clothing. All this further supported the stories of the diversity of the American Christmas celebration. This work laid the foundation for the core content of Holiday Nights that we rely on today.

By the late 1990s, for a variety of reasons, the daytime visitation  to the Greenfield Village Holiday Program had begun to decline while the evening program attendance remained strong. Based on the inspiration and fond memories of the wonderful candle and lantern lit buildings decorated for the holidays, a new program was proposed to re-create that opportunity through the Educational Programs class offerings. Though on a very small scale that served less than 100 people, this program reminded us of what could be possible and got the creative process rolling.

Brochure, "Twelve Nights of Christmas" in Greenfield Village, 2003. THF144736

The Twelve Nights of Christmas, what would later be called Holiday Nights, debuted for the Christmas season of 2000. The daytime “Holiday” program remained in place, and the evening program was basically an evening version. This early version was very quiet, and very dark, as none of the village restoration had taken place yet. Most of the activities were based inside the buildings. Despite the slow start, the potential was fully realized, and creative and physical growth began. With the village closed for the holiday season of 2002  for the renovation, there was time to regroup, brainstorm, and make plans. The new and improved version for the “new” village in 2003 saw expanded outdoor activities, more music, and an ice rink that featured an artificial ice surface. Even with enhanced programming elements, the program was still not really filling the space as it could.

Musicians Performing at "Twelve Nights of Christmas" in Greenfield Village, 2003. THF133593

During these early years, it was apparent to the village programs team that to achieve the level of experience we were aspiring to, the event would need to be broken down into production areas, and each would need its own level of care and attention to detail. Decorating the village, designing and deploying the lighting, planning the historic food demonstrations, food sales and retail, staffing and training, musical and dramatic program casting and rehearsing, dressing an army of staff, firewood, lanterns, and communicating the entire thing, all was captured and pulled together with the Holiday Nights manual. This work became the go-to document for what needed to be done when and where, once preparation for the evening program began. This tool also became invaluable in planning and producing subsequent years of the program. So, as ideas came forth as to how to expand and improve the Holiday Nights guest experience, the program manual format made it possible to incorporate the new elements and move the experience forward.

A very memorable off site staff mini-retreat to a local book store cafe in 2004 laid the foundation for the program we know today. Building on the sound historical content of our village holiday celebration, our success with Holiday Nights thus far, along with a commitment from the institution, we created and refined the combination of guest experiences that today, makes Holiday Nights truly one of the nation’s greatest holiday experiences. The fireworks finale, the end of the evening procession and sing-a-long, a visit from Santa, a real ice skating rink, immersive food and drink stalls in the center of the Village, a greens market, storytellers, over 100 staff in period dress as well as a wide variety of additional dining experiences and top quality live music, has put Holiday Nights on the map over 20 seasons.

The program continues to grow and evolve. For my part, it’s been a privilege and source of pride to see how far we have come and how we have come together to achieve such greatness. I look forward to the road ahead and what the next 20 years may bring.

Inspired by the evolution of Holiday Nights? See it for yourself - limited tickets for 2019 remain.

Jim Johnson is Curator of Historic Structures and Landscapes at The Henry Ford and Director of Greenfield Village.

Michigan, Dearborn, 20th century, 21st century, holidays, Holiday Nights, Greenfield Village, events, Christmas, by Jim Johnson

Big and Little Bird reinforce the concept of contrasting sizes in this 1973 Playskool puzzle. THF97463

No television show has influenced how we think about children’s learning and thought processes as much as Sesame Street. For 50 years, this innovative TV show has continually broken barriers in its portrayal of diverse human interactions and relationships, its clever integration of Jim Henson’s wildly creative Muppets, and its rapid-fire approach to teaching basic educational concepts.

The idea for Sesame Street began back in 1966 at a dinner party hosted by Joan Ganz Cooney, a TV publicist turned documentary producer, and her husband Tim. In attendance was Lloyd Morrisett, who was both Vice President of the philanthropic Carnegie Corporation and an experimental psychologist interested in children’s education. At the dinner, Morrisett described his three-year-old daughter’s fascination with television—which included not only tuning in to Saturday morning cartoons, but also watching the pre-programming test patterns on the screen and reciting every commercial jingle by heart. Talk turned to the potential of television as a medium for educating young children. Could the seemingly addictive quality of TV be harnessed to both entertain and instruct?

This monster with the insatiable appetite—especially for cookies—has, under adult pressure, increasingly shown an awareness for healthy eating habits. THF97460

Cooney quickly developed a proposal entitled, “The Potential Use of Television in Preschool Education.” Her goal was groundbreaking at the time—to test the premise that TV could help level the playing field in education, preparing less advantaged three- to five-year-olds for school by teaching basic academic skills, self-esteem, and positive socialization. In March 1968, Cooney and Morrisett announced the formation of the Children’s Television Workshop (CTW) and set out to create an educational TV show that would both appeal to young children and help them get a jump on learning. With an eight-million-dollar startup grant from private foundations and government agencies (including the rather skeptical Department of Education), Cooney was able to test ideas for the type of show she had in mind.

The colorful, fast-paced Batman TV show, which premiered in January 1966, provided one of many inspirations for Joan Ganz Cooney in creating Sesame Street. THF6651

Cooney’s reference points included the rapid-fire pacing of the hip new adult-oriented TV show, Rowan and Martin’s Laugh-In. The campy breakout TV show Batman also provided a model, with its fast-paced action as well as its bright, bold colors and even its use of cartoon balloons. Cooney drew additional inspiration from short TV commercials, with their simple melodies in bright major keys. She did not get inspiration from most children’s TV shows, which she thought were dull, slow-paced, and seemed more oriented to adults than kids—with the possible exception of the kid-friendly Captain Kangaroo.

This 1970s Fisher-Price music box plays the song, “The People in Your Neighborhood,” while the Sesame Street scene moves horizontally across the “TV screen.” THF135804

Cooney soon realized that, while she had plenty of vision, she needed help in writing, directing, and producing the show. For this, she called on several veterans from Captain Kangaroo—most significantly Jon Stone, who played such a significant leadership role in shaping Sesame Street that he took over as executive producer for the next 20-odd years. Other talented and dedicated scriptwriters, composers, and directors also joined the team, while psychologists and educators lent their support from the beginning.

Cooney and her collaborators initially created a show that included brief skits, musical numbers, cartoons, and live-action video footage—all basically teaching school-readiness concepts. The idea of portraying a diverse group of people living and working together in a community was intentional, providing a hopeful real-life model for an integrated society, which encouraged respect, mutual tolerance, and cross-cultural friendship. The live action scenes were interspersed with pre-taped “commercials”—that is, short “bits” about letters and numbers presented either as animated segments or featuring Jim Henson’s Muppets. The live-action segments were purposely kept separate from the pre-taped “commercials,” as researchers felt that combining these “reality” and “fantasy” elements would confuse children.

Having the sweetly quizzical Big Bird live in a nest near, and interact with, the live actors on Sesame Street became a key to the show’s success. THF97451

Initial testing, however, revealed that children thought the live-action scenes were boring, the dialog tedious and lengthy. On the other hand, they found the short “commercials” to be catchy and memorable. Pushing back on the researchers’ advice, Cooney and Stone brought in Jim Henson as a full-time producer, while his Muppet creations Big Bird and Oscar the Grouch joined the live-action human cast. The resulting interaction between humans and Muppets—seamless and convincing—provided the missing alchemy. The foundation was laid for Sesame Street as we know it today.

Ongoing episodes about ultra-serious Bert and fun-loving Ernie reinforce to children that vastly different personalities can still be good friends. THF92308

The first episode of Sesame Street premiered on November 10, 1969 and the show aired weekdays on the new Public Broadcasting System (PBS) network. It was immediately hailed as a groundbreaking blend of learning and fun, despite some criticism about its high entertainment quotient, its threat to teachers for undermining early school lessons, and—in Mississippi—its initial banning because of its integrated cast. Time magazine featured popular Sesame Street character Big Bird on its November 23, 1970 cover, next to the headline, “Sesame Street: TV’s Gift to Children.” This issue devoted nine pages to the show’s impact and importance, calling it “the best children’s show in TV history.”

Puppeteer Kevin Clash breathed new energy and vitality into Elmo in the 1980s, but this furry red Muppet became a breakout star in 1996, when comedienne Rosie O’Donnell featured both Clash and this doll on her TV show. THF176791

As Sesame Street has continually changed and grown with the times, its popularity and impact have endured. Comedienne Rosie O’Donnell, whose remarks on her own TV show helped transform Elmo from a minor character to a superstar, described the show’s unique contributions this way:

"From the beginning Sesame Street encouraged imagination and playfulness. It always felt like a show to me about freedom, and it has always spoken to children in a pure and truthful way. Children are children, rich or poor, and there is a language of truth that is innate to these tiny, undeveloped beings that they can hear. Sesame Street had respect for its audience and respect for itself. They never cut any corners and they stuck to their democratic ideals."

Innovative, groundbreaking, and radical when it was introduced, Sesame Street has become nothing short of an American institution.

Donna Braden is Curator of Public Life at The Henry Ford.

1960s, 20th century, 21st century, 2010s, TV, popular culture, Jim Henson, education, childhood, by Donna R. Braden

This 1930 Hupmobile Model S was one of nearly 800 vehicles that filled Greenfield Village for this year’s Old Car Festival.

Another summer car show season is in the books as we wrap up our 69^th annual Old Car Festival in Greenfield Village. We enjoyed practically perfect weather, enthusiastic crowds, and a field of nearly 800 vintage automobiles, trucks, motorcycles, and bicycles. You couldn’t have asked for a better weekend – or a better way to spend it.


This 1925 Ford Model TT truck fit perfectly with the Depression-era Mattox Family Home. Greenfield Village provides an incomparable setting for Old Car Festival.

Our spotlight for 2019 shined on early sports cars, whether genuine performers like the Stutz Bearcat, or mere sporty-looking cars like Ford’s Model T Torpedo Runabout. We usually associate sports cars with postwar imported MGs or all-American Corvettes, but enthusiast motoring is an old idea. For as long as there have been cars, there have been builders and buyers dedicated to the simple idea that driving should be fun.


The Henry Ford’s 1923 Stutz Bearcat. Many consider the Bearcat to be America’s first true sports car.

In keeping with the theme, we featured three sporty cars in our special exhibit tent across from Town Hall. From The Henry Ford’s own collection, we pulled our 1923 Stutz Bearcat. If there’s one name synonymous with early sporting automobiles, it’s “Bearcat.” Indianapolis-based Stutz introduced the model in 1912. The first-generation Bearcat featured only the barest bodywork and a trademark “monocle” windshield. Our later model was a bit more refined but, with 109 horses under the hood, it had no problems pushing the speedometer needle to the century mark. And, with its $3500 price tag, it had no problems pushing your bankbook into the red, either.


The sporty, affordable 1926 Chevrolet – for when the heart says, “speed up” but the wallet says, “slow down.”

Our good friends at General Motors once again shared a treasure from the company’s collection. This time it was a beautiful 1926 Chevrolet Superior Series V. The car boasted custom bodywork from the Mercury Body Company of Louisville, Kentucky. The speedster body and disc wheels gave a sporty look to a car targeted at budget-minded buyers. The Chevy sold for $510 – about one-seventh the cost of that Stutz!


This newly-restored 1927 Packard ambulance served the city of Detroit for nearly 30 years.

Every car at Old Car Festival has its own story, but some of them are particularly special. You could certainly say that about the 1927 Packard ambulance bought to us by owner Brantley Vitek of Virginia. He purchased the vehicle, in rather rough condition, at the Hershey swap meet in 1974. Dr. Vitek planned to restore it but, as is sometimes the case for car collectors, life got in the way. He wasn’t able to start the project until 2016, but it was well worth the wait. The finished ambulance is gorgeous – and not without southeast Michigan ties. The Packard served all its working life with the Detroit Fire Department. Old Car Festival wasn’t just a debut for the completed project, it was a homecoming as well.


The corn boil was just one of the dietary delights offered at this year’s show.

Veteran Old Car Festival attendees know that the show mixes a little gastronomy with its gasoline. Each year brings historically-inspired foods to the special “Market District” set up along the south end of Greenfield Village’s Washington Boulevard. Offerings for 2019 included turkey legs, sliced pastrami sandwiches, baked beans and cornbread (served in a tin cup), and peach cobbler. Longstanding favorites like kettle corn, hobo bread, and frozen custard were on hand too.


Prize winners received glass medallions handcrafted in the Greenfield Village Glass Shop.

As it does every year, Old Car Festival wrapped up with the Sunday afternoon awards ceremony. Show participants are invited to submit their vehicles for judging. Expert judges award prizes based on authenticity, quality of restoration, and the care with which each vehicle is maintained. First, second, and third-place prizes are awarded in eight classes, and one Grand Champion is selected for each of the show’s two days. Additionally, two Curator’s Choice awards are given to significant unrestored vehicles.


The Canadian Model T Assembly Team entertained by putting together this vintage Ford in mere minutes.

Year after year, Old Car Festival provides sights, sounds, and tastes to delight the senses. It’s no wonder the show has been going strong for 69 years. We’ll see you for show number 70 in 2020!

Matt Anderson is Curator of Transportation at The Henry Ford.

Michigan, Dearborn, 21st century, 2010s, Old Car Festival, Greenfield Village, events, cars, car shows, by Matt Anderson

1965 Ford Mustang Convertible, Serial Number One. THF90618 


Ford Mustang Serial Number 1 and Original Owner Captain Stanley Tucker, 1966. THF98053 

More than 55 years ago, Harry Phillips sold Mustang Serial No. 1 to Stanley Tucker in St. John’s, Newfoundland, Canada.

The very first Mustang sold was a pre-production model only intended for display. It was meant to be sent back to Ford, and it took nearly two years for the car to be officially returned.


Harry Phillips and Mustang Serial No. 1, September 2019.

Thanks to a campaign spurred on by fellow Ford Mustang lovers, Mr. Phillips was reunited with that same car, in Henry Ford Museum of American Innovation, on Sept. 27, 2019. Hear his story of that landmark sale in 1964, and learn more about this important artifact: Stanley Tucker and Ford Mustang Serial Number One.


Continue Reading

Canada, Michigan, Dearborn, 21st century, 2010s, 20th century, 1960s, Mustangs, Henry Ford Museum, Ford Motor Company, events, convertibles, cars

Lee and Kendra in partnership with their signed Memoranda of Understanding.

The Henry Ford recently celebrated the one-year anniversary of its acquisition of The STEMIE Coalition, an alliance of youth invention, innovation, and entrepreneurship programs committed to teaching K-12 students the innovative mindset. The program has seen considerable success and continues to rapidly expand globally under a new brand, Invention Convention Worldwide. This week, The Henry Ford welcomed its affiliated program leadership from as far away as Singapore and Ukraine and from across the U.S. to collaborate and share best practices to advance youth invention education worldwide.

New to the community, and representing all K-12 students across the Republic of Korea, is the Korea Invention Promotion Association (KIPA), a relative analog to our U.S. Patent and Trademark Office (USPTO) government agency’s educational and outreach activities. KIPA was established in 1994 to promote intellectual property rights – patents, trademarks, copyrights, and more – and expand patent management support for companies across South Korea.

Today, KIPA is overseeing an audacious goal -- to train all students in Korea in the process of invention. The Republic of Korea is the first country in the world to legislate that all students in grades 4-12 receive annual training in the invention process. KIPA has created a wealth of content to support teachers across Korea, including classroom materials, training for teachers, and national events designed to excite, guide, and celebrate young inventors.

The Henry Ford shares this mission – that within every child exists the potential to change the world. Under The Innovation Project and the Invention Convention Worldwide initiative, The Henry Ford is seeking to convene and collaborate with the world’s leading changemakers around invention education, and work to develop an innovative mindset in students everywhere.


Lee and Kendra enjoy an authentic Model-T ride through The Henry Ford’s Greenfield Village.

KIPA and The Henry Ford Invention Convention Worldwide will collaborate to expand invention education across Korea, the U.S., and worldwide, working with the World IP Organization (WIPO). KIPA and The Henry Ford will take advantage of The Henry Ford’s extensive collection of stories and artifacts across 300 years of American Innovation – not to mention its curated lesson plans, teacher training, and digital media. They will similarly leverage KIPA’s own deep educator written, audio, video, and software content and tools in invention learning. Together, KIPA and The Henry Ford will build new and expanded pathways for young inventors, innovators, and entrepreneurs to build life-long skills and innovative mindsets.



Carol Kendra, Vice President of The Henry Ford, welcomed Du Seong Lee, Vice President of KIPA, along with Jimmy Han, Director and Danny Yoo, Section Manager, to The Henry Ford for a formal signing ceremony of the new partnership. Set against the backdrop of the world’s first research and development laboratory, the original renowned Menlo Labs of Thomas Edison, Lee and Kendra exchanged signatures, memoranda of understanding, and gifts to celebrate the occasion. The signing was held on the second floor of Edison’s lab where Edison first successfully created his first working light bulb, lighting up the world.

Lee and his staff joined American school children in a viewing a demonstration of one of the original first 200 working phonograph devices.  As Global Director of the Invention Convention Worldwide program, I presented Lee with an actual recording from the historic phonograph.

The Henry Ford and KIPA will begin collaborations and planning starting in October in Korea on joint efforts.  The Henry Ford’s President and CEO Patricia Mooradian received the Korean delegation in her offices and invited KIPA to discuss how we might include young Korean inventors at our Invention Convention showcases and competitions globally, and to work together to cultivate each child’s skill sets to create solutions to our world’s most pressing problems. Among the potential areas for collaboration include application of The Henry Ford’s digital assets, including clips from its award-winning Innovation Nation and Did I Mention Invention? television shows and digital artifact cards from its 26 million piece collection, to KIPA's extensive content for educators, and creating new artificial reality and gaming approaches to invention education.

The Henry Ford’s Invention Convention Worldwide initiative is part of its Innovation Learning suite of learning resources, and today impacts more than 120,000 students across its affiliated network of partners.

Danny Briere is former Chief Entrepreneur Officer and Global Director, Invention Convention Worldwide, at The Henry Ford.

Asia, inventors, Invention Convention Worldwide, innovation learning, education, by Danny Briere, 21st century, 2010s

Studio artist Dean Allison is our August Artist in Residence at The Henry Ford. Looking forward to a week of new ideas and exploration, Dean joins our artists in the Greenfield Village Glass Shop Aug. 13-17. Follow him on Instagram and learn more about his background below.

Tell us a little bit about you and your work.
My work deals with portraiture and documenting people in glass. I’m interested in the figure and physical details that translate identity and the human condition. Most of my work is cast and utilizes molds and processes like bronze casting.

How did you get started with glassblowing?
I took an elective in glass when I was an undergraduate in college. I wasn’t interested in 3D work at the time, but that swiftly changed, and glass became a material I grew to love.



What piece are you most proud of that you’ve created to date?
That is a difficult question because each piece has differing challenges and obstacles. The most ambitious piece was titled “The Boxer.” It is a piece that I worked on for more than three years, ultimately made in five parts. I designed and built specialized equipment to make the piece. I mixed and melted all the glass from scratch and learned a great deal from the many processes involved.



Where do you find inspiration for your work?
People, memories, conversations, human interaction, and social concerns.

What are you most looking forward to as being an Artist in Residence this year?
Creating a new body of work that involves experimenting with the figure on a smaller scale and finding inspiration in gesture and form.

Additional Readings:

• Digitizing Our Newest Exhibit
  
• Photographing Glass
  
• Beyond Favrile: Louis Comfort Tiffany and American Culture
  
• Studio Glass Expert on Display: Paul Stankard

Michigan, Dearborn, 21st century, making, Greenfield Village, glass, artists in residence, art