Astonishing Tales, vol. 1 no. 29, 1975, featuring Guardians of the Galaxy - a reprint of their first appearance (1969) in Marvel Super-Heroes vol. 1 no. 18. THF305338

It started the summer I turned 14, when some neighbor kids told us they were moving and wanted to find a good home for their sizable stash of D.C. comic books. My four brothers and I had a hard time turning that down! The next thing we knew, several boxes of comic books arrived on our doorstep—opening a magical door into a world previously unknown to me.

Archie, vol. 1 no. 102, July 1959. THF100874

Up until that time, I’d only read younger kids’ comic books—like Archie, Richie Rich, and Little Lotta. But these were different, these D.C. comics that recounted the exploits of such larger-than-life superheroes as Superman, The Flash, and my personal favorites—the teenage Legion of Super-Heroes.

Adventure Comics, featuring Superboy and the Legion of Super-Heroes, vol. 1 no. 343, April 1966. THF 305335

My Mom was rather horrified when she learned of our new “acquisition.” She pictured us wasting our summer away reading these comic books rather than doing things that were—as she called it—more “constructive.” I must admit that I did spend many hours that summer immersed in the pages of those comic books. But in no way would I call it wasting my time. Through those comic books, I learned about how stories can be told through a series of pictures, how pictures can illuminate ideas and feelings, and how all of this can fuel a young reader’s imagination.

First issue of Spider-Man I purchased, vol. 1 no. 88, September 1970 (author’s collection).

One evening a few years later, my comic book world shifted. My best friend introduced me to the backstory of Spider-Man—a completely different kind of comic book superhero created by Marvel, a completely different kind of comic book company. Spider-Man had problems. And flaws. And continual feelings of self-doubt. Here was a superhero who was reluctant, questioning, always feeling like a failure even when he just happened to save the world. On top of that, he was a teenager—just like me! Who couldn’t relate to that? I was forever done with Superman. So long, D.C.! Hello, Marvel!

Spider-Man, vol. 1 no. 96, May 1971 – an unprecedented issue at the time. It did not display the Comics Code Authority stamp of approval like virtually all comic books at the time because it involved a drug-related story (author’s collection).

I soon branched out to other Marvel comic books. I became especially enamored with the stories of Dr. Strange, whose mystical world fascinated me and whose page after page of colorful psychedelic graphics captivated me even without the stories. I also went through a Silver Surfer period, appreciating his feeling of alienation from all human beings who inhabited Planet Earth. I tried many additional titles, but Spider-Man remained my perennial favorite.

Dr. Strange, vol. 1 no. 171, August 1968, displaying typically striking graphics on the cover (author’s collection).

As I entered college, my passion for comic books came along with me. I rode my new 10-speed bicycle down miles of back roads to visit used comic book stores and attend the occasional comic book show. I joined a comic book enthusiasts’ group with fellow students, where we traded likes, dislikes, and back issues. I made inventories, kept needs lists, bought enthusiasts’ magazines, and traced the lineage of my favorite titles by searching for back issues. This was all in the days before the Internet, eBay, and Comic Cons, and most communication was accomplished through the mail.

Silver Surfer, vol. 1 no. 1, August 1968 (author’s collection).

When I began my job as a curator here at The Henry Ford in 1977, my interest in comic books finally waned. Maybe I didn’t need that brand of escapism or that kind of outlet for my imagination anymore. Maybe I was too busy to take the time to delve into the stories. Comic books themselves changed. I remember feeling frustrated by Marvel’s trend, during the late 1970s, with story cross-overs throughout the entire network of their comic book titles to encourage more comic-book buying. Who had the patience and perseverance for that? Or the money, as the price of comic books soared at that time, from 15 cents in the late 1960s to 40 cents by 1980? This is also about the time that Spider-Man went mainstream, with a newspaper comic strip (starting 1977) and a Saturday morning cartoon (premiering 1981), both aimed at kids much younger than me. It seemed weird that, suddenly, I shared a common bond with my little five-year-old nephew—although he acted suitably impressed when I pulled out some of my old Spider-Man comic books for him, which by then seemed like ancient relics.

I might have let go of my comic book passion for good, but some project at the museum would always pull me back. For example, during my writing of the museum book Leisure and Entertainment in America (1988), I acquired a group of early comic books for the museum’s collection.

Tales from the Crypt, vol. 1 no. 43, September 1954 - an early 1950s horror comic book title whose shocking content alarmed parents and helped lead to the comic book industry’s self-censorship board, called the Comics Code Authority. THF141540

When we decided to include a section on how people imagined the future in the Your Place in Time: 20^th Century America exhibit, I acquired a range of comic book titles that focused upon futuristic themes.

Spider-Man 2099, vol. 1 no. 1, November 1992 – a futuristic re-imagining of the original character (note steep $1.75 price by this time). THF305334

To my delight, the topic of comic books will be included in the upcoming filming for The Henry Ford’s Innovation Nation. And next summer, the Marvel: Universe of Super Heroes traveling exhibit is headed our way in 2020. Here I am, more than a half-century later—and still hooked on comic books!

Back when I was a kid, many parents (including my own) worried about the harmful effects that reading comic books had on youth. In retrospect, I’d have to say that they were completely wrong. For me, comic books expanded my world immeasurably. They encouraged me to read, to write, to draw, to tap into my imagination. Maybe this started with those early Archie comic books. It certainly grew when that stash of D.C. comics landed on our front doorstep. But it blossomed and permanently formed who I am today when I entered the Marvel Universe.

Happy 80^th birthday, Marvel!

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

20th century, popular culture, comic books, by Donna R. Braden

Chatty Cathy Talking Doll, ca. 1963, an inspiration for Gabby Gabby. THF 173150

Since 1995, Disney-Pixar’s “Toy Story” films have led the industry in combining computer-generated animation with powerful, heartfelt stories. One of the reasons that adults and kids alike are drawn to these films is the clever selection of toys. More often than not, these are based upon real toys that are fondly remembered by viewers from different generations (see several examples of these from The Henry Ford’s collections in the blog post, “The Real Toys of Toy Story”).

This summer’s release of “Toy Story 4”—with its cast of old friends along with several newly introduced toys—allows us the perfect opportunity to once again delve into The Henry Ford’s collections and see what real toys provided inspiration for this fourth “Toy Story” installment.

The Heroes

Kentucky Fried Chicken Spork, 1978-90. THF173933

A heroic spork? Yes, indeed! This time around, Pixar decided to explore what would happen when a handmade toy named Forky (with a plastic spork for a body) meets the old gang of mass-manufactured toys. 

Sporks have a long, mostly unsuccessful history. Think about it. When you combine a spoon and a fork together, neither of them is going to work very well. Interlocking or folding sets of camp utensils have always been more popular with backpackers and Boy Scouts. Nevertheless, by the 1970s, plastic sporks were making their way into fast-food restaurants—to use for, as Forky describes it, "soup, salad, maybe chili, and then the trash!” Kentucky Fried Chicken was one of the first fast-food chains to regularly feature sporks, like the one shown here.

Image of Little Bo-Peep as part of Mother Goose Series, trade card for baking soda, John Dwight & Co., 1900. THF294575

In “Toy Story 4,” Bo Peep returns as a much more assertive and heroic character. Here we learn that she was once part of a lamp that Andy’s sister, Molly, had in her bedroom to help her fall asleep. In fact, the classic nursery rhyme, Little Bo-Peep—first printed in full in 1810—reveals that this young shepherdess lost her sheep because she had also fallen asleep! 

Other connections exist between the old nursery rhyme and the newer, more independent Bo Peep.  In the nursery rhyme, Bo Peep’s sheep lose their way because sheep are known to flock together. In “Toy Story 4,” Bo Peep’s three sheep are also inseparable—in fact, they are molded together as one piece, leading to often humorous results! In addition, a shepherdess would have traditionally used her crook not only to manage her sheep but also to defend them from attack by predators. In the film, Bo Peep similarly uses her crook to keep our heroes from harm.

Polly Pocket Watch Happy Meal Toy, 1995. THF141193

The appearance of Giggles McDimple in “Toy Story 4” likely delighted girls who grew up in the 1990s, as Giggles and her “home” reference the highly popular Polly Pockets of that era. These were first conceived by a British Dad for his daughter in 1983, using a powder compact as a tiny house that could fit in a pocket. Bluebird Toys, of Swindon, England, licensed the concept when these first appeared on the market in 1989, with Mattel in charge of distribution. In 1998, Mattel purchased the rights to manufacture Polly Pockets, then immediately redesigned them into larger dolls with changing garments. While various versions were produced after that, the original minuscule figures with jointed legs and peg-like bases that slotted into holes inside their cases never returned.  

In “Toy Story 4,” Giggles compensates for her minuscule size by displaying an air of confidence and a can-do attitude—just the kind of out sized personality that little girls of the 1990s might have ascribed to their own Polly Pockets. 

Evel Knievel X-2 Sky Cycle Toy, 1976-8. THF 302676

Duke Caboom—"Canada’s Greatest Stuntman”—is not an exact imitation of Evel Knievel, but this “Toy Story 4” character was certainly inspired by the famed 1970s stunt daredevil. Robert Craig Knievel, who was known at an early age for his combined athletic prowess and guts, became a national sensation in the 1970s, when he was featured several times on “ABC’s Wide World of Sports.” Knievel’s tremendous crowd appeal motivated Ideal to reproduce an action-figure version of him along with various stunt-related accessories—like this X-2 Sky Cycle that replicates the one he used during an attempted jump over Snake River Canyon, Idaho, in 1974. 

During the peak of his popularity, Knievel’s flashy white leather jumpsuit and reputation for keeping his word helped reinforce his heroic, larger-than-life image. That is, until 1978, when he was convicted of assaulting the author of a book written about him and his popularity quickly plummeted. The tragic backstory of Duke Caboom and his kid who rejected him is a fitting connection to the real-life 1970s Evel Knievel and his young fans. 

G.I. Joe Desert Troop Dusty with Sandstorm, his coyote, 1990-91. THF 94338

Combat Carl makes a small but unforgettable appearance in “Toy Story 4”—especially if you stay to the very end of the credits. He played a bit part in the first “Toy Story” film, then a larger role in Pixar’s 2013 Halloween TV special, “Toy Story of Terror!”  Combat Carl is an everyman military action figure reminiscent of G.I. Joe action figures of the 1980s and ‘90s.  Mattel introduced the first G.I. Joe in 1964—a 12” poseable version that directly referenced the military men who saw action during World War II and the Korean War. An African-American version of G.I. Joe was introduced in 1965. 

As a result of the unpopular Vietnam War in the late 1960s and the rising price of plastic in the 1970s, G.I. Joes declined in popularity until they were discontinued in 1978. But they made a stunning comeback during the 1980s as 3-3/4” adventure-team action figures. This G.I. Joe action figure from The Henry Ford’s collection, named Dusty, was introduced in 1991, after the Persian Gulf War inspired toys based upon the real-life conflict. Exuding a great deal of self-possessed machismo but also tugging at our heartstrings a bit, Combat Carl always leaves us rooting for him. 

The Villains

Shown on the right side of the page, Chatty Cathy is featured in the 1964 Sears Roebuck & Co. Christmas Catalog. Note her Gabby Gabby-like freckles! THF287020

At first glance, the scheming Gabby Gabby appears to have been based upon Chatty Cathy, introduced to the American public in 1960 as the first in a new line of Mattel talking dolls. Like Gabby Gabby in the film, Chatty Cathy’s “voice” was activated by a pull string in the back. The first Chatty Cathy, who had blue eyes and sported a blonde bobbed hairdo, recited 11 phrases at random via a record that was driven by a metal coil wound by pulling the toy’s string. Her phrases were voiced by June Foray, also famous as the voice of Rocky the Squirrel in “The Rocky & Bullwinkle Show.” Newer versions of the doll sported a wider choice of hair and eye colors as well as an African-American version. By 1963, when this version of Chatty Cathy was introduced, she had long pigtails and her vocabulary had increased to 18 phrases.

According to director Josh Cooley, Gabby Gabby was based more directly upon an evil doll named Talky Tina, who appeared in a 1963 “Twilight Zone” episode. In this edge-of-your-seats episode, a family’s problems are made worse when a talking doll—which was loosely based upon Chatty Cathy and was also voiced by June Foray—develops a mind of her own and wreaks havoc on the family, inevitably leading to a tragic ending.

Page of doll carriages, Sears Roebuck & Co. Christmas Catalog, 1964. THF294577

As Woody and Forky search for Bo Peep in the quiet atmosphere of the antique shop, the sudden sound of a squeaky doll carriage edging closer but just out of view is one of the more hair-raising moments in the film.  Sure enough, it reveals itself as Gabby Gabby’s mobility device and there is good reason for viewers to be nervous. Some of us have a visceral memory of those squeaky doll carriages of the mid-20^th century, before safety and cost issues replaced the carriages’ metal and vinyl parts with plastic. 

Doll carriages were generally based upon full-size baby carriages of their era.  In the late 19^th century, these were often quite elaborate, made of wicker with brass fittings and matching parasols and only affordable to the wealthy.  As the 20^th century progressed, pop-up tops, removable beds, and suspension systems made baby carriages more comfortable and convenient, and they also became more affordable to families of different economic levels.  The three options shown in this 1964 Sears Roebuck Christmas catalog—of varying prices and materials—are all reminiscent of Gabby Gabby’s squeaky—and sneaky—doll carriage. 

Doll Dessert Set, 1935-40. THF141192

In “Toy Story 4,” Gabby Gabby is delighted when the antique shop owner’s granddaughter, Harmony, sets up a toy tea set and pretends to take tea—hoping beyond hope that when her voice box is fixed, Harmony will invite her to join in. 

Since the 19^th century, miniature tea sets were a traditional way for little girls to practice adult skills and feminine roles. It was up to them, however, to decide whom to invite for company. Images, like the cover of this doll dessert set, often show little girls having tea with favored dolls and stuffed animals. Indeed, in previous “Toy Story” movies, we saw both neighbor Sid’s little sister and young Bonnie engage in this type of imaginative play. The strengthening of bonds between little girls and their dolls through pretend tea-drinking is something that Gabby Gabby desperately wants—so much so that she will resort to desperate measures to have it. 

Charlie McCarthy Doll, 1937-40. THF106436

Without a doubt the creepiest characters in “Toy Story 4” are the Bensons—the group of ventriloquist dummies that Gabby Gabby enlists to do her bidding. Dating back to 18^th-century traveling fairs, ventriloquists “threw” their voices to appear as if they were coming from elsewhere, usually a puppet or other semi-lifelike figure referred to as a dummy. During the early 20^th century, Edgar Bergen popularized the idea of comedic ventriloquism, teaming up with his “cheeky,” boyish dummy, Charlie McCarthy.  Edgar Bergen and Charlie McCarthy became so popular that they appeared on “The Chase & Sanborn Radio Hour” from 1937 to 1956, as well as later films and TV programs. As shown here, Charlie McCarthy was reproduced by Effanbee as a child’s toy, complete with different outfits and a carrying trunk. 

The Charlie McCarthy dummy and related doll were not intended to be evil (although some people would maintain that all ventriloquists’ dummies are creepy).  Credit for that goes to the fact that the Bensons were more directly inspired by a series of “Goosebumps” books by R. L. Stine that began in 1993, featuring the villainous Slappy the Dummy. Though the book is from a later era, Slappy’s appearance recalls the ventriloquist dummies of Charlie McCarthy’s time. In “Toy Story 4,” the Bensons have no voices because there are no humans to provide them. And their bodies are soft with no structure because, without humans to operate them, their body parts just dangle.  Very clever!  And definitely creepy! 

Will there be a “Toy Story 5”—with new toys, the return of familiar old toys, and a fresh spin on their interconnecting stories? Only time will tell.

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

Disney, toys and games, popular culture, movies, by Donna R. Braden

A happy family on a road trip inside their 1958 Edsel Bermuda Station Wagon. THF124600

Nothing epitomizes the 20^th-century American family vacation more than the station wagon. After World War II, as family vacationers flooded the highways out to enjoy all that America had to offer, the station wagon became the quintessential family car.  Although they had been around for a few decades, station wagons by this time had become roomier, more comfortable, and more within the reach of family budgets. 

As shown in this circa 1953 Coleman brochure, station wagons proved the perfect vehicle for families who needed to haul lots of gear for their “back to nature” camping vacations.  THF275653

When limited-access turnpikes and interstate freeways expanded across the country during the 1950s and 1960s, sales of station wagons exploded. From three percent of all cars sold in 1950, sales of these cars mushroomed to 10 times that in 1955. By the end of the decade, some one in every five cars sold was a station wagon.

As family vacation trips lengthened, so did the time family members spent on the road together in the car. However, even though the ads claimed that vacations taken in a roomy, comfortable station wagon could improve family relations, this wasn’t always the case. Younger family members, in particular, inevitably got cranky and bored--threatening any attempt at family togetherness and fun. Enter a host of family car games and activities.


Mom and the kids read together in the back seat of the family car, with apparent disregard for “buckling up” for safety. THF275640

During the 1950s and 1960s, inventive game manufacturers, creative writers, and ingenious publishers devised all manner of family games and activities.  These were intended to keep family members occupied, reinforce family togetherness, and increase the fun of traveling together. 


Book of Ford Travel Games, free dealer giveaway, 1954. THF206270

During the post-World War II era, many of the car games and activities with which we are still familiar today were published and disseminated. This 1954 Ford dealer giveaway book was dedicated to the author’s four teenagers, “whose restlessness during childhood days first made these games necessary.” Most games in it, intended to be played by young and old, were the “scavenger” type, that would “help much to pass the time in an enjoyable manner” while “affording an opportunity for all members of the family to enjoy doing things together during the long hours on a motor trip.” The object of these scavenger-type games was to see who was the first one to find the items on the list, including car license plates, animals, sounds, and songs. Other games and contests included the classic I Spy game, a memory game called My Grandfather’s Trunk, and identifying shapes by looking at cloud formations.


Ford Game and Travel Book with stamps, 1959. THF275639

The 1959 Ford Game and Travel Book included games, songs, stories, riddles, and information enough to “provide hours and hours of pleasure for the whole family during the trip.”  It included 128 full-color stamps to affix to various pages.  The games and activities were much the same as those in the 1954 Travel Games book. 


Fun on Wheels book for AAA, by Dave Garroway, 1960.  THF275643

Dave Garroway, the founding host and anchor of NBC’s Today TV show from 1952 to 1961, was known for his easy and relaxing style. By the time this book was published in 1960 for members of the American Automobile Association, Garroway would have been a familiar name in most households. This book of “sit-able” games, quizzes, riddles, contests, puzzles, songs, and coin tricks “guaranteed miles of motoring pleasure” and was intended to “make any trip easier, safer, and more agreeable for parents and youngsters alike.”


Auto Bingo game, 1960s. THF140655

Auto Bingo, a product of the Regal Games Manufacturing Company from Chicago, Illinois, was introduced in the 1950s and proved incredibly popular during succeeding decades.  The classic game, shown here, is still produced today.


Traffic Sign Bingo, 1960s. THF140659

The popularity of the classic Auto Bingo game spawned many variations, like this Traffic Sign Bingo, with magnetic game pieces.


Ad for 1984 Chevrolet Celebrity Estate station wagon. THF275646

 

Although the OPEC oil crisis and tougher emission standards dealt a blow to the station wagon market in the 1970s, station wagons were still considered the family vacation vehicle of choice.  By the early 1980s, these vehicles had greatly expanded in size and comfort over their 1950s counterparts.  Manufacturers promoted their spaciousness, like this ad that likened the 1984 Chevrolet Celebrity Estate wagon to a family room!  This is, in fact, the very type of vehicle that was satirized in the 1983 film National Lampoon’s Vacation--although the Griswold family’s clunky green Family Truckster was actually a modified 1979 Ford LTD Country Squire.


Fisher-Price mini-van toy, a repackaged version of the company’s earlier mini-school bus, 1986-90. THF150890

While we may have chuckled at the Griswolds’ Family Truckster in 1983, the future of the station wagon as a family vacation vehicle was, in fact, no laughing matter.  Families would soon prefer roomy minivans, introduced in 1984, and fully-featured SUV’s in the 1990s, to haul kids and luggage on long-distance trips.


The family vehicle pictured on the cover of this 1985 travel game and activity book is more akin to a minivan than a station wagon. THF275648

As family road trips continued in subsequent decades, such innovations as portable music and gaming devices and in-car DVD players came to occupy and entertain family members during long trips.


A 1982 redesign of the original Sony Walkman, the first portable audio cassette player introduced in 1979. THF153124

But classic family games and activities persisted, in both traditional and newer versions.


This set contained 10 games (including Solitaire, Checkers, and Mini-Chutes and Ladders). Its interchangeable game board contained holes to hold peg-like game pieces in place. THF140658


Scrabble isn’t the best idea for a travel game, as letters are small and can easily get lost. Later versions of this game came with magnetic letters. THF106452

Today, we have a plethora of personal and mobile technologies to keep individuals occupied in the car on long-distance vacations (if they don’t opt for much speedier air travel). But these devices also separate and isolate members of the family. It’s nice to know that, if you want, you can still find classic family car games and activities online or available as digital downloads. And, of course, there’s still the old way of learning the classic games--passed down from parent to child.

Anyone for a rousing game of I Spy?

Donna R. Braden, Senior Curator and Curator of Public Life, grew up in a large family and took many family vacations with her parents and four brothers in their Country Squire station wagon.

childhood, by Donna R. Braden, toys and games, cars, travel, roads and road trips

“Batman Cartoon Kit” Colorforms, 1966-68. THF 6651

It was the 1960s—the golden age of television. Some 95% of American homes boasted at least one TV. These were primarily black and white sets, as color TV was still out of the reach of many families. It’s hard to imagine now but there were only three channels at the time. Every year, the three networks (CBS, NBC, and ABC) vied for viewer ratings, shifting and changing shows and showtimes at two pivotal times during the television season—Fall and Winter.

As the Fall 1966 season unfolded, it became evident to TV viewers that something extraordinary was happening. Sure, there were the usual long-running sitcoms, like Green Acres, Petticoat Junction, and The Beverly Hillbillies. But change was in the wind. A new crop of programs emerged—colorful, fast-paced, poking fun at things that were supposed to be serious and exploring contemporary social issues.

Why the difference all of a sudden? Many of these shows were aimed at the youth audience, considered by this time an influential group of TV watchers. Others purposefully took advantage of the new color televisions. Sometimes show producers and creators were simply tired of the old formulas and wanted to break out of the box.

Let’s take a look at a few highlights from the 1966-67 TV season—starting with the staid and true and working up to the wild and wacky—and see what all the hubbub was about!

Walt Disney’s Wonderful World of Color (Sunday, 7:30-8:30 p.m., NBC)

Snow Globe, “The Wonderful World of Disney,” 1969-79. THF174650

On Sunday nights since 1954, millions of Americans had tuned in to watch Walt Disney host his TV show, with a changing array of animated and live-action features, nature specials, movie reruns, travelogues, programs about science and outer space, and—best of all—updates on Walt Disney’s theme park, Disneyland. Since 1961, this show had been broadcast in color.

The 1966-67 season was particularly memorable because Walt Disney tragically passed away on December 15, 1966. But since the episodes had been pre-recorded, there was Walt still hosting them until April 1967. Viewers found this both comforting and disconcerting. Finally, after April, Walt was dropped as the host and, eventually, the show was retitled The Wonderful World of Disney. It ran with solid ratings until the mid-1970s.

Bonanza (Sunday, 9:00-10:00 p.m., NBC)

“Ponderosa Ranch” Mug, ca. 1970. THF174648

Viewership was high on NBC on Sunday nights at 9:00, as Bonanza was one of the most popular TV shows of all time. Running for 14 seasons and 430 episodes, this series about the trials and tribulations of widower Ben Cartwright and his three sons on the Ponderosa Ranch was an immediate breakout hit when it premiered in 1959, amidst a plethora of more run-of-the-mill prime-time westerns. Its popularity was primarily due to its quirky characters and unconventional stories—including early attempts to confront social issues. It was the first major western to be filmed in color and was the top-rated show on TV from 1964 to 1968. Bonanza ran until 1973.

The Man from U.N.C.L.E. (Friday, 8:30-9:30, NBC)

“The Man from U.N.C.L.E.” lunchbox and thermos, 1966.  THF92303

Premiering in September 1964, The Man from U.N.C.L.E. took full advantage of the popularity of the spy genre launched by the James Bond film series. In fact, early concepts for it were conceptualized by Bond creator Ian Fleming. In this series, Napoleon Solo (originally conceived as the lone star) and Russian agent Ilya Kuryakin (added in response to popular demand) teamed up as part of a secret international counterespionage and law enforcement agency called U.N.C.L.E. (United Network Command for Law and Enforcement). Solo and Kuryakin banded together with a global organization of other agents to fight THRUSH, an international organization that aimed to conquer the world.

During this, the Cold War era, it was groundbreaking for a show to portray a United States-Soviet Union pair of secret agents, as these two countries were ideologically at odds most of the time. The Man from U.N.C.L.E. was also known for its high-profile guest stars and—taking a cue from the Bond films—its clever gadgets. In 1966, this series won the Golden Globe for Best Television Program and, building upon its popularity, spun off into two related double-feature movies that year. Unfortunately, attempting to compete with lighter, campier programs of the era, the producers made a conscious effort to increase the level of humor—leading to a severe ratings drop. Although the serious plot lines were soon reinstated, the ratings never recovered. The Man from U.N.C.L.E. was canceled in January 1968.

I Spy (Wednesday 10:00-11:00, NBC)

TV Guide featuring “I Spy” characters Robert Culp and Bill Cosby on cover, March 25-31, 1967. THF275655

One series that never opted for campy was I Spy, which starred Bill Cosby and Robert Culp playing two U.S. intelligence agents traveling undercover as international “tennis bums.” This series, which premiered in 1965, was also inspired by the James Bond film series and remained a fixture in the secret agent/espionage genre until cancelled in April 1968. I Spy, additionally a leader in the buddy genre, broke new ground as the first American TV drama series to feature a black actor in a lead role. It was also unusual in its use of exotic locations—much like the James Bond films—when shows like The Man from U.N.C.L.E. were completely filmed on a studio backlot.

I Spy offered hip banter between the two stars and some humor, but it focused primarily on the grittier side of the espionage business, sometimes even ending on a somber note. The success of this series was attributed to the strong chemistry between Culp and Cosby. Cosby’s presence was never called out in the way that black stars and co-stars were made a big deal of on later TV programs like Julia (1968) and Room 222 (1969).

Get Smart (Saturday, 8:30-9:00 NBC)

“Get Smart” Lunchbox, 1966. THF92304

Premiering in September 1965, Get Smart was a comedy that satirized virtually everything considered serious and sacred in the James Bond films and such TV shows as I Spy and The Man from U.N.C.L.E. Created by comic writers Mel Brooks and Buck Henry as a response to the grim seriousness of the Cold War spy genre, it starred bumbling Secret Agent 86—otherwise known as Maxwell “Max” Smart, along with supporting characters, female Agent 99 and the Chief. These characters worked for CONTROL, a secret U.S. government counterintelligence agency, against KAOS, “an international organization of evil.” Brooks and Henry also poked fun at this genre’s use of high-tech spy gadgets (Max’s shoe phone perhaps being the most memorable), world takeover plots, and enemy agents. Somehow, despite serious mess-ups in every episode, Maxwell Smart always emerged victorious in the end.

Get Smart was considered groundbreaking for broadening the parameters of TV sitcoms but was especially known for catchphrases like “Would you believe…” and “Sorry about that, Chief.” Despite a declining interest in the secret-agent genre, Get Smart’s talented writers attempted to keep it fresh until it was finally cancelled in May 1970.

Batman (Wednesday and Thursday, 7:30-8:00, ABC)

Toy Batmobile, 1966-69. THF174647

Bursting onto the scene in January 1966, Batman became an instant hit and took the country by storm. Batmania was in full swing by the Fall 1966-67 TV season. The series, based upon the DC comic book of the same name, featured the Caped Crusader (millionaire Bruce Wayne in his alter-ego of Batman) and the Boy Wonder (his young ward Dick Grayson in his alter-ego of Robin). These two crime-fighting heroes defended Gotham City from a variety of evil villains. It aired twice weekly, with most stories leaving viewers hanging in suspense the first night until they tuned in the second night.

This show successfully captured the youth audience, with its campy style, upbeat theme music, and tongue-in-cheek humor. Despite the fact that it verged on being a sitcom, the producers wisely left out the laugh track, reinforcing the seriousness with which the characters seemed to take the often absurd and wildly improbable situations in which they found themselves. The filming simulated a surreal comic-book quality, with characters and situations shot at high and low angles, with bright splashy colors and with sound effects, like Pow, Bam, and Zonk, appearing as words splashed across the action sequences on screen. The series was also replete with numerous gadgets and over-the-top props, with the Batmobile undoubtedly most memorable. Batman ran until March 1968, experiencing a significant ratings drop after its initial novelty faded.

Lost in Space (Wednesday 7:30-8:30, CBS)

“Lost in Space” Lunchbox and Thermos, 1967. THF92298

Loosely based upon the story of the Swiss Family Robinson, this TV series depicted the adventures of the Robinson family, a pioneering family of space colonists who struggled to survive in the depths of space in the futuristic year of 1997—as the United States was gearing up to colonize space due to overpopulation. But the family’s mission was sabotaged, forcing the crew members to crash-land on a strange planet and leaving them lost in space.

The show had premiered in September 1965 as a serious science fiction series about space exploration and a family searching to find a new place for humans to dwell. But, in January 1966, pitted against Batman’s time slot, Lost in Space producers attempted to imitate Batman’s campiness with ever-more-outrageous villains, brightly colored outfits, and over-the-top action. The plots increasingly featured Robby the Robot and the evil Dr. Zachary Smith. Viewers and actors alike strongly disapproved of this shift. The show lingered on until March 1968.

The Monkees (Monday, 7:30-8:00, NBC)

“Monkees” Lunchbox and Thermos, 1967. THF92313

Where other shows might have been lighthearted, campy, or tongue-in-cheek, The Monkees at times verged on pure anarchy. This series, which premiered on September 12, 1966, led off NBC’s prime-time programming every Monday night. It lasted only two seasons but during that time, its star shone brightly. The Monkees followed the experiences of four young men trying to make a name for themselves as a rock ‘n’ roll band, often finding themselves in strange, even bizarre, circumstances while searching for their big break. Aimed directly at the youth audience, the band members were characterized as heroes down on their luck while the adults were consistently depicted as the “heavies.”

The Beatles’ films A Hard Day’s Night and Help! inspired producers Bob Rafelson and Bert Schneider to create not only a show about a rock ‘n’ roll band but also to adapt a loose narrative structure (each member of the Monkees was trained in improvisational acting techniques at the outset of the show) and the musical sequences or “romps” that appeared each week. The series built a reputation for its innovative use of avant-garde filming techniques like quick jump cuts and breaking the fourth wall (that is, having the characters directly address the TV viewers). A well-oiled marketing machine behind the show also ensured that strong tie-ins were maintained with teen magazines, merchandise, and live concerts.

The Monkees won the Emmy for best comedy series during its first, the 1966-67, season. However, backlash was inevitable among critics and older teenagers when the Monkees admitted that they did not play their own instruments—although they clearly played them in their live concerts and, in fact, eventually had a falling-out with network executives about this very issue. Though the show was cancelled in 1968, it experienced a huge revival among younger audiences through Saturday morning reruns and especially with the 1986 MTV Monkees Marathon. Remaining band members Micky Dolenz and Mike Nesmith still attract large audiences of intergenerational fans at their live concerts, while reruns of their TV shows continue to draw new audiences.

Star Trek (Thursday, 8:30-9:30 NBC)

“Star Trek” lunchbox, 1968. THF92299

When Star Trek premiered on September 8, 1966, science fiction shows were not very advanced—or even thought of very highly. Star Trek’s closest competitor, Lost in Space, offered only shallow plots, one-dimensional characters, and fake sets. No one could imagine at the time that this rather low-key show would become one of the biggest, longest-running, and highest-grossing media franchises of all time. This series traced the interstellar adventures of Captain James T. Kirk and his crew aboard the United Federation of Planets’ starship Enterprise, on a five-year mission “to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before.”

Creator Gene Roddenberry, aiming the show at the youth audience, wanted to combine suspenseful adventure stories with morality tales reflecting contemporary life and social issues. So, to get by network scrutiny, he set the premise of the show in an imaginary future. With the freedom to experiment, he put in place one of TV’s first multiracial and multicultural casts and was able to explore through different episodes some of the most relevant political and social allegories on TV at the time. The stories were also considered exceptionally high quality for that era, involving believable characters with which viewers could both identify and sympathize. Unlike the gloomy predictions of most science fiction writings of the time, Roddenberry hoped that the futuristic utopia he created on Star Trek would give young people hope, that it would empower them to create a better future for themselves someday. Star Trek, with only modest ratings, lasted only three seasons. But it would go on to become a cult classic.  

The Smothers Brothers Comedy Hour (Sunday, 9:00-10:00 p.m. beginning February 1967, CBS)

TV Guide featuring The Smothers Brothers on cover, June 10-16, 1967. THF275657

In Fall 1966, The Garry Moore Show, a variety show on CBS hosted by the aging radio and TV star, was no match when pitted against Bonanza—even with this, its first season in color. Network executives, at their wit’s end to try to attract viewership, decided the only way they could come up with a quick replacement was to substitute another variety show. In desperation, they landed on a simple variety series featuring the soft-spoken, clean-cut, non-threatening folk-music-playing Smothers Brothers. Considered a “young act,” an added bonus was that their show might capture the coveted youth audience. Little did they know what they were in for.

As the show evolved, the brothers not only became more politicized themselves but felt that they owed it to their young viewers to increase the show’s relevance, boldly addressing overtly divisive political and social issues. Their staff of young writers was only too happy to comply. Unfortunately, as a result, the brothers were continually at odds with the network censors until the show was finally cancelled after three seasons. In its continual conflicts with network executives, The Smothers Brothers Comedy Hour turned the variety show genre on its ear and paved the way for Rowan & Martin’s Laugh-In (1968) and, in pushing TV’s all-out rebellion against the status quo, led an explosive charge that resulted in 1970s shows like All in the Family (1971).

These are but a few highlights from the 1966-67 TV season. Some say that this was the greatest television season ever, a clear indication that TV had finally come of age. Because of shows like these, television would certainly never be the same again. And, come to think of it, neither would we!

Donna Braden, Curator of Public Life, was 13 years old during that memorable TV season and proudly wears her fan club button to every Monkees concert she still attends.

20th century, 1960s, TV, Star Trek, space, popular culture, music, Disney, by Donna R. Braden

popular culture, by Donna R. Braden, space

Celebrating the 50^th Anniversary of the Apollo 11 Moon Landing





The Space Race began in the 1950s, when both the United States and the Soviet Union attempted to launch ballistic missiles into outer space.  Americans were surprised when the Russians beat them to it, launching the Sputnik I satellite in October 1957.  But, when Soviet cosmonaut Yuri Gagarin orbited earth on April 12, 1961, Americans were downright shocked and not a little concerned.  As a response, President Kennedy pledged to support a more aggressive space program than President Eisenhower had initiated before him.

On May 25, 1961, President Kennedy laid out a bold vision—that America should commit itself to landing a man on the moon “before the decade is out.”  When astronauts Neil Armstrong and Edwin A. “Buzz” Aldrin, Jr. finally did set foot on the moon on July 20, 1969, many people considered it America’s finest hour.



Learn more about these artifacts below and then see them for yourself in Henry Ford Museum of American Innovation during our pop-up exhibit now on display this summer.


This pictorial souvenir card depicts President Kennedy awarding NASA’s Distinguished Service Medal to America’s first astronaut, Navy Commander Alan B. Shepard, Jr., on May 8, 1961, three days after his successful flight.
Souvenir Card, 1961.  THF230121


Trading cards like these generated excitement among America’s youth about the achievements of the space program.
Topps Astronaut Trading Cards, 1963. THF230119


This “Destination Moon” mechanical bank commemorates astronaut John Glenn’s achievement of orbiting the earth in 1962.
Mechanical Bank, 1962. THF173785. (Gift of Raymond Reines, Dedicated to the Berzac Family)


Congress had to approve a massive budget increase for the National Aeronautics and Space Administration (NASA) to make Kennedy’s bold vision even a remote possibility.
Recruiting Advertisement for NASA, July 1962. THF230079


NASA’s Apollo 11 lunar mission captivated audiences watching the drama unfolding on television. Some even documented the events with their personal cameras.
Photographic Print, July 20, 1969. THF114240


Print made from slide, July 20, 1969. THF114242


Four months before real men landed on the moon, Snoopy appeared in a Peanuts comic strip as the “World Famous Astronaut” walking on the moon.  This Peanuts Pocket Doll commemorates the 1969 moon landing.
Snoopy Toy, 1969. THF52. (Gift of CarolAnn Missant)


This coloring book included the Mercury, Apollo, and Saturn vehicles and astronauts, as well as some history of the space program.
Coloring Book, 1969. THF292641


Those who viewed the moon landing on TV on July 20, 1969, often have difficulty separating the historic occasion from the steadfast reporting of it by Cronkite—considered at the time “the most trusted man in America.”
Record Album, Narrated by Walter Cronkite, 1969. THF110908


The cover story for this issue contained an in-depth report of the historic moon-landing mission.
Time Magazine for July 25, 1969. THF230050. (Gift of the Estate of Dr. and Mrs. Martin A. Glynn)


This commemorative game, simulating the successful moon landing, had players collecting “moon rocks.”
Board Game, 1969-1975. THF91918


This phonograph record comprises a “recorded history of space exploration and the triumph of the lunar landing.”
Record Album, 1969. THF154908. (Gift of the Estate of Dr. and Mrs. Martin A. Glynn)


At the height of the Apollo space program, Marathon Gas Stations offered a series of promotional glasses featuring the Apollo 11, 12, 13, and 14 missions.
Tumblers commemorating Apollo 11 mission, circa 1969. THF175132 (Gift of Jan Hiatt)


The Apollo 11 astronauts took pieces of the 1903 Wright Flyer—the first practical heavier-than-air flying machine—on their 1969 mission to symbolize the incredible progress made in those 66 years. Here, Apollo 11 astronaut Neil Armstrong poses in front of the Wright brothers' home in Greenfield Village during a 1979 visit to The Henry Ford.
Photograph of Neil Armstrong in Greenfield Village, August 16, 1979. THF128246


The iconic image on this poster depicts Buzz Aldrin walking on the moon’s surface, a photo taken by Neil Armstrong.
Poster, 1969. THF56899

Read more
John Glenn, Space Hero
John F. Kennedy's Enduring Legacy

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

21st century, 2010s, 20th century, 1960s, space, by Donna R. Braden

Characters Wembly and Boober in a pickle-shaped vehicle Happy Meal toy, 1988. This tie-in dates back to the Fraggle Rock with Jim Henson’s Muppets TV show that debuted in 1983, but more specifically to the Fraggle Rock Saturday morning animated cartoon series that premiered in 1987. THF308669

The Under 3 (year old) toy from the Happy Meal Mac Tonight promotion, 1988. THF319269

Spring-loaded Mario from the Happy Meal tie-in to the Super Mario Brothers Nintendo video game, 1990. THF340965

On June 11, 1979, McDonald’s introduced its first national Happy Meal promotion. Called Circus Wagon, it included six different cardboard boxes designed to look like festively decorated circus wagons. Each box, topped with handles shaped like the familiar golden arches, held a kid-sized meal and included a small toy, or premium, inside. The toys, depicting McDonald’s characters, were simple: erasers, decals for plastic ID bracelets, and “doodler” rulers incorporating different shapes with which to draw along with the measured ruler. Who knew at the time what a phenomenon Happy Meals would become? As of this month, they have been with us for 40 years!

These rubber “Space Aliens,” featured in a 1979 Happy Meal promotion and made by Diener Industries, were also sold at retail stores as novelty pencil erasers. THF175125

Origins
This plastic “McWrist” wallet was part of a 1977 regional test promotion for the Happy Meal concept. THF175122

Although the origins of Happy Meals are a bit murky, McDonald’s officially credits their “invention” to Missouri-based advertising executive Bob Bernstein. After noting the success of a kid-sized meal introduced by a McDonald’s operator in Guatemala and market testing several variations in different cities, Bernstein opted for the Kansas City, Missouri, test version: “a hamburger, fries, soft drink, packet of cookies, and a surprise inside the happiest box you ever saw.” 

At the time, Bernstein was convinced that the container for the meal was the most important component. So, he engaged nationally known children’s illustrators to design the graphics, jokes, games, and stories that appeared on the boxes. Who knew back then that it was the “surprise,” the little toy inside, that would be the key to Happy Meal’s success? 

One of six stunningly designed boxes from the Star Trek Meal, 1979. THF Z0064838

The Star Trek Meal
The 1979 Star Trek Meal marked a turning point in Happy Meal history, with the first Happy Meal designed to cross-promote a mass media feature, Star Trek: The Motion Picture. In the style of early Happy Meals, the boxes were striking, while the toys inside were still small and innocuous—a space ring, an iron-on transfer, a wrist bracelet, and a paper fold-out board game.

Navigation Bracelet and Starfleet board game from the Star Trek Happy Meal promotion, 1979. THF174603

All Aboard the Birthday Train!


Ronald McDonald driving the locomotive for the 15^th-anniversary Happy Birthday Happy Meal train, 1994. THF319287

As McDonald’s began to focus on the toys rather than the boxes and to seek media tie-ins with their promotions, the popularity of Happy Meals grew by leaps and bounds. 

In 1994, McDonald’s celebrated the 15th anniversary of its Happy Meals with a special promotion of 15 premiums, each reflecting a different promotion from the previous years. These premiums could be interlocked to create a 15-car circus train—harkening back to the first national Circus Wagon Happy Meal promotion of 1979. Kids were surprised, then delighted, to find that when they moved the train along, each of them would spin, jump, or rotate on its own little train car. The Happy Birthday Happy Meal birthday train, part of The Henry Ford’s large collection of early kids’ meal toys, is featured here in its entirety. So hop aboard for a ride through the first 15 years of McDonald’s Happy Meals!

Barbie and Hot Wheels, Happy Birthday Happy Meal promotion, 1994. THF319277 and THF319286.

These date back to a Barbie-Hot Wheels Mattel tie-in from 1991.  The pairing of Barbie and Hot Wheels proved so popular that it returned three times in the early 1990s.  This promotion was the first to feature 16 different premiums and the first to offer separate premiums for both girls and boys (though sometimes girls preferred the Hot Wheels to the Barbie). Each original premium came with a coupon for purchasing the full-size toy in retail stores. As part of the birthday train, this Barbie twirled around, while the Hot Wheels car revolved inside the drum.

ET, Happy Birthday Happy Meal promotion, 1994. THF319284

This figure references the 1985 re-release of the 1982 movie ET, The Extra Terrestrial.  The 1985 Happy Meal promotion featured four four-color posters that had to be hand-rolled by employees and secured with rubber bands as they would not fit into Happy Meal boxes. All royalties for the original promotion were donated by McDonald’s to the Special Olympics. As part of the birthday train, ET’s neck rose up and down.

Sonic the Hedgehog 3, Happy Birthday Happy Meal promotion, 1994. THF319276

This 1994 promotion was a tie-in to both the release of Sega’s Sonic the Hedgehog 3 videogame (Sonic was created to compete with Nintendo’s mascot, Mario) and the Saturday morning Sonic the Hedgehog cartoon which premiered in 1993. As part of the birthday train, the paper “screen” revealed different scenes as it revolved inside the “television.” 

Peanuts, Happy Birthday Happy Meal promotion, 1994. THF319292

This birthday train car commemorates the 1990 Peanuts promotion that featured different Peanuts characters in a farm setting.  That series marked the 40^th anniversary of the Peanuts cartoon strip by Charles M. Schulz.  When pushed along, the organ “pipes” on this train car—shaped like a pack of French Fries—rose and fell. THF319292

101 Dalmatians, Happy Birthday Happy Meal promotion, 1994, THF319280

These figures represent the 30^th anniversary re-release of the popular 1961 Disney film, 101 Dalmations.  The original 1991 Happy Meal promotion featured four poseable figures, including Cruella de Vil.  When this birthday train car was moved, the gift box lid opened and closed. 

Cabbage Patch Kids and Tonka, Happy Birthday Happy Meal promotion, 1994. THF319288 and THF319289

These two figures harken back to the Hasbro tie-in from 1992 that featured both 5 poseable Cabbage Patch kids with “real” yarn hair and 5 heavy-duty mini-Tonka utility vehicles.  On the birthday train, the Cabbage Patch Kid’s horse rocked while the Tonka truck’s open-box bed lifted and dumped the present out.

Berenstain Bears, Happy Birthday Happy Meal promotion, 1994. THF319290

This birthday train car relates back to the 25^th anniversary promotion (1987) of the beloved Berenstain Bear book series created by Stan and Jan Berenstain. Stories about Mama, Papa, Brother, and Sister were also featured on a Saturday morning cartoon beginning in 1985. As part of this train, the seesaw went up and down. 

Muppet Babies, Happy Birthday Happy Meal promotion, 1994. THF319291

Jim Henson’s Muppet Babies first appeared in a flashback sequence in the 1984 film, The Muppets Take Manhattan, then were featured in their own Saturday morning cartoon series.  The original Happy Meal promotion, with four Muppet characters each on a moving wheeled vehicle, dated from 1987.  As part of the birthday train, babies Kermit and Piggy twirled around.

Little Mermaid, Happy Birthday Happy Meal promotion, 1994. THF319283

A Little Mermaid Happy Meal promotion appeared in 1989, tied in with the release of the Disney animated film. The original promotion featured four Little Mermaid-related tub/bath toys. The first Disney tie-in actually appeared in 1987, featuring four activity books of classic Disney films.  When this birthday train car moved, Flounder “swam” in circles around Ariel.

Tiny Toons and Looney Tunes, Happy Birthday Happy Meal promotion, 1994. THF319285 and THF 319279

These two birthday train cars represent Warner Brothers promotions from 1991: Tiny Toon Adventures based upon the Saturday morning cartoon of that name and Super Looney Tunes—in which five different Looney Tunes characters came with add-on super-character suits. When the Tiny Toons car was moved, Babs Bunny placed a candle on and off the top of the birthday cake. On the Looney Tunes car, the pair of cymbals that Bugs is holding closed in and out around Daffy Duck’s head.

Caboose, Happy Birthday Happy Meal promotion, 1994. THF319278

The “Happy Meal guys” bought up the rear on the Happy Birthday Happy Meal caboose, 1994. When pushed along, the French Fry’s party horn moved in and out.

Teenie Beanies Conquer All
By 1997, McDonald’s had sold over 100 million Happy Meals. They seemed successful and popular. But then, between the short window of April 11 and May 15 of that year, Teenie Beanies were introduced, taking advantage of the Ty Beanie Babies craze. This promotion blew all previous ones out of the water. Families who had never even visited McDonald’s were suddenly waiting in long lines to order Happy Meals. For many kids who grew up in the 1990s (and their parents), it was the most memorable Happy Meal promotion ever. 

1997 Ty Teenie Beanie Babies in their original packages: Patti the Platypus, Pinky the Flamingo, Chops the Lamb, Chocolate the Moose, Goldie the Goldfish. THF175081

This promotion also firmly established the adult hobby of collecting Happy Meal toys. So many adults came in to purchase Happy Meals just to collect the Teenie Beanies—and so much food was wasted as a result—that McDonald’s began, from then on, to charge separately if customers just wanted to buy the toy.    

1997 Ty Teenie Beanie Babies in their original packages: Seamore the Seal, Speedy the Turtle, Snort the Bull, Quacks the Duck, Lizz the Lizard. THF175082

While several series of Teenie Beanies were released after 1997, the 10 mini-versions of Beanie Babies from that year were the most successful. 

Still Going Strong
Though many other fast food establishments have offered kids’ meals and related premiums, McDonald’s Happy Meals have remained the most enduring and popular. They have not been immune to attack, especially by parents and healthy eating advocates, and there has been recent talk of repurposing kids’ meal toys into apps and digital downloads. Despite these trends, there is no denying the visceral quality of pulling out, unwrapping, and playing with a new Happy Meal toy. For 40 years, they have made kids happy, let parents enjoy their own meals, reflected popular trends, and become an inescapable part of our culture.

Donna R. Braden, Senior Curator and Curator of Public Life, was one of those Moms who actually enjoyed waiting in long lines at McDonald’s for the thrill of getting the latest Teenie Beanies.

childhood, by Donna R. Braden, toys and games, popular culture, restaurants, food

"Monkees" Lunchbox and Thermos, 1967 (THF92313)

Beaver Cleaver may have carried a plain metal lunch box to school, but lunch boxes with pictures on them have been big business since the days of the Leave It to Beaver television show. Since the 1950s, children have been persuading their parents that they absolutely must have a school lunch box sporting their favorite character. For, to show off a Davy Crockett or a Beatles or a Star Wars lunch box to the world (or to your friends, which meant basically the same thing) when these were popular was simply the essence of cool. And, for young children, this is still true today -- only the characters and the lunch box materials have changed.

The first true pictorial lunch box was created in 1950, when a painted image of Hopalong Cassidy was applied to a steel lunch box and matching thermos bottle. In the first year of its production, Nashville, Tennessee manufacturer Aladdin Industries sold an unprecedented 600,000 of these, at a (not inexpensive) retail cost of $2.39.

Three years later, American Thermos introduced a fully lithographed steel lunch box depicting Roy Rogers and Dale Evans. Sales of these reached an astonishing 2 1/2 million the first year, and these types of lunch boxes -- with pictures covering all sides -- immediately became the industry standard. The pictorial lunch box industry was off and running, and competition between companies became fierce. Over the next three decades, steel lunch boxes featured dozens of television shows, movies, popular musicians, sports stars, special events, fads, and famous places.

Pictorial lunch boxes made of waterproof vinyl wrapped around cardboard first came on the market in 1959. Their shiny, purse-like qualities lent themselves to pictorial themes marketed to girls, like the highly popular Barbie lunch boxes, introduced in 1961. Unfortunately, these could not stand up to heavy use -- their seams split and their corners crushed easily.

During the 1970s, vocal parents and school administrators began to complain that metal lunch boxes were to blame for students' injuries-enough so that, by 1987, lunch box manufacturers were forced to cease using steel in favor of safer (and cheaper) plastic.


Hopalong Cassidy, 1950 (THF92292)
William (Bill) Boyd brought this fictional character to life, first at the movies then on television in 1950. "Hoppy" became the first television hero for many American children. This show precedes the major era of television westerns ushered in by Gunsmoke in 1955, when the huge popularity of westerns signaled Americans' nostalgia for a simpler past and their need for clear-cut heroes and villains during an uncertain time.


Tom Corbett: Space Cadet, 1954 (THF92296)
On television from 1950 to 1955, this early science fiction show was a spin-off of a comic book and teen adventure novel series. The show, which took place in a futuristic world of scientific marvels, was made somewhat believable by the technical expertise of Willy Ley, an associate of Werner von Braun.


Rocky and Bullwinkle, 1962 (THF92316)
Like The Simpsons, Rocky and His Friends disguised adult entertainment in the form of a cartoon. The show aired from 1957 to 1963 during prime time, and with its clever, tongue-in-cheek scripts, it could well be considered the most subversive show about the Cold War of its time. From 1964 to 1973, the show continued under the new name The Bullwinkle Show, and it has since been entertaining children and adults alike through reruns and videos.


"Sock It To Me," 1968 (THF92319)
Rowan and Martin's Laugh-In was a mid-season replacement in 1968, and no one expected it to be very popular. That's probably why its producers were able to experiment with virtually a new format-a rapid-fire pace using video editing and no narrative structure-and a new kind of hip topicality couched in one-liner jokes. Although its novelty is lost to us today -- the one-liners seem hopelessly outdated, even old-fashioned -- catch-phrases like "Sock It to Me" have become instantly recognizable cultural icons, while the show's short skits, slapstick humor, and use of topical material helped to revolutionize television.


Happy Days, 1976 (THF92322)
A mid-season replacement in 1974, this show had its origins in a 1972 Love, American Style episode and took great advantage of the popularity of the film American Graffiti. The first television show to take place in an era where television had already been invented, this version of the 1950s was embraced especially by young people who had not known the real decade first-hand. The show's true star was "The Fonz," who may have seemed like an unlikely role model but became television's biggest star for several years.


Sesame Street, 1983 (THF92308)
From the time this show premiered on PBS in 1969, it quickly established itself as the most significant educational program in television history. Envisioned as an entertaining show for preschoolers-especially those from underprivileged backgrounds-to help prepare for school, Sesame Street incorporated the rapid-fire style of both television commercials and television programs like Laugh-In. With its consistently high quality and humor geared toward both children and their parents, this show continues to be extremely popular today.

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

20th century, TV, school, popular culture, music, movies, food, childhood, by Donna R. Braden

1968 World Series Official Souvenir Program, Tiger Stadium. THF 136034

It happened after the darkest year in Detroit’s history, 1967. What had started out as a police raid on an after-hours club early Sunday morning, July 23, 1967, escalated into five days and nights of uncontrolled violence, looting, and arson that left 43 people dead, 1,189 injured, and over 7,200 arrested. While civil unrest had occurred in many other cities before and during that summer, this event stood out as the largest of these uprisings to date. 

The Detroit Tigers’ season ended on a dark note that year as well, with the team losing the pennant on the final play of the final game of the season.

When the baseball season returned in 1968, everyone wondered whether the violence of the previous summer would return. Detroiters expected the worst. But, when the Tigers started winning games—in dramatic fashion with new heroes emerging daily—people had something to look forward to. They rediscovered fun. And joy. And pride.  

Exuding confidence from the start, the 1968 Detroit Tigers never lost a beat through the season. They clinched the American League pennant on September 17, 1968, with 103 wins and 59 losses—including a record-breaking 31 wins by pitcher Denny McLain. 

1968 World Series poster, produced by Hudson’s and the Detroit Free Press, with a satirical caption referencing the popular 1963 film of that name.

Before the days of wildcard teams and inter-league division playoffs, the Tigers moved directly on to the World Series—pitted against National League (and defending World Series) champions, the St. Louis Cardinals. After a 3-1 deficit in the Series and the feeling of impending defeat, a masterful throw to home plate by Willie Horton in Game 5, a gutsy managerial decision to move centerfielder Mickey Stanley to shortstop, and three complete-game victories by pitcher Mickey Lolich (Games 2, 5, and 7) helped the Tigers stage a comeback during the last three games. On October 10, 1968, they clinched the Series. A city-wide celebration ensued, lasting until dawn. The memory has never quite been forgotten.   

This marked the first time the Tigers had won a championship since 1945, only the third time in their history, and something they have not accomplished since 1984. This was also the final Major League Baseball World Series before the 1969 team expansion and the introduction of divisional play with the League Championship Series.

1968 World Series Souvenir Bumper Sticker, a supplement in the Detroit News. THF289559

As the donor of this bumper sticker (who was in eighth grade at the time) recalled, “Though I didn’t follow sports, I knew about the World Series, of course, and was SO proud that our hometown team would be participating. This was such a big thing that we students were allowed to watch the final game on a television rolled into our classroom (at Sacred Heart in Roseville, Michigan). That kind of thing very rarely happened—in fact, this is the only time I can recall that it did.” 

Donna R. Braden, Senior Curator & Curator of Public Life, missed the 1968 World Series but was fortunate enough to attend the last game of the Tigers World Series in 1984.

20th century, 1960s, sports, Michigan, Detroit, by Donna R. Braden, baseball

When we planned the “With Liberty & Justice For All” exhibit in Henry Ford Museum of American Innovation, we wanted to set aside an area for visitor reflection and response.  We decided to pose four questions there and allow visitors to respond to them by writing upon a simple Post-It note and placing their comment under one of the questions. The questions were intended to be timeless—like what does freedom mean to you? But the visitor responses over time have been fascinating in their reflection of changing social and political issues.

We have never seen as many Post-Its as at this year’s free-to-visitors day held on Jan. 15, the day that officially commemorated Dr. Martin Luther King, Jr.’s birthday.  That day, post-it notes ran up, down, and sideways across the walls of this exhibit area.  Each comment built upon previous ones, creating a long, continuous idea chain. We had never seen anything like that before so we decided to save these comments in our archives.

This month we're opening the doors to our latest traveling exhibition in Henry Ford Museum of American Innovation - “Enduring Ideals: Rockwell, Roosevelt and the Four Freedoms.” The exhibition, organized by Norman Rockwell Museum, presents the Four Freedoms paintings created by Norman Rockwell in 1943, based on the Four Freedoms President Franklin Roosevelt believed all people should be able to benefit from in 1941: freedom of speech, freedom of worship, freedom from fear, and freedom from want.

In celebration of our latest exhibition, we'll be sharing a selection of those responses  from our Martin Luther King, Jr. Day each week on our Instagram account in honor of “Enduring Ideals” now through January. They appear in their original form, just as visitors wrote them as they reacted to the questions. As we look at the original Four Freedoms in 2018, we ask you to not only think about what freedom means to you, but which freedom you believe should be the fifth freedom today.

We hope they encourage your own reflection on the continued relevance of freedom and the role it plays in your own lives.

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

Henry Ford Museum, by Donna R. Braden