When it came time to name a new model, or even a new company, automakers often found inspiration in the stars. Astronomical phenomena, planets, and whole galaxies have all found their way onto fender badges and hood ornaments. Here are just a few examples.

Harry Grant #27 Sunbeam, Indianapolis Speedway, 1914. 2009.103.P.5027.5

Great Britain’s Sunbeam Motor Car Company traces its roots to a bicycle manufacturer founded in 1887. Sunbeam cars raced in Grand Prix events and competed for land speed records. Harry Grant finished seventh in a Sunbeam at the 1914 Indianapolis 500. The company closed during the Great Depression, but the Sunbeam name survived a while longer under new ownership.

1923 Star Station Wagon. 83.16.1

After being driven out of General Motors for a second – and final – time, Billy Durant founded Durant Motors in 1921. He christened his low-priced model Star and set his sights on Ford’s Model T. While Star never seriously threatened the T, it did introduce the first factory-built station wagon.


Moon Motometer, circa 1925. 81.99.94

Strictly speaking, the Moon Motor Car Company of St. Louis was named for its founder, Joseph W. Moon, but a crescent Moon logo turned up in its advertisements from time to time. The automaker remained in business from 1905 to 1930. Its name is proudly featured on this motometer – a device for measuring engine coolant temperature.


1960 Ford Advertisement, “The Silver Curve of Success – Galaxie by Ford.” 87.14.14.19

When the Russians launched Sputnik – the first artificial Earth satellite – in 1957, it kicked off a “Space Race” between the Soviet Union and the United States. In turn, that competition inspired a series of space-inspired car names like Ford’s Galaxie. When introduced for 1959, Galaxie was the company’s top trim level for its full-sized models.


Ford Starliner Nameplate, 1960-1961. 2011.316.1

For 1961, Ford introduced a fastback version of the Galaxie, appropriately named Starliner. Studebaker had previously used the Starliner name on a series of striking coupes designed by Robert E. Bourke of Raymond Loewy Associates and produced from 1952 to 1954.


1961 Mercury Meteor Advertisement, “Priced to Compete with Low-Price Field!” 64.167.19.225

Mercury (itself a celestial name – though inspired by the Roman god and not the planet) introduced its Meteor model for 1961. Never a strong seller, Meteor was discontinued after the 1963 model year. The name enjoyed a longer life in Canada, where Ford used it to denote a distinct brand of cars – not just a model – from 1949 to 1976.


Brochure, “Comet Performance for ’65” 2007.1.1930.25

Ford introduced the Comet – initially a distinct brand – for 1960 as an upscale version of the compact Falcon. For 1962, Comet became a Mercury model. In the mid-1960s, Comets were offered with special options packages tailored for NHRA drag racing.


1966 Toyota Corona Sedan. 87.120.1

Corona – named for the plasma aura surrounding the Sun – was the perfect name for the first truly successful car imported to the United States from Japan, the Land of the Rising Sun. Unlike Toyota’s first attempt for the American market – the overpriced and underpowered Toyopet – the Corona did well with stateside buyers.


Plymouth Satellite Custom Nameplate, 1968-1969. 2011.239.1

Like the Dodge Polara before it, the Plymouth Satellite brought cosmic lexicon to Chrysler’s product line when introduced for 1965. Satellite denoted the top trim level for Plymouth’s mid-sized Belvedere line until 1967, when the GTX designation superseded it. The Satellite name was phased out completely after 1974.


Chevrolet Nova Dashboard Emblem, 1968-1972. 2011.291.3

To astronomers, nova refers to a star that shows a sudden, temporary increase in brightness. To gearheads, it’s a compact car built by Chevrolet from 1962 through 1979. Initially, Nova was merely the top trim-level designation while the model itself was called Chevy II. Nova replaced Chevy II as the model name in 1969.


1990 Saturn Advertisement, “A Different Kind of Company. A Different Kind of Car.” 91.83.13

In 1985, General Motors launched a new automobile division intended to compete with Japanese imports. To GM executives, the ambitious project was akin to NASA’s venerable Apollo program, so they named their new division Saturn in homage to the Saturn V rockets that launched American astronauts toward the Moon. After some early success, GM dissolved Saturn in 2010.


Subaru Sales Brochure, “The Beauty of All-Wheel Drive,” 1996. 2000.16.3

In the United States, stargazers refer to the Pleiades star cluster as the Seven Sisters, after the seven sisters of Pleiades in Greek mythology. In Japan, it’s called Subaru – namesake of the carmaker known for its boxer engines and rugged wagons. According to mythology, one of the seven sisters is invisible, so you’ll count just six stars in Subaru’s logo.

Matt Anderson is Curator of Transportation at The Henry Ford.

by Matt Anderson, space, cars

The Budd Company approached American Motors Corporation in 1962 with this concept car, which placed a sporty body and a powerful V-8 on an inexpensive Rambler Ambassador chassis. Fearing it would fail, AMC decided against putting the car into production. Two years later, Ford's Mustang became a massive hit using the same idea of a sporty body on an existing chassis.

Learn more about getting this car ready for the 30th Motor Muster, then see it for yourself June 15-16 in Greenfield Village.

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conservation, collections care, #Behind The Scenes @ The Henry Ford, car shows, Michigan, Dearborn, 20th century, 1960s, Motor Muster, Greenfield Village, events, convertibles, cars

We don’t generally associate Star Trek with historic automobiles (or, for that matter, with any automobiles). The classic original series is set circa 2265-2269, nearly 360 years after the first Model T rolled out of Ford’s Piquette Avenue Plant. By all evidence, Federation citizens in the 23^rd century are content to get around by spaceship and shuttlecraft (with the notable exception of the Jupiter 8). But who can blame them for not driving? After all, we’re talking about a universe in which teleportation is a thing. But Star Trek isn’t an entirely auto-free zone. Through the clever storytelling devices of science fiction, Kirk, Spock, and McCoy encounter multiple 20^th century American cars over the course of the show.

Ask fans to name their favorite episodes and you’ll likely hear “The City on the Edge of Forever” mentioned several times. The romantic yarn, which closed the first season, finds the crew of the Enterprise in a time-traveling misadventure. Dr. McCoy, less than lucid after an accidental overdose of medication, charges through a temporal gateway into New York City circa 1930. Kirk and Spock follow their ailing comrade and discover that McCoy has inadvertently altered history with serious consequences. Our heroes manage to put things right, but not without considerable anguish on Kirk’s part.


Ford’s 1929 Model AA stake body truck, similar to one seen in “The City on the Edge of Forever.” (THF28278)

The episode features several period automobiles including a 1930 Buick, 1928 and 1930 Chevrolets, and a circa 1930 Ford Model AA truck. Most are in the background, but a 1939 GMC AC-series truck plays a crucial part in the story. In fact, it’s not too much to say that the whole plot depends on it. (Beware of the spoiler at this link.) No, a ’39 truck has no business being on the streets of New York in 1930, but we’ll just let that slide.

The crew returns to a circa 1930 setting in the memorable season two episode “A Piece of the Action.” But this time they’re not on Earth. The Enterprise arrives at the planet Sigma Iotia II, last visited by outsiders before implementation of the Federation’s sacrosanct Prime Directive – barring any interference with the natural development of alien cultures. Kirk and company discover that the planet was indeed contaminated by those earlier visitors. They left behind a book on Chicago gangsters in the 1920s, and the Iotians – a society of mimics – have modeled their planet on that tome, with the expected chaotic results.


Cadillac, the choice of discerning Starfleet officers. (THF103936)

Those industrious Iotians somehow managed to replicate a host of 1920s and 1930s American cars. Look for a 1929 Buick, a 1932 Cadillac V-16, and a 1925 Studebaker in the mix. But the star car undoubtedly is the 1931 Cadillac V-12 used by Kirk and Spock. It’s one of the few times you’ll see Kirk drive, and it makes for one of the episode’s more amusing scenes. Give one point to Spock for knowing about clutch pedals, but take one point away for his referring to the Caddy as a “flivver.” One could quibble with ’30s cars appearing in a ’20s setting – but one should also remember that this isn’t Earth. We can’t expect the Iotians to get all the details right!

It’s also worth taking a look at season two’s final episode, “Assignment: Earth.” The Enterprise travels back in time to 1968 to conduct a little historical research on Earth. They cross paths with the mysterious Gary Seven, an interstellar agent on a mission of his own to prevent the launch of an orbiting missile platform that will – apparently – lead to nuclear war. It sounds like something right out of “Star Wars.” (No, not that Star Wars, this “Star Wars.”)


Based on the Department of Defense cars seen in “Assignment: Earth,” it seems the Pentagon prefers Plymouths. Now why could that be? (THF150740)

It’s all very complicated, but it provides another opportunity to see some vintage wheels. (Well, vintage to us and to the Enterprise crew. To TV audiences in 1968, these were contemporary cars.) Pay attention and you’ll spot a number of government agency vehicles including a 1963 Plymouth Savoy, a 1967 Dodge Coronet, and a 1968 Plymouth Satellite (the latter being particularly apropos for a space series). For those who aren’t Mopar fans, look quickly and you’ll also spy a 1966 Ford Falcon in the episode.

Okay, so no one will ever confuse Star Trek with Top Gear. But, if you keep your eyes peeled, every now and then you’ll find a little gasoline to go along with all of that dilithium. After all, sometimes the boldest way to go is the oldest way to go.

Matt Anderson is Curator of Transportation at The Henry Ford.

by Matt Anderson, cars, popular culture, TV, space, Star Trek

In the 1950s, big cars ruled. Even low-priced cars like Plymouths, Chevrolets, and Fords were good-sized. The Nash Rambler was smaller and cheaper, with similar interior room.

1950 Nash Rambler Convertible THF90351 

Smallness was not attractive in itself, so Nash -- which competed for the same narrow slice of the market with small cars like the Crosley, the Willys, the Hudson Jet, and Kaiser’s Henry J -- pitched the Rambler as a small car that seemed big.

1950 Nash Sales Brochure, "The Smartest, Safest Convertible in the World" THF84551

Nash tried to make the Rambler appeal to everyone by giving it a little bit of everything—even seemingly contradictory things: economy and luxury, convertible and hardtop, small enough to park and big enough to seat five, as safe as a sedan and as sexy as a sports car.


THF84553

But if big was so appealing, why build small cars at all? The sales figures added up to one answer—don’t. There simply weren’t enough buyers, and all the tiny cars failed.

From the staff at The Henry Ford.

20th century, 1950s, convertibles, cars

Thanks to some digging into our collections, Chicago-based writer and editor James Hughes, son of director John Hughes, discovered some surprising connections between National Lampoon’s Vacation, which his father wrote, and The Henry Ford. In 2017, James joined Curator of Transportation Matt Anderson for a discussion about that connection, his father’s writing inspiration, and the time-honored tradition of the family road trip, both then and now.

Matt Anderson: James, of course it should be noted that your father wrote the screenplay for this picture, and here we are. And, of course when think about your father's films, whether it's Sixteen Candles, Pretty in Pink, Weird Science, right up to Uncle Buck, we tend to think of Chicago. The films are always rooted in that city or that area. But in fact, he's got some connections to southeast Michigan.

James Hughes: My father was born in Michigan in 1950, in Lansing, and spent his childhood in Grosse Pointe. It was probably around junior high age, I want to say around 12, possibly older, when his family moved to the North Shore of Chicago, to the suburb of Northbrook, which became the inspiration for the fictional town of Shermer, Illinois, where my father set many of his films, particularly in the ‘80s. I was thinking about this relation to Vacation—there are several Michigan connections. For one, Vacation was a summer movie, released in 1983. Within a few weeks of it, Mr. Mom was released as well, another screenplay he wrote, which was set in suburban Detroit. The Michael Keaton character, at the beginning of the movie, is fired from his job at Ford Motor Company. But before there was the screenplay for Vacation, there was my father’s short story, titled Vacation ’58. The Griswold family lived on Rivard Boulevard in Grosse Pointe. So, that was where the journey began.

You know, it's interesting, I've said this many times about my dad. He took a pretty significant step back from the movie business in the late '90s and early 2000s. But he continued to write every day. He was a very disciplined writer. And in his later years, before he passed away, he was working on developing his prose style. He was writing hundreds and hundreds of short stories. And there was an interesting series of stories within that about his Grosse Pointe childhood. He made himself the narrator, in much the same way that the Vacation short story was from the point of view of Rusty, the son. To tell his own stories, he created a character based on himself and wrote under the pseudonym JL Hudson, as a nod to the Detroit department store, in much the same way that the Griswold family is a nod to Griswold Street in downtown Detroit.

Matt: Your father, in the early-mid 1970s, he's working at an ad agency, right? For Leo Burnett in Chicago? Really one of the best-known ad agencies in the world, at that point. And he's got a successful career, but as I understand it, he also has kind of a shadow career. He's moonlighting on the side, right?

James: All throughout the ‘70s my father was a freelance humor writer. He got his start at a relatively young age. He was in his 20s, maybe, I want to say 22. And he was writing jokes for stand-up comedians. Rodney Dangerfield was one, Phyllis Diller was another. He would maybe write 10, 20 jokes a day and mail them off to comedians, and would get paid per joke, if that line was used in their acts. He was able to roll that into writing for publications. At the time, in the mid-70s, Chicago had a deeper publishing footprint than it has now. And the big magazine was Playboy, so he wrote a few humor pieces for Playboy, and conducted an interview or two for them as well. Concurrently, he was a copywriter and, ultimately, a creative director at Leo Burnett.

The big prize was to write for National Lampoon, which was, to him, the preeminent comedic voice in the country. He was really honored to contribute to the Lampoon. And he was able to pull this off in part because he often commuted from Chicago to New York. In particular, he was servicing the Virginia Slims campaign for Phillip Morris, which was based in Manhattan. So, either before or after meetings, he was able to sneak off to the National Lampoon offices, which were also in the epicenter of the New York advertising row, on Madison Avenue.

It's common for advertising writers to, say, work on their novel at night, or work freelance on the side. My father actually wrote at work quite often, at his desk. And his boss, Robert Nolan, allowed it because he wanted to keep him working on ad copy. Rob wrote an interesting piece for the Huffington Post soon after my father died, in 2009, where he recounted what it was like to be John Hughes' boss, knowing he was living this sort of double-life as a comedy writer. He likened it to a kind of Ferris Bueller/Principal Rooney dynamic, where my father was always able to stay one step ahead, and somehow get all of his work done, and somehow get to work on time, while also contributing steadily to the Lampoon, where he eventually earned a spot as an editor on the masthead, all while living in the North Shore of Chicago and skirting a move to New York. 

Matt: Fantastic. Well, let's talk about that short story, Vacation ‘58. This is a real defining moment. Sort of a milestone in your father's career, right? He makes this decision now to move away from Leo Burnett and commit himself to writing full time.

James: This story was published in September 1979, which was about six months or so after I was born. So he was a young father of two and had all the commitments that come with that. But he enjoyed writing and contributing to the Lampoon so much that he took the risk and quit his job at Leo Burnett. He was on the verge of becoming a VP, though he quit to pursue writing full-time. Fortunately, for him, the release of National Lampoon’s Animal House in 1978 was such a smash that several Lampoon writers were being poached by the studios or offered development deals. And without my father even knowing, his short story was optioned by Warner Bros., pretty much upon publication. And though he had to work in the trenches on several projects between, let's say 1979 and 1983, when Vacation was released, it really did help launch his career.

Matt: Let's talk for a moment about the short story. The movie is a fairly faithful adaptation, going from that short story. But there are a few changes here and there, and one of the major changes, in fact, was quite a big change to the ending. And I should, just to do it justice, read the opening line:

"If Dad hadn't shot Walt Disney in the leg it would have been our best vacation ever."

I think that pretty much sets up the story beautifully. But that gets to the ending, which is quite different from what we see in the film.

James: Of course with the film, they weren't able to have Walt Disney portray himself—that might've been a bridge too far. The Roy Walley character was created for the purpose of the film. And yes, the ending of the short story is pretty rough, as much of the humor in the Lampoon was back then. Clark uses live rounds, it’s not a…

Matt: Not a BB gun?

James: No, not a BB gun. But when Clark arrives at the park, only to find that it's closed for repairs, he snaps and takes the family to the Bel Air home of Walt Disney and shoots Walt in the leg. Walt’s security dog doesn’t fare well, either.  

Matt: Just the happy ending everyone wants. My understanding is they originally shot something like that for the film, and then realized it didn't play all that well with the test audiences.

James: True, yes. You know, perhaps because of my father’s advertising background, he was open to the test-screening process—the kind of diagnostics you learn from test audiences, and how you can adjust the picture accordingly. Of course, he wasn't the director of the film, but he was, as a result of the rather rough ending, which audiences rejected, brought back in to write an entirely new ending at the request of Harold Ramis, the director.

Matt: Speaking of that, when you think about your father's films, really starting in the mid-80s and on—films like Sixteen Candles, The Breakfast Club, and Ferris Bueller's Day Off—these are movies where you really see a large degree of creative control. He's writing the story, then directing, very much able to bring his vision to the screen. And that's not the case, of course, early in his career. He's written the screenplay for Vacation and adapted it from his short story, but he's turned over control, at some point, to Harold Ramis. And I wonder if you had any insight on that experience. If that was difficult for him?

James: I think the process of changing the ending, that might've been an area of difficulty. As a young writer for hire, he didn’t have much power in the industry. But I think time has certainly proven that Harold was a great choice to direct this picture. And casting is such a big part of the process, and I know my father was pleased with the cast that Harold and his team put together. I know they worked closely, but in terms of being on set, I don't believe he was there very much. Obviously with it being a road picture, the majority of which was filmed in Colorado and out west, I don't believe he was actually physically present for much of it. Though, I would imagine, because of that triage situation with the ending, he was brought closer into the fold.

Matt: This leads me to my next question, of talking about the road picture. From what I understand, it was more or less like a vacation for the cast. They were traveling to these places. The whole crew and support trucks, depending on the outfit. But, I was curious about your own family vacations. Did you take trips with your father, your parents? Have you had any wacky adventures or stories to share?

James: I was raised in Illinois, but my father's career demanded we move out west, to Los Angeles, from the mid- to late 80s. So much of my childhood was about alternating between Illinois and California. We kept our house in Illinois and went back often, so that meant a lot of air travel. I don't have any major road-trip stories to offer, unfortunately. As I grew older, we did travel by car with my grandparents to the Northwoods. My father, to some extent, rolled some of those experiences into his screenplay for The Great Outdoors, along with his own memories of traveling and exploring the Upper Midwest when he was younger. Or perhaps it was just him longing to revisit that corner of the world after being stationed in Los Angeles for years.

In 1990, when Home Alone was released, it was really the first time his work went truly international. He generally wrote stories that catered to a domestic audience. These were regional stories, particularly about the Midwest. And Home Alone changed the whole paradigm. That franchise played so widely overseas, which meant an obligation to do foreign press and promote the franchise around the world. And then he had a couple productions based in London, which meant going to England quite often. In a way, in the '90s, he made up for lost time. He was simply too busy for us to do any extensive road trips like the one in Vacation. But later in life, he made up for it, particularly by trying to open the world to the family a bit more, with overseas travel.


Model with 1979 Ford Country Squire Station Wagon. THF294571

Matt: Being an automotive curator, we've got to talk about that car. It’s more or less based on a 1979 Ford Country Squire station wagon, and just made up to look as gaudy as possible. You know, why do four headlights when you can do eight, right? I wondered if your father had any input on the design?

James: You know, I can't say for sure if he did. I would imagine, when you go from the page to the screen, there are so many different people making decisions—the art director, production designer, prop master, the director himself—that I don't know if, as a screenwriter, he was able to have input on the model that they chose and customized. I do know that from the short story, it's a Plymouth.

Matt: Right, a '58 Plymouth.

James: A  running joke early on in the short story is how long it takes for the Griswold family to actually leave the house, or even just leave the state of Michigan. And one of the reasons is that the Plymouth dies. And Clark laments and kind of kicks himself for the fact that he didn't buy a Ford.

Matt: Right. There you go!

James: In the early '90s my father was working at 20th Century Fox. At that time, one of the hit shows on the Fox network was Married With Children. I remember my dad mentioning, offhandedly, that the opening shots of that show’s title sequence were from Harold's second unit photography on Vacation. That always stuck in my mind, and I never quite knew if it was true. I've seen that noted online here and there, but I wanted to confirm it before mentioning it here. I asked my friend Schawn Belston, head of archival and digital restoration at Fox, if he would ask around the lot on my behalf. Fortunately, there were some people who confirmed that, in fact, yes, Married With Children opens with the footage from Vacation. There was a very kind film stock librarian at Fox, Wendy Carter, who went so far as to track down Carl Barth, the aerial photographer who shot the Family Truckster driving through Chicago, to verify. It was noted that, if you look carefully at the title sequence for the show’s first three seasons, you can see the Family Truckster drive by. I believe it's on the Dan Ryan Expressway. A strange pop-culture afterlife for the Truckster.

Matt: I think they built maybe a total of five cars for the movie. I'm sure there was a hero car that was fully tricked-out, and then of course they had some stunt cars for the jump and so forth. But it's beloved. It's always interested me. I think if this film had been made even just a year or two later, they probably would've been driving a minivan, because this is the tail-end of the station wagon era.

James: That's true.

Matt: Vacation is essentially your father's big break, right? This is one of his first screenplays, and it's a hit film. There's no two ways about it. I would imagine, from that perspective, if nothing else, it would have a certain meaningfulness to him. But also, as you watch the movie, you notice that two of your father's future collaborators, Anthony Michael Hall and John Candy, both appear in this movie as well. I wondered if that's perhaps how he first crossed paths with them?

James: I believe that's the case. I'm glad you mentioned that. I appreciate that, because those are two actors, certainly John Candy, who my father cherished collaborating with. I don't think there are any two actors he gave more latitude to improvise or to develop characters alongside him when he was directing than Candy and Michael Hall. Another actor he admired was Eddie Bracken.

Matt: Yes, Roy Walley.

James: Eddie Bracken was cast to play Roy Walley, and I imagine it must've blown my father's mind at the time. He was a big fan of Preston Sturges, one of the great writer/directors of the 1940s, perhaps best remembered for Sullivan's Travels, which was one of my father's favorite movies. Bracken was the star of two of Sturges' greats, Hail the Conquering Hero and The Miracle of Morgan's Creek. It had to be a trip for him to have Bracken reading his dialogue. And he actually circled back later in his career and hired Eddie a couple of times more. Perhaps most prominently in Home Alone 2, when he was the toy-store owner in New York.

Matt: They talk about actors and roles they were born to play. I've always thought that about Eddie Bracken in this movie, you know, just the perfect sort of spitting image of Walt Disney. A great stand-in. There's some other, of course, perfect performances in this movie. Think about Randy Quaid as Cousin Eddie. Sort of steals every scene he's in. Imogene Coca, of course, a legend in TV comedy from Your Show of Shows. Brian Doyle-Murray, who plays the campground owner. Slight continuity error here because he returns in Christmas Vacation as Clark's boss, but we'll let that go for now. But I wondered, as we watch this movie, it's full of so many wonderful moments. I wondered if you had any favorite scenes or moments in this movie that you've continually referred to.

James: I'm partial to Clark's meltdown when the family throws in the towel and declares they're ready to head home. I think my father had a particular knack for writing passive-aggressive rants.

Matt: There's so many great moments in this movie. I kind of think of it as America's favorite R-rated family film. It's just so timeless. You think of the short story being written about a trip in 1958, this movie made in 1983, yet the situations are still recognizable to all of us today, taking a road trip in 2017.

Part of the reason we’re chatting is because there is a surprising connection between this movie and The Henry Ford. The collections in The Henry Ford, specifically. We see it right away in the opening title sequence of Vacation. Tell us a little bit about that.


Trout Haven Billboard, Spearfish, South Dakota, 1980. THF239534

This inspired me to reach out to the title designer, Wayne Fitzgerald, who’s a giant in his field. He’s retired now and lives in the Pacific Northwest. He created the titles for My Fair Lady, Judgment at Nuremberg, Bonnie and Clyde. The titles for the Netflix series Stranger Things are patterned after Wayne's titles for The Dead Zone, which was released a few months after Vacation. He and his son and collaborator, Eric, also worked on the titles for The Breakfast Club and filmed the shot where the title card with the David Bowie quote shatters at the start.

I had a great conversation with Eric, about what it was like putting the Vacation titles together, back when they were cutting to Lindsey Buckingham’s “Holiday Road” demo tape, which Eric remembered having no lyrics yet, only melodies. At one point, Buckingham riffed on Wayne’s name, to fill space during the verses.


Hat N' Boots Gas, Seattle, Washington, 1980. THF238979

I mentioned the Margolies archive to Eric, who of course remembered his images. What The Henry Ford has in the collection is even more special than what’s in the movie, because you have the slides themselves, John’s original photography. The titles for Vacation were made in the pre-digital era, so they were reproductions that were taken from books, as Eric explained, and then shot as animation cels. Many of them were Margolies’ images, which were doctored by Fitzgerald and his crew to appear as if they were postcards—given captions or a certain trim or border. Wayne and Eric were pleased to hear about this connection to the Margolies archives.

It’s great that Margolies, all these years ago, captured an America that was vanishing. Here we have a movie that's already over 30 years old. So fortunately, some of Margolies’ images live on, not only in the movie on a mass scale, but in the permanent archives of the museum. I think it's this really wonderful connection, and I'm thrilled that it's brought us to this discussion.

Matt: Those are two things we love here: highway travel and roadside Americana. You get both of them in the Margolies collection. James, thanks for chatting with me.

James: I'm happy to be here, thank you.

1980s, 1970s, Illinois, Michigan, 20th century, 21st century, 2010s, travel, roads and road trips, popular culture, movies, John Margolies, cars

The Henry Ford’s newly-acquired 2016 General Motors First-Generation Self-Driving Test Vehicle.

There are some 300 automobiles in the collections of The Henry Ford. We’ve got pioneering cars, world-changing cars, luxury cars, muscle cars, pony cars, family cars, economy cars, presidential cars, even cars shaped like food. But we’ve never had anything quite like this. Thanks to our friends at General Motors, we’ve now acquired our first self-driving car: a 2016 GM First-Generation Self-Driving Test Vehicle.

Anyone who’s been following automotive news – or any news – over the past few years knows that autonomous vehicles are no longer science fiction. They’re here today, right now. Sure, they may not be in every garage just yet, but in cities like San Francisco, Las Vegas, Phoenix, and even right here in Dearborn, they’re practically everyday sights as engineers put increasingly-refined prototypes through their paces on public roads.

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California, 21st century, 2010s, technology, cars, by Matt Anderson, autonomous technology

Cobo Center brimmed with more than 800 custom cars and hot rods at the 2019 Detroit Autorama.

Winter was a little late arriving here in southeast Michigan, and it doesn’t seem to be in any hurry to leave. But the colder-than-average temperatures made it all the more satisfying to check out the hot cars at the 67^th Annual Detroit Autorama.

A superb blend of old and new – a 2018 Dodge Charger Hellcat with the face and Coke bottle doors of its timeless 1969 predecessor.

Anyone in the hobby knows that Detroit’s Autorama is among the most prestigious hot rod and custom car shows in the world. More than 800 cars from throughout the United States and Canada come together at Cobo Center to be judged on their craftsmanship and creativity. The best entrants join Autorama’s “Great 8.” And from these eight finalists, judges choose the winner of the best-in-show Ridler Award. Only cars that have never been shown before are eligible to win, so it’s a special honor indeed. In addition to the bragging rights, the Ridler winner receives $10,000 and enshrinement in the online Winner Archive. This year’s Ridler Award went to “Cadmad,” a wild 1959 Cadillac Eldorado Brougham station wagon owned by Steve Barton of Las Vegas, Nevada. Mr. Barton passed away before the car was completed, giving added poignancy to this year’s prize.

Wes Adkins’s 1956 Ford Victoria took home The Henry Ford’s “Past Forward” award.

For the sixth year The Henry Ford presented its “Past Forward” award at the Detroit Autorama. Our prize goes to a car that 1.) Blends custom and hot rod traditions with modern innovation, 2.) Exhibits a high level of craftsmanship, 3.) Captures the “anything goes” spirit of the hobby, and 4.) Is just plain fun. Our winner this year was a 1956 Ford Victoria owned by Wes Adkins of Dover, Ohio. The Victoria features a 301-cubic inch Y-Block V-8 with twin superchargers; hand-crafted rocker panels, floors, and inner fenders; vintage Thunderbird door handles; and a 3D-printed hood ornament – at 60 percent the size of the original for a lower-profile look. Everything was beautifully executed – particularly the paintwork, done by the owner himself.

“The True Vine” – a 1977 Buick LeSabre at Autorama’s Low Rider Invitational.

This year brought a special milestone as the Detroit Autorama hosted its first-ever Low Rider Invitational. Some 14 cars from Michigan and Ohio were featured in a special display. In the past, lowriders at Autorama tended to be scattered around the floor wherever space permitted. Exhibiting them together recognized the fact that lowriders represent a distinct – and thriving – subculture in the broader custom car hobby. Equally important was the fact that the lowrider display was curated by veteran gearhead Debbie Sanchez. Car shows – all kinds of car shows – have been dominated by men for too long. It’s refreshing to see women participating in greater numbers each year.

With their rambunctious reputation, John and Horace Dodge might have gotten a kick out of this rodded-up 1915 Dodge Brothers.

With so many cars on view, there’s something for everyone in Cobo Center. For race fans, there were slingshot dragsters and funny cars. For kids, there were go-karts and quarter midgets. For movie fans, there was a screen-used Batmobile from 1992’s Batman Returns, as well as a tribute to the late Burt Reynolds, who brought new car fans into the hobby with movies like Smokey and the Bandit, Hooper, and The Cannonball Run. And live music throughout the weekend ran the gamut from ’50s rock and roll to hard-driving R&B.

Minibikes lined up at Autorama Extreme.

For all of the great cars on the main floor, Autorama veterans know that the wildest rides are found down below – at Autorama Extreme on Cobo Center’s lower level. There you’d find the rat rods, the bobber bikes, and the way-out customs that are more riddle than Ridler. There’s even an on-site chop shop where you can watch skilled fabricators at work.

Toy-a-Rama featured vintage toys, diecast models, racing memorabilia, and automotive sales literature.

If your budget (or your garage) won’t permit you to collect full-size cars, then you could check out the Toy-a-Rama show at the back of Cobo Center. Vendors offered hundreds of diecast cars and plastic model kits, from Hot Wheels on up to beautifully-detailed 1:18 scale pieces. Other sellers offered transportation-related books and magazines, and an incredible collection of vintage automotive sales brochures and advertisements.

There’s no other show quite like it, which explains why the Detroit Autorama continues to be known among builders and fans alike as “America’s Greatest Hot Rod Show.”

Matt Anderson is Curator of Transportation at The Henry Ford.

21st century, 2010s, Michigan, Detroit, cars, car shows, by Matt Anderson, Autorama

Portrait of Aloha Wanderwell Baker, 1922-1928, THF274629

Secretary. Driver. Mechanic. Lecturer. Explorer. Cinematographer. Filmmaker. All of these job titles, and many more, were held by one extraordinary woman in the 1920s. Her global adventures, visiting more than 40 countries on four continents, earned her the moniker, “The World’s Most Widely Traveled Girl.” And throughout it all, Aloha Wanderwell Baker challenged societal norms, built a career for herself, and created an inspiring legacy of curiosity and resourcefulness.

The young woman who would become Aloha Wanderwell Baker was born Idris Galcia Hall in Winnipeg, Alberta, Canada, in 1906. After her father was killed in action at the Third Battle of Ypres during World War I, Idris’ mother decided to move with both of her daughters to Europe. Young Idris, enrolled in a French convent school, longed for adventure and world travel. According to her memoir, Call to Adventure!, she was a girl who, “desired to sleep with the winds of heaven blowing around her head, and who preferred the canopy of stars and the Mediterranean moon to the handsome but dust-catching and air-repelling draperies of the school furnishings.” With these yearnings, Idris’ time at the school would not be long.


Captain Walter Wanderwell Business Card, THF274644

In 1922, young Idris’ future would be forever changed when a traveler known as Captain Walter Wanderwell arrived in Nice, France. Cap, as he was more commonly known, was Polish-born Valerian Johnannes Pieczynski. In 1919, Cap and his wife Nell founded the Work Around the World Educational Club, or WAWEC, to promote world peace, provide educational opportunities, and monitor global disarmament. To accomplish these goals, Nell and Cap competed in a global driving race, the winner being the team to rack up the most miles. Along the way, the teams would sell promotional pamphlets, host lectures, and screen their adventure films as a means to raise money and educate the public. Corporate funds were also sought, such as Cap contacting Henry Ford in 1922 about purchasing the negatives for educational films that were shot. By the time Cap wrote that letter to Ford, he and Nell were physically separated, in Europe and North America, and essentially separated in their marriage.



Correspondence between Ford Motor Company and Walter Wanderwell, 1921-1922, THF274639

And so it was in Nice, in October 1922, that Cap and Idris’ paths would cross, and her future would forever be changed. In her memoir, she talks about seeing an advertisement for Cap’s lecture in the local newspaper, sneaking out of school to attend. Utterly inspired and captivated by the images she saw, young Idris spoke with Cap afterward. During the conversation, he mentioned his need for a new expedition secretary. The Nice newspaper also carried an ad for this position with the headline, “Brains, Beauty and Breeches-World Tour Offer for Lucky Young Woman.” Going against contemporary norms, the woman who accepted this position would forego skirts for breeches, promise not to marry for at least three years, and be prepared to rough it through Africa and Asia. At the age of 16, Idris, with her mother’s permission, joined the Wanderwell Expedition and became known as Aloha Wanderwell.


Postcard, Wanderwell Expedition 1921-192?, THF274627

Between October 1922 and December 1923, the Wanderwell Expedition crisscrossed Europe in their Model Ts. Spain, Italy, France, Germany, Poland - all were visited, some multiple times. Along the route, Aloha learned the skills that would carry her career into the future. After leaving the tour for a few months due to an argument with Cap, Paris became a bore and Aloha longed to be back on the road. She tracked the expedition down in Egypt, and met up with the crew in March 1924.


Aloha Wanderwell Arrives at the Sphinx, 1924

After Cairo, the expedition wound its way through the Middle East, then sailed on to Pakistan and India. They covered more than 2,200 miles before sailing to Malaysia. The travelers then made their way up to Cambodia, where they marveled at Ankor Wat, and then went on to Singapore, Hong Kong, and Shanghai. They went up through Tientsin, Peiping, and Murkden before being granted visas to travel to Siberia. Japan was visited after Russia, and then the Wanderwell Expedition sailed for North America.


Driver Aloha Wanderwell on the Hoist Lifting Her Ford Model T from Aboard Ship, Shanghai, China, 1924,THF96385

They made landfall in Hawaii, where Cap filmed Aloha next to the Halemaumau volcano. When the expedition arrived in California, Cap left for a few weeks, traveled to Florida, and legally divorced Nell.  Upon his return to California, Cap proposed to Aloha, and they wed in April 1925. Over the next few months, they drove throughout the American West and Midwest, ending up in Detroit that August and ultimately ending in Florida. Their first child, a son named Valri, was born there that December.


Captain Walter Wanderwell Filming Aloha Wanderwell on the Edge of Kilauea Volcano, 1924, THF274631

In 1926, the Wanderwells were traveling through Cuba, Canada, and the northeastern United States before they sailed for South Africa, where Aloha reunited with her mother and sister. There, in April 1927, Aloha gave birth to the couple’s second child, a son named Nile. Three weeks later, with Aloha’s mother caring for the children, the expedition left again to traverse the eastern coast of Africa. North they drove, through Zimbabwe, Mozambique, Tanzania, Uganda, and Kenya, where on October 13, 1927, Aloha celebrated her 21st birthday in Nairobi. This journey ended in France, where the Wanderwells reunited with their children and the family returned to the United States. The film documenting these journeys, With Car and Camera Around the World, debuted in 1929.


Aloha Wanderwell Driving Car between Limpopo River and Sabe River, Mozambique, 1927, THF274633

The following year in 1930, Cap and Aloha were traveling to Brazil, visiting the Mato Grosso region in an effort to search for lost British explorer Lt. Colonel Percy Fawcett. Flying to the interior of the Amazon rainforest, the Wanderwells’ plane had to make an emergency landing, ending up in the territory of the Bororo tribe. Over the next month, Cap and Aloha befriended them, and when Cap left to obtain replacement parts, Aloha stayed with the Bororos and filmed her experiences. The resulting film, Flight to the Stone Age Bororos, remains part of the Smithsonian’s anthropological film library to this day. Another film focusing on this trip, The River of Death, can be viewed through the Library of Congress.

The next Wanderwell expedition was to be an ocean voyage throughout the Pacific. A yacht, The Carma, was being fitted out for this journey, although it was not to be. In December 1932, Captain Wanderwell was shot and killed on board, a case that remains unsolved. The year after Cap’s death, Aloha married former WAWEC cameraman Walter Baker. The couple continued to travel and film their adventures. Over the years, the travel grew less, but Aloha continued to give lectures and presentations about her adventures. Aloha Wanderwell Baker passed away in Newport Beach, California, in 1996, about a year after Walter.

Aloha’s films, photographs, and writings have allowed later generations to learn of this extraordinary woman who followed her passion. In an age where women were expected to wear dresses and work within the home, she wore breeches and traveled the world. Aloha cultivated skills in jobs that were traditionally reserved for men, and used that knowledge to further her career. She turned a desire to be out in the world into a lifetime of learning and exploring. And in the end, her desire to “sleep with the winds of heaven blowing round her head” drove her to follow her heart, keep an open mind, and learn from the world.

Janice Unger is Processing Archivist at The Henry Ford.

Source:
Wanderwell, Aloha. Aloha Wanderwell Call to Adventure!: True Tales of the Wanderwell Expedition, First Woman to Circle the World in an Automobile (Touluca Lake, California: Nile Baker Estate & Boyd Production Group, 2013), pages 21-26.

roads and road trips, cars, Model Ts, archives, travel, by Janice Unger, women's history

Lexus, which itself debuted at the North American International Auto Show in 1989, tantalizes visitors 30 years later with a drop-top concept version of its sporty LC coupe.

A Visit to the 2019 North American International Auto Show

It’s January in Detroit which means – for one last year – it’s time for the North American International Auto Show (NAIAS). Traditionally, flashy concept cars and new production models are the talk of the town, but this year all the buzz concerns the show’s impending move to June next year. It’s a major shift – undoubtedly the biggest since the show added “International” to its title 30 years ago – but there are valid reasons. Detroit’s weather generally isn’t what you’d call “pleasant” in January; the countless people who put the show together in Cobo Center invariably find themselves working through the holiday season; and automakers are now finding themselves stretched between NAIAS and the Consumer Electronics Show, which wraps in Las Vegas just days before NAIAS opens.

It’s no secret that NAIAS – and auto shows in general – are suffering from flagging interest, both from the public and from automakers themselves. In recent years, we’ve seen a number of upmarket marques pull out of the Detroit show. (Audi, BMW and Mercedes-Benz are all conspicuous by their absence in 2019.) The move to summer might reverse this trend, too.


The 2020 Ford Shelby Mustang GT500 – with a menacing mug to match its hellacious horsepower.

None of this is to suggest that NAIAS is a disappointment this year. There’s still lots to see. Ford Motor Company’s trucks and SUVs are front-and-center at the Blue Oval’s booth. The reintroduced Ranger pickup gets the prime real estate, but it’s the all-new Ford Explorer getting the rave reviews from the press. My favorite, however, is the forthcoming Shelby Mustang GT500. The 700+ horsepower beast arrives for 2020 to battle the Demons and Hellcats of the world. Mr. Shelby would’ve been proud.


After an absence of nearly 20 years, the Toyota Supra returns for 2020.

Toyota grabs some of NAIAS’s biggest headlines with the return of its Supra sports car, not seen since the fourth generation ended production in 2002. Purists may be irked that many of the Supra’s makings – including its 3.0-liter straight-six – are of BMW lineage, but the look is all Toyota. One can even see a little 2000GT in its lines. Start saving now, as prices are expected to start just north of $50,000.


Kia’s themed test track, for its new Telluride, livens up Cobo Center’s back wall.

With gas prices low again, Americans have fallen back in love with their SUVs and crossovers. Kia answers the call with its new-for-2020 Telluride SUV, first previewed as a concept car at the 2016 NAIAS. The Telluride will be the largest vehicle in Kia’s lineup, with room for eight in its three rows of seating. Expect to see it in showrooms this May.


I love the pearlescent paint on this Volkswagen Beetle, though it would look even better with red, white and blue racing stripes and a big roundel on the hood.

Volkswagen has the inauspicious distinction of being the only European automaker with a major presence at NAIAS this year. True to form, though, the German marque has some of the show’s most imaginative displays. Several of its models are parked on a recreated soccer field, in celebration of VW’s sponsorship of the U.S. Soccer Federation. (Automakers have long-standing relationships with America’s pro baseball, football and basketball leagues, but VW becomes the first automotive company to serve as a presenting sponsor for U.S. Soccer.) The company’s interactives are good fun, too. Little ones will enjoy the touch screen coloring “books” that allow them to paint Beetles in any number of groovy colors – accessorized with flowers and peace symbols, of course.


Harley Earl’s shadow hangs over Cadillac – in this case in the form of a high-finned ’59 Caddy perched above a modern CTS-V.

Sad to say, traditional three-box sedans are fading fast in Detroit. Ford and Chevrolet both have announced plans to all but end sedan production (not including specialty models like Mustang and Corvette, of course). Cadillac seems headed in that direction, too. The upmarket carmaker’s big debut this year is the 2020 XT6, a three-row SUV that might replace the full-size CT6 sedan in Cadillac’s North American lineup. The company’s ATS and CTS sedans are set to bow out this year as well.

NAIAS 2019 may feel a bit lower-key than other recent editions, but there’s still plenty to enjoy. In fact, I recommend that you spend some extra time soaking up the sights and sounds at this year’s show. After all, we’ve got a 17-month wait until the next one!

Matt Anderson is Curator of Transportation at The Henry Ford.

Michigan, 21st century, 2010s, NAIAS, Detroit, cars, car shows, by Matt Anderson

“Sunshine Special,” the 1939 Lincoln limousine modified for official use by President Franklin D. Roosevelt, as it appeared circa 1942. (THF208669)

Editor’s Note: In connection with the exhibit Enduring Ideals: Rockwell, Roosevelt & the Four Freedoms, now showing at Henry Ford Museum of American Innovation, the following excerpt is adapted from The Sunshine Special: FDR’s 1939 Lincoln K Series Presidential Limousine by Brody Levesque. The complete book is available at the Benson Ford Research Center.

A Unique Car Built Expressly for a President
One of the first things that a visitor notices when viewing the presidential vehicles at Henry Ford Museum of American Innovation is the size of the 1939 Lincoln K Model limousine custom built for President Franklin D. Roosevelt. The car is massive. In fact, it weighs in at over 9,300 pounds and has an impressive wheelbase of 160 inches.

In 1937, Ford Motor Company president Edsel Ford lobbied to obtain a government contract to provide a presidential limousine for FDR’s use.  He wanted to regain a presence in the White House Garage and particularly to have Ford Motor Company’s prestige Lincoln division as the primary choice for presidential conveyance. Edsel Ford also knew that FDR liked his company’s cars.

Roosevelt, who was beginning the second of his four presidential terms, personally owned a 1938 Ford V-8 convertible coupe for his use at The Little White House in Warm Springs, Georgia, along with a 1936 Ford V-8 Phaeton convertible at his home in Hyde Park, New York. Both cars were equipped with special hand-operated controls so that FDR, whose paralytic illness prevented the use of his legs, could drive the cars himself.

Ford Motor Company’s Lincoln division delivered, in November 1939 and at a cost of $8,348.74, a current model K series chassis, to the Buffalo, New York, coachworks firm of Brunn & Company. There the four-door convertible, equipped with a 150-horsepower 414-cubic inch V-12, was further modified to meet U.S. Secret Service requirements. Brunn’s modifications added another $4,950 to the limo’s total cost.

The car was built with forward-facing jump seats, wider opening rear doors, reinforced extra-depth running boards and a pair of step plates above the rear bumper. It had strategically-placed handles for the Secret Service agents, as well as a Federal Electric Company police red light and siren combination with dual driving lamps and flag staff holders on the front. Another feature was that the roof was made extra tall so that the President, who had limited mobility and used a wheelchair, could enter and exit the car without difficulty.

Although coachbuilder Herman A. Brunn, owner of Brunn & Company, thought the car looked terrible with that extra tall top, the limo was finished and sent to Washington as ordered. In the end, it seems Mr. Brunn was right. According to Ford Motor Company internal memoranda and telegram communications, the car was returned to Brunn & Company’s Buffalo plant in the summer of 1941 to have its top replaced with one of standard height. Global events forced even more significant changes to the limo that December.

President Roosevelt preferred open cars whenever the weather permitted – and sometimes when it didn’t. (THF208655)

The First Presidential Car to Acquire Its Own Personality
Within a few weeks after the December 7, 1941, attack on Pearl Harbor, the White House Garage delivered the 1939 Lincoln K series limousine to Ford Motor Company’s plant in Alexandria, Virginia, on the waterfront across the Potomac River from Washington D.C. The car was shipped to the Lincoln plant on West Warren Avenue in Detroit and, upon its arrival, Lincoln workers began to disassemble the limousine, readying its wartime armor and additional modifications requested by the Secret Service.

Workers removed the Brunn body and altered the car’s chassis. Its suspension was beefed up with heavy-duty shock absorbers and additional leaves in the springs – to handle the added weight of armor plating and thick bullet-resistant glass. Likewise, a modified windshield frame was installed to accommodate the thicker windshield glass. When the Brunn body was reinstalled, it received a new 1942 model H series Lincoln front end clip (fenders, grill, and front nose cap piece), which gave the car a crisp, more modern look.

A more powerful generator was installed, with new wiring harnesses. Cooling was improved by making the radiator tank top an inch thicker, adding three-and-one-half inches more to the core than was standard, and a larger fan was put in for additional engine cooling capacity. The cowling also had wider side vents installed to let more of the engine’s heat escape.

The whitewall bias-ply tires were replaced with the first generation of what are now referred to as “run flat tires,” which enabled the big limousine to continue to travel a short distance to safety if the tires were shot out. The two spare tires were put into reworked special front fender wells, in painted metal tire covers that didn’t need to be bolted into place and allowed for rapid tire changes.

Other body modifications included one-and-one-eighth inch thick nine-ply glass; a special rear-mounted antenna for radio equipment; and steel plating in the doors, firewall, kick and quarter panels, floor, transmission hump, and gas tank. The doors received three-sixteenths inch steel armor plating. Including the weight of the armor and the bullet-resistant glass, each modified door weighed almost 200 pounds. Stronger latches and striker plates were installed to handle the heavier door weight.

A bullet-resistant divider was installed between the front and rear seats. It included fold out bullet-resistant side glass screens for use when the convertible top was down. Another bullet-resistant screen could be added behind the rear seat when the top was lowered, and then stored in the trunk when not in use. When the door windows were down, a spring-loaded flap covered the slot in the top of the door to stop things from falling inside and jamming the windows.

When the Lincoln originally was delivered in 1940, it was painted a dark midnight blue with russet trim. Now the car was repainted in black, with chrome trim and brightwork. The rear step plates, grab handles, and wider running boards were reinstalled after the repainting was finished.

Detroit plant workers also added new running/fog lights to the front bumper, along with flag staff holders. The Federal Electric Company police red light and siren were reinstalled on the left front fender. By the end of the second week of April 1942, the car was ready to ship back to the Alexandria plant for delivery to the White House Garage where it could resume its presidential duties.

At an unknown time after the car’s 1942 retrofitting, an unidentified member of the White House Press Corps gave the limo the sobriquet it retains today: “Sunshine Special.” Although the exact reason for the nickname is lost to history, it may have been due to FDR’s well-known love of riding with the top down – sometimes even when the weather recommended against it.


President Harry S. Truman aboard “Sunshine Special” near the end of the car’s service life, circa 1949. (THF208667)

Sunset for “Sunshine Special”
Following FDR’s death on April 12, 1945, “Sunshine Special” served his successor, Harry S. Truman, for another five years. The White House put out bids for a new presidential limousine in the spring of 1949 and, that summer, officials met with representatives from Ford Motor Company to discuss the contract. This would be the largest single order ever placed for the White House fleet.

In the early summer of 1950, nine custom-built enclosed 1950 model Lincoln Cosmopolitan limousines, produced by the Henney Motor Company of Freeport, Illinois, were delivered to the White House Garage. A matching four-door Lincoln Cosmopolitan convertible-bodied limousine, modified at the Grand Rapids, Michigan, shop of master coachbuilder Raymond Dietrich, was also delivered. The Dietrich seven-passenger Lincoln was fitted with a Hydramatic automatic transmission purchased from General Motors and then modified to mate with the 337 cubic-inch V-8 engine. Per the order’s specifications, none of the limousines were armored.

Upon delivery of the fleet of Lincoln Cosmopolitan limousines, older White House Garage vehicles were shipped back to their manufacturers or sold off. “Sunshine Special” was returned to Lincoln and subsequently donated to The Henry Ford.

Adapted from The Sunshine Special: FDR’s 1939 Lincoln K Series Presidential Limousine by Brody Levesque. The complete book is available at the Benson Ford Research Center.

Matt Anderson is Curator of Transportation at The Henry Ford.

Additional Readings:

• 1939 Lincoln Presidential Limousine Used by Franklin D. Roosevelt
  
• Innovation Icon: Kennedy Presidential Limousine
  
• Protecting Our Presidents
  
• 1912 Baker Electric Victoria: Transportation for Five First Ladies

Washington DC, 20th century, 1940s, 1930s, presidents, presidential vehicles, limousines, Henry Ford Museum, Ford Motor Company, cars, by Matt Anderson, books