If you’re ready to bring more innovative thinking, collaboration and can-do spirit to your virtual meetings? These background images will help you conduct your meeting in the original environments that are part of The Henry Ford collections and experiences. They include Thomas Edison’s lab, the Wright Brothers Cycle Shop, Mathematica, Dymaxion House, an 18th-century farmhouse, railroad roundhouse and a real automotive factory. 

You can download additional backgrounds from our digital collections. 

Here are the instructions to set the images below as your background on Zoom or Microsoft Teams. 

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Ford Rouge Factory Complex, Henry Ford Museum, Greenfield Village

Take a look at segments from "The Henry Ford's Innovation Nation" exploring power and energy.

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Thomas Edison, engines, alternative fuel vehicles, Ford Motor Company, cars, railroads, Greenfield Village buildings, Greenfield Village, Henry Ford Museum, power, The Henry Ford's Innovation Nation

The Jazz Bowl, originally called The New Yorker, about 1930. THF88363

Cowan Pottery of Rocky River, Ohio, was teetering on the edge of bankruptcy in early 1930 when a commission arrived from a New York gallery for a New York City-themed punch bowl. The client -- who preferred to remain unknown -- wanted the design to capture the essence of the vibrant city.

The assignment went to 24-year-old ceramic artist Viktor Schreckengost. His design would become an icon of America’s “Jazz Age” of the 1920s and 1930s.

The Artist and His Design
The cosmopolitan Viktor Schreckengost was a perfect choice for this special commission. Schreckengost (1906-2008), born in Sebring, Ohio, had studied ceramics at the Cleveland Institute of Art in the late 1920s. He then spent a year in Vienna, where he was introduced to cutting-edge ideas in European art and design. When Schreckengost returned to Ohio, he took a part-time teaching position at his alma mater and spent the balance of his time as a designer at Cowan Pottery.

A jazz musician as well as an artist, Schreckengost had firsthand knowledge of New York, where he frequented jazz clubs during visits. To Schreckengost, jazz music represented the spirit of New York. He wanted to capture its excitement and energy in visual form on his bowl. Schreckengost later recalled: “I thought back to a magical night when a friend and I went to see [Cab] Calloway at the Cotton Club [in Harlem] ... the city, the jazz, the Cotton Club, everything ... I knew I had to get it all on the bowl.”


During its heyday in the 1920s and 30s, the Cotton Club was the place to listen to jazz in New York. THF125266


A “Jazz”-inscribed drumhead surrounded by musical instruments symbolize the Cotton Club. Organ pipes represent the grand theater organs that graced New York City’s movie palaces during the 1920s and 1930s. Schreckengost recalled that he was especially fond of Radio City Music Hall’s Wurlitzer organ. THF88363


A show in progress at Radio City Music Hall auditorium, 1936. THF125259

The images on the Jazz Bowl, then, may be read as a night on the town in New York City, starting out in bustling Times Square; then on to Radio City Music Hall to enjoy a show; next, a stroll uptown past a group of soaring skyscrapers to take in a sweeping view of the Hudson River; afterward, a stop at a cocktail party; and finally--topping off the evening with a visit to the famous Cotton Club.


Times Square, circa 1930. THF125262i


The blinking traffic signals, and "Follies" and "Dance" signs on the Jazz Bowl portray the vitality of Times Square at night. THF88358

Schreckengost decorated the punch bowl with a deep turquoise blue background he described as “Egyptian,” since it recalled the shade found on ancient Egyptian pottery. According to Schreckengost, the penetrating blue immerses the viewer in the glow of the night air--and the sensation of mystery and magic of a night on the town.


This is the view of the New York skyline and the Hudson River that Schreckengost saw on his trips to the city and later interpreted in the Jazz Bowl. THF125264g


Skyscrapers, a luxury ocean liner, cocktails on a tray, and liquor bottles represent a night on the town. THF88364

The Famous Client
In early 1931, the finished bowl was delivered to New York. The pleased patron who had commissioned it immediately ordered two additional punch bowls. To Schreckengost’s delight, the patron turned out to be Eleanor Roosevelt, then First Lady of New York State. Mrs. Roosevelt had commissioned the bowl to celebrate her husband Franklin D. Roosevelt’s 1930 reelection as governor. She presumably placed one bowl in the Governor’s Residence in Albany, one in the Roosevelts’ home in Hyde Park, and one in their Manhattan apartment. When the Roosevelts moved into the White House in 1933, after Franklin D. Roosevelt’s election as President, one of the bowls made its way there as well.


Eleanor Roosevelt commissioned the Jazz Bowl to celebrate her husband’s 1930 reelection as governor of New York. THF208655

Mass Producing the Jazz Bowl?
Immediately after the Jazz Bowl was delivered to Eleanor Roosevelt, the New York City gallery placed an order for fifty identical bowls. Unfortunately, Schreckengost’s process was laborious--it took Cowan Pottery’s artisans an entire day to produce the incised decoration on Mrs. Roosevelt’s version. Cowan Pottery sought to mass produce the punch bowl, simplifying the original design to create a second and third version the company originally marketed as “The New Yorker.”

The Henry Ford’s bowl is the third version, known informally as “The Poor Man’s Jazz Bowl.” It is slightly smaller than the original and the decoration is raised, rather than scratched into the surface. No one knows exactly, but perhaps fifty of the original version, only a few of the unsuccessful second version, and possibly twenty of the third version of the Jazz Bowl were made in total. The whereabouts of many of the Jazz Bowls are not known, though they appear periodically on the art market and are acquired by eager collectors. Even the present location of the bowls made for Eleanor Roosevelt seems to be a mystery.

Jazz Bowl as Icon
The “Poor Man’s Jazz Bowl” didn’t save the Cowan Pottery from the ravages of the Great Depression -- by the end of 1931, the company folded. Viktor Schreckengost moved on, continuing to teach at the Cleveland Institute of Art and pursuing freelance design for several firms. His Jazz Bowl would come to be recognized as a visual icon of the Jazz Age in America.

Charles Sable is Curator of Decorative Arts at The Henry Ford. This post originally ran as part of our Pic of the Month series.

New York, 20th century, 1930s, 1920s, presidents, music, manufacturing, making, Henry Ford Museum, furnishings, decorative arts, by Charles Sable, art

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What are the icons of the Industrial Revolution—steam engines, printing presses, combine harvesters, textile machinery? Any such list would surely include Ford’s Model T.  Like the other machines that would make the grade it too was a complex mechanism, but it was also a beloved consumer product rooted in personal practical everyday use, and it was a design icon—in its day a symbol of absolute modernity.

The T’s success came about through two revolutions within the Industrial Revolution—those of power generation and distribution, and precision production manufacturing.  Developments in the electrical industry liberated Henry Ford and his production experts from the constraints of mechanical power distribution. Earlier systems dictated where machinery was placed based on long straight runs of shafts and associated pulleys.  Electric motors powering first groups and then individual machines enabled Ford’s engineers to position machine tools where the production process dictated.  It was the incredible machines developed specifically for that process that were crucial to the speed and quality of Model T production.

Henry Ford and his assistants developed a system of mass production at Ford Motor Company’s Highland Park plant that was based on moving components through a refined sequence of manufacturing, machining and assembly steps.  Launched in October 1913, Ford’s new system ultimately reduced the time of producing Model Ts from about 12½ man-hours to only 1½ man-hours.

Model Ts contained more than ten thousand parts. Ford’s moving assembly line required that each one of these parts be manufactured to exacting tolerances (the acceptable amount of variation) and be fully interchangeable with any other part of its kind. By organizing the automobile’s construction into a series of distinct small steps and using precision machinery, the assembly line generated enormous gains in productivity. 


This is the only survivor of the vast range of custom-designed high-production machine tools used at Ford’s Highland Park plant. THF129616

Machines like this 1912 Ingersoll milling machine were crucial to the high production levels attained at Highland Park.  Milling machines are machine tools that rotate cutters to plane or shape surfaces.  Teams of Ford specialists collaborated with machine tool designers to develop and continually improve machinery for Highland Park, resulting in milling machines that were capable of undertaking highly accurate, multiple cutting operations on many components at the same time.

One of six similar machines in a careful arrangement of machine tools in Highland Park’s cylinder finishing shop, this planer-type milling machine – both a vertical and a horizontal miller – simultaneously milled the underside and main bearing holders of Model T engine blocks.  Cutters on the horizontal spindle shaped the bearing holders, while large cutters on vertical spindles milled the bottom surface of the blocks flat.  The machine could mill 15 engine blocks in one batch—loaded and unloaded by semi-skilled labor.  The work was physically demanding, and while it did not demand the skills of a trained machinist, it did require dexterity and attention to detail in addition to stamina. 

cars, Ford Motor Company, Made in America, Henry Ford Museum, Model Ts, manufacturing

In 1984, Henry Ford Museum of American Innovation acquired an old, dilapidated diner. When Lamy’s Diner—a Massachusetts diner from 1946—was brought into the museum, it raised more than a few eyebrows. Was a common diner, from such a recent era, worthy of restoration? Was it significant enough to be in a museum?

Happily, times have changed. Diners have gained newfound respect and appreciation. A closer look at diners reveals much about their role and significance in 20^th-century America.

Diner, Wason Mfg. Co., interior, 1927-9. THF228034

Diners changed the way Americans thought about dining outside the home. A uniquely American invention, diners were convenient, social, and fun.


Horse-drawn lunch wagon, The Way-side Inn. THF38078

Diners originated with horse-drawn lunch wagons that came out on city streets at night, providing food to workers. They also attracted “night owls” like reporters, politicians, policemen, and supposedly even underworld characters!


Peddler’s cart: NYC street scene, 1890-1915. THF241185

Most people agree that horse-drawn lunch wagons evolved from peddler’s carts, like those shown here on this New York City street.


Cowboys at the Chuck Wagon, Crazy Woman Creek, Wyoming Territory, 1885. THF124569

Some people even think that cowboy chuck wagons helped inspire lunch wagons. Here’s a cool scene of a group of cowboys in Wyoming from 1885. Take a look at the fully outfitted chuck wagon in the picture above.


The Owl Night Lunch Wagon. THF88956

The Owl Night Lunch Wagon in Greenfield Village is thought to be the last surviving lunch wagon in America!

Visitors at the Owl Night Lunch Wagon. THF113945

Henry Ford ate here as a young engineer at Edison Illuminating Company in downtown Detroit.  In 1927, Ford acquired the old lunch wagon to become the first food operation in Greenfield Village. Notice the menu and clothing worn by the guests.

In this segment of The Henry Ford’s Innovation Nation, you can watch Mo Rocca and me eating hot dogs with horseradish at the Owl—just like Henry Ford might have done back in the day!


Walkor Lunch Car, c. 1918. THF297240

When cars increased congestion on city streets, horse-drawn lunch wagons were outlawed. To stay in business, operators had to re-locate their lunch wagons off the street. Sometimes these spaces were really cramped.


County Diner, 1926. THF297148

By the 1920s, manufacturers were producing complete units and shipping them to buyers’ specified locations. Here’s a nice exterior of one from that era.


Hi-Way Diner, Holyoke, Mass., ca. 1928. THF227976

These units were roomier and often cleaner than the by-now-shabby lunch wagons. To make them seem more upscale, people began calling these units “diners,” evoking the elegance of railroad dining cars.


Ad with streamlined diner, railroad, and airplane, 1941. THF296820

As more people got used to eating out in diners, more diners were produced. By the 1940s, some diners took on a streamlined form—inspired by the designs of the new, modern streamlined trains and airplanes.


Lamy’s Diner. THF77241

By the 1940s, there were so many diners around that this era became known as the “Golden Age of Diners.” This is where our own Lamy’s Diner comes in. It was made in 1946 by the Worcester Lunch Car Company of Massachusetts. You may not be able to get a cup of coffee and a piece of pie inside Henry Ford Museum of American Innovation right now, but you can visit Lamy’s virtually through this link.


Move of diner from Hudson, Mass., 1984. THF124974

The Henry Ford acquired Lamy’s Diner in 1984, then restored it for a new exhibition, “The Automobile in America Life” (1987). Here’s an image of it being lifted for its move to The Henry Ford.


Lamy’s Diner on original site. THF88966

Lamy’s Diner was originally located in Marlborough, Mass. Here’s a photograph of it on its original site. But, like other diners, it moved around a lot—to two other towns over the next four years.


Snapshot of Clovis Lamy in diner, ca. 1946. THF114397

Clovis Lamy was among other World War II veterans who dreamed of owning his own business when the war was over, and diners promised easy profits. As you can see here, he loved talking to people from behind the counter. From the beginning, Lamy’s Diner was a hopping place all hours of the day and night. You can read the whole story of Clovis Lamy and his diner in this blog post.


Lamy’s as a working restaurant in Henry Ford Museum of American Innovation.

In 2012, Lamy’s became a working restaurant again—inside Henry Ford Museum of American Innovation. Nowadays, servers even wear diner uniforms that let you time-travel back to the 1940s. A few years ago, the menu was revamped. So now you can order frappes (Massachusetts-style milkshakes), New England clam chowder, and some of Clovis Lamy’s original recipes. Read more about the recent makeover here.


View of a McDonalds restaurant and sign, 1955. THF125822

Diners declined when fast food restaurants became popular. McDonald’s was first, with food prepared by an assembly-line process, paper packaging, and carry-out service.  Check out this pre-Golden Arches McDonald’s.


Mountain View steel diner, Village Diner, Milford, PA, c. 1963. THF297276

The 1982 movie Diner helped spur a new revival in diners, as some people got tired of fast food and chain restaurants.  Here’s an image of a Mountain View steel diner, much like the one used in that movie.


Dick Gutman in front of a Kullman diner, 1993. THF297029

One person was particularly instrumental in documenting and helping revive the interest in diners.  That’s diner historian Richard Gutman. Here he is in 1993 with camera in hand—in front of a diner, of course. We are thrilled that last year, Richard donated his entire collection of historic and research materials to The Henry Ford—including thousands of slides, photos, catalogs, postcards, and diner accouterments!

Modern Diner, Pawtucket, RI, 1974 slide. THF296836

Richard not only documented existing diners but helped raise awareness of the need to save diners from extinction. The Modern Diner, shown here, was the first to be listed on the National Register of Historic Places (1978).


Robbins Dining Car, Nantasket, Mass., ca. 1925. THF277072

Be sure to check out our Digital Collections for many items from Richard’s collection already online.

Diners continue to have popular appeal. They offer a portal into 20^th-century social mores, habits, and values. Furthermore, they represent examples of American ingenuity and entrepreneurship that connect to small business startups and owners today.

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

This post was originally part of our weekly #THFCuratorChat series. Follow us on Twitter to join the discussion. Your support helps makes initiatives like this possible. 

Additional Readings:

• Lamy's Diner
  
• Lamy's: A Diner from the Golden Age
  
• Celebrating Lamy’s Diner
  
• Lamy's Diner, 1946

20th century, restaurants, Henry Ford Museum, food, Driving America, diners, by Donna R. Braden, #THFCuratorChat

Take a look at a collection of clips showcasing design and making within the collections at The Henry Ford.

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technology, African American history, quilts, fashion, manufacturing, Henry Ford Museum, Eames, The Henry Ford's Innovation Nation, making, design

A new group of garments from The Henry Ford’s rich collection of clothing and accessories makes its debut in Henry Ford Museum of American Innovation in our What We Wore exhibit, this time examining how fashion trends can highlight, or manipulate, the human form.


Dress and Pelerine, 1830-1835
(Purchased with funds from the Eleanor B. Safford Memorial Textile Fund)


What makes these sleeves puffy?
A stiffened underlining--pleated muslin fabric--helps support the sleeves. Sometimes a “sleeve plumper” was used--down-filled pads that tied on at the shoulder under the dress.

The wide silhouette created by these “leg-of-mutton” sleeves and matching pelerine (small cape that covers the shoulders) not only drew attention to the wearer’s arms, but also emphasized the smallness of her waist!

Who wore this dress?
During the 1830s? We don’t know. Later, Tasha Tudor (1915-2008), author and illustrator of children’s literature, owned the dress.

Tudor admired the objects and rural lifestyle of the early 19^th century. She lived in a secluded New England farmhouse with no plumbing or electricity, surrounded by an orchard, rambling garden, and lively farm animals. Tasha Tudor also collected antique clothing--and wore it.


Dress, 1884-1885
(Gift of Ruth W. Crouse)


What supported the elaborately draped fabric at the back of this dress?
A bustle--a support of parallel horizontal slats made of wood or steel bent in a half circle. The bustle attached to the body around the waist. A tightly laced corset helped create her extremely small waist.

But how did she sit down? The slats would all collapse together as she sat, then spring back in place when she stood up--maintaining her fashionable silhouette.Between the fabric of the dress and the bustle, garments of this period could be quite heavy to wear!

Who wore this dress?
Mary Stevens (1861-1910), the daughter of wealthy capitalist. The Stevens family lived on Woodward Avenue in Detroit, a street lined with the homes of prosperous Detroiters.

Mary Stevens had a privileged lifestyle. She had the money to purchase finely made fashionable clothing. And led a social life that gave her opportunities to wear it. A few days before Christmas 1884, Mary’s mother gave an elegant reception at the Stevens home--complete with elaborate floral decorations, refreshments, and a full orchestra. Could this be the dress that Mary wore that afternoon?


Dress, 1927-1929
(Gift of Audrey K. Wilder)


What undergarment helped achieve this slender, youthful silhouette?
A straight-line, one-piece garment called a corselette. It de-emphasized the bust and smoothed the natural curves of the body--emphasizing the straight, unbroken line of that era’s “boyish” silhouette.

The movement of the uneven hemline, while walking or dancing, would subtly call attention to the wearer’s legs.

Who wore this dress?
Audrey K. Wilder (1896-1979) likely owned this dress.  Audrey attended college--quite unusual for women of her time. She graduated from Albion College, then earned a master’s degree from Columbia University in 1921.

In the late 1920s, Audrey Wilder was appointed Dean of Women at Ohio Northern University. One of her first projects was the creation of the first social hall for women on campus--a place where female students could hold teas, receptions, musicals, and dinners. Those who knew her described Audrey as a “dynamic dean” and a woman “of exquisite grooming.”


Cocktail Dress by Christian Dior, 1952
(Gift of Mrs. Harvey Firestone, Jr.)

What undergarment helped create the “hourglass” silhouette of the 1950s?
Christian Dior’s “New Look”--with its close-fitting hourglass silhouette--dominated the 1950s. This look emphasized a tiny waistline and feminine curves. Longline bras helped slim the waistline and create a smooth line under garments.

This dress, Dior’s “Sonnet” design, also accentuated the waist through the angled side bodice seams, bows at the waist, and rounded skirt.

Who wore this dress?
This dress was custom-made for Elizabeth Parke Firestone (1897-1990), wife of tire magnate Harvey S. Firestone, Jr. Elizabeth felt it her duty to represent her husband, family, and the Firestone Tire and Rubber Company with dignity and grace. She was always flawlessly dressed--whether for informal camping trips, world travel, business functions, or society parties.

Elizabeth had a fine eye for fashion and favored New York and Parisian designers, including Christian Dior. These designers created garments to her specifications, including perfect fit, style, color, fabric, and construction. During the 1950s the New York Dress Institute named Elizabeth one of the "Best Dressed Women in the World.”

Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.

Firestone family, Elizabeth Parke Firestone, women's history, What We Wore, Henry Ford Museum, fashion, by Jeanine Head Miller

THF91040

In the early 21st century, the threat of global warming and the end of cheap gas worried many drivers. Among drivers’ options was buying a gasoline-electric hybrid such as this Prius. The hybrid concept was over 100 years old, but new technologies made it practical. Hybrids cost more but reduce fuel consumption, which leads to lower emissions.



Toyota introduced the Prius in Japan in 1997 and then worldwide in 2000. The price was steep for a compact, but tax credits offset some of the cost, and drivers got a little environmental peace of mind in the deal, too. THF206198



One of the selling points of modern hybrid cars is that computers do all the work. But many owners like monitoring the car’s operation on the in-dash screen and enjoy minimizing fuel usage. This image shows the dashboard of a 2004 Prius. THF101127



Toyota pointed to the Prius as proof of its commitment to the environment. This 2001 advertisement highlighted the company’s efforts to refine its hybrid system in a continued “search for even greener forms of transportation.” THF205087

Additional Readings:

• The First McDonald's Location Turns 80
  
• 1903 Oldsmobile Curved Dash Runabout
  
• Noyes Piano Box Buggy, about 1910: A Ride of Your Own
  
• Texaco "Fire-Chief" Gasoline Pump, circa 1940

environmentalism, hybrid cars, alternative fuel vehicles, Henry Ford Museum, Driving America, cars

Built 86 years apart, two vehicles in The Henry Ford’s collection say a great deal about changing technology -- but they say even more about our society's changing values.

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1916 Woods Dual-Power Hybrid Coupe

The Woods Motor Vehicle Company, established in 1899 as one of America's earliest automobile producers, was one of the biggest makers of battery-powered electric cars. But, by the early 1910s, the popularity of electric cars was waning. Gasoline-powered cars went farther on a tank of gas than electric cars went on a single battery charge, and filling an empty tank was easier and quicker than recharging batteries. These key shortcomings became more important as car owners drove their cars longer and longer distances. The Woods company sought to meet the challenge by building a car with two power-plants -- a clean, quiet, electric motor fed by batteries and an internal combustion engine fed by gasoline. The Woods Dual-Power automobile appeared in 1916.


Driving a Dual-Power was different from driving an electric or gasoline car. The driver manipulated levers to vary the balance between the gasoline and electric motors. THF103732

Driving a Dual-Power was considerably different from driving either an electric or a gasoline car. The driver began by moving a lever on the steering wheel to get the car rolling under electric power. When the car reached the speed of 20 miles per hour, the driver moved another lever to engage a clutch connecting the electric motor to the gasoline motor, starting the gasoline motor. By manipulating the levers, the driver varied the balance between the gasoline and electric motors; the car could run on both power sources at the same time, or either independently.

But the Dual-Power seemed to solve problems customers didn't have in 1916. The 48 miles-per-gallon figure claimed for the car meant little to a driver who could afford the Woods' $2,650 price. And the Woods' 35 miles-per-hour top speed was no better than a $740 Model T Ford sedan's. Woods didn't even advertise the Dual-Power's lower exhaust emissions, because automobile pollutants were of little concern at that time. It also seems that the Dual-Power was not as smooth and trouble free as the ads and brochures suggested. Woods re-engineered the car for 1917, but potential buyers were not impressed. The Dual-Power -- and the Woods Motor Vehicle Company itself -- vanished in 1918.


THF91040

2002 Toyota Prius Sedan

Ratchet forward to the 1990s. Automakers around the world were confronted by rising gasoline prices and stringent regulations on tailpipe emissions. Japanese giant Toyota set out to design a new car that dramatically improved gas mileage and dramatically reduced exhaust emissions. Toyota engineers probably never heard of the Woods Dual-Power, but in 1994 they settled on a dual-power design, combining a small gasoline engine with batteries and an electric motor. The first hybrid Toyota Prius went on sale in Japan in December 1997, and in the United States in August 2000.


Operating a Prius was simple -- a sophisticated computer system controlled both the electric and gasoline motors, smoothly shifting power between the two. THF91042

Although the Prius drivetrain was similar in principle to the Dual-Power's, operating a Prius was much simpler. The driver merely turned the ignition key, pulled the transmission selector lever into "D," stepped on the gas, and drove away. A sophisticated computer system controlled both the electric and gasoline motors, smoothly shifting power between the two. Sometimes the computer system used the gasoline engine to recharge the batteries. It even shut the engine off when the car stopped and started it up again as needed. The Woods engineers would have given their eye teeth for such technology. Woods sales staff might have given their right arms for the Prius' popularity.

Toyota's Prius hybrid sold well in Japan and even better in the United States. By 2005, Prius accounted for nearly 10% of Toyota's American sales. Part of that popularity was due to Prius' reliability, good performance, and considerable amount of interior room for its size. Part was due to Prius' excellent gas mileage -- over 40 miles-per-gallon on the highway and over 50 mpg in stop-and-go traffic. But it could take several years for savings on gasoline to make up for the several thousand-dollar price difference between a Prius and a comparable, conventional Toyota Corolla -- even with federal tax subsidies for hybrid cars.


For many people, what a car doesn't do -- use lots of gasoline, emit lots of pollutants -- has become as important as what it does do. THF205087

What really sold many people on the Prius was environmental responsibility. Driving cars with lower emissions and higher gas mileage was The Right Thing To Do, whether it reduced out-of-pocket expenses or not. Furthermore, driving a Prius told the world that you were Doing The Right Thing. The Prius became hip, especially among intellectuals and celebrities. Movie stars took to arriving at the Academy Awards in Priuses rather than limousines to demonstrate their concern for the environment. Even after other car makers such as Ford, Honda, Saturn and Nissan added hybrids to their lineups, the Prius retained its cachet.

The stories of the Dual-Power and Prius tell us that the definition of what we want an automobile to do is always evolving. Yes, we want cars to take us where we want to go. And taking us there in high style, or high comfort, or at high speed is often still important. But, for many people, what a car doesn't do -- use lots of gasoline, emit lots of pollutants -- has become as important as what it does do.

Bob Casey is The Henry Ford’s former Curator of Transportation. A version of this post originally ran in March 2007 as part of our Pic of the Month series.

hybrid cars, Driving America, Henry Ford Museum, environmentalism, electricity, power, by Bob Casey, cars, alternative fuel vehicles

George Washington Carver at Tuskegee Institute, 1939 THF213730

George Washington Carver’s commitment to knowledge, serving the community, and making a difference drove his work as an influential agricultural scientist.

Carver loved plants as a child and studied them his entire life. Despite the many challenges he faced, he earned degrees in agricultural science and gained international recognition for his work.

In 1896, Carver began his 47-year career at Tuskegee Institute, a university in Alabama committed to educating African-Americans. There, he taught agricultural science, managed the school’s experimental farm, and researched better farming practices.


One of the many bulletins Carver produced to help southern farmers THF288047

Carver shared his knowledge through practical instruction, “how-to” publications, and a mobile classroom. His research became the basis for lessons on improving the health and nutrition of the soil as well as the health and well-being of people and the livestock they tended.

Carver understood that farm families who raised cash crops like cotton had little time to grow food for themselves and no extra money to buy it. He identified hundreds of new uses for undervalued food crops like peanuts and sweet potatoes, which increased market opportunities and improved diets.


An interactive digital experience in Henry Ford Museum features the stories of Luther Burbank, Rachel Carson, and George Washington Carver.

Learn more about Carver’s remarkable career in Henry Ford Museum of American Innovation, where a new digital experience in the Agriculture & the Environment exhibit explores

• Bulletins produced by Carver to help southern farm families
• Carver’s work to create nutrient-rich soil needed to grow healthy crops
• Weeds – an untapped food source Carver liked to call “nature’s vegetables”
• New products Carver developed from crops southern farmers already grew

agriculture, African American history, Henry Ford Museum, George Washington Carver