Arriving at the holiday season in true 2020 fashion, the Museum experience will be different this year. Santa is focusing his time at The Henry Ford on the physically distant experience at Holiday Nights in Greenfield Village. We will miss seeing the joy of personal visits at Santa’s Arctic Landing and the exploration at seasonal hands-on opportunities. While we regret our inability to offer these programs to guests, there are still many festive offerings in the Museum between November 21^st and January 3^rd.

A towering 25’ Christmas tree as the centerpiece of the Plaza.



Historic dollhouses decorated for the season. Look for three Marvel characters inviting themselves to these miniature vignettes!



Celebrating the Jewish Holiday of Hanukkah was a favorite in 2018. This year, it includes new acquisitions (face masks and a battery-operated menorah) to bring the display right up to the minute.



Della Robbia (Colonial Revival decorative items using fruit and foliage) on the façade of the Museum and within the Clocktower.





Our model train layout is once again decorated with festive lights and holiday happenings.



The Michigan LEGO Users Group (MichLUG) has brought us yet another knockout layout. While we usually ask them for a Detroit cityscape, this year they approached us with the idea of also adding Hogwarts. Why not?



Though the Years with Hallmark: Holiday Ornaments is back with 136 ornaments in a new location. Look for this sampling of our enormous collection of Hallmark ornaments in the awards alcove in the Promenade, between the Museum Store and the Clocktower.



In short, there are still plenty of reasons to feel the cheer of the season in Henry Ford Museum of American Innovation—and you can explore even more of our seasonal events and stories on our holiday round-up page.


Kate Morland is Exhibits Manager at The Henry Ford.

Michigan, Dearborn, 21st century, 2020s, holidays, Henry Ford Museum, Hanukkah, events, COVID 19 impact, Christmas, by Kate Morland

Hiram Sibley & Co. Seed Box, Used in the C.W. Barnes Store, 1882-1888 / THF181542

Several million guests have seen a reproduction Sibley seed box, based on an original box in our collections, in the J.R. Jones General Store in Greenfield Village since 1994, when the box became part of the reinterpreted interior. Commercial seed sales of pre-packaged vegetable and flower seeds began in earnest during the 1860s, and by the mid-1880s, Hiram Sibley & Company advertised itself as the world’s largest seed company. That might be true. Sibley, who made his fortune as executive of the Western Union Telegraph Company, invested in farms and packing houses in several states and engaged in seed trade in several foreign countries. His entrepreneurial bent warranted more exploration, as did the details of the seed packets, all stowed carefully in the box in the General Store.

The reference photograph in our collections database for the original seed box showed a box with seed packets. The accession number, 29.1987.18.1, indicated that this was an early addition to The Henry Ford’s collections—the first number, 29, means that it was acquired in 1929. The second number indicates that it was in the 1,987th lot acquired that year, and the third number indicates that the box was the 18^th item in the 29.1987 grouping. In fact, as research ultimately disclosed, our collections included the box, plus 108 original seed packets and a Sibley & Co. Seed catalog.

My need to know more started a chain reaction. First, this object had been in the collection for 90 years. It has known provenance: Accession records indicate that it was purchased with other items from a store in the tiny, rural, upstate New York community of Rock Stream. The Barnes family—Charles W. and then his son, Alonzo S.—operated the store. Alonzo died in 1929, which may have precipitated the sale. Our registrars researched and catalogued all parts of the set. We also acquired archival documents—a map of the town from the time the Barnes family operated the store and two postcards of the town—for our collections to add context around the seed box.


Main Street, Rock Stream, New York, 1908-1910 / THF146163

Filling in details about seed packets required further reconnaissance. This required removing the seed box from exhibit at the end of the 2019 Greenfield Village season. Our Exhibits team moved the reproduction box and the authentic seed packets it contained to our conservation labs. Conservation staff removed the packets, checked for damage, then cleaned and prepared the packets for digitization. In the meantime, Collections Management staff located the original box in collections storage and moved it to the conservation labs for cleaning.

Once the packets were cleaned, they were moved to our archives, where the packets were imaged. After the box was cleaned, Collections Management staff moved it to the photography studio. The individual seed packets, once imaged, also were moved to the photo studio. There, the packets rejoined the box, fitting into compartments spaced to accommodate “papers” as well as multiple-ounce “packets” of seeds. The final photograph above shows the rejoined box and original seeds – cabbage, carrot, cauliflower, eggplant, onion, pea, rutabaga, tomato, turnip, and other vegetables.


Some of the individual seed packets that were digitized. See them all in our Digital Collections.

After the photo session, the seeds returned to the reproduction box, the box was sealed with its Plexiglas top to protect them, and Exhibits staff returned the box with its contents to the General Store in Greenfield Village.

It is important to note that the investigation, relocation, cleaning, digitizing, photography, and cataloging all occurred between January and March 2020, before COVID-19 closed the museum and delayed the opening of Greenfield Village. During that closure, between March 15 and July 9, the digitized records became part of numerous blogs written to meet the needs of patrons seeking information about food sources, vegetable gardening, food security—and about tomatoes!

It may seem difficult to justify the amount of time required from so many people to digitize one box and its many seed packets during the process. Each staff member involved in the process had to juggle numerous competing projects to make time to attend to the box and its packets. However, their work created invaluable digital resources that have already enhanced several of our blog posts. We may never know how many people were inspired to plant their own vegetable garden during a year of uncertainty partially, or wholly, because of “How Does Your Vegetable Garden Grow?,” or who just had to have a BLT after reading “Multiple Takes on Tomatoes.”

This is what digitization can do, and this is the effort that it takes. We all do it in the spirit of life-long learning.

Continue Reading

1880s, 19th century, Michigan, Dearborn, New York, research, photography, Greenfield Village buildings, digitization, digital collections, COVID 19 impact, collections care, by Debra A. Reid, #digitization100K, #Behind The Scenes @ The Henry Ford

Entrance to the exhibition in Henry Ford Museum of American Innovation.

We curators love to show off our expertise in these blog posts—with knowledge we’ve gained from books and articles and stories we’ve gleaned from our own collections. But one thing we often forget to do is to invite opinions from other staff members. As an avid comic book fan, I have written several blog posts about comic books—about my own favorites, the censorship wars of the 1950s, and how you can tell the difference between DC and Marvel superheroes.

When it came time to reflect upon the Marvel: Universe of Super Heroes exhibition currently at Henry Ford Museum of American Innovation, I suggested we talk to other Marvel fans who work here. They could be like ambassadors, I proposed, both for Marvel devotees and for those who are new to the Marvel Universe. What did these fans on our staff like best? What do they think other people shouldn’t miss? Below are their responses to questions I posed to them. And don’t be surprised if you find a few opinions of my own in here. Sorry. I couldn’t help it!


Spider-Man photo op.

First, meet our panel.

Kate Morland is our Exhibits Manager. Although she loved Archie comics as a kid, it was the movies that first interested her in the Marvel franchise. The Spider-Man movie from 2002 was her first Marvel movie. She loved Tobey Maguire as Peter Parker and Kirsten Dunst as Mary Jane Watson. As a teenager herself at the time, she found Spider-Man relatable as a peer. Over the years, she’s broadened her interest through the different movies. Recently, she’s grown to love Guardians of the Galaxy, as she’s come to appreciate humor in tense situations. For that reason, Goose, the Flerken/cat, is another favorite!


X-Men section of the exhibition.

Tim Johnson is our long-time Program Leader in Talent & Culture. He got “hooked” on Marvel through the comic books. His best friend is a massive comic book collector and got him hooked after college. As his friend tired of Tim giving him grief about his own love of “funny books,” he made Tim a bet that he would change his view after reading Watchmen by Alan Moore. He was right. After reading that series, Tim jumped into X-Men. Over time, he has continued to love a wide array of superheroes, especially the antiheroes and “gray hats” (that is, those who are not naturally “white hat” heroes--Wolverine, Punisher, and Gambit would all qualify as Gray Hats). He prefers the antiheroes because being heroic and doing the right thing doesn’t come naturally to them. That’s his “beef” about Superman (the original superhero from that other company, DC)—very little struggle with his conscience! He just naturally always did the right thing.

Melissa Foster is our Senior Manager, Public Relations, Media & Studio Productions Department. Her love for Marvel has been a “slow burn”—in a good way! She’s seen every Marvel movie—including the 2002 Spider-Man and the X-Men movies. Some are better than others, she says, but when Marvel Studios set its focus back on the Avengers, that’s really when her level of interest changed.

What started out as a general interest in the movies flourished, thanks to one of her friends, who is a giant comic enthusiast and gave her more insight into the bigger Marvel Universe and the stories behind the characters. Seeing how innovative Marvel really is when it came to stories of diversity, and making their heroes relatable beyond the big screen, changed her from an occasional enthusiast to a person who owns Marvel TOMS (i.e. casual footwear featuring images of popular Marvel characters and scenes), pays for a subscription to Disney+ so she can watch their content, and is an avid reader of their comics. The movie that really made her say, “Wow!” was Captain Marvel. She loved watching a female superhero who didn’t have a love interest on the screen—and just was a total powerhouse. To Melissa, Captain Marvel is the most powerful Avenger. She’s so happy that this female superhero is represented in the exhibition.

For me (Donna), it has always been about the comic books, which is where I started my interest back in the early 1970s. Like Kate, I found Spider-Man relatable too. Like Tim, once I discovered Marvel, I thought Superman was totally one-dimensional. And I also first learned about Marvel from my best friend.

And now, on to the questions…

Q: What were the most memorable parts of the exhibit to you? Why?

• Kate: In my role, I look at both the guest perspective as well as how the exhibit comes together during installation. The most memorable part to me is Dr. Strange’s mirror dimension. Not only do we have two highly recognizable costumes from the film, but the immersive set, including disorienting mirrors and projection, is so intricate and transporting. All of the work that went into its construction was really worth it.
• Tim: Oh, boy, that’s a toughie! I loved the original artwork, since I have no artistic skill whatsoever and wish I did. The photo ops are tremendous, especially hanging on the couch with The Thing. The flow of the exhibit is on point, and I am always into the backstories of the characters and creators.
• Melissa: I’ve seen the exhibit many times—including once before it came to The Henry Ford—and every time I walk through, something new strikes my interest. One of the most memorable things for me during all of this has been watching the “mini”-superheroes dressed in their Iron Man, Black Panther, Spiderman, and Captain Marvel costumes, coming in and not wanting to leave. I was on a shoot with a film crew one day and we were filming a tiny Iron Man interacting with the “Be Iron Man” experience in the exhibit. His mom looked at me and said, “We’ve been in here for two hours and he won’t leave.” That, to me, was amazing. I love watching people connect with our exhibits, and this one has brought in so many different and interesting connections.
• Donna: I loved both reconnecting with my “old friends”—Spider-Man, Dr. Strange, Silver Surfer—and becoming familiar with superheroes I didn’t know that well. And, like Melissa said, watching the families go through the exhibit is fascinating. It is so rare to see an exhibit where the kids are the experts!
  
  

Mirrors in Dr. Strange section of exhibition.


Photo op with The Thing.

Q: What is your single favorite object or feature in the exhibit? Why?

• Kate: My favorite object to talk about in the exhibit is right at the beginning—an original copy of Marvel Comics #1 from 1939. I’m a sap for a good origin story, and the beginning of the franchise is as good as any.
• Tim: The photo ops, both in the exhibit and the photo booth outside. Who wouldn’t love seeing their picture in a comic book? Best $8 souvenir ever!
• Melissa: If you go into Dr. Strange’s Mirror Maze, be sure to walk back through the opposite way one time, or at least look back before taking in the X-Men artwork. The kaleidoscope effect of the artwork displayed is absolutely beautiful, and it’s something you can’t get the full effect of if you walk through only once.
• Donna: The issue of Amazing Fantasy #15, from 1962—the first appearance of Spider-Man. I never get tired of that!
  

Marvel Comics #1 from 1939


Original artwork for The Incredible Hulk comic books.

Q: If you were to describe the exhibit to someone who is new to Marvel, how might you describe it?

• Kate: I would describe the exhibit as an excellent one-hour overview to the franchise. When I first saw the exhibit at a previous venue, I was astounded by how much was covered. If someone is considering jumping into Marvel comics, movies, or shows, they can certainly find a hook in our exhibit that could lead to continuing interests.
• Tim: It’s a wonderfully immersive way to both experience the character history of Marvel and to enjoy a tangible way of putting yourself into their world.
• Melissa: I would describe it as an exhibit for everyone. Seriously, people who love the movies might be interested in seeing their favorite character’s costume up close, but don’t skip the original artwork. There are some very talented artists at Marvel, and I think the work within this exhibit, would be appealing to even those who have zero interest in comics.
• Donna: It’s great if you have a Marvel fan as your tour guide but the exhibition nicely helps you understand the characters and the Marvel Universe without having to feel embarrassed in front of your friends or family!
  

“Become Iron Man” interactive.

Q: What should they not miss?

• Kate: “Become Iron Man” is such a fun interactive because you get to pretend to wear one of his suits and practice shooting targets. It’s my favorite interactive in the exhibit.
• Tim: Bring a camera! You will want to capture and preserve the memories you create!
• Melissa: Do NOT miss the Ant Man and Wasp area of the exhibit located just behind Spiderman. You won’t regret it. Its whimsical, and quirky—and I love it. If it wasn’t for the cool kaleidoscope feature of Dr. Strange’s Mirror Dimension, it would be my favorite part of the exhibit.

Costumes from the Black Panther film.

Q: Is there anything else you would like to add?

• Kate: Marvel has such a long history that one of the best parts of hosting the exhibit is the intergenerational relationships that it nurtures. I love seeing two or three generations of Marvel fans walk through together, swapping stories of different plot points from stories about the same character over the decades.
• Tim: Marvel is one of the best exhibits we have hosted in the Gallery. It is colorful, informative, and fun for all ages. I can’t remember another exhibit we have hosted that was as much pure kick-in-the-pants fun. To sum the exhibit up in one word, let me quote Marvel legend Stan Lee—“Excelsior!”
• Melissa: This year has been such a difficult one for everyone. Sometimes it’s nice to escape the reality for a minute and get distracted by something fun. The Marvel exhibit does just that. Even if you aren’t a fan of Marvel, just walking through and seeing the excitement it brings to so many, might be a little—dare I say it—contagious—in a good way!

So…there you have it! Thanks, Kate, Tim, and Melissa! We hope this little fan exchange has whetted your appetite to see—or return to see—the Marvel: Universe of Super Heroes exhibition before it closes at the end of January 2021. And no doubt you have—or will have—stories of your own to tell!


Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford. Check out these links for her previous blogposts related to comic books: “Hooked on Comic Books,” “Comic Books Under Attack,” and “Battle of the Superheroes.” All photographs courtesy of Caroline Braden.

Michigan, Dearborn, 21st century, 2020s, popular culture, Henry Ford Museum, events, comic books, by Donna R. Braden, #Behind The Scenes @ The Henry Ford

"Ghost of Abraham Lincoln" in Logan County Courthouse for Halloween in Greenfield Village, 1982 / THF146345

Our beloved Hallowe’en in Greenfield Village program is celebrating its 40^th anniversary this year. It’s been a fascinating journey to have been involved from nearly the beginning, eventually leading the team that plans and produces this very complicated and detailed guest experience.

Throughout the entire history of the event, the true star of the show has been Greenfield Village after dark. I know of no better palette for our amazing creative team to have at its disposal to work magic year after year.

The year 2020 and its COVID-19 pandemic will be looked back on as a turning point for not only the Hallowe’en in Greenfield Village program, but for all of The Henry Ford. The need for a safe environment and the resources available have forced the team to take a fresh look at the event and view things from a very different perspective. We are excited and invigorated by the plan we have brought forth and we hope our guests are too.

The Beginnings of Halloween in Greenfield Village

The Greenfield Village Halloween program began as an experience shared through our Education Department’s catalogue of classes and courses. This new concept of a family-based, Halloween-themed experience was first developed as a scary wagon ride experience, with stops and treats at various buildings in Greenfield Village. There were other fun seasonal activities, including dunking for apples, a costume parade and contest, and refreshments in Lovett Hall. The wagon ride was carefully planned out and tapped into Village stories, going as far as having as having a staff member’s child on board as a designated kidnap victim--a sign of the different times that were the early 1980s.


"Trick or Treat" at Wright Home in Greenfield Village, October 1982 / THF146356

This program was presented on an ambitious scale. It was offered one night only and served a remarkably large audience. It was wildly popular and showed what future possibilities and demand lay ahead for the Halloween season. (You can read more about this very first Greenfield Village Halloween program here.)

A series of events led to the next phase of the Greenfield Village Halloween program. The Tylenol poisoning scare in the fall of 1982 changed people’s view of the safety of trick-or-treating. This, combined with new staff and reorganized Village Programs and Special Events departments, brought forth the novel idea of opening Greenfield Village at night as a safe place for trick-or-treating. Thus, the foundation for Hallowe’en in Greenfield Village was born: the basic format of the program we have used until now.

This first Village trick-or-treat Halloween program drew an unexpectedly huge crowd of over 5,000 people. No control measures for timed or paced entry times were put in place and the event was open to the public. As expected, the supply of treats ran out quickly and drastic measures had to be put in place to try and keep pace. I remember working at the first treat stop, the Loranger Gristmill. We gave out handfuls of loose candy corn (a nice thematic connection to the gristmill). I remember it being a very chaotic experience and the porch of the gristmill being coated in smashed candy corn, which could not be seen—only felt—under my feet. In the light of the following day, I was amazed to see single pieces of candy corn that had been pressed out to the size of my hand, still retaining their original shape and color!


"Trick or Treat" at Heinz House in Greenfield Village, October 1982 / THF146374

Many lessons were learned that opening weekend. Moving forward, Halloween in Greenfield Village became a members-only event and entry times were established to slow and control the flow.

Developing the Program in the 1980s and 1990s

Halloween would remain a members-only event for the next 20 years. The first few years, Halloween only took place for one weekend in October. This would continue through the 1980s. By the early 1990s, the still members-only program would expand to two weekends and eventually three. During this time, staff were allotted a certain amount of free tickets, but were required to show up on a set day and time and stand in a very long line to get their tickets. Member tickets for the limited number of program days typically sold out very quickly.

In the first era of the program, there was a lot of emphasis put on the treats and their thematic connection to the Greenfield Village sites from which they would be given out. Different treats were picked out each year.


The inside of the brochure for 1983’s “Family Halloween in Greenfield Village” lists the thematic connections for each building treat stop. / THF146311

Connecting the trick-or-treat path were a variety of Halloween-themed vignettes or interactions, associated with historical events and characters with a nod to scary stories of the past. The effects were low-tech and, in some cases, took inspiration from the emerging haunted house industry. First seen in the 1970s, these haunted houses were grassroots amateur efforts, often sponsored and produced by local Jaycees, Elks, and other fraternal organizations as fund raisers. They relied on cheap scare tactics that involved being jumped out at, grabbed, and sometimes gory scenes. For years, we used some of these very same techniques. The Ackley Covered Bridge was notorious for this.


"Gorilla" on Ackley Covered Bridge during Halloween in Greenfield Village, October 1982 / THF146372

When it came to infrastructure, the Greenfield Village of the 1980s and 1990s basically resembled the Greenfield Village of 1929. There were very few, if any, streetlights and limited access to power to add additional lighting. Until the restoration of 2003, Halloween in Greenfield Village was very dark. Because of this, the jack-o’-lantern pumpkin path played an important role in lighting the way through the experience. A continuous thread to today’s program is the large number of hand-carved and candlelit jack-o’-lanterns that line the path—though now, they serve more to create ambience and atmosphere. Over 1,000 pumpkins are now hand-carved each week to achieve the continuous path.


Volunteers Carving Pumpkins for Family Halloween Jamboree in Greenfield Village, October 1981 / THF146327

Throughout the 1990s, the Family Halloween program, still a members-only event, continued to grow in popularity and had become a yearly tradition for many. Creative collaborations between the Special Events, Village Programs, and AV teams continued to improve the experience, and serious work and experimentations began with lighting and visual effects. A huge breakthrough was the discovery that Tim and Tom, the Firestone Farm black Percheron horses were decent riding horses. It was not long before the Headless Horseman made his debut in the front fields of Firestone Farm. He was soon joined by Ichabod Crane and a Halloween in Greenfield Village favorite was born.

By 2001, though the sophistication and fit and finish of Halloween in Greenfield Village had evolved dramatically from its early years, there was still great potential for growth. Previously, costuming had mainly been reworked or cast-off bits and pieces from the period clothing inventory, décor was minimal, and aside from the hundreds of pumpkins on the jack-o’-lantern path, the main emphasis remained on treats.

The New Millennium Brings a Turning Point to the Program


Workers Laying Conduit in Greenfield Village during Infrastructure Restoration, January 2003 / THF133585

In 2002, the big news around Greenfield Village was the impending massive infrastructure restoration that would begin to take place in the fall. The Village would close at the end of September and not reopen until the following June. Halloween would take a hiatus that year as the huge project gained steam. This would be a turning point and a newly imagined program soon emerged, keeping in step with the newly imagined Greenfield Village.

By the summer of 2003, a cross-functional team began planning the work. The team very quickly established a back story that would guide what the new Halloween would and would not be. The shock and gore, now so prevalent in haunted houses, was removed from the mix. Instead, there was a move toward a family-friendly experience that would rely on the power of Greenfield Village after dark and scary and adventure-based stories that fuel the imagination and Halloween spirit.

Another important inspiration was Halloween party guides, published from the early 1900s through the 1950s, in the collections of The Henry Ford. These handbooks gave endless advice on how to decorate, what games to play, what food to prepare and serve, and a whole host of other miscellaneous tips on how to throw the best Halloween party. Among the most useful and inspirational were the series of yearly Bogie Books, published by the Dennison paper and party goods company from 1912 through 1935. These pamphlets were filled with illustrations, some in color, that featured the huge array of crepe paper and other party products produced by the Dennison Manufacturing Company. Elaborate costumes and party décor were shown—along with the list of Dennison products one would need to replicate the awe-inspiring ideas featured. The colors, textures, and techniques guided our teams in both costuming and decorating throughout the Village.


Dennison's Bogie Book: Suggestions for Halloween & Thanksgiving, circa 1925 / THF96746

Trick-or-treating would remain the main vehicle for moving guests through the experience on a set path, but the look and feel of the treat stations would begin to change dramatically. The Period Clothing Studio became very involved and began to design a spectacular series of costumes to bring the gothic, fairytale, and adventure storybook characters to life—with a nod to costumes of the 1910s and 1920s. By 2005, these characters would become the treat station hosts, with their own stages and stage lighting. Other favorite characters, like the Woman in White, the Dancing Skeletons, the live scarecrow, and, of course, the Headless Horseman and Ichabod Crane, made triumphant returns with new costumes.


Costume Studio Preparing for Halloween in Greenfield Village, October 2005 / THF12490

Another significant change at this point was the shift from Hallowe’en being a members-only event to a public event. Members still had first-pick when ticket sales opened, as they do now, but after a certain date, the public was invited to purchase tickets. As the popularity of the event continued to grow, so did attendance capacities.

The creative work to improve costumes, set designs, and theatrical lighting continued. Through the 2010s, staged theatrical performances of Edgar Allan Poe’s “The Tell-Tale Heart” and other fun, but dark fairytales, such as “Hansel and Gretel” and “Little Red Riding Hood,” were added to the mix. To set up the live Headless Horseman experience, Washington Irving’s “The Legend of Sleepy Hollow” was also performed. Along with the dramatic presentations, live Halloween-themed musical performances featuring a vampire trio, the Potion Sisters, and a musical pirate review rounded out the offerings. To top it off, the Top Hat Side Show became a fixture on Washington Boulevard, anchoring the 1920s carnival theme in that area.


The Top Hat Side Show performing at Hallowe’en in Greenfield Village for the first time in 2015. (Photo by KMS Photography)

By 2019, the Hallowe’en in Greenfield Village experience had hit its full stride and welcomed a record number of guests. There were now several different ways to experience the program with the addition of evening dining opportunities, including the children-themed “Fairytale Feast” and the 1850s Eagle Tavern Harvest Supper.

Rethinking Hallowe’en in Greenfield Village in 2020


Signage outside the main entrance of Henry Ford Museum of American Innovation in March 2020, announcing the closure of our venues due to the worldwide COVID-19 pandemic. (Photo courtesy Ellice Engdahl)

Planning for the 2020 Hallowe’en program was well underway when the world as we knew it came to a screeching halt—and along with it, the entire summer calendar of Greenfield Village special events. As we cautiously reopened the Village and Museum over the Fourth of July weekend, The Henry Ford continued to learn and understand how safety measures should work, what the scale of program offerings needed to be, and what the future might bring. By the end of the summer, it was clear that we could consider a Halloween program in October. We knew it would need to be reimagined and presented in a very different way in order to comply with safety measures while at the same time allowing our guests to have a fun and enjoyable experience.

Based on decades of experience in planning and producing large scale public events, the Hallowe’en planning team took a fresh look at the program. It was immediately apparent that the entire concept of lining up for treats would have to be eliminated. Without the need for a set prescribed route, new possibilities opened, and the Holiday Nights model of enjoying the evening at one’s own pace and experiencing program elements in any order became the logical approach. Greatly reduced attendance capacities and timed entry would ensure a safe experience. Unfortunately, we were not able to offer our evening dining experiences this year, but happily, many familiar and favorite characters and experiences made a return.


A witch and the Hallowe’en Express welcome guests to Hallowe’en in Greenfield Village in 2020. (Photo courtesy Jim Johnson)

A very exciting addition for 2020 is the Hallowe’en Express, a brand-new Halloween-themed train ride that makes a round trip excursion from the “Brimstone” Station at the front of the Village. Guests encounter all sorts of sights and sounds along the way. The presence of a live steam locomotive in the Village, with an eerie whistle created just for this occasion, adds an entirely new dimension to the overall experience for our guests.

Over the past 40 years, Hallowe’en in Greenfield Village has steadily grown and evolved. There have been many turning points in its long history, and 2020 will rank among the most significant. New beginnings can often be viewed as painful endings, but the Hallowe’en in Greenfield Village planning team is fully embracing this new beginning and is very excited to share the path we have taken.


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

Additional Readings:

• Hallowe'en in Greenfield Village
  
• A Scent in Time – Fall Flavor Weekends in Greenfield Village
  
• Hallowe'en in Greenfield Village: Postcards
  
• Eagle Tavern Harvest Supper

Michigan, Dearborn, 21st century, 20th century, holidays, Hallowe'en in Greenfield Village, Halloween, Greenfield Village history, Greenfield Village, events, COVID 19 impact, by Jim Johnson, #Behind The Scenes @ The Henry Ford

Pocket Radio, circa 1925, manufactured by the Auto Indicator Company of Grand Rapids. / THF156309

Today, the portability of audio entertainment has become second nature to most people around the world. With relative ease, a person can put in/on a pair of headphones, wirelessly connect to a handheld device of their choosing and pick from a wide variety of options, including music, podcasts, audio books, etc. While we have become accustomed to this comfort and convenience today, in the early 1920s, “portable” and “wireless” tech, like the battery-powered “Pocket Radio” manufactured by the Auto Indicator Company of Grand Rapids, Michigan, was considered cutting edge in the audio entertainment industry.

The roots of the portable nature of the Pocket Radio can be traced back to Thomas Edison’s 1877 unveiling of his phonograph. The machine, which was the first to practically demonstrate that sound could be recorded and reproduced, proved that an audience didn’t have to be physically present in order to enjoy a listening experience. By the 1910s, subsequent improvements of the phonograph by other inventors and companies had brought a booming audio entertainment industry to the masses.


Thomas Edison, Charles Batchelor and Uriah Painter with Edison's Phonograph, April 18, 1878. / THF111744

Consumers grew used to the idea that the sounds they enjoyed could be listened to on their own time and in their own space – all with the help of their own personal phonograph. When World War I broke out, portable versions of phonographs found their way to the front lines not only for military use in the training of recruits, but also to entertain troops. The much-needed musical reprieve provided through a phonograph boosted morale by helping soldiers, individually or in groups, briefly escape the terror happening around them.


Edison Diamond Disc Phonograph, 1919. In the years just after World War I, Americans loved listening to music on their phonographs. Thomas Edison's Diamond Disc Phonograph Company was at its peak of production. / THF63458

Wartime also provided an opportunity to explore another cutting-edge technology that had gained traction before the war – wireless communication in the form of radio waves. During World War I, the U.S. government took over the fledgling radio industry and instituted a ban on civilian use of radio in order to further their wartime experimentation. After the war, the ban was lifted in 1919, and by mid-1922 a “radio craze” was sweeping the nation, as Americans became infatuated with the new technology. Around the country, broadcasting stations began to spring up to serve the thousands of listeners seeking to tune in to hear music, news and more.


Behind the Scenes of a Radio Drama, 1923 / THF120581

In 1924, partners in the Auto Indicator Company of Grand Rapids sought entry into this market with their Pocket Radio. As one of the first companies to patent and manufacture signal lights for automobiles, their demonstrated business savvy showed they understood that the increasing affordability of the automobile and a booming post-war economy meant more consumers on the go – and these consumers wanted to take their audio entertainment with them.


Like many Americans during the 1920s, these two couples, their children, and a family dog, answered the call of the open road. The families have set up in an open field while auto touring. / THF105461

By today’s standards, the four pound (12 x 3 x 3 inches) “Pocket Radio” would not be considered “pocket-sized.” But in 1924, the summer tourist or picnicker that bought this radio for $23.50 would have understood that “pocket” referred to the pocket door of an automobile, where the radio could be stored. Without having to worry about bringing physical records to play on a portable phonograph or lugging around an early battery-powered table-top sized radio, a Pocket Radio owner could tune in to any broadcast station within five miles, and, with the addition of an aerial or ground receiver, could listen to a broadcast station that was 1,000 miles away.


Operadio 2 Portable Broadcast Receiver, 1923-1927. The Operadio 2 was among the first generation of commercial portable radios. While a "mobile" device weighing 30 pounds may be laughable to us now, the Operadio was a groundbreaking device. / THF160275

A seemingly smart product, the Pocket Radio didn’t bring the business partners of the Auto Indicator Company much success. By the mid-1920s, they had given up on the radio and molded their former business into the Multi-Selecto Phonograph Company, an unwise decision in a turbulent time. Throughout the 1920s, while the phonograph remained a viable product, the industry underwent significant strain with the changes brought on by the advent of the “Golden Age of Radio.” While companies tried to stay afloat by selling hybridized products that combined the radio and the phonograph, like many other phonograph companies of the time, the Multi-Selecto Phonograph Company wouldn’t make it out of the Great Depression.


Victor Electrola, 1927. By the late 1920s, radio tuners, phonographs, amplifiers, and loudspeakers began to condense into one unit. Manufacturers housed this technology within attractive wooden consoles, accepted as furniture within consumer's living rooms. / THF159418

Today, the Pocket Radio serves as documentation of an exciting time in the history of technology, where new ideas met at a crossroads to provide the consumer with more personal freedom in how and where they enjoyed their entertainment choices.


Ryan Jelso is Associate Curator, Digital Content, at The Henry Ford.

20th century, 1920s, technology, radio, portability, Michigan, communication, by Ryan Jelso

The Mcity Driverless Shuttle arrives at The Henry Ford.

Thanks to a generous gift from the University of Michigan (U-M), The Henry Ford recently acquired its second autonomous vehicle: a driverless shuttle used by U-M’s Mcity connected and automated vehicle research center. Readers may recall that we acquired our first AV in 2018 – a 2016 General Motors Self-Driving Test Vehicle. While the GM car was an experimental vehicle focused on technology, the Mcity shuttle took part in an intriguing project more focused on the psychology of consumer trust and acceptance of driverless vehicles.

From June 4, 2018, through December 13, 2019, Mcity, a public-private research partnership led by U-M, operated this driverless shuttle at U-M’s North Campus Research Complex in Ann Arbor. The project’s purpose was to understand how passengers, pedestrians, bicyclists, and drivers interacted with autonomous vehicles. In effect, the project was a way to gauge consumer acceptance of a decidedly unconventional new technology.

The shuttle donated to The Henry Ford is one of two fully-automated, electrically-powered, 11-seat shuttles Mcity operated on a fixed route around the research complex throughout the course of the study. The shuttles were built by French manufacturer Navya. In late 2016, Navya had delivered its first self-driving shuttle in North America to Mcity, where it was used to support research and to demonstrate automated vehicle technology. In June 2017, Mcity announced plans to launch a research project in the form of an on-campus shuttle service that would be open to the U-M community.

The Mcity Driverless Shuttle operated on a one-mile loop around the North Campus Research Complex at speeds averaging about 10 miles per hour. The service ran Monday-Friday from 9 AM to 3 PM. While its route avoided heavy-traffic arteries, the shuttle nevertheless shared two-way public roadways with cars, bicycles, and pedestrians. It operated in a variety of weather conditions, including winter cold and snow; but was not used in more extreme weather, such as heavy snow or rain.


The Mcity Driverless Shuttle on its route at the University of Michigan’s North Campus Research Complex. (Photo credit: University of Michigan)

While the shuttle and its technology are impressive enough, the impetus behind its use is arguably more important to The Henry Ford. The Mcity research project was the first driverless shuttle deployment in the United States that focused primarily on user behavior. Mcity’s goal was to learn more about how people reacted to AVs, rather than prove the technology. The two shuttles were equipped with exterior video recorders to capture reactions from people outside the shuttle, and interior video and audio recorders to capture reactions from passengers inside. On-board safety conductors, there to stop the shuttle in case of emergency, also observed rider behavior.

Mcity staff monitored ridership numbers and patterns throughout the project, and riders were encouraged to complete a survey about their experience that was developed by Mcity and the market research firm J.D. Power. Survey questions ranged from basic inquiries about age and relationship to the university, to more specific inquiries about reasons for riding, degree of satisfaction with the service, interest level in AV technology, and – most significantly – degree of trust in the shuttle and its driverless capabilities. The survey data was then analyzed by J.D. Power. You can learn more about the results through Mcity's white paper, "Mcity Driverless Shuttle: What We Learned About Consumer Acceptance of Automated Vehicles."

Along with the shuttle itself, U-M has kindly donated examples of the special signage installed by Mcity in support of the shuttle project. There are no current government regulations – at the federal, state, or local levels – for signage along a driverless vehicle route. Mcity developed its own signs to alert other road users to the shuttle’s presence. Samples include signs proclaiming “Shuttle Stop” and “Attention: Driverless Vehicle Route.”

Autonomous vehicles are coming to our streets – it’s no longer a question of “if,” but of “when.” Indeed, the Mcity shuttle project proves that AVs are, to an extent, already here. These driverless vehicles promise to be the most transformative development in ground transportation since the automobile itself. Self-driving capabilities will fundamentally change our relationship with the vehicle. The technology promises improved safety and economy in our cars and buses, greater capacity and efficiency on our roads, and enhanced mobility and quality of life for those unable to drive themselves. The Mcity Driverless Shuttle represents an important milestone on the road to autonomy, and it marks an important addition to The Henry Ford’s automotive collection.

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21st century, 2010s, technology, research, Michigan, by Matt Anderson, autonomous technology, alternative fuel vehicles

Curt Braden, as the “ghost” of Abraham Lincoln, posing with the carved jack-o’-lanterns at the doorway of the Logan County Courthouse that marked treat stops. (Photo courtesy Susan McCabe)

The 40^th anniversary of “Hallowe’en in Greenfield Village” seems like a perfect opportunity to reflect upon the first Halloween program in Greenfield Village. I was there with my husband, Curt, in the Logan County Courthouse. With his face covered in white theatrical makeup, he played the “ghost” of Abraham Lincoln for the evening, while I played his wife, Mary Todd. Other “ghosts” were stationed at various other Village buildings, awaiting the young trick-or-treaters who would show up at their doorstep. We all wondered whether it would work, this crazy idea of using the Village as the canvas for a historically-themed Halloween program.

As kids filed through the Courthouse that night, my “ghostly” husband handed them each a Lincoln Head penny while he told them, “Here’s a token in remembrance of me.” Some kids gawked at him. Others smiled and circled back again for another penny. Still others scowled and said, “Only a penny?” I honestly remember almost nothing from that night. It was all a blur except for a few snapshots I have, proving we were there.

Now, 40 years later, I feel compelled to find out exactly what transpired that night. So, I asked Brian Wilson, our Senior Manager of the Archives and Library, to see if he could dig out the original program description of it (which he did). I also got in touch with a few old friends who had helped plan it and participate in it. What I found was that, while our memories are sketchy and sometimes inconsistent, we all felt that night that we were on a mission, a mission to provide guests with a combination of fun and learning using the rich historical stories that pervade Greenfield Village. The magical quality of being in the Village at night (decades before there were streetlamps) didn’t hurt either.

Description of the Family Halloween Jamboree in the 1981 class catalog / THF610727

In 1981, the program was called the Family Halloween Jamboree and it was one of the many listings in the catalog of Adult Education, Teen, and Children’s Classes organized by the Education Department at the time. After the Greenfield Village schools had closed in 1969, the museum had become a strong advocate of offering educational classes for the general public. By the early 1980s, the class catalog was extensive, including page after page of lectures, tours, and an incredible array of craft classes, like glassblowing, blacksmithing, and tinsmithing. Children’s classes also involved a wide array of different take-home crafts and hands-on opportunities.


Colonial Cooking was a popular Adult Education class held in Clinton Inn (now Eagle Tavern) during the late 1970s. / THF112256

Harold Skramstad’s arrival as President in 1981 provided the catalyst to reimagine a wide variety of new educational programs. Summer Discovery Camps began that year, along with new Member programs. All of these new programs were characterized by a close alignment with our historical figures and stories. The Family Halloween Jamboree was no exception. Jim VanBochove, a graduate student intern that previous summer and a participant in the first Halloween program (and now Director of Organizational Culture at The Henry Ford) explained that, “That was one of the great things in those days—that you could really try some new things. There was support, even if it didn’t turn out.”

This program was the brainchild of museum professional Candace Matelic, hired earlier that year as Manager of Adult Education and Children’s Programs. She was helped by her able assistant, Susan Gangwere (now Susan McCabe), a graduate student summer intern like VanBochove who had just recently joined the Education staff. Inspired by Skramstad’s encouragement to be creative, break down old barriers, and try new things, Matelic and Gangwere put their heads together to create each of the elements for this, one of three holiday-related family programs that year.


A colorful and enticing flyer for the 1981 Family Halloween Jamboree. (Image courtesy Donna Braden)

From the beginning, the 1981 Family Halloween Jamboree was planned with children in mind—including “hair-raising stories of ghosts and witches,” making Halloween treats, and enjoying a variety of traditional games. In keeping with the focus on the historic nature of Greenfield Village, children were encouraged to come dressed as their favorite historic character, which they would show off in a “parade down a pumpkin-lighted path,” followed by a judged costume contest with prizes. Parents were encouraged to dress up for the night as well. The evening cost $7.00 per child, while accompanying adults were free.


This cover of the 1982 class catalog shows a portion of the 150 jack-o’-lanterns that volunteers had carved for the 1981 Family Halloween Jamboree. / THF610728

Hay wagons took guests on rides from Town Hall through the Covered Bridge, around the loop and back to the Village Green. On the way, they encountered spooky characters, like the Grim Reaper and the Headless Horseman. Back at Town Hall, they could partake of cider and donuts, and bob for apples. A highlight of the evening was that guests could walk to several trick-or-treat stops in and around the Green. White-faced “ghosts” of historical figures connected with Greenfield Village buildings passed out treats that were specifically themed to each building or character. At the Courthouse, it was Lincoln Head pennies; at Stephen Foster Memorial (now the Sounds of America Gallery), VanBochove, as the “ghost” of Stephen Foster, handed out kazoos while singing excerpts of more “ethereal” Stephen Foster songs like “Beautiful Dreamer” and “I Dream of Jeanie with the Light Brown Hair.” Carved jack-o-lanterns, placed at the doorways, marked each treat stop.


Curt and I pause for a snapshot before heading to the Village for the big evening, 1981. Before the days of a department that researched and created historical clothing for Greenfield Village staff, I did my best to dig out some (rather historically inaccurate) vintage clothing from my own closet to wear for the evening. (Photo courtesy Donna Braden)

This one-night Jamboree attracted some 300 people. As VanBochove recalled, “We all thought that was HUGE. And there were many moving parts so lots of learnings.” Susan McCabe concurred that it was a great way to learn about the logistics of Village experiences, like how to move people through, how many supplies to have on hand, and how to get all those pumpkins carved!


Curt having his white theatrical makeup applied before the big night, 1981. (Photo courtesy Donna Braden)

Building upon the success of this first program, the next year’s program was expanded. Now costing $5.00 per person, it was held on two successive nights. The modest pumpkin-lit path for the children’s costume-judging parade now extended through many of the streets of the Village, with an accompanying map “to tell you the whereabouts of the ghost and spirits we expect to join us.” Candace Matelic remembers that two educational assistants “did nothing all night but keep the pumpkins lit, and there were hundreds of them.”


Description of the 1982 Family Halloween Jamboree, explaining the new navigation through the Village by pumpkin-lit paths and a map / THF610735

One goal of these early programs was to attract new audiences, people who did not ordinarily come to Greenfield Village. As Matelic recalls, “We reached people from all backgrounds…many of whom were coming to Greenfield Village for the first time.” It was also a way to attract new Members by offering them first pass at signing up.

The popularity of the 1982 Family Halloween Jamboree was greatly aided by the Tylenol scare of that year, in which cyanide-laced acetaminophen was found placed on drugstore shelves and sold. This high-profile crime eventually led to the introduction of child-proof containers and tough Federal laws aimed at punishing those who tampered with drugs. No evidence of contaminated Halloween candy was ever found that year and, since that time, stories like these have become the stuff of urban legend. But, in 1982, the scare was real, parents were worried about letting their kids go trick-or-treating through neighborhoods, and that year’s Family Halloween Jamboree in Greenfield Village received a big boost in attendance.

Beyond this, Matelic thinks that these early programs were exceptionally unique because, “We clearly touched a chord in providing a safe and memorable family experience in those early years, in response to a community need. I like to think of it as a gift to the community. It was fun, interactive, and welcoming. We had fun and that let visitors have fun. We made a connection to a beloved American tradition and started a new relationship to the community.”


By 2018, the year of this photograph, “Hallowe’en in Greenfield Village” had become a mega-event that lasted 11 nights and attracted 70,000 guests.

These two early programs laid the groundwork for today’s extravaganza that thousands anticipate every year. Why does it remain as popular as ever? Having spent time at many treat stations over the years, VanBochove remarks that, “it has always amazed me that even with the thousands of guests who come on any evening, almost everyone has a sense that the program is just for them, that they are there with family, and that this is a special memory that only we can help create.” Matelic, who has worked at several museums since those early days and mentored hundreds of students pursuing museum careers, reflects that, “While the focus and contents (and size and length) have broadened over the years, the program is still touching hearts and minds, offering an opportunity for generations to continue making cherished family memories.”

Do you have a cherished memory of the 1981 Family Halloween Jamboree in Greenfield Village?

Donna R. Braden, Senior Curator and Curator of Public Life at The Henry Ford, would like to thank Candace Tangorra Matelic, Ph.D., Susan Gangwere McCabe, Jim VanBochove, and Curt Braden for their willingness to share their memories of this groundbreaking program.

Michigan, Dearborn, 20th century, 1980s, holidays, Hallowe'en in Greenfield Village, Halloween, Greenfield Village, events, by Donna R. Braden, #Behind The Scenes @ The Henry Ford

In the early 1930s, tensions were running high between two competing news sources: newspaper publishers were feeling the strength of their monopoly slipping away as the public’s appreciation for radio news broadcasts grew. This time of conflict in communications history is known as “The Press-Radio War.”

Publishers felt especially threatened by the nimbleness of radio networks. Broadcasters could share breaking news immediately over the airwaves, rather than having to wait for the next day’s run of newspapers to be printed and distributed. At first, newspaper companies tried to boycott radio’s ability to grow into something more than just an entertainment medium by asking wire services to block the flow of newsworthy information to radio stations. But eventually, the two media formats settled into a truce by the late 1930s, partly owing to the demand for reliable information-sharing as the threat of World War II grew. 


The Detroit News “autogiro” aircraft flies over the WWJ transmitter towers on the roof of the Detroit News building. The autogiro used a swiveling camera to take aerial photos of newsworthy events and quickly transported reporters to the sites of developing stories. / THF238502

Some newspapers saw the financial benefit in blending formats and went so far as to cut out the competition by starting their own radio news stations. The Detroit News was one of the first newspapers in the United States to incorporate a commercial radio station into its operations. In August 1920, WWJ (then owned by the Detroit News) launched its program of nightly broadcasts under the call sign 8MK. As of 2020, WWJ has been on-air for 100 years!


In this image, the Detroit News autogiro flies over downtown Detroit. The Penobscot Building—site for the News’s experimental W8XWJ station—appears in the foreground. The original vertical “whip” antenna is just visible on the ball that tops the metal tower. / THF239963

In 1936, the Detroit News launched experimental audio broadcasting station W8XWJ from the 47^th floor of the Penobscot Building in downtown Detroit. W8XWJ was formed under the FCC’s ultra-high short-wave “Apex” station program, an experiment designed to provide listeners with higher quality AM signals. The station’s original 100-watt AM vertical “whip” antenna was attached to the beacon sphere that tops the metal tower perched on the roof of the Penobscot Building. The height of the Penobscot—the tallest skyscraper in the city at that point—helped to disperse the radio waves over the entire city. Many people are familiar with the glowing red beacon at the top of the Penobscot, but its connection to the growth of radio in the city is not as well known.

From 1938-1940, W8XWJ ran a fascinating but ultimately short-lived experiment with an emerging technology called “radio facsimile.” Customers would hook a special “radio printer” up to their own radio, which would print the news overnight while they slept. In the morning, the news would be ready to enjoy with morning coffee – no need to deliver a physical newspaper!


One of the original Finch Facsimile Transmitters from W8XWJ, complete with original station badge visible and a sample of a radio fax. / THF160295

At W8XWJ, a Finch Facsimile Transmitter was used to convert images and text into audio tones. These signals would arrive in customer’s home via radio waves, where their “radio printer” would translate the tones into human language. Everything would print out onto continuous rolls of thermal paper.


A Crosley “Reado” Radio Printer. / THF160315

This is a Crosley Reado Radio Printer – the type of device that people would connect to their home radio and would receive their faxed newspapers on. When The Henry Ford conserved this artifact through an Institute for Museum and Library Services grant, our conservators were excited to find an example of a facsimile still on the drum inside the machine. In this image, you can see an original radio facsimile portrait of Boris Karloff, who was famous for his 1931 portrayal of Frankenstein’s monster.

The Henry Ford’s collections also include the original transmitter and amplifier that powered the W8XWJ station.


W8XWJ’s Western Electric 500 Watt Ultra Shortwave Transmitter and Amplifier. These two devices are visible in their original installation here. / THF173159, THF173165

The idea behind W8XWJ’s radio facsimile experiment was revolutionary, but the process was slow and fussy. It could take over 20 minutes to print a single page of news, and signal reception became unreliable beyond a mile or two away from the transmitter. In 1940, W8XWJ ended its radio facsimile project.

While the original “whip” antenna for W8XWJ was replaced by a FM antenna in the early 1940s, if you look toward the top of the Penobscot building today, there is a tangle of communication equipment visible from street level. And in the interesting way that the new and the old can merge and converge within the histories of technology, some of this contemporary equipment fulfills radio facsimile’s promise to provide easily accessible information—the top of the Penobscot now serves as an important hub for Detroit’s wireless Internet network.


Kristen Gallerneaux is Curator of Communications & Information Technology at The Henry Ford.

1930s, 1920s, 20th century, radio, printing, newspapers, Michigan, Detroit, communication, by Kristen Gallerneaux, #THFCuratorChat

This year would have marked the 70^th anniversary of Old Car Festival, the longest running antique car show in America. While due to the COVID-19 pandemic, we currently can’t be immersed in the moving stories of the early automotive era, we didn’t want to miss the opportunity to celebrate our longest running and one of our most loved events in Greenfield Village.



Old Car Festival is more than just a car show. It’s an experience. It’s the detail that goes into the costumes and settings of the vignettes created by our staff that depict the turn of the century to the Great Depression. It’s the blues, jazz and Ragtime that you can hear throughout the streets and the dancing to go with it. It’s the delicious food offerings from our culinary team. It’s the sight and smell of more than 800 vehicles taking to the streets and taking over nearly every corner of the village.  All of it together transports our participants, members, guests and staff back to a time when these vehicles created their own roads.



All of it wouldn’t be possible of course, without our wonderful participants who come year after year to take their cherished treasures out for a spin (or just for show in some cases), participate in games of skill out on Walnut Grove and share their favorite stories with those who pass by.



In addition to the 70^th anniversary of Old Car Festival, this year’s event would have also celebrated the centennial of the 19^th Amendment. Automobiles arrived just as women were making new inroads in the workplace and in civic engagement. It’s not too much to say that the car’s freedom of mobility made an important contribution to this social change. On September 10, our curator of transportation Matt Anderson participated in a special THF Conversations for our members on “Women behind the Wheel,” taking a look at how early American carmakers marketed to women and the role the car played on the road to suffrage. (The link to this video will be available here soon, or read about the same topic here.)



We look forward to making more Old Car Festival memories soon. Until then, stay safe and have a great weekend--and if you want, explore round-ups from previous Old Car Festivals on our blog here.



Melissa Foster is Senior Manager of Public Relations at The Henry Ford.

Michigan, Dearborn, 21st century, 2020s, Old Car Festival, Greenfield Village, events, COVID 19 impact, cars, car shows, by Melissa Foster

In recent months, we previewed a new virtual experience that we’ve created in partnership with Saganworks, a technology startup from Ann Arbor, Michigan. Today, we are happy to officially launch this experience for you to interact with!


A view of the Produce Industry section, featuring items from the Detroit Publishing Company Collection, the Label Collection, and photographs of Entrepreneur-in-Residence Melvin Parson’s time at The Henry Ford.

What we’ve created is a Sagan: a virtual room capable of storing content in a variety of file formats, and experienced like a virtual gallery. The Henry Ford and Saganworks have partnered together to use this Sagan to highlight some of the work the museum has done under the auspices of the William Davidson Foundation Initiative for Entrepreneurship, which focuses on providing resources and encouragement for the entrepreneurs of today and tomorrow. Through this grant, we have been given the opportunity to examine some of our collections through an entrepreneurial lens, digitizing thousands of artifacts and sharing these stories through blog posts, expert sets and interviews with our Entrepreneurs in Residence. Our Sagan highlights these entrepreneurial stories and collections, displaying a sampling of objects we’ve digitized and content we’ve created all in one place – starting with those related to our collecting themes of Agriculture and the Environment and Social Transformation.


Text panels, like the one seen here, are featured throughout the Sagan to provide information about the items you’re seeing in that section.

As previously mentioned, our Sagan is experienced like a virtual gallery with objects and photographs arranged on the walls – similar to an exhibit. Unlike an exhibit, however, the Sagan does not have extensive labels throughout. Instead, one brief text panel can be found in each section of the Sagan describing the collection within that space and how it relates to entrepreneurship.

Once you’re in the Sagan, you’ll have the opportunity to move throughout the space using the arrow or WASD keys on your keyboard and can scan the room by right-clicking and dragging your mouse in the direction you want to view. (Laptop users can hold the “control” key and use the trackpad to scan the room as well.) Within the Sagan, you’ll find photos and documents that we’ve digitized as part of the Initiative for Entrepreneurship. To view an item up close, select the artifact and click on the description that appears or double-click the artifact itself. On tables throughout the Sagan, you’ll also find digital content elements, such as blog posts and artifact sets, that provide further context. Double-clicking these elements will take you to the blog or set on The Henry Ford’s website.


This stack of vinegar barrels was customized and created by Saganworks exclusively for The Henry Ford’s Sagan.

One of the exciting features we were able to incorporate within our Sagan is 3D artwork customized for The Henry Ford by the talented artists at Saganworks. Our 3D artwork includes an orange tree, fruit crate stands with life-like fruit, pickle barrels, and a larger-than-life stack of vinegar barrels, representing the vinegar products sold by the H.J. Heinz Company. Also visible within the space are virtual furniture pieces created by Saganworks and available to anyone who uses the program to help customize a space and create a mood within each room.


There are tons of furniture options to help furnish your virtual space from bookshelves and couches to sculptures and decorative artwork.

So what else makes The Henry Ford’s Sagan extra special? Our collections, of course. Items from the following collections are featured within our Sagan:

H.J. Heinz Company Collection (broken into two sections) — Explore further by visiting the collection record, finding aid or the artifacts we’ve digitized from the collection.

• Production – Entrepreneur H.J. Heinz entered the processed food industry in 1869 when he began selling horseradish out of his family home. Upon achieving success, his product line quickly expanded to include other products, such as pickled foods, condiments, and preserves. The items shown here document the production aspect of the H.J. Heinz Company, including photographs of the farms where the fruits and vegetables were grown and harvested, as well as images of the factory where the items were processed and packaged and the employees who worked there. The featured content element describes a Heinz employee notebook we found in our collection.
• Marketing – H.J. Heinz was at the forefront of creative marketing. He rarely missed an opportunity to market his “57 Varieties” – a catchy slogan he created despite offering a line of more than 60 packaged food products. A prolific promoter, Heinz aimed to reach consumers in stores, at home, and everywhere in-between. The items shown here document the many advertising strategies of the H.J. Heinz Company, including streetcar advertisements, trade cards, labels, advertising drawings and illustrations, and photographs of elaborate grocery store displays. The featured content element explores other aspects of H.J. Heinz’s entrepreneurial journey.

Richard J.S. Gutman Diner Collection – The American diner is recognized as an icon of roadside architecture and entrepreneurial enterprise. The items shown here come from the collection of Richard J.S. Gutman, the leading expert on American diners. Photographs, trade catalogs, menus, and matchbooks help tell the story of innovation and entrepreneurship from the craftsmen and designers who built the dining cars to the owners and operators who served customers every day. Explore further by visiting the press release, finding aid or the artifacts we’ve digitized from the collection.

Recipe Booklet Collection – Recipe booklets allow us to examine the changing eating habits of Americans and discover early products from some of the well-known companies in the food industry today. For many companies, recipe booklets were a method of marketing, offering creative uses for their products. Featured content elements include a history of the Jell-O Company and an opportunity to browse the booklets from the entrepreneurial companies included in this section. Explore further by visiting the finding aid or the artifacts we’ve digitized from the collection.

Detroit Publishing Company Collection – The Detroit Publishing Company (1895–1924) was an entrepreneurial venture that produced, published and distributed photographic views of the world. The company’s photographers captured images ranging from the exotic to the ordinary, including special events, everyday activities, infrastructure, various industries and views of cities and countrysides. The images shown here document the West Coast fruit industry, including photographs of the fields and groves where the fruit was grown, and images of the fruit being packaged and crated for shipping. Explore further by visiting the collection record, finding aid or the artifacts we’ve digitized from the collection.

Label Collection - Labels are important advertising tools that inform customers what a product is, who produced it and where it comes from. As competition increased within the West Coast fruit industry and the canned food industry in the late 1800s, labels and brand identification became even more important. The labels shown here include some of the entrepreneurial companies within our larger Label Collection. Featured content elements explore the history of labels, the process of lithography (how labels were made) and the entrepreneurial journey of “The Fruit King.” Explore further by visiting the artifacts we’ve digitized from the collection.

Entrepreneur-In-Residence Program, Melvin Parson – Melvin Parson, founder of We The People Growers Association, was the Spring 2019 Entrepreneur in Residence at The Henry Ford, funded by the William Davidson Foundation Initiative for Entrepreneurship. Driven by his mission for equality and social justice, Farmer Parson uses vegetable farming as a vehicle to address social ills. The featured content element links to an interview with Parson where he shares his journey and mission to secure equality and social justice through urban farming. Explore further by visiting the artifacts related to Parson that we’ve digitized.


Visitors to our Sagan have the opportunity to click on individual items located on the walls or can interact with our content elements (blog posts and expert sets) throughout the Sagan. The content element featured here is an expert set of video clips from an interview with Melvin Parson, spring 2019 Entrepreneur in Residence at The Henry Ford.

Have we piqued your interest yet? Click here to explore our Sagan on your own (please note that this experience will be best in the Chrome browser on a desktop computer). After providing your name and email, you’ll be able to fully enjoy this new virtual experience we’ve created. Or, if you're on your mobile device, check out our narrated walkthrough right here:

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21st century, 2020s, Michigan, technology, Saganworks, entrepreneurship, educational resources, by Samantha Johnson