June 1955 magazine advertisement for the release of Lady and the Tramp. THF145583

Although this animated feature film received mixed reviews when it was first released on June 22, 1955, Walt Disney’s Lady and the Tramp has since become a classic.  It is beloved for its songs, its story, its gorgeously rendered and meticulously detailed settings, and its universal themes of love and acceptance—not to mention that scene with the spaghetti!  Numerous story artists and animators contributed their talents to creating this film, but it would take years before Walt Disney would finally give it his nod of approval. 

Unlike other Disney animated films of the time, Lady and the Tramp is not based upon a venerable old fairy tale or a previously published book.  Its origins can be traced back to 1937, when Disney story artist Joe Grant showed Walt Disney some sketches and told him of his idea for a story based upon the antics of his own English Springer Spaniel named Lady, who was “shoved aside” when the family’s new baby arrived.  Walt encouraged Grant to develop the story but was unhappy with the outcome—feeling that Lady seemed too sweet and that the story didn’t have enough action.  For the next several years, Grant and other artists worked on a variety of conceptual sketches and many different approaches. 

In 1945, the storyline took a drastic turn, which ultimately led to its final film version.  That year, Walt Disney read a magazine short story called, “Happy Dan, the Cynical Dog.”  Here, in the story of a cynical, devil-may-care dog, Walt found the perfect foil for the prim and proper Lady.  By 1953, the film had evolved to the point that Walt asked Ward Greene, the short story’s author, to write a novelization of it.  It is Greene—not Joe Grant—who received credit in the final film.  Walt couldn’t resist adding a personal tidbit to the story.  According to his telling of the story, the opening scene came from his own experience of giving his wife a puppy as a gift in a hat box to make up for having forgotten a dinner date with her. 

Interestingly, the spaghetti-eating scene was almost cut, as Walt Disney initially thought it was silly and unromantic.  But animator Frank Thomas had such a strong vision for the scene that he completed all the animation for it before showing it to Walt, who was so impressed he agreed to keep in the now-iconic scene.

1955 charm bracelet of the dogs in Lady and the Tramp, likely a souvenir obtained at Disneyland. THF8604

Since the dogs were the main characters of the film, it seemed only natural to both show and tell the story from the dogs’ point of view.  The animators studied many real dogs to capture their movements, behaviors, and personalities, while the scenes themselves were shot from a low “dog’s-eye-view” perspective.

A depiction of Main Street, U.S.A. at Disneyland from the 1955 Picture Souvenir Book to the park. THF205154

The film’s setting—early 20^th century small-town America—referenced Walt Disney’s own return to his roots, particularly his growing up in the small town of Marceline, Missouri.  As the setting was coming to life on film, a real live 3D version of it was being constructed at Disneyland, Walt Disney’s new park in Anaheim, California.  Disneyland opened a mere three weeks after the film was released.

Although the setting hearkened back to the past, the filmmaking technique that Walt chose was typically state-of-the-art.  As Walt marked the growing interest in widescreen film technology, he decided this would be the first of his animated films to use CinemaScope.  To fill in the extra-wide space of this format, the animators extended the backgrounds—resulting in settings that are unusually breathtaking, detailed, mood-setting and, when the story called for it, filled with dramatic tension.  Unfortunately, many theatres were not equipped with CinemaScope, so Walt decided that two versions of the film had to be created, forcing layout artists to scramble to restructure key scenes for a standard format as well.  CinemaScope ultimately proved too expensive and did not last past the early 1960s.  But its influence on Lady and the Tramp lives on—a testament to Walt’s commitment to filmmaking innovation.


Although souvenirs related to Lady and the Tramp are hard to come by these days, I was thrilled to find these salt-and-pepper shakers and collectible pins over several visits to Walt Disney World.

I saw Lady and the Tramp when it was re-released in theatres in 1962.  I was nine years old at the time and I was completely enraptured.  The details and setting—from the frilly ladies’ dresses, dapper men’s suits, and overstuffed furniture inside Lady’s house to the horses’ clip-clopping down the cobblestone streets—seemed like old photographs come to life.  Taking in these details on the big screen as a girl, I was transfixed.  Is this where my interest in history began?

After seeing Lady and the Tramp at the movies, I also became obsessed with wanting a dog.  Not just any dog.  I wanted Lady, or a cocker spaniel as close to Lady as I could get.  I dreamed of her, drew pictures of her, transferred her personality onto the stuffed dogs I inevitably got as presents.  When I was in eighth grade, my parents finally relented.  One day my Mom surprised us and took us kids down to the animal shelter to get a dog.  It wasn’t a cocker spaniel.  But we did find a little golden-haired puppy that was a fine substitute. 

I don’t know that I thought much of Tramp when I was a girl.  He was wayward, a nuisance, too different.  But from my older perspective, I see that Lady meeting, and ultimately falling for, Tramp was really a symbol of what happens in your life.  Forced out of your comfort zone, broadening your horizons, seeing things from new perspectives, taking life’s curves with grace until, rather than resisting it, you accept it—even embrace it. 

Who knew, when I was a girl, that this movie was not just about dogs but about life? 

Note: The complete story of the making of Lady and the Tramp, including Joe Grant’s contributions, can be found in the bonus feature, “Lady’s Pedigree: The Making of Lady and the Tramp,” in the 50^th Anniversary DVD of Lady and the Tramp.

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

by Donna R. Braden, popular culture, movies, Disney

An early version of Kermit the Frog appeared in Henson’s Sam and Friends TV puppet show, but Kermit became a breakout star during The Muppet Show. THF304042

It’s hard to believe that May 16, 2020 marks the 30^th anniversary of Jim Henson’s passing. His influence can still be seen in so many places: on-demand TV shows, movies, and specials; related books, toys, games, and other merchandise; and modern-day puppets, puppet performances, and puppeteers.

In his lifetime, Henson’s titles included puppeteer, writer, director, producer, and entrepreneur. But titles can be misleading because he was so much more than these. A brilliant innovator, he continually questioned the status quo, broke boundaries, and experimented with new ideas. By stretching the known capabilities of both puppetry and the medium of television (and, then, of motion pictures), he created a new art form. And, in the process, he inspired us—the viewers—to use our imaginations, to take ourselves less seriously, and to treat others with greater tolerance.

Jim Henson (born 1936) was drawn to the arts at a young age, including an early fascination with puppetry. When he entered college, he thought about majoring in fine arts. But he found—buried in the course list of the home economics department at his school—a class on puppetry. So, even though most of the students majoring in home economics were females learning domestic skills for future homemaking, he decided that would be his major.


Henson was inspired by early radio and TV puppets, including Charlie McCarthy, a “cheeky” boyish dummy voiced by ventriloquist Edgar Bergen. THF106436

As a freshman in college, Henson developed his own TV puppet show called Sam and Friends, which appeared briefly twice each evening. While working on this show, Henson started questioning many long-standing puppetry traditions. Why not, for example, use the entire frame of the TV screen as the actual puppet theater stage rather than bringing a separate puppet stage into the TV studio? Wouldn’t it follow, he then asked, that the puppet operators could work from off-camera rather than appearing to viewers on the screen?

Henson moved from there to questioning the puppets themselves. Why not make them more lifelike, with flexible fabric-covered foam rubber rather than the traditional carved wood? Why not use rods to move their arms—rather than the more traditional strings—to give them greater flexibility? Why not make the puppets’ mouth movements more precise to match their dialog—enhancing their believability and letting their full range of emotions be conveyed through words as well as actions? Finally, why not give the characters distinct personalities? Better yet, imbue their personalities with whimsy, playfulness, and humor. As Henson continued to refine his ideas and his characters, an entirely new kind of puppet was born—part puppet, part marionette, and all Henson. He called his new creations Muppets.


During his early career, Henson studied the artistry of traditional wood-carved marionettes when he spent time in Europe. THF38105

The publicity that Henson gained with his Sam and Friends show led to his invention of a host of new Muppet characters for a range of TV commercials. By this time, the 1960s, it seemed that people were coming to appreciate humor, irony, and satire more than the serious “hard sell” that had been the norm.


Adding life-size Muppets like Big Bird to the regular cast of Sesame Street increased the show’s popularity. THF97451

Though he was initially reluctant to collaborate on a TV show aimed specifically at kids, Henson experienced their first major breakthrough with Sesame Street, which premiered in 1969 (for more on Sesame Street, see this post).

But Henson’s greatest claim to fame came with The Muppet Show (1976-81)—produced in England because American TV networks wrongly assumed that Muppets would just appeal to kids. Hosted by his somewhat “bolder” alter-ego, Kermit the Frog (whom he controlled and voiced), this show introduced millions of viewers to Henson’s unique blend of humor and imagination. The Muppet Show would go on to air in more than 100 countries, win several Emmy awards, and lead to several spin-off motion pictures.


The song “Rainbow Connection,” first written to provide depth and humanity to Kermit the Frog’s character for the 1979 film, The Muppet Movie, has gone on to become a sort of Muppets anthem. THF182956

Jim Henson went on to contribute his talents and ideas to new fantasy/adventure films, most famously aiding in the creation and articulation of Yoda for the 1980 film, The Empire Strikes Back. He tried his hand with a few of his own fantasy/adventure films, including The Dark Crystal (1981) and Labyrinth (1986)—both of which were destined to become cult classics. He also created two additional popular TV series—Fraggle Rock (1983-87) and the Saturday morning animated show, Jim Henson’s Muppet Babies (1984-91). Just before his passing, Henson worked with The Walt Disney Company to develop the themed attraction, Muppet*Vision 3D at Walt Disney World.






Fraggle Rock characters Wembly and Boober in a pickle-shaped vehicle from a 1988 McDonald’s Happy Meal promotion. THF308672


Inspired by a flashback sequence in the film, The Muppets Take Manhattan, Jim Henson’s Muppet Babies were represented in the McDonald’s 1994 Happy Birthday Happy Meal promotion. THF319291

Today, Jim Henson’s Muppets delight children of all ages. Henson once claimed that, with puppets, you can deal with subjects in a way that isn’t possible with people. The Muppets may not be people, but they certainly reflect who we are as people, providing a mirror to our thoughts, hopes, and dreams.

Jim Henson had plenty of his own dreams. He wanted to make a difference in the world, to change people’s lives in positive ways—through laughter, delight, and imagination. Henson once said that, “I decided that there are many situations in this life that I can’t do much about: acts of terrorism, feelings of nationalistic prejudice, cold war, etc. So what I should do is concentrate on the situations my energy can affect.” Wise and timeless words for the times we live in today!




Appearing in short segments on Sesame Street, ultra-serious Bert and fun-loving Ernie demonstrate to kids that good friends can be tolerant of each other’s differences. THF309817, THF309818

During his lifetime, Henson was deeply committed to encouraging, mentoring, and recognizing the talents of a new generation of puppeteers. In 1982, he established the Jim Henson Foundation to promote and develop puppetry in the United States. Today, the Jim Henson Foundation’s web site is the go-to place to find out what’s happening in contemporary puppet theatre and currently features extensive listings of online puppet shows to “help people collectively navigate the COVID-19 Health Crisis.” Instructions for making your own puppets are included here as well. Through his efforts, and those of his family who carry on his vision, Jim Henson’s legacy has ensured that puppetry is no longer relegated simply to home economics classes but has become a highly respected art form.

Jim Henson and his legacy live on, through Muppet programs and specials; Muppet operators and performers; those who have cherished memories of growing up with Muppet characters and pass these on to younger generations; new audiences who have discovered the old classic characters and shows; and the modern-day puppeteers Henson has inspired.

At a special tribute by the Muppets for Jim Henson back in 1990, Robin the Frog (Kermit’s nephew) remarked that, “Jim Henson may be gone, but maybe he’s still here too, inside us, believing in us.”

I like to believe this is true.

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

Additional Note: Just down the road from The Henry Ford, The Detroit Institute of Arts recently brought out on exhibit a 1969 version of Kermit, donated to them by Jim Henson himself in 1971. See more here.

20th century, 21st century, 2020s, TV, popular culture, Muppets, movies, making, Jim Henson, by Donna R. Braden

Portrait of Young Girl with Hoop and Stick, 1868-1870. THF226622

The challenges posed by COVID-19 have inspired us to figure out new ways of working — and also of playing. Our entertainment is now focused on what can be enjoyed in and around our homes.

The past century saw an explosion of entertainment choices to enjoy in our leisure time, and plenty of these remain accessible to help lift spirits and put smiles on our faces. Favorite music, movies and television shows are at our fingertips. Video and board games can be enjoyed. Craft projects await. Reading material surrounds us —found online, downloaded on tablets or discovered on our own bookshelves. Weather permitting, outdoor activities like walking, riding a bicycle or even barbecuing remain accessible — all while maintaining social distancing, of course!

Right now, for many, there is little physical or mental separation between work and leisure. Taking time to savor leisure activities while remaining at home helps renew energy and focus. There are so many ways to stay engaged. Enjoy!

Perhaps the close quarters many of us are currently experiencing may even inspire more face-to-face communication, creativity — and play.

Home Media Entertainment
Sesame Street 50th Anniversary
The Real Toys of Toy Story
Is That from Star Trek?
Star Wars: A Force to Be Reckoned With
Immersit Game Movement (as seen on The Henry Ford's Innovation Nation)
Travel Television with Samantha Brown's Passport to Great Weekends"
A TV Tour of the White House" with Jacqueline Kennedy
Edison Kinetoscope with Kinetophone
Allan McGrew and Family Reading and Listening to Radio

Staying Busy with Games
Games and Puzzles
Board Games
McLoughlin Brothers: Color Printing Pioneers
Playing Cards
Girl with Hoop and Stick
Alphabet Blocks and Spelling Toys
CBS Sunday Morning with Mo Rocca: Piecing together the history of jigsaw puzzles

Crafting at Home
Leatherworking Kit
Paragon Needlecraft American Glory Quilt Kit
Carte de Visite of Woman Knitting

Video Games
History of Video Games (as seen on The Henry Ford's Innovation Nation)
Player Up: Video Game History
Unearthing the Atari Tomb: How E.T. Found a Home at The Henry Ford

Reading for Pleasure
Comic Books Under Attack
Commercializing the Comics: The Contributions of Richard Outcault
The "Peanuts" Gang: From Comic Strip to Popular Culture
It All Started with a Book: The Wonderful Wizard of Oz
Woman Reading a Book
John Burroughs in His Study

Staying Engaged & Family Activities
Partio Cart Used by Dwight Eisenhower
Connect 3: Guided Creativity

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

Did you find this content of value? Consider making a gift to The Henry Ford.

by Jeanine Head Miller, books, video games, radio, TV, movies, making, toys and games, COVID 19 impact

A scene from the 1940 motion picture, “Young Tom Edison,” starring Mickey Rooney. THF125222


Spencer Tracy portrayed the inventor in the film, “Edison the Man,” released later that same year. THF58062

Thomas Alva Edison is an American “superhero.” It is not surprising, then, that his life story found its way into the movies during Hollywood’s golden age. It is, in fact, quite fitting, since Edison and an associate were instrumental in the development of early movie technology in the 1890s.

In 1940, Edison was the subject of not one, but two, Hollywood films: “Young Tom Edison,” starring Mickey Rooney, and “Edison the Man,” starring Spencer Tracy. These classic motion pictures were filmed in California. But Henry Ford’s well-known collection of Edison-related buildings and artifacts in Dearborn played a supporting role in MGM’s research for script development and set design.


To help prepare for their roles, MGM wanted the actors playing Thomas Edison to visit the Museum and Village to learn more about Edison. Here, Mickey Rooney records his voice on an early Edison tinfoil phonograph. THF125217

In February 1939, MGM scriptwriters Dore Schary and Hugo Butler came to Greenfield Village to see the Menlo Park Laboratory and the Edison-related artifacts in the Museum. (Schary and Butler later received an Academy Award nomination for their script for “Edison the Man.”) MGM also wanted the actors playing Thomas Edison in the films to be inspired by their own visits to Dearborn. Rooney arrived on October 23, 1939, just before filming of “Young Tom Edison” began in Hollywood. Tracy came a few days later.


A few weeks after his visit, Spencer Tracy wrote this letter of appreciation to Henry Ford. THF125214

Tracy was deeply impressed by his visit and wrote a letter to Henry Ford, “I am unable to find words to adequately express the deep and lasting imprint my short visit has made upon me…I shall make a supreme effort to do some small justice and no harm to the memory of your dear friend.”




Henry Ford lent an 1850s locomotive and some railroad cars from his museum for the publicity train that carried special guests from Detroit to Port Huron for the February 1940 premiere of “Young Tom Edison.” THF96236, THF96230


As the train rolled along from Detroit to Port Huron, Mickey Rooney hawked candy and newspapers to the passengers, just as Edison had done as a boy years before. Here, Rooney offers Edison’s widow, Mina Miller Edison Hughes, a newspaper. THF119959


As the special train arrived in Port Huron, fans rushed to greet Mickey Rooney. THF119966


Souvenir from “Young Tom Edison” February 1940 movie premiere. THF96232

Filming began on “Young Tom Edison” in early November 1939. By Christmas, it was complete, and MGM was planning for the film’s February 10, 1940, premiere in Port Huron, Michigan, where Edison had grown up. The festivities included a train ride from Detroit to Port Huron--the same route traveled by Edison in his youth when he sold candy and newspapers on the Grand Trunk railroad. Artifacts from the Museum added authenticity. Henry Ford loaned the 1858 “Sam Hill” steam locomotive and some train cars for the trip. Among the passengers were the film’s star, Mickey Rooney; Edsel Ford; Thomas Edison’s widow, Mina Miller Edison Hughes; and MGM studio executive Louis B. Mayer. In evening, “Young Tom Edison” premiered at three Port Huron theaters, with Rooney appearing at each.


Henry Ford shows Spencer Tracy around the Menlo Park Lab in Greenfield Village during Tracy’s October 1939 visit. THF123498


With the help of photographs and other documentation provided by Greenfield Village staff, MGM built an impressive full-sized version of the Menlo Park laboratory in California for “Edison the Man.” The movie set looked astonishingly like its Greenfield Village counterpart! THF125210

In mid-January 1940, filming began on “Edison the Man.” With the help of photographs and other documentation provided by Greenfield Village staff, MGM built an impressive full-sized version of the Menlo Park Laboratory, with its equipment, furnishings, and rows of bottles on the shelves. The movie set looked astonishingly like its Greenfield Village counterpart.

During the filming, Henry Ford put William Simonds on loan to MGM as a technical assistant. Simonds, a public relations manager for the Village and Museum, had published an Edison biography five years before. During the two-month filming of “Edison the Man” at MGM, Simonds reported back regularly. His letters provide an engaging behind-the-scenes look at the making of this classic Hollywood film.

Simonds told how Rita Johnson’s nervousness at playing her first big role--as Edison’s wife Mary--forced extra takes to complete some scenes. In one instance, Tracy ate five pieces of apple pie during numerous retakes of a scene. Simonds humorously described director Clarence Brown facing a long line of mothers and crying babies to choose an infant to play Edison’s child. He revealed how the stage crew had to scramble to repair the damage when part of the Menlo Park Laboratory set fell over, breaking many of the “chemical” bottles and spilling colored water all over the floor.


The model was sent to Henry Ford as a keepsake. Art director Cedric Gibbons, director Clarence Brown, cinematographer Harold Rosson, and the film’s stars Spencer Tracy and Rita Johnson signed it. THF49762

Filming of “Edison the Man” wrapped up in mid-March 1940 and it premiered May 16, 1940. There had been talk of holding its premiere in Dearborn, but, at the request of Edison’s son Charles, the film premiered in West Orange, New Jersey, where Edison developed many of his later inventions.

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

Additional Readings:

• Thomas Edison’s Menlo Park Laboratory
• Sarah Jordan Boarding House
• Thomas Edison, Innovator and Beachcomber
• Menlo Park Library

California, Michigan, 1940s, 1930s, 20th century, Thomas Edison, popular culture, movies, Greenfield Village buildings, Greenfield Village, by Jeanine Head Miller, actors and acting

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

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

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

The Heroes

Kentucky Fried Chicken Spork, 1978-90. THF173933

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

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

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

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

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

Polly Pocket Watch Happy Meal Toy, 1995. THF141193

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

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

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

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

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

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

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

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

The Villains

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

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

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

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

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

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

Doll Dessert Set, 1935-40. THF141192

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

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

Charlie McCarthy Doll, 1937-40. THF106436

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Matt: Not a BB gun?

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

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

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

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

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

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

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

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


Model with 1979 Ford Country Squire Station Wagon. THF294571

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

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

Matt: Right, a '58 Plymouth.

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

Matt: Right. There you go!

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

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

James: That's true.

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

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

Matt: Yes, Roy Walley.

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

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

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

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

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


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

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

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


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

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

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

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

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

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

"Monkees" Lunchbox and Thermos, 1967 (THF92313)

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

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

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

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

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


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


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


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


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


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


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

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

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

Hot Hatch Heaven! Hyundai’s 275-horsepower Veloster N, one of several new models unveiled at this year’s North American International Auto Show.

Detroit is the capital of the global automotive industry once more as the 2018 North American International Auto Show arrives at Cobo Center. Carmakers from around the world have come to share peeks at their 2019 model lines, and hint at new technologies that may be coming in the years ahead. As usual, the exhibits range from exciting, to informative to downright unreal.

This is exactly what it looks like: a 1979 Mercedes-Benz G-Class frozen in amber.

Mercedes-Benz takes the cake for most unusual display. The German automaker unveiled a new version of its venerable G-Class SUV, in continuous production since 1979. To emphasize its endurance, Mercedes encased a vintage G-Class in a giant block of amber. (Think dino-DNA mosquitoes in Jurassic Park.) The block is located outside, along Washington Boulevard, rather than in the Mercedes-Benz booth. But don’t miss that either – you can see a 2019 G-Class splattered with faux mud, and the G-Class driven to victory by Jacky Ickx and Claude Brasseur in the 1983 Paris-Dakar Rally.

The Chevrolet Silverado – now lighter thanks to a blend of steel and aluminum body panels.

With gas prices down and the economy up, Americans have reignited their romance with pickup trucks. Chevrolet and Dodge both revealed new full-sized models, while Ford trumpeted the return of its mid-size Ranger. The 2019 Chevy Silverado rolled out under the headline “mixed materials.” In response to the Ford F-150’s aluminum bed (premiered at 2014’s NAIAS) and fuel efficiency targets, the bowtie brand is now building Silverado bodies with a mix of steel and aluminum components, shedding some 450 pounds from the truck’s overall weight. Chevy, celebrating a century in the truck business this year, is quick to point out that Silverado’s bed remains an all-steel affair. (Silverado TV commercials have been cutting on the F-150’s aluminum bed for some time now.)

Eyeing the American market, China’s GAC Motor makes a splash with its Enverge concept car.

China is a bigger factor in the American auto industry each year. Buick’s Envision crossover is already made in China, and Ford will shift production of its compact Focus there next year. It’s only a matter of time before a Chinese automaker starts marketing cars in the United States. GAC Motor hopes to be the first, announcing plans to sell vehicles stateside in 2019. (Yes, Chinese-owned Volvo is already selling cars here, but it first came to the U.S. in 1955 in its original Swedish guise.) It could be a tough sell – U.S. automakers and politicians aren’t too pleased with the steep tariffs imposed on American cars sent to China. In the meantime, GAC tempts NAIAS visitors with its Enverge concept SUV. The all-electric Enverge is said to have a range of 370 miles on a single charge – and can be recharged for a range of 240 miles in a mere 10 minutes.


Detective Frank Bullitt’s 1968 Ford Mustang, among Hollywood’s most iconic cars.

Ironically, one of the most talked-about cars at NAIAS is 50 years old. Ford Motor Company tracked down one of two Highland Green Mustangs driven by Steve McQueen in the 1968 thriller Bullitt. As any gearhead knows, the movie’s epic 11-minute chase scene, in which McQueen and his Mustang go toe-to-toe with a couple of baddies in a black 1968 Dodge Charger, is considered one of Hollywood’s all-time greatest car chases – even half a century later. Its lasting appeal is a credit to McQueen’s skill (both as an actor and a driver – he did some of the chase driving himself), the “you are there” feel of the in-car camerawork, and – obviously – the total absence of CGI. Those are real cars trading real paint.

The current owner’s parents bought the Mustang through a 1974 classified ad in Road & Track magazine. For years they used one of pop culture’s most important automobiles as their daily driver! With the movie’s 50^th anniversary this year, the owner decided it was time to bring the car back into the spotlight. Ford agreed and, in addition to the movie car, its booth also features the limited edition 2019 Bullitt Mustang, a tribute car that hits dealer lots this summer.


Digital license plates may one day eliminate sticker tabs – or be remotely updated to alert police of a stolen vehicle.

The youngest, hungriest companies at NAIAS are on Cobo Center’s lower level. More than 50 start-ups, along with colleges and government agencies, are in Detroit for the second annual AutoMobili-D, the showcase for fresh ideas and innovative technologies. Reviver Auto hopes to revolutionize an accessory that hasn’t changed in more than a century: the license plate. The California company proposes swapping the tried and true stamped metal plate for a digital screen. The new device is more visible in low light and poor weather, and resistant to the corrosion that plagues metal plates. In lieu of adhesive registration tabs, your digital plate could be renewed remotely each year by the DMV. Plates could also broadcast Amber Alerts to other drivers, or be updated by authorities if you report your car as stolen. Some will argue that current license plates are fine – as functional and intuitive as need be. But based on the number of randomly-placed renewal tabs I see out there, I’m not so sure there isn’t room for improvement.

Matt Anderson is Curator of Transportation at The Henry Ford.

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

Sliding puzzles of Toy Story characters, 1996. THF135833, THF135835


Sunday November 22, 2020, is the 25th anniversary of Disney-Pixar’s first Toy Story movie, which came out in 1995. Learn about the real history of toys that inspired the characters in this hit animated film.

In 1995, Disney-Pixar’s Toy Story made history as the first feature-length computer-animated film. The movie was a surprise box-office hit, far exceeding estimates. In 1996, it won an Academy Award for Special Achievement and was the first animated film ever nominated for Best Original Screenplay.

In fact, Disney took a real chance on Pixar, a young unproven tech startup at the time. Indeed, the staff at Pixar knew computer technology but they had never created a full-length feature film. But, in the course of developing the film, they made a key decision that laid the foundation for Pixar’s success, both then and now. They decided to put the story first—to focus attention the characters, the plot, the action. So, sure, the computer animation of the first Toy Story movie looks really primitive today. But pretty soon, you forget about that because the story still grabs you. Even though the main characters are toys, it’s a universal human story, about who your friends are, or aren’t, or could be.

In addition to the very relatable human story, both children and adults embraced the film right from the beginning because of the choices of the toys themselves. Why are those the toys in Andy’s room? In fact, they primarily come from the filmmakers’ own memories playing with their childhood toys—leading to a motley assortment of toys from the mid-20^th century to the 1990s that reflects the varied ages of the film’s creators. Some of these evoke a specific era; others have become classics, continually produced over decades for successive generations of kids. We dug into our own collections to find some of the real toys that appear in Toy Story and reveal their true stories.

Sheriff Woody: Cowboy Toys

 

Cheyenne game, 1958-65. THF 91876

Let’s start with the main character, Sheriff Woody. Woody wasn’t a real toy; instead, he represented a whole group of toys. During the 1950s, cowboy movies and TV shows were huge. This was an era during which the West was greatly romanticized, something Walt Disney was on to when he created Frontierland at Disneyland in 1955. Cowboys, in particular, were revered as rough and tough, independent, honest, and hardworking characters—at the time considered laudable traits for young boys (and girls) to emulate. In Toy Story 2, we find out that Woody indeed comes from a 1950s-era TV show entitled Woody’s Roundup. This game from our collection was named after a real TV show called Cheyenne that ran from 1955 to 1963.

Buzz Lightyear: Outer Space Toys

 

Rocket Darts game, 1940s. THF 91902

Buzz Lightyear also represented an era and a larger group of toys and games. During the mid-20^th century, outer space was considered really mysterious and it fascinated people. At first, it was depicted as pure science fiction, as represented by the aliens and Pizza Planet in Toy Story and shown on the cover of this Rocket Darts game from the 1940s. Increasingly, outer space became a real destination as part of the 1960s-era “Space Race”—leading to Americans actually landing a man on the moon in 1969. Buzz Lightyear is reminiscent of this era, equipped as he is with special features that seem more advanced and sophisticated than Woody’s primitive pull string.

Mr. Potato Head

 

Mr. Potato Head playset, 1955-60. THF 47

Mr. (and Mrs.) Potato Head were and still are real toys. They were introduced in 1952 and 1953, respectively. Back in the 1950s, when this playset was produced, it included 28 different face pieces and accessories—like eyes, noses, mouths, and mustaches—that kids would stick on real potatoes! Hasbro began supplying a plastic potato with each kit in 1964.

Slinky

 

Life magazine ad, 1957. THF 109573

Slinky in original box, 1970s. THF 309090

Slinky Dog or, as Woody called him—“Slink”—was also a real toy, as show in this 1957 Christmas ad. He evolved from the invention of the Slinky, along with a host of other rather bizarre-looking Slinky-related toys shown in this ad. The original Slinky was introduced in 1946, when a marine engineer was trying to invent a spring for the motor of a naval battleship.

Toy Soldiers

 

Toy army men, mid- to late 20^th century. THF 170098

The green army men from the “Bucket O Soldiers” referenced the long history of toy soldier playsets. Toy soldiers made of lead or tin date back to the 19^th-century Europe. With advancements in plastics, green army men made of plastic like these became popular after World War II. Molding these figures in one piece with the base attached was less expensive to manufacture, leading to the stiff-legged maneuvers of the “troops”—as Woody called them—in the film.

Doodle Pad: Magic Slate and the Magna Doodle

 

Magic Slate, 1937-46. THF 135603

Woody’s Doodle Pad may be a mashup between the Magic Slate and the Magna Doodle. The Magic Slate, marketed as the “erasable blackboard” is essentially a cardboard pad covered with a clear plastic sheet that “wrote” when a wood or plastic stylus was impressed on it and “erased” when the plastic was lifted up. It dates back to the 1920s, when it was offered as a free giveaway by a printing company. People finally realized that it would make a great plaything and it was heavily marketed to kids after World War II. The Magna Doodle, introduced in 1974 as a “dustless chalkboard,” can be considered a later magnetic version of the Magic Slate, with an erasable arm that swept the “board” clean.

Etch A Sketch

 

Etch A Sketch, 1961. THF 93827

The Etch A Sketch fell somewhere between the Magic Slate and the Magna Doodle. It was invented in 1958 by a French mechanic and tinkerer, who called it “L’Ecran Magique,” or “The Magic Screen.” It used a mixture of aluminum powder and plastic beads with a metal stylus guided by twin knobs and it erased when it was turned over and shaken. The rights to the toy were sold to Ohio Art in 1960, where it became the company’s biggest hit.

Barrel of Monkeys

 

Barrel of Monkeys game, 1966-70. THF 91975

What better way to use the Barrel of Monkeys game than to make a chain of monkeys to try and save a toy that had fallen out of a second-story window? Unfortunately, the monkeys didn’t save Buzz Lightyear but, when this game was introduced in 1966, it was advertised as being—what else?—“more fun than a barrel of monkeys.”

TinkerToys

 

Junior TinkerToy for Beginners playset, 1937-46. THF 135602

Woody used the classic TinkerToy box as a lectern for his meeting with the other toys in Andy’s room. TinkerToys were the brainchild of a man who cut out tombstones for a living but saw how much fun kids were having sticking pencils into spools of thread. He came up with the idea of the TinkerToy playset in 1914, billing it as the “Thousand Wonder Builder.” Over the years, TinkerToys were produced in a huge array of colors, sizes, and variations including plastic sets for younger kids introduced in 1992.

Bonus “Toy:” Nursery Monitor

 

Playskool Portable Baby Monitor, circa 1990. THF170094

The Nursery Monitor is technically not a toy, but it played a key role in the “Toy Story” film for the troops’ reconnaissance mission to report out on Andy’s presents. So we’ll consider it an honorary toy. It is the only item here, and one of the very few in the film, that dates uniquely from the era of Andy’s own childhood. This device would have connected immediately with young viewers who were Andy’s age in 1995, and who would grow up with him in succeeding Toy Story films.

Donna R. Braden, Senior Curator and Curator of Public Life at The Henry Ford, enjoyed viewing Toy Story several times as “research” for this blog post.

This post was last updated November 18, 2020.

20th century, 1990s, toys and games, popular culture, movies, Disney, by Donna R. Braden

Front cover of original edition of book, 1900. THF135495

The Wonderful Wizard of Oz is a story so familiar to us that it seems to have always been around, like an old folktale passed down from generation to generation. But, in fact, it does have an author—an American one at that—and it isn’t even that old. 

In 1900, L. Frank Baum drew upon real-life experiences to write this strange but compelling fantasy tale for children. Incredibly popular even in its time, The Wonderful Wizard of Oz became known as America’s first fairy tale.

Baum himself admitted that he didn’t know where the story came from. But Wizard of Oz enthusiasts (and there are many of them) have spent a great deal of time tracing the influences in Baum’s life that they claim led to the creation of his endearing characters and fantastic settings.

Print featuring “The Original General Tom Thumb,” 1860. THF286368

The story of The Wonderful Wizard of Oz starts way back when L. Frank Baum was a child. Baum grew up enchanted by the fantastic and sometimes scary fairy tales of Hans Christian Andersen and the Brothers Grimm. So when the diminutive Tom Thumb came to town as part of P. T. Barnum’s traveling circus, Baum was astounded.  Not only did Thumb seem to come right out of these fairy tales but he made children like Baum feel less small and somehow more important. Thumb may also have provided the inspiration for the Munchkins. 

Trade card for artificial limbs, 1893-1917. THF286362

When Baum was just 12 years old, he witnessed Civil War veterans returning home with missing or prosthetic (artificial) limbs. These wizened vets—with their misshapen or missing limbs—also connected to fairy tales Baum had read and are believed to have provided the inspiration for the Tin Man.


Hallowe’en postcard, 1917. THF56474

Baum had long complained of scarecrows haunting his dreams, coming alive and chasing him. The Scarecrow in The Wonderful Wizard of Oz is thought to be related to this ongoing nightmare, as well as a reference to the farmsteads he observed while living out in Dakota Territory as a young newlywed. (This experience, of course, also provided the inspiration for the Gales’ farmstead in Kansas.)

Hot-air balloon featured on cover of card game box, 1880-1910. THF91796

Hot-air balloons, which existed earlier, had greatly advanced by the time of the Civil War, as a way for the military to observe enemy battle positions. During the 1870s, aeronautical showmen demonstrated their skills with death-defying stunts before crowds of awestruck onlookers. Witnessing these demonstrations inspired Baum to give the Wizard a hot-air balloon in which to help Dorothy return to Kansas.  

Souvenir Book, Chicago World’s Fair, 1893. THF123529

After trying (and failing) to make a living in Dakota Territory, Baum and his young wife moved to Chicago, just in time for the city’s first great World’s Fair in 1893. This so-called “White City” boasted 200 gleaming white “palaces,” which encircled a series of manicured waterways. Over a period of six months, an astounding 27 million visitors witnessed the fair—nearly 1/4 of the entire American population! Visitors to the fair described it in fantastic terms, like wonderland, dreamscape, and mind-boggling spectacle. Occurring at the same time as one of America’s worst economic depressions, the Chicago World’s Fair was an escape from reality and has been identified as the inspiration for Baum’s Emerald City.

Trade card for Dolly Madison Bread featuring Mother Goose nursery rhyme, 1922. THF286364

While attempting to make a living selling household goods for a department store in Chicago, Baum spent many hours on the road—staring out of railroad cars and staying overnight in nameless hotels.  To pass the time, he started writing stories, drawing from those he recounted to his sons back home.  Among these was a series of stories based upon old Mother Goose nursery rhymes, which was ultimately published.

Inside cover of original 1900 edition.

While moving in new social circles with other published authors and with artists, Baum met talented illustrator William Wallace Denslow. Denslow, who had also attended the Chicago World’s Fair, created a series of vibrant, wildly imaginative illustrations for The Wonderful Wizard of Oz that helped readers visualize Baum’s fantastic descriptions. When Baum attempted to turn his book into a theatrical production soon after its publication, Denslow was again brought in to consult on sets and costumes.

Theatre program, 1903. THF93092

A one-time actor himself, Baum could both work within the confines and see the imaginative possibilities of the theater. So, it didn’t take much to convince him to attempt to turn his book into a staged musical extravaganza.  His many ideas for special effects and illusions dazzled crowds (and some were later used in the movie). But he was inevitably unhappy with his choice to hand over the script to an independent theater producer, who changed many parts of the story.

Record album and cover for original movie, 1961-2. THF157515

In 1938, MGM, a major film studio, decided to turn The Wonderful Wizard of Oz into a blockbuster musical film. Baum’s story of hard times—based upon the hardscrabble lives of prairie homesteaders in the late 19^th century—lent itself perfectly to the hard times that had returned during the Great Depression of the 1930s. Denslow’s drawings again served as the model for the costumes, and many parts of the story and production stuck to the original. But the filmmakers decided to revise a few things—including changing out Dorothy’s silver slippers for ruby red slippers to take advantage of the new technology of Technicolor. 

Collectible TV Guides, July 2000. THF286370

THF286372

THF286374

THF286376

The 1939 film was groundbreaking but it was the TV showing of the film that truly catapulted it into Americans’ lives and hearts. In 1956, the uncut Hollywood film was first shown in one evening on commercial TV. Only audiences with color TV’s at the time could witness the drastic transformation from the dreary black-and-white Kansas settings to the full-color spectacle of the Land of Oz. Beginning in 1959, “The Wizard of Oz” film was shown annually on TV and watching it became a beloved family tradition.


Party centerpiece, 1970-5. THF157517

Today, the continued publication of Baum’s original book, the annual featuring of the film on TV, film festival showings of the classic film on the big screen, several animated versions of the story that were produced later, and scores of related merchandise have kept The Wonderful Wizard of Oz at the forefront of American popular culture. Successive generations of new fans have embraced its fantastic, yet somehow familiar, themes and characters with unabated enthusiasm.

 Donna R. Braden, Curator of Public Life, is still astounded to see the Land of Oz in all its colorful splendor, as she grew up watching the movie on her family’s black-and-white TV. 

She acknowledges the book, The Real Wizard of Oz: The Life and Times of L. Frank Baum, by Rebecca Loncraine (New York: Gotham Books, 2009), as inspiration for this blog post.

Illinois, 20th century, 1900s, popular culture, movies, by Donna R. Braden, books