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

An early McDonald’s after the menu change and before the iconic Golden Arch redesign. THF125822

If you do an Internet search on the date and place of the first McDonald’s, chances are you’ll get 1955, Des Plaines, Illinois. But that was actually the first McDonald’s franchised by milkshake machine salesman Ray Kroc.

The first real McDonald’s was created by Richard (“Dick”) and Maurice (“Mac”) McDonald in San Bernardino, California, on May 15, 1940. Located on Route 66 and based upon a food stand opened by their father a few years earlier, Dick and Mac’s “McDonald’s Bar-B-Que” was typical of car-hop type drive-in restaurants of its day.

The big shift from a joint selling barbecue ribs, beef, and pork sandwiches on china plates to the McDonald’s we know today occurred in 1948. Dick and Mac were tired of trying to keep capable cooks and reliable carhops on staff. And the teenagers were driving them crazy—hanging out, breaking the china, and keeping other customers away. So they closed their restaurant, fired the carhops, and a few months later, introduced a whole new “Speedee Service System.” This radical new concept featured a limited menu, walk-up service, an assembly-line system of food production, and drastically reduced prices. Five years later, milkshake machine salesman Ray Kroc recognized a “golden” concept when he saw one. He franchised the concept with their name across the country, especially in the new suburban neighborhoods across the Midwest.


McDonald’s sign, 1960, in the Driving America exhibition, Henry Ford Museum of American Innovation. THF151145

Neon signs like this one, with a single “golden” arch and the logo of Speedee, the hamburger-headed chef, flashed in front of early McDonald’s franchises. The instantly recognizable design was drawn by Richard McDonald in 1952, first applied to a McDonald's restaurant in 1953, and then co-opted by Ray Kroc when he began franchising the restaurants in 1954. It became the corporate logo in 1963, after Kroc bought out the McDonald brothers in 1961. This particular sign lit up Michigan’s second McDonald’s, located in Madison Heights.

The McDonald’s innovative Speedee Service System, reduced-price menu, and recognizable Golden Arches set the standard for numerous other fast food establishments to come. During the 1970s, Happy Meals raised the bar again. McDonald’s continues to be at the forefront of new trends in the fast food industry.

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

Additional Readings:

• 1896 Ford Quadricycle Runabout, First Car Built by Henry Ford
  
• 1937 Cord 812 Convertible
  
• Douglas Auto Theatre Sign, circa 1955
  
• Driving America

Henry Ford Museum, Driving America, Michigan, popular culture, by Donna R. Braden, food, restaurants

An image from the set of The Henry Ford’s Innovation Nation.

For many people—especially those who grew up between the decades of the 1970s through the 1990s—the sight of a boombox often prompts the thought: “I wonder how heavy that thing would feel, if I carried it around on my shoulder?” Boomboxes are infused with the promise of human interaction, ready for active use—to be slung from arm to arm, hoisted up on a shoulder, or planted with purpose on a park bench or an empty slice of asphalt in a city somewhere.

Here at The Henry Ford, we recently acquired a trio of classic boomboxes to document stories about the growth of mobile media and the social communication of music in American culture.

The Norelco 22RL962 was developed in the mid-1960s by the Dutch company, Philips. A combination radio and compact cassette player, it had recording and playback functions as well as a carrying handle. While it was generally thought of as the first device that could be accurately called a “boombox,” the Norelco failed to gain mass traction. The core issue wasn’t due to poor performance from a technological standpoint, but rather the bad sound quality of the tapes. In 1965, the American engineer Ray Dolby invented the Dolby Noise Reduction system, which led to clean, hiss-free sound on compact cassette tapes. His invention sparked a revolution in hi-fi cassette audio.


The ubiquitous compact cassette tape.

In the early 1970s, Japanese manufacturers began to make advancements in boombox technology as an outgrowth of modular hi-fi stereo components. Living spaces in Japan were typically small, and there was a desire to condense electronics into compact devices without losing sound quality.

Later that decade, the improved boombox made its way to the United States, where it was embraced by hip hop, punk, and new wave musicians and fans—many of whom lived in large cities like New York and Los Angeles. In many ways, the boombox was a protest device, as youth culture used them to broadcast politically charged music in public spaces.


An early image of the Brooklyn Bridge and New York Skyline. THF113708

Boomboxes literally changed the sonic fabric of cities, but this effect was divisive. By the mid-1980s, noise pollution laws began to restrict their use in public. The golden years of the boombox were also short lived due to the rising popularity and affordability of personal portable sound devices like the Sony Walkman (and later, the MP3 player), which turned music into a private, insular experience.


The JVC RC-550 ”El Diablo” boombox. THF179795

JVC RC-550 “El Diablo”

This boombox was built for the street, and it is meant to be played loud. Its design is rugged, with a carrying handle and protective “roll bars” in case it is dropped. Many classic photos from the early years of hip-hop depict fans and musicians carrying the El Diablo around cities and on the subway in New York.

The JVC RC-550 is a member of what sound historians refer to as the “holy trinity” of innovative boomboxes. While the origins of its “El Diablo” nickname are uncertain, it is believed to stem from the impressive volume of sound it can transmit—or its flashing red sound meters. It is a monophonic boombox, meaning that it has one main speaker and it is incapable of reproducing sound in stereo. A massive offset 10-inch woofer dominates its design, coupled with smaller midrange and tweeter speakers. As with most boomboxes of this time, bass and treble levels could be adjusted.

An input for an external microphone led to the RC-550 being advertised as a mobile personal amplifier system. Brochures from the Japanese version show the boombox being used by salesmen to amplify their pitches in front of crowds, as a sound system in a bar, and by a singing woman accompanied by a guitarist. Recording could take place directly through the tape deck, or through the microphone on top, which could be rotated 360-degrees.


JVC 838 Biophonic Boombox. THF177384

JVC 838 Biphonic Boombox
The JVC 838 is important for its transitional design. It was one of the first boomboxes to incorporate the symmetrical arrangement of components that would become standard in 1980s portable stereos: visually balanced speakers, buttons and knobs, and a centered cassette deck.

As boombox designs evolved, they began to include (almost to the point of parody) sound visualization components such as VU meters and other electronic indicators. In many cases, these were purely for visual effect rather than function. The needle VU meters on the JVC 838 however, were accurate.

A unique feature of the JVC 838 boombox is its “BiPhonic” sound—a spatial stereo feature that creates a “being there” effect through its binaural speaker technology, resulting in “three-dimensional depth, spaciousness, and pinpoint imaging.” The box also includes an “expand” effect to widen the sound even further.


Sharp GF-777 “Searcher.” THF177382

Sharp “Searcher” GF-777
The Sharp “Searcher” GF-777 is an exercise in excess. Often referred to as the “king of the boomboxes,” it was also one of the largest ever produced. Weighing thirty pounds (minus ten D-cell batteries) and measuring over one foot tall and two feet wide, it took a certain amount of lifestyle commitment to carry this device around a city.

The Searcher played a key part in the performance and representation of hip-hop music. Its six speakers include four woofers individually tuned for optimal bass transmission and amplitude. It appeared in a photograph on the back cover of the first Run-DMC album, found its way into several music videos, and was photographed alongside breakdancing crews. 

Many people used this boombox as an affordable personal recording studio. Two high quality tape decks opened the possibility for people to create “pause tapes” – a way of creating looped beats through queuing, recording, rewinding, and repeating a short phrase of music. A microphone input and an onboard echo effect meant people could rap or sing over top of music backing tracks.

Much like Thomas Edison’s phonograph, the boombox came full circle, allowing people to record and play back music for public and communal consumption. And while they may not mesh with our ideas of what a “mobile” device is in our age of smartphones and streaming services, their reach permeated popular culture in the 1970s well into the 1990s. Sometimes acting as portable sound systems, sometimes used as affordable personal recording studios—carrying a boombox through the streets (wherever you happened to live) was as much a fashion statement and lifestyle choice as it was a celebration of music and social technology.

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

1980s, 1970s, 1960s, 20th century, technology, radio, portability, popular culture, music, communication, by Kristen Gallerneaux

This full-color, large-format book is a compilation of Buster Brown comic strips that originally ran in the New York Herald in 1903 and 1904. THF297428

You may not know his name, but you’re likely familiar his work. Richard Outcault, a talented comic illustrator with a keen eye for marketing, found his ultimate success with the character Buster Brown in the early 1900s.

Born in Lancaster, Ohio, in 1863, Richard Felton Outcault showed an early interest in art. As a teenager, he attended the McMicken School of Design (now the Art Academy of Cincinnati) and found work painting decorative scenes for a Cincinnati safe manufacturer. By 1889, Outcault had taken a position as an artist at Thomas Edison’s West Orange, New Jersey, laboratory, working primarily on corporate exhibitions.


Richard Outcault created this illustration for Edison’s exhibit at the 1889 Exposition Universelle in Paris. It depicts the Menlo Park laboratory complex in 1879, when Edison first demonstrated his experimental lighting system. THF236600

Around 1890, Outcault left West Orange for New York City, where he began contributing mechanical drawings to technical publications like Electrical World and Street Railway Journal. He also submitted comic illustrations to some of the popular weekly humor magazines that had emerged in the 1880s, including Judge, Life, and Puck.

As public interest in comic publications grew, new advances in color printing technology became available, and newspaper publishers saw an opportunity to cash in. In 1893, the New York World introduced a weekly color comic supplement that, at first, reprinted illustrations from the humor magazines it mimicked. Richard Outcault joined the staff of the World as a cartoonist and published his first original comic for the paper in September 1894.

The Yellow Kid
By 1896, one of the recurring characters in Outcault’s comics – a little baldheaded boy wearing a bright yellow nightshirt – had become a sensation. World readers began buying the paper every Sunday to check in on the adventures of the “Yellow Kid,” who the paper also licensed for merchandising. The Yellow Kid became the face of a wide range of products, from cigarettes and packaged foods to fashion accessories and household appliances.

The Yellow Kid’s popularity demonstrated the commercial value of comics and helped establish the medium as a newspaper fixture. Richard Outcault likely never benefitted directly from the licensing of the Yellow Kid – at that time, newspapers owned the rights to the images published in them, and copyright law didn’t protect characters – but he noted the marketing potential of a popular comic character.

Buster Brown
With the success of the Yellow Kid, Outcault himself became something of a commodity. Demand for his comics kept him busy, and Outcault continued illustrating for several newspapers and magazines through the turn of the century. In 1902, he introduced Buster Brown, a mischievous 12-year-old boy from a well-heeled Manhattan family. Readers went crazy for Buster Brown’s shenanigans (and for his pet dog, Tige). Outcault had another hit on his hands.


Richard Outcault was a pioneer in the strip style of comic illustration, with sequential image panels and accompanying text (often in speech bubbles) that contributed to the narrative. By about 1900, this format had become standard for comics. THF297493

This time, he managed to profit from it. Though he never owned the legal rights to Buster Brown, Outcault licensed the character’s name and face to hundreds of companies. Buster Brown promoted everything from bread and cigars to toys and – perhaps most famously – shoes.


This bank is just one example of the hundreds of products manufactured during the first quarter of the twentieth century that bore Buster Brown’s likeness. Buster’s canine companion, Tige, sits at the horse’s feet. THF304975


The St. Louis-based Brown Shoe Company (now Caleres) is probably the best-known Buster Brown licensee. Buster and Tige promoted the Brown company’s shoes – commonly called “Buster Browns” – into the 1990s. THF297402

Americans purchased these branded products for decades after Outcault introduced Buster Brown. The character became a household name that outlived its comic strip, which was last published in 1921. By then, Richard Outcault was focusing less on illustrating and more on marketing. Eventually, he stepped away from comics altogether, returning to painting before his death in 1928. Eighty years later, the comic industry formally recognized Outcault’s important career, inducting him into its hall of fame at the 2008 San Diego Comic Convention.

Saige Jedele is Associate Curator, Digital Content at The Henry Ford

20th century, 19th century, popular culture, newspapers, drawings, communication, by Saige Jedele

One of the comic book titles that came under attack in the 1950s THF141540

The popularity of comic books has always ebbed and flowed.  But there was a time when their very survival was at stake.  Back in the 1950s, Cold War hysteria and the fear of Communist infiltration into American society led to a deep concern about, and intense scrutiny of, comic books.  This was the one medium at the time that went directly from manufacturer to child, bypassing adult supervision. 

An American psychiatrist named Fredric Wertham fanned the flames of adult concern at the time.  Dr. Wertham worked with juvenile delinquents and found that the one thing they all seemed to have in common was their devotion to comic books.  Beginning in 1948, he went on an anti-comic book crusade, writing and speaking out against the detrimental effects that he claimed comic book reading had on young people.  

Dr. Wertham’s Seduction of the Innocent book, 1954 THF277193

Dr. Wertham summed up his arguments in his 1954 opus, Seduction of the Innocent.  This 400-page indictment of the comic book industry warned parents and educators that comic books were not only a harmful form of popular literature but also a serious cause of juvenile delinquency.  In the book, as in his lectures, he cited examples of violence, sexual themes, drug use, and other adult fare that he had found within the pages of actual comic books—asserting that reading this material encouraged similar behavior.  According to Dr. Wertham, these examples were especially evidenced in the extremely popular crime and horror titles published by the EC comic book company at the time. 


Comic books with covers like this one, showing violence and scantily clad women, were among those that Dr. Wertham denounced. THF141552

Seduction of the Innocent created a sensation, as Dr. Wertham put forth a potent combination of professional expertise and moral outrage.  It confirmed the growing fear by many parents that their children’s attachment to comic books was permanently harming their willingness to conform to societal rules and hindering their ability to become law-abiding citizens in America’s democratic society.


1951 Superman comic book predating the Comics Code Authority’s stamp of approval THF141569


1965 Superman comic book with its Comics Code Authority stamp of approval in the upper right corner THF305329

The national attention focused upon the comic book industry led to a simultaneous U.S. Congressional inquiry in 1954.  As things were looking bleak for the comic book industry, the publishers decided to band together and self-censor their own titles by adopting a new Comics Code Authority (or CCA).  According to CCA regulations, each company was required to include a Stamp of Approval on the cover of every one of its issues as a sign that it had met compliance with the Code.


December 1954 issue of Mad when it was a comic book, just before it was converted into a magazine THF141567

As a result, EC titles were soon taken off the shelves.  In fact, this company would have been completely wiped out except for its popular Mad magazine, which became highly successful in its own right.  Even though the other comic book companies honed their stories closely to the guidelines of the Code, the damage had been done.  Comic books were held in disdain for years to the point that, by the early 1960s, their very survival was at risk.  We can thank, in large part, Marvel Comics’ new approach to stories and superheroes for their remarkable comeback.    

Dr. Wertham was later discredited for “manipulating, overstating, compromising, and fabricating” evidence.  And, before long, parents found that comic books were minor in their concern about harmful influences on America’s youth, as they seemed like nothing compared to the new Hollywood teenage films, paperback novels, and rock ‘n’ roll music!  Only later did people better understand that teenage angst and rebellion were very normal parts of growing up.


Teenage movies like the one shown in this 1959 poster made comic books seem tame by comparison. THF109455

Through the ensuing decades, few comic books dared veer from the Code’s regulations that forbade depictions of graphic violence, advocated alignment with societal norms, and dictated that all comic book stories end on an upbeat note.  But by the late 20^th century, these norms had changed enough that the earlier regulations had lost much of their relevance.  The two major comic book companies—Marvel and DC—finally dropped the CCA in favor of their own rating systems—in 2001 and 2011, respectively.

For a time, comic books went on trial.  But they managed to survive and adapt.  Ironically, later studies revealed that comic books actually played a positive role in enhancing literacy, inspiring imagination, providing new career outlets, and leading to lifetime hobbies.

Donna Braden is Curator of Public Life at The Henry Ford.  See her other blog posts, Hooked on Comic Books and Battle of the Superheroes: DC vs. Marvel.

1950s, 1940s, 20th century, popular culture, comic books, by Donna R. Braden, books

DC’s superhero stories, like this 1961 issue of The Flash, invariably ended happily—with problems resolved and loose ends neatly tied up. THF305327


Marvel superheroes often questioned both their superpowers and their general existence, as suggested on this dramatic cover of issue#50 of The Amazing Spider-Man.*

The Flash, the Hulk, the Thing; Batman, Ironman, Spider-Man; the Legion of Super-Heroes, the Avengers, Guardians of the Galaxy.  On and on it goes.  The list of comic book superheroes can seem almost endless.  How do you tell them apart?  To get you started, it helps to know their origin—their company of origin, that is.  With a few exceptions, all comic book superheroes trace their origins back to the talented writers and artists who created them at only two companies—DC and Marvel.  From their beginnings, these companies differed radically in their approach to superheroes, and these differences can still be discerned today. 


Superman comic book, 1951 THF141569

DC Comics

Comic book superheroes originated back in the 1930s with Superman.  This superpowered alien was the brainchild of two shy but talented teenage boys from Cleveland, Ohio—Jerry Siegel and Joe Shuster.  Pooling their drawing and writing talents, they devised the story of a he-man they simply called “The Superman,” who crash-landed on earth from another planet.  To keep his true identity safe, Superman needed to adopt a secret identity.  Enter Clark Kent, a meek, mild-mannered reporter with a personality remarkably similar to the two boys who had created him. 

Siegel and Shuster originally thought their character would lend itself to a great newspaper comic strip.  But they had no luck selling the idea to newspaper publishers, so they reluctantly agreed to sell their story in 1937 to the just-formed Detective Comics, Inc. (later shortened to DC).  Comic books—especially those featuring single characters rather than simply being collections of comic strips—were as yet an untested medium and both the young creators and the publisher took a risk.  Superman first appeared in Action comics (published by National Allied Publications, another corporate predecessor to DC) in June 1938.  Surprising everyone involved, he was immediately so popular that the publishers decided to feature him in his own comic book the very next year.  This marked the first time a comic book was devoted to a single superhero character. 

During the hard times of the Great Depression, Superman’s unprecedented popularity can be attributed to both his secret and his super identities.  Clark Kent represented the regular, unassuming common man that people could relate to, while they could happily dream and fantasize about being as infallible and invincible as the larger-than-life Superman.


Wonder Woman comic book, 1948 THF141561

The formula was potent and durable.  Superman established the essential vocabulary for all DC comic book superheroes to come.  He, like superheroes who came after him, represented courage, humility, steadfastness, and a natural sense of responsibility to serving others in need.  He placed lofty principles above personal advantage, seeking nothing for himself.  As the Great Depression shifted to the patriotic World War II era, new DC superheroes like The Flash and Wonder Woman similarly placed the greater good above their own personal needs.  They never questioned their role in defending American democracy.  And, following the DC formula, they always triumphed in the end.


During the late 1940s and 1950s, young readers were more likely to purchase a comic book about the humorous adventures of teenager Archie Andrews than one about a superhero. THF141542

During the 1950s, sales of comic books declined, especially those about superheroes.  Not only were adults concerned about the harmful effects of comic books on children, but superheroes seemed to lose their sense of purpose.  During the war years, it had been easy to know which side they were on.  What were they fighting for now?  Who exactly was the enemy?  Only Superman’s popularity continued apace, due to the popular TV series, The Adventures of Superman, which aired from 1951 to 1957.  It was through this series that the American public came to know Superman as championing “truth, justice, and the American Way.” 


The Legion of Super-Heroes, a group of super-powered teenagers who join together to fight villains in the 30^th century, have been popular DC superheroes since 1958. THF305330

By the late 1950s, DC superheroes were making a comeback, with both new and revived characters and a host of new supervillains for them to face.  New stories were created to fit the times, usually focusing either on scientific advancements (always seen as a positive force) or science fiction.  DC superheroes were competent, in control, and single-minded in their devotion to simply being heroic.  They solved any problem they encountered in a well-ordered world—a world that, for each character, had to be internally consistent.  Stories were comforting, positive, optimistic, reassuring, rational, and moral.  Superheroes used their powers responsibly, inevitably siding with established authority.


This DC series, which started way back in 1941, featured Superman and Batman teaming up to battle villains. THF305328

The popularity of DC superheroes continued through the 1960s, spiking again with the trend-setting Batman TV show (which aired 1966-68), as well as their being featured on Saturday morning cartoons, in Broadway productions, and through related merchandise.  By this time, DC had settled on a standard and successful formula for its superhero stories: colorful and dramatic covers that grabbed kids’ attention, then a focus on plot development that would inevitably lead to a happy ending.  Little room was left for developing individual characters.  The editors at DC felt that this formula appealed to kids and young teenagers—their core market.  Why mess with success?


Tales to Astonish #60, from 1964, featured two stories of classic Marvel superheroes: Giant-Man (introduced in 1962 as Ant-Man) with his female partner the Wasp, and The Incredible Hulk, re-introduced after his own series had been cancelled the previous year. *

Marvel Comics

In the late 1930s, following quickly upon the success of Superman over at DC, Timely Comics (later to become Marvel) introduced The Human Torch and Sub-Mariner.  The ultra-patriotic Captain America followed them during the World War II era.  But Marvel superheroes truly came into their own in the early 1960s. 

The Comics Code Authority stamp of approval THF141590 (detail)

The public attack on comic books in the 1950s had put a damper on the comic book industry, forcing several companies to go out of business.  It was risky even being in the business at the time.  But partly because he figured he had nothing to lose at that point, talented Marvel writer (and later visionary editor) Stan Lee tried a new approach to superheroes that would change the course of comic books forever.  He decided he could work within the constraints of the industry’s new self-censorship board, the Comics Code Authority, while at the same time dealing with more serious topics and stories. 


This Marvel Collectors’ Item Classics from 1965 marked the first time that early classic Marvel stories were reprinted—in this issue, Fantastic Four #2 (January 1962); The Amazing Spider-Man #3 (July 1963); the Ant-Man story from Tales to Astonish #36 (October 1962); and Journey to Mystery featuring The Mighty Thor #97 (October 1963). *

The new superheroes that Lee created had relatable personalities, human flaws, and real-life problems.  Their stories were purposely aimed at a new audience of older teenagers, who were wrestling with their own insecurities and feelings of alienation.  These stories also questioned the scientific advancements of the Atomic Age that DC had embraced as positive forces in people’s lives.  What if science ran amok?  What if things went horribly wrong? What if there were dire consequences?  Many Marvel superheroes, in fact, gained their superpowers because of horrific scientific accidents. 


Even though the Human Torch and the Thing were both members of the Fantastic Four, in this issue of Strange Tales from 1964, a villain named the Puppet Master manipulated them into fighting each other. *

It started with the Fantastic Four in 1961—Lee’s answer to an assignment to come up with a team like DC’s recently created and very popular Justice League of America.  Lee had long thought that typical superheroes were too perfect, that “the best stories of all…are the stories in which the characters seem to be real.  You feel you know them, you understand them, you can relate to them.”  This “Fantastic” superhero family had four distinctive personalities.  Furthermore, they did not act like the polished, restrained, polite superheroes with which comic book readers had long been familiar.  They argued, mistrusted each other, had tempers, expressed opinions, led complicated lives.  Rather than the public cheering them on in the stories, people feared and were suspicious of them. 

The Fantastic Four were a revelation—like no other superheroes that had come before.  Older teenagers—for whom DC superheroes had come to seem shallow and one-dimensional—found them original, realistic, exciting.  One fan remarked that turning from the Justice League and Superman to the Fantastic Four was like “stepping through a gateway into another dimension.” 


The Green Goblin, one of The Amazing Spider-Man’s most hated enemies, planned to reveal Spider-Man’s secret identity to the world in issue #39 from August 1966, but in the process, he dramatically revealed his own true identity. *

Marvel quickly followed the popularity of the Fantastic Four with The Incredible Hulk (1962), who not only turned into a brutish monster as the result of a nuclear accident but didn’t even look, act, or sound like a superhero.  In 1963, Marvel introduced its most quintessential superhero—The Amazing Spider-Man, an ordinary teenager beset by ordinary teenage problems who, having acquired super-powers after being bitten by a radioactive spider, only reluctantly sets out to fight crime and villains.


Dr. Strange, introduced in Strange Tales in 1963, gained his own title in 1968 and made regular appearances across the Marvel universe. *

A quick succession of superheroes followed, each character with his or her own manner of speech, personality, values, and quirks.  By the late 1960s, Marvel had woven together an integrated mythology of all its superheroes, in which stories continued, superheroes made guest appearances in others’ stories, and characters could be heroes one day and become villains the next (and vice versa). 


Marvel’s The Silver Surfer was introduced as a tortured soul, permanently exiled to Earth on a surfboard-like craft as punishment for betraying the evil Galactus on his home planet. *

The Marvel formula, as laid out with Fantastic Four in 1961, became the standard.  Stories and characters often focused on alienated and even neurotic individuals with character flaws, inner struggles, and personal grudges.  Endings weren’t always happy or satisfying.  Superheroes didn’t always get along or leverage their powers to help others.  In Marvel superheroes, readers recognized their own failings, struggles, and anxieties.  As opposed to DC’s black-and-white world, the Marvel world was gray—more like the real world.


This DC comic book series, about a group of misfit and alienated superheroes, was conceived in the Marvel mode but was never as popular as Marvel’s stories of similar outcast groups of superheroes like The X-Men. THF141602

Since the 1960s, most superhero stories in comic books have become darker, more complex, and more serious—often tackling social issues with a gritty realism.  This trend has brought DC and Marvel stories, characters, and mythologies closer together in content and tone, though the differences between them are still definable because these are so deeply embedded in their DNA.


The King Kon Comic & Fantasy Convention, which ran from 1984 to 1986, was the first regular comic book convention in the Detroit area after the demise of the multi-genre Detroit Triple Fan Fair (that had run from 1965 to 1977).  King Kon was a predecessor to the current annual extravaganza, Motor City Comic Con, which began in 1989. *

Superheroes can now be found pretty much everywhere, from Comic Cons to an expanding array of movies, TV shows, mobile games, action figures, and other merchandise.  Their worlds are constantly growing, expanding, and changing.  It’s easy to get confused.  But don’t worry. If you’re trying to make sense of it all, start with the superheroes’ origins.  Are they DC or Marvel?  Knowing that will set you off on the right track.

Donna R. Braden is Curator of Public Life at The Henry Ford.  See her other blog posts, Hooked on Comic Books and Comic Books Under Attack.  Items marked with an asterisk (*) are from the author’s collection.

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

“Classic American Cars Series: 1966 Mustang” ornament, 1992. THF177017

“Holiday Barbie” ornament, 1993. THF177020

In 1973, Hallmark Cards, Inc. decided to venture into the world of producing Christmas ornaments. That year, the company introduced a small line of “Keepsake Ornaments,” consisting of six rather traditional glass ball ornaments and 12 handcrafted yarn figures.

“Star Wars: Yoda” ornament, 1997. THF177227

Since then, the company has kept its finger on the pulse of popular tastes, interests, and values. Whether you’re a devoted Hallmark ornament fan or you’re not quite sure why others are, you have to admit that this entrepreneurial company has revolutionized Christmas decorating.

“Spotlight on SNOOPY Series: Joe Cool” ornament, 1998. THF177009

The Henry Ford recently acquired a collection of thousands of Hallmark ornaments from Indiana Hallmark retailer, The Party Shop, spanning the years 1973 to 2009. Besides being fun, artistic, and just plain charming, there are several other reasons we are excited about the addition of these ornaments to our collection.

“Here Comes Santa Series: Santa’s Motorcar” ornament, 1979. THF176989

J. C. Hall, a Visionary Founder

Founded in 1910 by Joyce Clyde (J. C.) Hall, Hallmark did not start with ornaments, but with cards. J. C. Hall (born 8/29/1891) grew up in small-town David City and Norfolk, Nebraska, where at a young age he sold perfume to neighbors and clerked in his older brothers’ bookstore. When he was 16, the three brothers pooled their money and opened the Norfolk Post Card Company. But the market for postcards in Norfolk was limited.

“Yesteryears: Train” ornament, 1976. THF176998

As story has it, in 1910, J. C. dropped out of high school, crammed two shoeboxes full of postcards, and boarded a train for Kansas City, Missouri. He called on drugstores, bookstores, and gift shop owners, wholesaling products that were created and manufactured by others. As business picked up, he ventured to outlying railroad towns. He and his brother Rollie were soon able to open a specialty store in downtown Kansas City, selling postcards, gifts, books, and stationery. Unfortunately, their inventory was wiped out by a fire in 1915. But they were able to float a loan and bought an engraving firm, which set the stage for the creation of their first original Hallmark card designs. In 1921, brother William joined them and in 1923 the three brothers formed Hall Brothers.

Building a Brand

To establish Hallmark as a recognizable brand, it was J.C. Hall’s idea to begin placing ads in women’s magazines. In 1928, J. C. Hall came up with the brand name “Hallmark” because it both incorporated the family name and was an allusion to goldsmiths’ “hallmark,” a mark of quality. The company began to sell its greeting cards nationally. In 1944, Hallmark’s sales and marketing executive Ed Goodman came up with the tag line, “When You Care Enough to Send the Very Best” (using three important company values: caring, quality, and “the best”). In 1954, the company changed its name to Hallmark Cards, Inc.

Traditional glass ball ornament, “Charmers,” 1974. THF177044

J. C. Hall stepped down as president in 1966, and his son Donald J. Hall became the new president and CEO. Under Donald, Hallmark grew and expanded its quality products to a global market. Ornaments were introduced in 1973. The Hallmark Gold Crown Store program was formalized in 1986, with a network of independently owned and operated retailers to build on the strength of the Hallmark brand and its products. The company acquired complementary companies during the 1980s and 1990s, beginning with Crayola in 1984.

“Bright Christmas Dreams” ornament, 1987. THF177003

Taking Risks and Embracing Innovation

Since its beginnings, Hallmark has been known for taking risks and being innovative. In 1917, Hallmark “invented” modern gift wrap by printing its own wrapping paper. The company also patented the “Eye-Vision” greeting card display racks, beginning the idea of displaying greeting cards on public view rather than hiding them in drawers.

“Muhammad Ali” ornament, 1999. THF177038

“Rockin’ With Santa” ornament (mechanical)

Hallmark has continually embraced innovation in the design, technology, and marketing of its ornaments. These include: the use of artists to create original designs; unique translations of cultural celebrities, phenomena, and design trends; groundbreaking experiments in applying sound, light, and other special effects; and sparking the phenomenon of ornament collecting through the creation of a collectors’ club and development of several-year-long ornament series.

“Baby’s First Christmas” ornament, 1990. THF177027

A Mission-Driven Company

Hallmark Cards, Inc. has built an extremely successful business around the core mission of reinforcing stability and connectedness within a rapidly changing world. The company believes that their products and services must enrich people’s lives; that creativity and quality—in their products, services and all that they do—are essential to their success; and that innovation in all areas of their business is essential to attaining and sustaining leadership.

“Gifts for the Grinch” ornament, 2000. THF177353

“See ‘n Say” ornament, 2007 (mechanical). THF177011

Being Customer-Focused

There is a reason why the most popular ornaments over time have moved from traditional glass balls to “figural ornaments”—that is, ornaments designed to represent something, from Christmas motifs to popular toys to characters in movies, TV shows, and children’s books. Many consumers tell Hallmark that they view the company’s Keepsake Ornaments as more than just holiday decorations. They help them relive special memories, remember special people and events, and express their own unique interests and personalities.

“Dad” with video camera ornament, 1996. THF177014

Connected to an Entrepreneurial Family

One of the company’s greatest innovations was establishing an international chain of independent Hallmark stores to encourage sales, customer loyalty, and reinforce their brand. The Henry Ford’s collection of ornaments was once displayed at one of these stores—The Party Shop, a 12,000 square foot Hallmark store in Warsaw, Indiana. The family who owned and operated the Party Shop and the Hallmark Ornament Museum displayed within it epitomizes an entrepreneurial family who embraced Hallmark’s mission.

Dorothy Snyder and her son David in front of the Hallmark Ornament Museum inside their Hallmark Store

Norman and Dorothy Snyder bought The Party Shop in Warsaw, Indiana in 1978. They were looking for a career change and thought that owning a Hallmark store would both be enjoyable and align with their own values. During the 1980s, the Snyders bought or added several stores, both locally and in surrounding small communities. They and their two children, David and Dana, managed these stores.

In 1989, the family moved The Party Shop from downtown Warsaw out to a 4,400 square foot store in a shopping center on the outskirts of town. They kept outgrowing their space until, in 1996, they moved into their final location—a 12,000 square foot store in that shopping center, about three times the size of most Hallmark stores! It was then that they opened the Hallmark Ornament Museum, aided by the donation of an earlier collection amassed by a friend of their son David. They stopped adding to the collection in 2009, because they just couldn’t justify adding more cases—the space was needed for the retail operation.

“Cell-ebrate” ornament, 2007. THF176988

A visionary founder; a successful brand; risk-taking and innovation; a mission-driven company; customer focus; and connections with an entrepreneurial family—these are the qualities that mark our new Hallmark ornament collection. So, they may be cute; they may be funny; they may seem overly sentimental at times. They also make a perfect acquisition for The Henry Ford.

Watch for a growing number of these ornaments to appear in Digital Collections on our website and be sure to check them out in person at Henry Ford Museum of American Innovation during the holiday season.

Donna R. Braden is Senior Curator & Curator of Public Life at The Henry Ford. She was aided in this blog post by Jeanine Head Miller, Curator of Domestic Life and fellow collaborator on “all things Hallmark.”

Additional Readings:

• Miniature Moments: A Journey Through Hallmark® Keepsake Ornaments
  
• Hallmark "Kermit and Miss Piggy: On Frozen Pond" Christmas Ornament, 2003
  
• Hallmark Keepsake Ornaments: Curator Q&A
  
• Digitizing Our Collection of Hallmark Keepsake Ornaments: A Collection Management Perspective

popular culture, Miniature Moments, holidays, Henry Ford Museum, Hallmark, entrepreneurship, Christmas, by Donna R. Braden

Big and Little Bird reinforce the concept of contrasting sizes in this 1973 Playskool puzzle. THF97463

No television show has influenced how we think about children’s learning and thought processes as much as Sesame Street. For 50 years, this innovative TV show has continually broken barriers in its portrayal of diverse human interactions and relationships, its clever integration of Jim Henson’s wildly creative Muppets, and its rapid-fire approach to teaching basic educational concepts.

The idea for Sesame Street began back in 1966 at a dinner party hosted by Joan Ganz Cooney, a TV publicist turned documentary producer, and her husband Tim. In attendance was Lloyd Morrisett, who was both Vice President of the philanthropic Carnegie Corporation and an experimental psychologist interested in children’s education. At the dinner, Morrisett described his three-year-old daughter’s fascination with television—which included not only tuning in to Saturday morning cartoons, but also watching the pre-programming test patterns on the screen and reciting every commercial jingle by heart. Talk turned to the potential of television as a medium for educating young children. Could the seemingly addictive quality of TV be harnessed to both entertain and instruct?

This monster with the insatiable appetite—especially for cookies—has, under adult pressure, increasingly shown an awareness for healthy eating habits. THF97460

Cooney quickly developed a proposal entitled, “The Potential Use of Television in Preschool Education.” Her goal was groundbreaking at the time—to test the premise that TV could help level the playing field in education, preparing less advantaged three- to five-year-olds for school by teaching basic academic skills, self-esteem, and positive socialization. In March 1968, Cooney and Morrisett announced the formation of the Children’s Television Workshop (CTW) and set out to create an educational TV show that would both appeal to young children and help them get a jump on learning. With an eight-million-dollar startup grant from private foundations and government agencies (including the rather skeptical Department of Education), Cooney was able to test ideas for the type of show she had in mind.

The colorful, fast-paced Batman TV show, which premiered in January 1966, provided one of many inspirations for Joan Ganz Cooney in creating Sesame Street. THF6651

Cooney’s reference points included the rapid-fire pacing of the hip new adult-oriented TV show, Rowan and Martin’s Laugh-In. The campy breakout TV show Batman also provided a model, with its fast-paced action as well as its bright, bold colors and even its use of cartoon balloons. Cooney drew additional inspiration from short TV commercials, with their simple melodies in bright major keys. She did not get inspiration from most children’s TV shows, which she thought were dull, slow-paced, and seemed more oriented to adults than kids—with the possible exception of the kid-friendly Captain Kangaroo.

This 1970s Fisher-Price music box plays the song, “The People in Your Neighborhood,” while the Sesame Street scene moves horizontally across the “TV screen.” THF135804

Cooney soon realized that, while she had plenty of vision, she needed help in writing, directing, and producing the show. For this, she called on several veterans from Captain Kangaroo—most significantly Jon Stone, who played such a significant leadership role in shaping Sesame Street that he took over as executive producer for the next 20-odd years. Other talented and dedicated scriptwriters, composers, and directors also joined the team, while psychologists and educators lent their support from the beginning.

Cooney and her collaborators initially created a show that included brief skits, musical numbers, cartoons, and live-action video footage—all basically teaching school-readiness concepts. The idea of portraying a diverse group of people living and working together in a community was intentional, providing a hopeful real-life model for an integrated society, which encouraged respect, mutual tolerance, and cross-cultural friendship. The live action scenes were interspersed with pre-taped “commercials”—that is, short “bits” about letters and numbers presented either as animated segments or featuring Jim Henson’s Muppets. The live-action segments were purposely kept separate from the pre-taped “commercials,” as researchers felt that combining these “reality” and “fantasy” elements would confuse children.

Having the sweetly quizzical Big Bird live in a nest near, and interact with, the live actors on Sesame Street became a key to the show’s success. THF97451

Initial testing, however, revealed that children thought the live-action scenes were boring, the dialog tedious and lengthy. On the other hand, they found the short “commercials” to be catchy and memorable. Pushing back on the researchers’ advice, Cooney and Stone brought in Jim Henson as a full-time producer, while his Muppet creations Big Bird and Oscar the Grouch joined the live-action human cast. The resulting interaction between humans and Muppets—seamless and convincing—provided the missing alchemy. The foundation was laid for Sesame Street as we know it today.

Ongoing episodes about ultra-serious Bert and fun-loving Ernie reinforce to children that vastly different personalities can still be good friends. THF92308

The first episode of Sesame Street premiered on November 10, 1969 and the show aired weekdays on the new Public Broadcasting System (PBS) network. It was immediately hailed as a groundbreaking blend of learning and fun, despite some criticism about its high entertainment quotient, its threat to teachers for undermining early school lessons, and—in Mississippi—its initial banning because of its integrated cast. Time magazine featured popular Sesame Street character Big Bird on its November 23, 1970 cover, next to the headline, “Sesame Street: TV’s Gift to Children.” This issue devoted nine pages to the show’s impact and importance, calling it “the best children’s show in TV history.”

Puppeteer Kevin Clash breathed new energy and vitality into Elmo in the 1980s, but this furry red Muppet became a breakout star in 1996, when comedienne Rosie O’Donnell featured both Clash and this doll on her TV show. THF176791

As Sesame Street has continually changed and grown with the times, its popularity and impact have endured. Comedienne Rosie O’Donnell, whose remarks on her own TV show helped transform Elmo from a minor character to a superstar, described the show’s unique contributions this way:

"From the beginning Sesame Street encouraged imagination and playfulness. It always felt like a show to me about freedom, and it has always spoken to children in a pure and truthful way. Children are children, rich or poor, and there is a language of truth that is innate to these tiny, undeveloped beings that they can hear. Sesame Street had respect for its audience and respect for itself. They never cut any corners and they stuck to their democratic ideals."

Innovative, groundbreaking, and radical when it was introduced, Sesame Street has become nothing short of an American institution.

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

1960s, 20th century, 21st century, 2010s, TV, popular culture, Jim Henson, education, childhood, by Donna R. Braden

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Happy 80^th birthday, Marvel!

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

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