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Monthly Archives: December 2019

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

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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. 

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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.

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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.

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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.” 

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The Legion of Super-Heroes, a group of super-powered teenagers who join together to fight villains in the 30th 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.

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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?

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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. 

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The Comics Code Authority stamp of approval
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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. 

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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. 

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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.” 

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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.

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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). 

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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.

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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.

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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

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A Half Century in the Making, the Journey from Yuletides to Holiday Nights

What we know and love today as Holiday Nights did not spontaneously appear in 2000 when we first opened Greenfield Village on December evenings for an immersive holiday experience. Holiday Nights has evolved and grown based on many experiences and inspirations from decades of village “Christmases past.” and the work of many talented people.

The ability to transport our guests to a different time and place is most powerful after dark as the modern world that constantly pushes closer to our borders can be temporarily pushed away. When all is said and done, Greenfield Village provides the most perfect “set” in which to bring the past alive. With over 300 years of history represented, the possibilities are endless; a world where Charles Dickens’, A Christmas Carol, and It’s a Wonderful Life can seamlessly collide. A place where a small town from the distant past comes to life for several hours on December evenings, bringing forth the magic of the holiday season.

Holiday Nights in Greenfield Village is a classic example of “if you build it, they will come.” What began with conservative hopes for several hundred people in attendance has continually grown year after year.

thf112439Information Booklet, "Christmas at Greenfield Village 1964." THF112439

The holiday experience in Greenfield Village has a long history. As early as the mid-1960s, Village buildings were decorated both inside and out for the holiday season. Historic Christmas recipes were prepared in the village kitchens in fireplaces and wood burning stoves. Early on, all the guest experiences were limited to daytime and varied from guided tours, to full access, to tour on your own. Decorations were very elaborate, and included many collection items, but were not always based on sound historical research. Every building got a bit of Christmas, whether it would have been celebrated or not. During this period, attendance was vigorous, especially on December weekends.

THF144738Guests at Clinton Inn (Eagle Tavern) During "Yuletide Evening in the Village," 1975. THF144738

By the mid-1970s, new evening holiday experiences, called Yuletide Evenings, were introduced. Guests had the choice of a formal dinner in either the newly constructed Heritage Hall (now the Michigan Café) or the Clinton Inn (now the Eagle Tavern).The experience included horse drawn wagon, or if conditions allowed, sleigh rides into the Village, and depending on which package was purchased, a tour of 4 different decorated historic buildings, either before or after dinner. By the early 1980s, the Clinton Inn became Eagle Tavern, and the evening program changed to become an immersive 1850 dining experience much like the program offered today. Eventually, the Village tour portion of the evening was discontinued, offering a dinner only experience.  

In the early 1990s, a concerted effort had been made for some years to reinvigorate the daytime program. By paying attention to historical accuracy, but at the same time, broadening the scope and allowing for a wider interpretation of how Americans began to celebrate Christmas in the 19th century, more engaging programs were offered.  Hundreds of artifacts were chosen to fit out the dining rooms, parlors, and where appropriate, Christmas trees. Additional research was also done to lift-up the historic cooking programs and infuse a “living history” approach to the historic structures with the addition of period clothing. All this further supported the stories of the diversity of the American Christmas celebration. This work laid the foundation for the core content of Holiday Nights that we rely on today.

By the late 1990s, for a variety of reasons, the daytime visitation  to the Greenfield Village Holiday Program had begun to decline while the evening program attendance remained strong. Based on the inspiration and fond memories of the wonderful candle and lantern lit buildings decorated for the holidays, a new program was proposed to re-create that opportunity through the Educational Programs class offerings. Though on a very small scale that served less than 100 people, this program reminded us of what could be possible and got the creative process rolling.

THF144736Brochure, "Twelve Nights of Christmas" in Greenfield Village, 2003. THF144736

The Twelve Nights of Christmas, what would later be called Holiday Nights, debuted for the Christmas season of 2000. The daytime “Holiday” program remained in place, and the evening program was basically an evening version. This early version was very quiet, and very dark, as none of the village restoration had taken place yet. Most of the activities were based inside the buildings. Despite the slow start, the potential was fully realized, and creative and physical growth began. With the village closed for the holiday season of 2002  for the renovation, there was time to regroup, brainstorm, and make plans. The new and improved version for the “new” village in 2003 saw expanded outdoor activities, more music, and an ice rink that featured an artificial ice surface. Even with enhanced programming elements, the program was still not really filling the space as it could.

THF133593Musicians Performing at "Twelve Nights of Christmas" in Greenfield Village, 2003. THF133593

During these early years, it was apparent to the village programs team that to achieve the level of experience we were aspiring to, the event would need to be broken down into production areas, and each would need its own level of care and attention to detail. Decorating the village, designing and deploying the lighting, planning the historic food demonstrations, food sales and retail, staffing and training, musical and dramatic program casting and rehearsing, dressing an army of staff, firewood, lanterns, and communicating the entire thing, all was captured and pulled together with the Holiday Nights manual. This work became the go-to document for what needed to be done when and where, once preparation for the evening program began. This tool also became invaluable in planning and producing subsequent years of the program. So, as ideas came forth as to how to expand and improve the Holiday Nights guest experience, the program manual format made it possible to incorporate the new elements and move the experience forward.

A very memorable off site staff mini-retreat to a local book store cafe in 2004 laid the foundation for the program we know today. Building on the sound historical content of our village holiday celebration, our success with Holiday Nights thus far, along with a commitment from the institution, we created and refined the combination of guest experiences that today, makes Holiday Nights truly one of the nation’s greatest holiday experiences. The fireworks finale, the end of the evening procession and sing-a-long, a visit from Santa, a real ice skating rink, immersive food and drink stalls in the center of the Village, a greens market, storytellers, over 100 staff in period dress as well as a wide variety of additional dining experiences and top quality live music, has put Holiday Nights on the map over 20 seasons.


The program continues to grow and evolve. For my part, it’s been a privilege and source of pride to see how far we have come and how we have come together to achieve such greatness. I look forward to the road ahead and what the next 20 years may bring.

Inspired by the evolution of Holiday Nights? See it for yourself - limited tickets for 2019 remain.


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

Michigan, Dearborn, 20th century, 21st century, holidays, Holiday Nights, Greenfield Village, events, Christmas, by Jim Johnson

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Recently, I stopped by the building block “wonderland” that is Towers of Tomorrow with LEGO® Bricks, a temporary exhibit in Henry Ford Museum of American Innovation.

I watched children (and also adults) busily absorbed in designing their own Lego creation - choosing from 200,000 Lego bricks placed within the exhibit as a hands-on activity for visitors. Some kids were likely inspired by the impressive Lego models of famous skyscrapers and other buildings displayed there. Many kids immediately dove into the “bottomless pit” of Lego bricks, jazzed by the opportunity to build something wonderful from their own imaginations.

And children DO love to build things--whether they create imaginary worlds or smaller versions of the real one. Construction toys are quite literally and figuratively “the building blocks of childhood.” Playing with them builds physical and intellectual skills--and encourages creativity. Toy bricks, logs and girders are the stuff of playtime joy!

Over the last 150 years, entrepreneurs have introduced innovative construction toys that have delighted generations of children. Which is your favorite?

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District School Building Block Set, 1876-1886. THF300131. (Gift of Mrs. Clemens August Haass)

After the Civil War, the Charles M. Crandall Company’s building blocks were all the rage. Like Lego bricks, they could be easily and securely linked together in a “thousand and one” ways. By 1879, Crandall offered 28 sets of interlocking blocks and jointed figures.

This “District School” set was a miniature version of a common childhood experience of the era: the one-room rural school. Crandall advertised that children would “laugh over this group of teachers and scholars” as they built the school and arranged the figures. The “District School” had playful appeal, combining entertainment with education--children could learn their alphabet while having fun.

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Tinkertoys, 1914-1925. THF97403

Tombstone cutter Charles Pajeau noticed how much fun his children had sticking pencils into empty thread spools and assembling them into imaginative forms. So, he designed a shorter wooden spool with one hole drilled in the center and a series of holes along the edge. Kids could now build at angles and connect multiple dowels at once. Tinkertoys were born! In 1914, Pajeau started a company to produce and market the toy.

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Erector Set, 1915. THF95319

As toy marketer A.C. Gilbert rode the train from New Haven to New York on business, he watched as workers erected an electrical system along the railroad line using steel girders that had been riveted together. This inspired Gilbert to design a construction set for older boys with metal girders, panels, wheels, gears, and pulleys. His marketing spoke directly to boys, encouraging them to build.

Boys used their Erector sets to build small versions of steam engines, Ferris wheels, zeppelins, bridges, elevators, trucks, cranes, and other devices. The toy not only delighted boys--it also appealed to their parents, who appreciated the way Erector sets could introduce their kids to careers in engineering. The company even offered “degrees” from its “Engineering Institute.”

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Lincoln Logs, about 1960. THF6627 (Gift of Steven K. Hamp)

John Lloyd Wright, son of architect Frank Lloyd Wright, invented Lincoln Logs. Introduced in 1916, these sturdy, miniature logs had interlocking notches. Lincoln Logs were named after Abraham Lincoln, who was born in a log cabin.

After World War II, Lincoln Logs got another boost as they became an iconic Baby Boomer toy. In the 1950s, nostalgia for the American West and the frontier had kids crafting log buildings with their Lincoln Log sets. With their nostalgic connection to America’s past, Lincoln Logs were marketed as “America’s national toy.”

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Lego Building Set, 1976-1983. THF59

Legos, developed in Denmark during the 1950s, first appeared in the United States in 1962. With their small interlocking studs and tubes, Lego plastic bricks held together well - yet could easily be pulled apart. Lego bricks offered “no limits on what you can build.” Two Lego blocks could be joined in 24 different ways. Six blocks--over 100 million ways.

Lego bricks can be assembled and connected to create buildings, vehicles, and even human figures. Though the design and purposes of individual pieces have evolved over the years, each Lego brick--whether made in the 1950s or the present--remains compatible in some way with existing pieces.

Duplo bricks - larger sized versions made for preschoolers - debuted in 1969. They were easier for tiny hands to maneuver.

Over the years, Lego has created Lego sets with a variety of themes, including space, pirates, castles, robots, and the Wild West. They have licensed themes from popular cartoons, films, and video games--like Batman, Harry Potter, and Star Wars.

With their endless creative possibilities, Lego bricks have staying power--and fans worldwide. In 2000, Legos were named “Toy of the Century” by Fortune magazine and the British Association of Toy Retailers.

As a kid, I loved to design and build houses. Growing up, my siblings and I had Tinker Toys, Lincoln Logs, and an Erector set. I rather envied my friend--she had Block City, pre-Lego plastic bricks with architectural details like doors and windows (which Lincoln Logs lacked). My grandmother (who sewed a lot) kept a box full of empty spools and some wood scraps for us to build with--we created imaginary “towns” all over her living room floor. She never seemed to mind.

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

Henry Ford Museum, making, LEGO, childhood, by Jeanine Head Miller, toys and games