In the early years of World War I hundreds of thousands of Belgian refugees fled to England to escape their war torn country. Lord Perry, of Ford of England, worked with Henry Ford to establish a home for these refugees to help get them on their feet while they found work and homes of their own in England. For this purpose, Perry leased Oughtrington Hall in Cheshire, England with money donated from Henry and Clara Ford to house up to 100 refugees at a time.
The idea of helping the refugees appears to have been discussed in person between Perry and the Fords in October 1914 while Perry was visiting the states. On returning to England, Perry wrote Clara Ford in December of 1914, saying he’d secured Oughtrington Hall for $35.00 per month, with the landlord giving the rent money to the Belgian Refugee Fund. By December 29, 1914 the first group of refugees had arrived consisting of “six better class adults, 14 better class children and 3 nurses for the children; one wounded Belgian Officer and his wife; 7 discharged Belgian soldiers (these men have been wounded and are sufficiently recovered from their wounds to be discharged from Hospital, but not well enough to rejoin the Army; they cannot go back to their homes in Belgium because they have been destroyed); 4 working class married couples with 5 young children, 3 elderly single men.” The first group of refugees was picked by Perry and included those he considered “the better class” and those of the “working class.” Perry envisioned the wealthy refugees overseeing the children and the working class, and the working class performing the housekeeping, and cooking. The “servant class,” however, rebelled at this notion and Perry was soon writing to Clara noting the working class, “imagine themselves guests and see no reason why they should not be treated as guests with a consequence that they expect to be waited on etc.” Perry compromised by proposing they be paid a servants wage for their labor which would be payable after they left the house to return to Belgium or other employment. The number of refugees in the house continued to grow quickly, by February 1915 there were 93 refugees in the house and in March, 110.
To oversee the group’s needs, Perry appointed a former Ford Motor Company agent in Brussels, Vandermissen as he was the only one in the original group who could speak English. The initial group of refugees battled outbreaks of many contagious diseases, including a scarlet fever and small pox scare. Perry was unable to find a Belgian doctor for some time, so he had to hire local doctors and even use the Manchester plant doctor to see to the refugees needs, however the language gap proved a problem. Eventually, a Belgian doctor was hired, and a surgery and doctor’s office were set up on the grounds. A chapel was built, and a Belgian priest was brought in to see to the refugees’ spiritual needs. Oughtrington Hall was one of the few refugee homes that could house large families and there were always many children in the hall. A nursery and school were established, and the indoor tennis court was heated with a stove to provide a play area for the children. The refugees also raised and sold pigs and cows on the 30 acres attached to the hall.
Perry and his wife, Katie, spent countless hours arranging for the lease, administrating the house, and seeing to the needs of the refugees. They donated much of their own furniture and clothing, “Katie and I have both taken all of our clothes, excepting those that we are actually wearing – both suits and under-clothes – and used them for fitting out some of these poor people.” Perry also requested the Fords send their second-hand clothing to the refugees as well “if it is not too much trouble, it would be nice to receive from you any old clothes of Edsel’s or Mr. Ford’s which could be spared…Such clothes would be of much better quality than we can think of buying, and would further more save money,” a request the Fords followed through with (although only one woman in the hall could fit into Clara’s shoes). However, not all the refugees’ needs were met immediately. When the boiler went out in 1915, Perry refused to pay for a new one as they were only renting, demanding the landlord replace the unit, but it took the landlord sometime to make up his mind and “meanwhile the poor Belgians are very cold.” The money the Fords provided not only furnished the house, and provided food, but also bought clothing, toiletries, and basic items for the refugees (many of whom had left the country with no extra clothes or personal possessions) as well as provided the refugees with pocket money from $0.50 - $1.00 each per week. Perry also purchased subscriptions for magazines and rented a piano and gramophone (asking Edsel Ford to send along any old records). Because the first refugees moved in around Christmas the Perry’s purchased a Christmas tree, decorations, and small gifts for the children.
By 1918, because of war rationing, Perry was forced to reduce the number of refugees in the home and stop taking in new refugees; he proposed to the Fords to gradually start winding up the project and close down Oughtrington Hall. The chapel, priest, and doctor had all left by this time and Perry stated only families with children were left. Perry wrote Clara, “I feel that the conditions under which you have, for so long, rendered help to Belgian Refugees in this country, have materially changed; so much so, that it is probably true to say that there are no Belgian refugees in the same sense that there were three years ago.” He went on to add most of the refugees had found work and had become part of community, the others he believed should be taken care of by the government. Over the three years of operation a constant flow of hundreds of refugees came and went through Oughtrington Hall, the number of refugees fluctuated but appears to have stayed around 100 for the most part. Many found jobs, some at the Ford Manchester plant, and moved into homes of their own, or a relative in Belgium sent them money so they could establish their own residence. In July 1918, Perry transferred administration of the hall to the Manchester Belgian Refugees Committee along with the furniture and all equipment in the house. Kathy Makas is Reference Archivist at The Henry Ford.
National Automobile Show Official Program, 1956. THF206474
A big city auto show is a magical place. Automakers turn heads and grab headlines with futuristic concept cars and the latest production models. Suppliers and aftermarket vendors mount elaborate displays promoting everything from gearboxes to floor mats. For the public, it’s a chance to do some serious research on that next big car purchase, or to simply dream while gazing at sports cars, luxury sedans and special edition trucks.
Program, "70th Annual Chicago Auto Show," February 25 through March 5, 1978. THF108058
Auto shows are part trade show and part show business, but they’ve been a part of the automotive industry from the beginning. We’ve put together a new Expert Set featuring programs and posters drawn from the past century. See how much has changed – and how much hasn’t – in selling the American automobile.
Matt Anderson is Curator of Transportation at The Henry Ford.
The Logan County Courthouse, a fixture on the Village Green in Greenfield Village, will has reached the milestone of having been here in Dearborn for as many years as it was in Postville, Illinois - 89 years.
Abraham Lincoln featured prominently in Henry Ford’s plans for Greenfield Village, which revolved around the story of how everyday people with humble beginnings would go on to play important roles in American history. Lincoln epitomized Ford’s view of the “self-made man,” and he made a significant effort to collect as many objects as possible associated with him. By the late 1920s, Henry Ford was a “later comer” to the Lincoln collecting world, but with significant resources at his disposal, he did manage to secure a few very important items. The Logan County Courthouse is among them.
It has taken nearly all the 89 years to achieve this, but an original feature, long absent from the courtroom is making a return. The bar now stands again. Using the original set of spindles, we have re-created our interpretation of what the rail, or the bar, that divided the courtroom may have looked like in the1840s. By referencing images of other early 19th century courtrooms, and studying architectural features represented in Greenfield Village, a typical design was created.
The stories associated with the Logan County Courthouse are fascinating. As it turns out, the story of how the original spindles from the original bar finally made their way back into the courthouse is fascinating as well.
Authenticated objects, related to Lincoln’s early life, were especially scarce by the late 1920s. There seemed to be an abundance of items supposedly associated and attributed to Lincoln, especially split rails and things made from them, but very few of these were the real thing. For Ford, the idea of acquiring an actual building directly tied to Lincoln seemed unlikely.
But, by the summer of 1929, through a local connection, Ford was made aware that the old 1840 Postville/ Logan County, Illinois courthouse, where Lincoln practiced law, was available for sale. The 89-year-old building was used as a rented private dwelling, and was in very run-down condition, described by some as “derelict.” It was owned by the elderly Judge Timothy Beach and his wife. They were fully aware of the building’s storied history, and had made several unsuccessful attempts to turn the historic building over to Logan County in return for taking over the care of the building. Seeing no other options, the Beaches agreed to the sale of the building to Ford via one of his agents. They initially seemed unaware of Ford’s intentions to move the building to Greenfield Village, assuming it was to be restored on-site much like another historic properties Ford had taken over.
This image shows the state of the building when it was first seen by Henry Ford’s staff in late August of 1929. Not visible in the large shed attached to the rear of the building. THF238386
The local newspaper, The Courier, even quoted Mrs. Beach as stating that, “she would refund to Mr. Ford if it was his plan to take the building away from Lincoln, as nothing was said by the agent about removal”. By late August of 1929, the entire project in West Lincoln, Illinois, had captured the national spotlight and the old courthouse suddenly had garnered a huge amount of attention, even becoming a tourist destination. By early September, local resistance to its removal was growing, and Ford felt the need to pay a visit to personally inspect the building and meet with local officials, and the Beaches. He clearly made his case with the owners and finalized the deal. As reported, “Ford sympathized with the sentiment of the community but thought that the citizens should look at the matter from a broader viewpoint. He spoke for the cooperation of the community with him in making a perpetual memorial for the town at Dearborn, where the world would witness it. My only desire is to square my own conscience with what I think will be for the greatest good to the greatest number of people."
Henry had made his case and the courthouse would indeed be leaving West Lincoln. Immediately following the final negotiations, Henry Ford’s crew arrived to begin the process of study, dismantling, and packing for the trip to Dearborn. Local resistance to the move continued as the final paperwork was filed to purchase the land. By September 11, the resistance had run its course and the dismantling process began. It was also revealed that the city, county, several local organizations, and even the state of Illinois had all been offered several opportunities to acquire the building and take actions to preserve it. They all had declined the various offers over the years. It was then understood that Judge & Mrs. Beach, in the end, had acted on what was best for the historic building and should not be “subjected to criticism.” Judge Beach would die on September 19, just as the last bits of the old courthouse were being loaded for their journey to Greenfield Village.
Reconstruction, which included the fabrication of many of the first-floor details and a new stone chimney and fireplaces, began immediately. In roughly a month’s time, the building was ready for the grand opening of Greenfield Village on October 21, 1929.
Nine years later, in 1938, Eugene Amberg sent a letter to Ford describing an interesting discovery. Mr. Amberg was a native of what was now Lincoln, Illinois and worked as a railroad ticket agent. He had a great interest in the local history and was a collector of local artifacts. As he writes in the letter dated February 8, 1938:
Several years ago, you purchased the Old Postville Court House here in Lincoln, Ills from Mrs. T Beach. At the time the Court House was made into a dwelling the railing that separated the judges desk from the main court room was torn out by my father (John Amberg) who was doing the remodeling, this he stored in the attic of his home, recently my mother died and while cleaning out the attic we came across these spindles, which are the original 28 spindles that the hand railing rested upon. The hand railing was of walnut, out of which was carved some arm rests that are now on some of the pews in St. Mary’s, a church here.
Would appreciate a line from you as to whether or not you would be interested in these spindles, have had numerous offers for them, inasmuch as they are part of the original court house I feel they should be with it, in your Dearborn Village.
Dated February 7, 1938, this is the initial letter from Gene Amberg to Henry Ford offering the 28 original spindles for sale. Despite several letters back and forth, a price could not be settled upon, and the transaction never took place. THF288006
This drawing was sent by Gene Amberg, as a follow-up to his first letter offering the spindles for sale. The artist, Mary Katherine, was Gene’s 14 year old daughter. THF288012
Negotiations evidently faltered, as a price was not agreed upon, and the spindles were never sent. Fast forward 71 years to 2009 when an email arrived from Carol Moore and her brother, Dennis Cunningham, the grandchildren of Eugene Amberg. They had no idea that their grandfather had begun this process, and were amazed when we produced the original correspondence from our archival collection. As it turns out, their story was almost identical to Eugene’s. As Carol wrote their mother, “Patricia Amberg Cunningham died March 1, 2008. While cleaning her house in Delavan, Illinois to prepare for sale, we found 28 old wooden spindles and a newspaper article believed to be from the Lincoln Courier indicating that the spindles are from the original Postville Courthouse in Lincoln, Illinois. It is our desire to donate them to the original Postville Courthouse.”
She was very familiar with Greenfield Village, and had visited the courthouse here. Jim McCabe, the Buildings Curator at the time, gladly accepted the donation.
Clipping from the Lincoln Courier ca. 1934, noting the 28 spindles from the “old Postville courthouse” in the possession of Gene Amberg. THF288016, THF288017
In 1848, the county seat moved from Postville, to Mount Pulaski. At that time the courthouse was decommissioned, and the county offices moved to a new courthouse. After a legal battle between the County, and the original investor/builders of the building, it was sold to Solomon Kahn. None other than Abraham Lincoln successfully represented the County in the matter.
Understanding the local history helps to also understand the changes that took place to the building. It explains how and why portions of the building were altered, parts removed, and eventually separated.
By the late 1840s, changes had taken place on both the exterior and interior. The most significant of these was the move off its original foundation, 86 feet forward on the lot. Mr. Kahn converted the building into a general store, and ran the local post office. It was he who moved the building to its new location. In doing so, it was lifted off its original limestone foundation, and the original single limestone chimney and interior fireplaces were demolished. A new brick lined cellar and foundation were created, along with updated internal brick chimneys on each end of the building, designed to accommodate cast-iron heating stoves.
This is the earliest known photograph of the Logan County Courthouse taken some time between 1850 and 1880. This photograph shows the building in its second location, 80 feet forward from its original foundation, at the crest of a small rise. The original window and door configuration remain intact. The original single stone chimney, now restored to the left side of the building, has been replaced by two internal brick chimneys designed for cast-iron heating stoves. Though not visible in the photograph, the building now sits on a new brick foundation and cellar. The items sitting near the doorway speak to the building’s new life as a store. THF132074
By 1880, the old courthouse had been converted from a commercial building into a private dwelling, and that was the state in which it was found by Ford’s crew in 1929. The doorway and first floor interior had been radically changed. Later, a porch was added to the front entrance, and a shed addition was added to the rear. Photographs taken in September of 1929 during the dismantling, show the outline of the original chimney on the side of the building where it has been re-created today. Further discoveries revealed the original floor plan of a large single room on the first-floor, and the original framing for the room divisions on the second. Second floor photographs show the original wall studs, baseboards, chair rails, window, and door frames, all directly attached to the framing, with lath and plaster added after the fact. The framing of the walls on the first floor were all clearly added after the original build.
This post 1880 view of the Logan County Courthouse shows its transformation into a two- family dwelling. Note the single doorway is now two, the second now taking the place of a former window opening. THF238350
This image shows further remodeling of the front of the building. This photo ca.1900 shows the addition of recessed covered porch with some decorative posts and millwork. This is the iteration in which the building was found when it was sold to Henry Ford in September of 1929. THF238348
These three images show the re-modeled interior of what was the original courtroom, now serving as the kitchen, dining room, and parlor. These photos were taken by Henry Ford’s staff just prior to the dismantling of the building in September of 1929. THF238580
The sub-divided first floor courtroom. THF238600
View of the cellar entrance under the stairway in the sub-divided courtroom. THF238598
We have no evidence that tells us what if any interior changes Mr. Kahn may have made when he relocated the building around 1850. The earliest photograph we have of the building shows it in its new location, but except for its new brick chimneys, it retains what appears to be its original door and window configuration. We can only assume that Mr. Kahn had kept the rail in place, which may have proved useful in the building’s new configuration as a store and post office. No photographs of the original courtroom exist and extensive changes made first in 1880, and then when the building was dismantled and reconstructed in Greenfield Village, further comprised any original evidence.
This view of the dismantled second floor shows matching trim and chair rail connected directly to the studs indicating this as the originally installed woodwork from 1840. The wall partition studs are also notched to meet the ceiling joists, showing that they are also part of the original framing configuration of the second floor. All the trim work, including the doors were made of walnut. THF285571
Based on the evidence we do have about these changes, it is very likely that at the time of the building’s conversion into a private dwelling, around 1880, the decorative hand-turned spindles and walnut hand rail would have been salvaged as the first floor of the building was sub-divided into a duplex. As stated in the family history, the walnut top rail was re-purposed and used in St. Mary’s Catholic Church (which burned in 1976), and the spindles saved for a future project.
Analysis of the original spindles showed that they were poplar, a wood commonly used for turning and as a secondary wood in the mid-19th century. Based on what we knew, we decided to use a combination of woods for the reconstruction of the bar rail. Walnut was used for the top rail and column caps, and the remainder of was done in poplar. Though refinished in 1929, the original walnut trim throughout the building was used as a guide for the color and sheen of the final finish. Reproduction hardware, again based on the existing hardware, mainly on the second floor, was used to mount the center gate.
Mose Nowland, conservation team volunteer at The Henry Ford, works on the design rendering for the bar. (Photo by Jim Johnson)
Mose Nowland and other members of The Henry Ford Conservation Team with the newly installed bar. (Photo by Bill Pagel)
The design of the physical installation of the rail and gate was robust. Each of the support columns is supported within by a steel post that runs through the floor joists and into the cellar floor. With over a half million guests visiting Greenfield Village each year, we thought this important. The design also offers some degree of protection to the original spindles that are centered within the top and bottom rail. This is a permanent installation, and we wanted to be sure it would stand up to the test of time.
Views of the newly re-created bar at the Logan County Courthouse in Greenfield Village. (Photos by Jim Johnson)
A huge thank you to Mary Fahey and Dennis Morrison for stewarding the project. Also to Mose Nowlin, our extraordinary volunteer with The Henry Ford’s Conservation Team, who lead the charge in creating the design, and produced beautifully detailed drawings. Ken Gesek, one of our Historic Buildings Carpenters, built the rail, Cuong Nguyen and Tamsen Brown, with the help of rest of THF Conservation Team, oversaw the restoration of the original spindles. Tamsen also developed the formula to match the stain and finish to the existing woodwork in the courthouse. Jason Cagle, from the Painting Staff, skillfully applied the finish. Many other people worked to move the project forward as well.
This true team effort resulted in the original spindles finally being reunited with the Logan County Courthouse after an absence of nearly 140 years.
Logan County Courthouse as it appears today in Greenfield Village. (Photo by Jim Johnson)
Jim Johnson is Director of Greenfield Village at The Henry Ford.
Logan County Courthouse Spindle Accession File, 2009.111, items 1-28, Archival Collection of the Benson Ford Research Center, The Henry Ford.
Logan County Courthouse Building Files including original correspondences, records, photographs prior to dismantling in September of 1929, photographs of dismantling process, September 1929, reconstruction photographs, Greenfield Village, September 1929, 19th century photographic images, Benson Ford Research Center, The Henry Ford.
The Herald, vol. 5 n.3, The Edison Institute Press, March 4, 1938.
Illinois, Logan County, Postville, 1840 U.S. census, population schedule. NARA microfilm publication, Washington, D.C.: National Archives and Records Administration
Illinois, Logan County, Postville, 1850 U.S. census, population schedule. NARA microfilm publication, Washington, D.C.: National Archives and Records Administration
Stringer, Lawrence B, The History of Logan County, Illinois, A Record of its Settlement, Organization, Progress and Achievement, Pioneer Press, Chicago, 1911.
“The Story of the Purchase of the Logan County Courthouse and its Removal to Greenfield Village by Mr. Henry Ford, as told in the columns of the Lincoln Evening Courier, 8/19/29-10/21/29”, compiled by Thomas I. Starr, Aug 1931. Logan County Courthouse Building Files, Benson Ford Research Center, The Henry Ford.
"Partio" Cart Used by Dwight Eisenhower, circa 1960. THF151438
This upscale Partio outdoor kitchen is an eye-catching icon of America’s postwar prosperity during the Eisenhower era (1953-1961)—and was owned by none other than President Dwight D. Eisenhower himself. America enjoyed unprecedented prosperity as the economy soared to record heights. As people moved to the suburbs, they rediscovered the pleasures of outdoor cooking and eating.
In the 1950s--after the material deprivations of a decade and a half of economic depression, and then war--Americans were ready to buy. The number of homeowners increased by 50 percent between 1945 and 1960. Americans filled their homes with consumer goods that poured out of America’s factories—including televisions, refrigerators, washing machines, vacuum cleaners, electric mixers, and outdoor grills.
Advertising fueled their desire for materials things; credit cards made buying easier. Newsweek magazine commented in 1953 that, “Time has swept away the Puritan conception of immorality in debt and godliness in thrift.” Even President Eisenhower suggested that the American public “Buy anything,” during a slight business dip.
President Eisenhower used this Partio portable kitchen cart at his Palm Springs, California home. The Partio performed surface cooking (burners and griddle), oven cooking (roasting and broiling), and charcoal cooking (grilling and rotisserie). As mentioned in the article, “The Cottage the Eisenhowers Called Home,” published in the February 1962 issue of Palm Springs Life Magazine, the Partio appears pictured with the following caption: “Chef Eisenhower shows Mamie and Mary Jean the patio barbecue cart—‘It’s the most fantastic things you ever saw.’”
GE Partio Cart User's Manual, circa 1960. THF112534
Designed and built by General Electric, the Partio offers both a seductive glimpse of mid-century southern California outdoor living and hints at trends that become pronounced five decades later. This unit, essentially a cart-mounted range, married with a charcoal grill and rotisserie, combines a vivid 1950s turquoise palette with that decade's angular "sheer" look, forecasting styling trends of the early 1960s. The high-end Partio prefigures the lavish outdoor kitchen barbeque/range units that became popular at the end of the 20th century. At the same time, along with the more familiar Weber charcoal grills, it speaks to an increased leisure and love of outdoor entertaining.
The Henry Ford acquired the Partio in 2012; currently the artifact is out on loan to the Atlanta History Center as part of its current exhibit, "Barbecue Nation," an exploration of the history behind one of America's greatest folk foods.
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford. Marc Greuther is Chief Curator and Senior Director, Historical Resources, at The Henry Ford.
Edsel Ford and Eleanor Ford with Their Children, Henry, Benson, Josephine and William, at Gaukler Pointe, circa 1938. THF99953
Edsel Bryant Ford was born in Detroit to Henry and Clara Ford on November 6, 1893. As their only son, Edsel seemed destined for a career at Ford Motor Company. He began working for Ford after his high school graduation in 1912 and rose through the ranks to President by age 26. Edsel spent 31 years with the organization, but his life was tragically cut short when he passed away from cancer on May 26, 1943 at just 49 years old.
While his career at Ford was extremely important to Edsel, his wife, Eleanor, and their four children – Henry, Benson, Josephine, and William – were most precious to him. During his limited leisure time he enjoyed painting and collecting art, spending time outdoors, and relaxing with his family at their home in Grosse Pointe Shores. Edsel was also a prolific philanthropist, and, 75 years after his death, exploring his extensive philanthropy is a fitting way to honor his life and legacy of good will.
Edsel Ford at Yale-Harvard Boat Races, New London, Connecticut, 1939. THF94864
Edsel Ford is perhaps best-known for his involvement with the arts. Millions have viewed the Edsel Ford-sponsored and funded Detroit Industry murals by Diego Rivera at the Detroit Institute of Arts or visited the Museum of Modern Art in New York City, of which Edsel was a trustee from 1935 until 1943. Eleanor became a MoMA trustee in 1948, and the Ford Foundation (which was founded by Edsel in 1936) donated one million dollars to the museum in Edsel’s memory in 1963. He also attended many concerts at the Detroit Symphony Orchestra and was a generous patron of the Detroit Symphony Society.
Oil Portrait of Edsel Ford by Diego Rivera, 1932. THF116599
Edsel donated regularly to the Detroit Society of Arts and Crafts – which is now the College for Creative Studies – and attended painting classes in the late 1920s. By 1933 the Society had altered its original mission of keeping handmade craftmanship alive in an increasingly industrialized world and was one of the first art institutions to acknowledge the automobile as an art form. In the book “Making the Modern: Industry, Art, and Design,” author Terry Smith describes this new relationship between art and industry in relation to the Detroit Society of Arts and Crafts:
“Like the shift from the Model T, like the basic move within design itself, this group negotiated a passage from applying ‘art’ to industrial products (decorative devices, elaborate ornamentation) toward seeing ‘art’ in them (their ‘natural simplicity’, ‘precise’ beauty, their matching of ‘form’ and ‘function’). This implied the possibility of designing art into them, of controlling the matching so skillfully that the result would be ‘a work of art’.”
This emphasis on the intersection of art and design was also reflected in Edsel’s work at Ford. He was instrumental in moving the company beyond the Model T into a new automotive era in which both form and function were equally incorporated into the design process.
Edsel Ford as a Child, Fishing, Lake Orion, Michigan, 1899. THF99836
Another of Edsel’s lifelong passions was nature. He engaged in many outdoor hobbies, including fishing, golfing, camping, and sailing, and these interests are reflected in his philanthropy. He supported our national parks – “America’s best idea” – through his contributions to Shenandoah National Park in Virginia and the nonprofit National Parks Association (now the National Parks Conservation Association). In 1931 Congress authorized the creation of Isle Royale National Park in Michigan and Edsel served on the Isle Royale National Park Commission, which managed land acquisition. After the commission acquired most of Isle Royale the land was transferred back to the National Park Service to create the park.
State of Michigan Certificate Reappointing Edsel Ford to the Isle Royale National Park Commission, June 22, 1939. THF256194
Edsel unsurprisingly gave to Henry Ford Hospital, which was founded by his father in Detroit in 1915, but he also donated to many healthcare organizations across the United States and around the world. He contributed to the building fund of King George Hospital in London five years after King George’s son Prince Edward visited Ford Motor Company to learn more about methods of large-scale manufacturing.
Edsel Ford, Edward Albert the Prince of Wales, and Henry Ford at Fair Lane, Dearborn, Michigan, 1924. THF116352
He gave nearly every year to the Frontier Nursing Service, which provided nurse midwifery services to women in rural Kentucky and was one of his mother’s favorite charities. In 1939 he sent the nurses a used Ford station wagon, which they christened “Henrietta," and a second new station wagon in 1941. The American Red Cross, the American Foundation for the Blind, The Seeing Eye, the National Foundation for Infantile Paralysis (now March of Dimes), and many other health organizations also received generous contributions from Edsel.
Fundraising Letter from Mary Breckinridge, Frontier Nursing Service, to Edsel Ford, June 3, 1940. THF130768
Vanda Summers of the Frontier Nursing Service, with Automobile Donated by Edsel Ford, May 1940. THF130772
This list represents a miniscule fraction of Edsel’s charitable career, and the impact of his philanthropy is still felt today through the work of the hundreds of organizations that benefitted from his time and contributions. While remembering Edsel’s career and philanthropy in his 1956 Reminiscences for Ford Motor Company his longtime secretary A.A. Backus stated, “Yes, Mr. Edsel Ford was a swell individual and in my twenty-seven years with the Ford Motor Company I never heard anyone say anything different.”
Edsel Ford on the Beach with Henry Ford II and Benson Ford, 1921. THF95355
Meredith Pollock was formerly Special Assistant to the Vice President at The Henry Ford.
By the 1930s, many motorists had grown weary of camping out. Turned out it wasn’t much fun cooking meals, sleeping in crude tents, and roughing it with primitive equipment and few amenities. Homey little cabins like this one, which were increasing in number at the time, seemed much more appealing. Often home-built by the property owners with a little elbow grease and a can-do attitude, these offered privacy, a modicum of comfort, and a needed respite on the journey from home to one’s final destination.
This tourist cabin, now in the “Driving America” exhibition in Henry Ford Museum of American Innovation, was once part of a group of cabins clustered together along U.S. Route 12 in Michigan’s picturesque Irish Hills region. Originally called the Lore Mac Cabins, this modest cabin complex was built between 1935 and 1938. Today this cabin looks much as it did back then, with many of its original fixtures and furnishings.
The cabins were arranged in a semi-circle along a dirt road. Common bathroom facilities were located behind the main office and the owner’s residence (visible in the foreground of this snapshot). Men’s and women’s shower facilities were located here as well.
The owner of the Lore Mac Cabins was also an approved Gulf gasoline dealer. Two gasoline pumps out in front beckoned both overnight guests and other motorists needing to fill up while driving along busy Route 12 between Detroit and Chicago.
The cabin proprietors lived behind the office in which lodgers registered for their nightly stay. Here the daughter of the owner (and donor of the snapshot) poses self-consciously on the back porch of their residence.
The heat for the “heated cabins”--as advertised in large letters emblazoned across the main building--was provided by small, pot-bellied stoves in each cabin, fueled with wood or coal. The Gulf gasoline sign is visible out front.
In the early 1940s, the owner charged around $2.50 for a single cabin and four to five dollars for a double cabin. The interior walls of the cabins were lined with an inexpensive beaver board material while linoleum covered the floor. Throw rugs alongside the metal-frame beds added a touch of hominess. Guests not wanting to trek all the way to the central sanitation facility could use a white enamelware commode discreetly placed under the bed.
The chairs scattered about the property became a perfect place to pose for snapshots. Taking pictures provided a concrete reminder of a trip and might serve as free advertising for the proprietor when guests shared their adventures with family and friends back home.
Alas, competition eventually made it impossible for small Mom-and-Pop operations like the Lore Mac Cabins to survive. Travelers began to bypass tourist cabins like these for the improved amenities of motels, motor inns and, by the 1950s, standardized chains like Holiday Inn.
Cabins like those at the Lore Mac were certainly preferable to camping. But, despite the attempts by tourist cabin proprietors to offer “homes away from home” at a modest price and in an informal atmosphere, the days of these early bare-bones roadside lodgings were numbered.
The familiar silver packaging for the “Black Vader” Atari 2600 was created by Evelyn Seto, who led the Atari design team with John Hayashi. THF160364
Cardboard boxes printed in bold colors: shimmering silver, blazing orange, primary blue, circus purple—hot pink. Overlaid with white and yellow Bauhaus typography announcing the contents: Centipede, Breakout, Space Invaders. Inside the box, a black plastic cartridge that holds the promise of video game entertainment, all from the comfort of home. Games played while sitting cross-legged on the floor. Later, aching hands from hours of play on a square, non-ergonomic, one-button joystick. No quarters necessary. By the fall of 1977, there was no denying the fact that the arcade was successfully finding its way into the living room.
The Atari Video Computer System (later sold as the Atari 2600) changed the gaming industry. Earlier systems like the Magnavox Odyssey, Home PONG, and the Fairchild System F were available in the early 1970s, but the remarkable success of the Atari 2600 defined a “second generation” of home consoles, selling over 30 million units between 1977 and 1992.
The number of games available for the 2600—taking into account Atari and Sears releases as well as those by third-parties like Activision and Imagic—finds us looking at approximately 550 unique titles. Several games within this vast library include important contributions made by women.
Female employees were not uncommon at the company. Carol Kantor became the first market researcher at a video game company, ever. Wanda Hill drew the circuit diagrams for Asteroids. Judy Richter worked as a packaging designer and production manager for a decade, through multiple leadership transitions. The people working on the assembly lines populating the circuit boards for arcade games were almost all women. Evelyn Seto supervised the design team, inking the original three-pronged “Mt. Fuji” logo and creating the shelf-appealing silver packaging for the Atari 2600.
Dona Bailey and Ed Logg’s 1980 arcade version of Centipede was translated as a “port” for the Atari 2600 in 1982. In 2013, this cartridge was excavated from the “Atari Tomb” located in an Alamogordo, New Mexico landfill. THF159973
The scales were not exactly balanced in terms of gender equality within Atari’s engineering staff, but take for instance the work of Dona Bailey, programmer of the arcade version of Centipede (1980). Not only was she the first female programmer to design an arcade game, but her collaboration with Ed Logg led to the creation of one of the most iconic video games of all time.
When Carol Shaw created 3D Tic-Tac-Toe, she became the first professional female video game developer. THF171081
Carol Shaw & Susan Jaekel
Dona Bailey’s time in the “coin-op” division at Atari overlapped with Carol Shaw’s work for the “cart” division. In 1977, Shaw graduated from the University of California, Berkeley’s Computer Science program, and was hired as the first female programmer at Atari in August 1978. When she completed her first cartridge game that year—3D Tic-Tac-Toe—she effectively became one of the women to work in the professional video game industry. 3D Tic-Tac-Toe is an abstract strategy video game based on a game called Qubic, which wasoriginally played on room-sized computers in the mid-1950s.
In the 1970s and 80s, the exterior graphics of a coin-op console or the illustration on a game’s cardboard box were often a player’s first exposure to a game. Typically, the vibrant and dynamic graphics promoting a game were light years beyond the pixelated game that showed up on the screen. Nonetheless, Evelyn Seto from Atari’s graphics team once said: “The romance of the game was told in the box artwork.”
And what could be more intriguing than a woman in space with her spacesuit-clad dog competing against a robot with laser-powers? The illustrations on 3D Tic-Tac-Toe’s box were painted by Susan Jaekel, who became known for her illustrated textbooks and cookbooks, as well as the packaging for Atari’s Adventure, Circus, Basic Math, and others. On 3D Tic-Tac-Toe, Jaekel collaborated with Rick Guidice to create the four grids in the design; Guidice is well-known for his 1970s illustrations of space colonies for NASA’s Ames Research Center.
In 1978, Shaw also programmed Video Checkers and Super Breakout (with Nick Turner). In 1982, Shaw left Atari to work for Activision, where she created her most celebrated game: River Raid.
River Raid by Carol Shaw. Activision was the first third-party video game developer, making compatible cartridges for the Atari 2600. THF171080
River Raid is a top-down-view scrolling shooter video game. Players move a fighter jet left to right to avoid other vehicles, shoot military vehicles, and must refuel their plane to avoid crashing. The game was pioneering for its variation in background landscape. Whereas most games repeated the same background, Shaw found a way to create a self-generating algorithm to randomize the scenery.
In an interview, Carol Shaw spoke of how “Ray Kassar, President of Atari, was touring the labs and he said, ‘Oh, at last! We have a female game designer. She can do cosmetics color matching and interior decorating cartridges!’ Which are two subjects I had absolutely no interest in…”
Detail of River Raid instruction manual, introduced by Carol Shaw.
In Atari’s early years, Carla Meninsky was one of only two female employees in Atari’s cartridge design division, along with Carol Shaw. When Meninsky was a teenager, her programmer mother taught her the basics of Fortran. Carla’s academic studies at Stanford began in the mathematics department, but she switched to a major in psychology with a focus in neuroscience. In school, she became interested in building an AI-powered computer animation system and spent her free time playing the text-based Adventure game. Soon after graduation, she pitched her computerized animation idea to Atari, and was hired. Almost immediately, she found herself shuttled into the unintended role of game programmer, working through a list of proposed titles with no actual description.
Carla Meninsky and Ed Riddle’s Indy 500 was one of the first of nine titles released with the Atari 2600 launch. THF171078
Meninsky co-designed Indy 500 with Ed Riddle. When the Atari 2600 launched, this was one of the first nine titles advertised. The game was a bird’s eye view racing game that was a “port” made in the spirit of full-size coin-op arcade games like Indy 800, Grand Trak 10, and Sprint 4. This game could be used with the standard controller, or a special driving controller with a rotating dial that allowed players to have greater control over their vehicles.
Dodge ‘Em is another driving maze game designed by Carla Meninsky, and was one of the first games she created for Atari. THF171079
Star Raiders, also by Meninsky, is a first-person shooter game with a space combat theme. The game was groundbreaking for its advanced gameplay and quality graphics that simulated a three-dimensional field of play. The original version of the game was written by Doug Neubauer for the Atari 8-bit home computer and was inspired by his love for Star Trek. This “port” to the home console market for the Atari 2600 was programmed by Carla Meninsky.
Star Raiders came with a special Video Touch Pad controller. The Henry Ford’s collections house the version sold with the 1982 game, as well as a crushed and dirtied version that was excavated from the “Atari Tomb” in 2013. THF171077 and THF159969
The 2600 version of the game could be used with a regular joystick, or a deluxe version was sold with a special Video Touch Pad controller. This twelve-button touchpad was designed to be overlaid with interchangeable graphic cards, printed with commands for different Atari games. Star Raiders was the only game to make use of this controller—perhaps if it weren’t for the looming “Video Game Crash” of 1983, other developers would have made use of this controller.
Atari was one of the first companies with the types of workplace perks that are now ubiquitous at Silicon Valley companies today. It had a reputation for attracting the young, the rebellious, and the singularly talented. While certain aspects of Atari’s workplace culture might raise eyebrows today (and rightly so), it also doesn’t take much digging to find stories of women who were empowered to make vital contributions to the company. These recent artifact acquisitions—games designed and programmed by female gaming pioneers working at Atari—embody an ambition to represent and celebrate diverse cultures through our technological collections.
Kristen Gallerneaux is the Curator of Communications and Information Technology at The Henry Ford.
“Jim Crow” laws—first enacted in the 1880s by angry and resentful Southern whites against freed African Americans—separated blacks from whites in all aspects of daily life. Favoring whites and repressing blacks, these became an institutionalized form of inequality.
Jim Crow was a character first created for a minstrel-show act during the 1830s. The act—featuring a white actor wearing black makeup—was meant to demean and make fun of African Americans. Applied to the later set of laws and practices, the name had much the same effect. THF98689
In the Plessy v. Ferguson case of 1896, the U.S. Supreme Court ruled that states had the legal power to require segregation between blacks and whites. Jim Crow laws spread across the South virtually anywhere that the two races might come in contact. In the North and Midwest, segregation became equally entrenched through informal customs and practices. Many of these laws and practices lasted into the 1960s, until outlawed by the 1964 Civil Rights Act.
Through separate (and inferior) public facilities like building entrances, elevators, cashier windows, and drinking fountains, African Americans were reminded everywhere of their second-class status. THF13419, THF13421
It took a great deal of courage, resilience, and strength of character for African Americans to maintain their self-respect and battle the daily humiliation of Jim Crow. The black church, self-help organizations, and men’s and women’s clubs offered refuge, support, and protection, while the National Association for the Advancement of Colored People (NAACP) provided potential legal assistance.
The NAACP, formed in 1909, emphasized fighting for racial equality through legal action rather than political protest or economic agitation. THF11647
Out of the demeaning environment of Jim Crow arose the opportunity for some African Americans to establish their own businesses. The more cut off that black communities became from white communities and the more that white businessmen refused to cater to black customers, the more possible it became for enterprising black entrepreneurs to create viable businesses of their own.
Most of these businesses were local, small-scale, and family-run. Many black entrepreneurs followed the tenets of Booker T. Washington, who had established the National Business League in 1900 to promote economic self-help. Washington advocated economic development as the best path to racial advancement and the means to eventually challenging the racial prejudice of Jim Crow. While Washington’s precepts would become increasingly out of step with the times, especially when the Civil Rights movement gained momentum, the support for his ideas among black entrepreneurs of the Jim Crow era is repeatedly evident in the naming of businesses after Washington.
The following images from the collections of The Henry Ford provide an intriguing window into the world of black enterprise and entrepreneurship during the Jim Crow era.
Rodger Clark’s No. 1 Barber Shop, c. 1950. THF240383
Black barbers had long cut white customers’ hair as part of their traditional second-class status in service to white people. But, by the early 20th century, white patrons had begun to shift their business to white-owned shops. A new generation of black barbers proudly established shops within their own communities, catering to a growing black consumer market. They knew that their white counterparts would offer no competition, as they did not want the close contact with blacks that cutting hair demanded. Nor could white barbers offer black men the kind of haircut and shave that they themselves knew how to give.
The cost to enter the field was low but black barbers’ status was high. They generally attracted a regular customer base, akin to church preachers. Men congregated and felt comfortable in these shops, and conversation flowed freely, both about local goings-on and larger racial matters that concerned them all. Barber shops remained important spheres of influence during and after the Civil Rights era.
The rise of black female beauty culture paralleled larger trends in society, especially the influence of mass media like movies and popular magazines. Several black female entrepreneurs spearheaded an emerging beauty culture industry—the most famous of these being Madam C. J. Walker. Some enterprising black women, initially trained as agents to sell special hair preparation and cosmetic products (so-called “beauty systems”), eventually opened their own beauty shops as permanent spaces to facilitate their work as “beauty culturists.” With the little capital needed to start their own businesses, they could free themselves from economic dependence on their husbands or on white employers. It was respectable work, considered doing their part for racial progress and the economic uplift of the black race.
Beauty parlors became places where black women could indulge in moments of pampering, self-indulgence, and relaxation while also letting off steam, gossiping, and speaking their minds. Increasingly, beauty parlors became vital public spaces that nurtured debate and activism among women within black communities.
Undertakers and Funeral Directors
Booker T. Washington was depicted on the front of this cardboard handheld fan for the Jacob Brothers Funeral Home, Indianapolis, Indiana, circa 1955. As advertised on the back, the funeral home promised air-conditioning and an organ in its chapels. THF224305
By the 1920s, funeral homes had emerged across the country as primary locations for carrying out the responsibilities of handling and burying the deceased. These first emerged in large towns and cities and gradually spread to rural regions. Funeral homes became a particularly lucrative avenue of entrepreneurship for blacks, which lacked white competition because of the close physical contact that was involved in this work. When African Americans were excluded from joining the National Funeral Directors Association, they organized their own independent organization in 1925.
People entrusted black undertakers and funeral directors in their local communities with the proper and responsible treatment of their deceased loved ones. These entrepreneurs offered an appropriate mixture of respect for traditional religious practices, modern American values, and the changing desires of local neighborhoods. Some black funeral homes flourished through aggressive marketing and modern amenities like spacious limousines.
Cafés, Taverns, and Liquor Stores
Dixie Liquor Store, St. Louis, Missouri, 1940s. THF240367
Saratoga Café and Sportsman Lounge, Chicago, Illinois, 1940s. THF240377
During the Jim Crow era, segregation may have been the law in the South but it was just as apparent in northern and midwestern cities. Restaurants, cafés, taverns, and liquor stores thrived in black neighborhoods, established by local businessmen and geared to local customers. These two stores—in St. Louis, Missouri and Chicago, Illinois—seem to have been extremely popular gathering places for both men and women.
It was one thing to frequent the businesses in your own neighborhood. But what happened when you took an out-of-town road trip? Where might you and your family inadvertently encounter hostility, be turned away, perhaps even risk your lives? Black postal worker Victor H. Green attempted to help black travelers combat this dilemma by creating The Negro Motorist Green Book. From 1936 to 1966, the Green Book offered a directory of safe places for African-American travelers. This included not only the expected roadside amenities of lodgings, service stations, and restaurants, but also listings of many of the classic businesses found in local neighborhoods—like barber shops, beauty parlors, liquor stores, and nightclubs. [For more on the Green Book, see this blog post.
One of the most difficult and risky aspects of cross-country travel for African Americans was the question of where to stay overnight. The Negro Motorist Green Book attempted to update its listings as often as possible, while word of mouth helped African Americans learn of safe places—who often drove miles out of their way to get to them. But the fact remained that the most extensive listings of hotels and motels were in northern metropolises with large populations of black Americans. In smaller towns, a tourist home or two might be listed—which meant staying in a room in someone’s house. Many towns lacked even a single listing.
In 1954, a new kind of black-owned lodging opened in Birmingham, Alabama, coinciding with a black Baptist convention in town. Billed “The Nation’s Newest and Finest Motel,” it was built, owned, and run by pioneering black entrepreneur Arthur George (A. G.) Gaston. Gaston also established several other businesses in Birmingham, including a bank, radio stations, the Booker T. Washington Insurance Company, a funeral home, and a construction firm.
Modeled after the groundbreaking Holiday Inns that had recently opened in Memphis, Tennessee, the A. G. Gaston Motel included 32 rooms, each with their own air-conditioning and telephone. Gaston remarked that opening this motel “means that many persons passing through our city will have a fine place to stay.” In 1963, the Gaston Motel became the epicenter of Birmingham’s Civil Rights protests and demonstrations.
Berry Gordy and Motown Records
This Smokey Robinson and the Miracles 45 rpm record was licensed to and issued nationally by Chess Records because Motown as yet lacked a national distribution network. THF170558
Berry Gordy Jr., founder of Motown Records in Detroit, Michigan, in 1959, created a business that successfully bridged the Jim Crow era and the post-Civil Rights Act era. He accomplished this by accurately predicting the coming of an integrated market of consumers for black popular music.
In 1922, Gordy’s father, Berry Sr., moved his family to Detroit from Georgia—an area steeped in Jim Crow laws and practices—because he faced hostility and potential violence from local whites when his food distribution business proved too successful. Berry Sr. established the Booker T. Washington Grocery Store in the black working-class neighborhood of Detroit, which soon also became highly successful. All the while, he encouraged his children to be industrious and establish their own business ventures.
Inspired by the legendary boxer Joe Louis, Berry Jr. first dreamed of becoming a famous boxer but he eventually gravitated to his other interest—music. From record store owner to songwriter to multi-million-dollar record producer and distributor, Gordy used his business savvy to redefine black music coming out of Detroit as popular music that both blacks and whites would want to hear and buy. Throughout the monumental success of his career, Gordy claimed that he had continually upheld his family’s business ethic and the self-help ideals of Booker T. Washington.
The Jim Crow Era provided the impetus for a number of black businesses to grow and flourish, instilling a sense of pride within black communities, serving as symbols of racial progress, and promising safe places to do business and socialize. The conversation and ideas that flowed freely in black business establishments also helped raise consciousness and establish a sense of solidarity within black neighborhoods. When the Civil Rights movement gained momentum—offering an end to the indignities and disenfranchisement of Jim Crow—many black entrepreneurs did what they could to support the movement. After the Civil Rights Act passed in 1964, and segregation was declared illegal, black entrepreneurs could take pride in the role they had played in the Civil Rights movement despite the fact that the future viability of their segregated businesses were now in jeopardy.
To read more on these topics, check out these helpful books:
Cutting Across the Color Line: Black Barbers and Barber Shops in America, by Quincy T. Mills (2013)
Style and Status: Selling Beauty to African American Women, 1920-75, by Susannah Walker (2007)
Pageants, Parlors, and Pretty Women: Race and Beauty in the 20th Century South,(2016)
Dancing in the Street: Motown and the Cultural Politics of Detroit, by Suzanne E. Smith (1999)
Donna R. Braden is the Curator of Public Life at The Henry Ford.
Motown Record Album, “The Great March to Freedom: Rev. Martin Luther King Speaks, June 23, 1963.” THF31935
Detroit’s Walk to Freedom, held on June 23, 1963, helped move the southern Civil Rights struggle to a new focus on the urban North. Dr. Martin Luther King, Jr. later called this march “one of the most wonderful things that has happened in America.”
Organized by the Detroit Council on Human Rights, this was the largest Civil Rights demonstration to date. Its main purpose was to speak out against Southern segregation and the brutality that faced Civil Rights activists there. It was also meant to raise consciousness about the unique concerns of African Americans in the urban North, which included discriminatory hiring practices, wages, education, and housing. The date was chosen to correlate with both the 100th anniversary of the Emancipation Proclamation and the 20th anniversary of the 1943 Detroit race riots that had left 34 people (mostly African American) dead. Dr. Martin Luther King, Jr., who agreed to lead the march, had by this time become committed to uniting both North and South through his grand vision of achieving racial justice by using non-violent protest.
On the day of the march, about 125,000 people filed down Woodward Avenue, singing freedom songs and carrying signs demanding racial equality. Some 15,000 spectators watched them pass by a 21-block area before turning west down Jefferson Avenue to Cobo Hall. Cobo was filled to capacity to hear the speeches of the march’s leaders while thousands more listened to them on loudspeakers outside. Of the speeches given that day, Dr. King’s was the most memorable. People were riveted while he expressed his vision for the future, sharing a dream that foreshadowed the “I Have a Dream” speech that he would give a few months later at the March on Washington.
Berry Gordy, founder of the Motown Record Corporation, considered Detroit’s Walk to Freedom to be such a historic event that he offered the resources of his Hitsville studio to produce a record album documenting Dr. King’s impassioned words. Gordy heightened the drama of the event by titling the album, “The Great March to Freedom: Reverend Martin Luther King Speaks.” He believed that this record belonged in every home, that it should be required listening for “every child, white or black.” No one realized at the time, including Gordy, that the August March on Washington would become the more remembered event.
Dr. Martin Luther King Jr.’s dreams of social justice, voiced at Detroit’s Walk to Freedom, would prove elusive. Despite the fact that Detroit had gained a national reputation for being a “model city” of race relations at the time, in reality the city’s African-American population faced unemployment, housing discrimination, de facto segregation in public schools, and police brutality. Ultimately this disconnect between perception and reality would lead to the violence and civil unrest of July 1967.
For more on the March on Washington for Jobs and Freedom held on August 28, 1963, take a look at this post.
Donna R. Braden is the Curator of Public Life at The Henry Ford.
Dale Earnhardt Sr. is truly one of NASCAR’s greatest legends, with a total of 76 career victories and seven NASCAR Cup championships on the way to becoming a first-ballot NASCAR Hall of Famer.
But one victory, 20 years ago today, will always be special. The 1998 Daytona 500 was the race that Dale Earnhardt finally broke through and won “The Great American Race” in his 20th attempt.
Ironically, Earnhardt was considered a Daytona race master. He had won 11 Daytona 500 qualifying races, six Busch Clash races, four IROC all-star races, two 400-mile July races, and seven Grand National (now XFINITY Series) events at the famed 2.5-mile tri-oval.
That’s 30 victories at the track he loved - a place where legend was he could “see the air” in the draft of cars. It was a place where he was feared by the other competitors because he was so good in competition there.
But a series of mishaps in the biggest race of them all – the Daytona 500 – had hampered him in chasing the trophy he wanted most. Once, he won the Daytona 499 ½, cutting a tire going through the final two turns and losing the chance to win. Other times he had the dominant car only to be beaten by fuel strategy. Or he’d come runner-up in a battle to the finish line.
But that was all forgotten on Feb. 15, 1998, when Dale Earnhardt, once again dominant, led 107 of the race’s 200 laps to take his long-awaited victory in the third fastest 500 in history at that time.
The post-race scene was emotional as Earnhardt slowly rolled down pit lane, with every crew member from every team greeting him with high fives and slaps on his black No. 3 Chevrolet.
The streak had been broken and Dale Earnhardt finally got the trophy he always wanted.
Sadly, just three years later, again in the Daytona 500, Earnhardt was killed in a last lap crash in Turn 4 while attempting to block for his team cars of Michael Waltrip and his son Dale Jr., who went on to finish 1-2.
Kevin Kennedy is a guest writer to The Henry Ford.