Like an actor cast in a role, this 1985 Modena Spyder California was chosen to play the part of a Ferrari 250 GT California Spyder in the movie Ferris Bueller’s Day Off. / Photo by Matt Anderson
For those who haven’t visited Henry Ford Museum of American Innovation in recent months, we have a wonderful new display space created in partnership with the Hagerty Drivers Foundation. Each year, we’ll share a couple of significant automobiles included on the foundation’s National Historic Vehicle Register. The (currently) 32 vehicles on the register each made a lasting mark on American history—whether through influence on design or engineering, success on the race track, participation in larger national stories, or starring roles on the silver screen.
Our first display vehicle is Hollywood through and through. It’s a “1961 Ferrari 250 GT California Spyder” (those quotes are intentional) used in the 1986 Gen-X classic Ferris Bueller’s Day Off. Those who’ve seen the film know that the car is a crucial part of the plot—ferrying Ferris, Sloane Peterson, and Cameron Frye around Chicago; threatening to expose their secret skip day; and forcing a difficult conversation between Cameron and his emotionally distant father.
In true movie fashion, though, not all is what it appears to be.
This 1958 Ferrari 250 GT California is the real thing, as featured in Henry Ford Museum’s Sports Cars in Review exhibit in 1965. / THF139028
The Ferrari 250 is among the most desirable collector cars in the world. GT street versions sell at auction for millions of dollars. And GTO competition variants—well, the sky’s the limit. Even in the mid-1980s, these autos were too pricey for film work—particularly when the plot calls for the car to be (spoiler alert) destroyed. Instead, Ferris Bueller director John Hughes commissioned three replicas for the shoot: two functional cars used for most scenes, and a non-runner destined to fly out the back of Mr. Frye’s suburban Chicago garage.
Replica cars were nothing new in the 1980s. For years, enterprising manufacturers had been offering copies of collector cars that were no longer in production and too expensive for most enthusiasts. The coveted Duesenberg Model J is a prime example, having been copied by replica manufacturers for decades. Some replica cars were more about convenience than cost. Glassic Industries of West Palm Beach, Florida, produced fiberglass-bodied copies of the Ford Model A with available niceties like automatic transmissions and tape decks. Occasionally, the line between “real” and “replica” got blurry. Continuation cars like the Avanti II (based on Studebaker’s original) or post-1960s Shelby Cobras (based on Carroll Shelby’s racing sports cars) were sometimes built with formal permission or participation from the original automakers.
So, if the Ferris Bueller car at The Henry Ford isn’t a real Ferrari, then what is it?
The replica’s builder, Modena Design & Development, was founded in the early 1980s by Californians Neil Glassmoyer and Mark Goyette. When John Hughes read about Modena in a car magazine, he called the firm. As the story goes, Glassmoyer initially hung up on the famous writer/director—believing that it had to be a prank. Hughes phoned again, and Modena found itself with a desirable movie commission. Paramount Pictures, the studio behind Ferris Bueller, leased one car and bought two others.
The Modena replicas featured steel-tube frames and Ferrari-inspired design cues like hood scoops, fender vents, and raked windshields. While the genuine Ferrari bodies used a blend of steel and aluminum components, Modena’s bodies were formed from fiberglass—purportedly based on a British MG body and then fine-tuned for a more Ferrari-like appearance.
The replica Ferrari’s V-8 was sourced from a 1974 Ford Torino, not too different from these 1973 models. / THF232097
The most obvious differences were under the cars’ skin. Rather than a 180-cubic-inch Ferrari V-12, the Modena at The Henry Ford features a 302-cubic-inch Ford V-8 (originally sourced from a 1974 Ford Torino). While the Ford engine was rated at 135 horsepower from the factory, this one has been rebuilt and refined—surely capable of greater output now. And instead of the original Ferrari’s four-speed manual gearbox, the Modena has a Ford-built three-speed automatic transmission. (According to lore, actor Matthew Broderick wasn’t comfortable driving a manual.)
After filming wrapped, the leased car was sent back to Modena’s El Cajon, California, facility. After some work to repair damage from a stunt scene, the car was sold to the first in a series of private owners. By 2003, this beloved piece of faux Italiana/genuine Americana had been relocated to the United Kingdom. The current owner purchased it at auction in 2010 and repatriated the car to the United States. The Modena was much modified over the years, so the current owner had it carefully restored and returned to its on-screen appearance—as you see it today.
Imitation can be the sincerest form of flattery, but it can also be the quickest route to a lawsuit. Following the release of Ferris Bueller’s Day Off, Ferrari sued Modena Design & Development (along with other replica builders). The matter was settled out of court when Modena agreed to make some minor changes per the Italian automaker’s specifications. Replica production then resumed for a few more years.
The Modena Spyder California may not be a real Ferrari, but it’s certainly a real pop-culture icon. That’s reason enough to include it on the National Historic Vehicle Register, and to celebrate it at The Henry Ford.
The papers, perhaps the most complex set of materials ever brought into the holdings of the archives and library at The Henry Ford, contain multiple formats, including documents, graphics, audio, still and moving images, and books in both physical and digital forms.
In addition to the archival and library materials, the larger collection includes many three-dimensional items, such as sculpture, clothing, and large framed artworks, with our collections management and registrar staff being responsible for the care of those items.
The collection’s journey to the archives and library began by receiving the shipment into a large project area in Henry Ford Museum of American Innovation, and then unwrapping and unloading pallets.
Photo by Brian Wilson
Photo by Brian Wilson
Boxes were sorted so that we could check them against existing inventory lists and create additional inventories if needed. Any unlabeled boxes were given temporary paper labels so that they could be tracked.
As the inventories were reviewed, determinations were made about where materials would be stored in the Benson Ford Research Center (BFRC). Storage locations were specified based on the format of the material with, for example, film being placed in cold storage, and books being transferred to library storage.
Once we understood how much we had and where we wanted to put it, we began making shelf space in the BFRC. Many existing collections had to be relocated to create room, with location data for each of those collections requiring updates in our collections management system. In several cases, moving a collection required moving one, two, or three other collections to make efficient use of available shelving. In the end, we made 95 shelves and 16 flat file drawers available for the Schwartz papers. With each shelf being 40 inches wide, this added up to over a football field in length of shelving!
Photo by Brian Wilson
Photo by Brian Wilson
The newly cleared shelves and drawers were slowly filled with boxes and folders over several weeks as the materials were moved from the museum to the BFRC.
Photo by Brian Wilson
Photo by Brian Wilson
In addition to storing the physical materials, we’ve also been reviewing the electronic data included in the papers. Located on multiple “carriers,” including computers, external hard drives, and backup disks, the data includes thousands of text, image, and video files. We’re noting the type, storage size, manufacturer, and part and serial number for each carrier and have created disk images of the most recently used hard drive to improve access to and preserve that data.
Our next steps in this journey will be to expand and refine the original inventories by reviewing the entire collection in the BFRC box-by-box, folder-by-folder, and hard-drive-by-hard-drive with the goal of creating a single master inventory. This inventory will become the starting point for access to the papers for our staff and researchers.
Melvin Parson Gardening during the Entrepreneurship Interview, April 5, 2019 / THF295401
Our culinary team at The Henry Ford is continuously inspired by the stories we tell from our collections and the modern-day changemakers we have the privilege to work with. We’re also always looking for partners whose goals mesh with The Henry Ford’s goals for our food programming. Executive Chef David McGregor of The Henry Ford notes those include “understanding the connection that we have with the food we consume and passing this knowledge down to future generations to ensure a sustainable food system,” as well as “taking the time to understand the seasonality of the food grown in your region and building relationships with local farmers and artisans to create menus that reflect that availability as the seasons change.”
Last year the team created a series of recipes inspired by the work of George Washington Carver; this fall we worked with local farmer and social entrepreneur Melvin Parson, utilizing the products from his farm at The Henry Ford in Plum Market Kitchen. Parson is no stranger to The Henry Ford. As the founder of We The People Opportunity Farm, he was the Spring 2019 Entrepreneur in Residence at The Henry Ford, funded by the William Davidson Foundation Initiative for Entrepreneurship.
Learn more about Parson and his vision for change:
We worked with Parson and his farm this fall to provide locally sourced ingredients in our restaurants, like those found in our Heirloom Tomato Salad with White Wine Vinaigrette. Enjoy it during a visit to Plum Market Kitchen, and then try making it on your own at home.
Heirloom Tomato Salad with White Wine Vinaigrette (serves many)
Ingredients: Tomato Prep
15 heirloom tomatoes
2 yellow onions, julienned thin
1 cup white wine vinaigrette
1 cup basil chiffonade
1 tbsp salt
1 tsp black pepper
2 cups olive oil
1 cup white wine vinegar
6 garlic cloves, minced
1 tbsp fresh parsley, chopped
½ tsp dried basil
1 tsp kosher salt
½ black pepper
Cut tomatoes into 1” chunks and place in a colander for a few minutes to drain excess moisture.
Place tomatoes in a large bowl with other dry ingredients.
Fold in Dressing for service, being careful to keep the tomato pieces intact.
Add all ingredients except oil and blend until smooth
Slowly add oil while blending until everything is incorporated.
Lish Dorset is former Marketing Manager, Non-Admission Products, at The Henry Ford.
On April 30, The Henry Ford was thrilled to welcome 150 student inventors from across the state to participate in the state finals of Invention Convention Michigan (ICM), the Michigan affiliate for Invention Convention Worldwide. The event marked the return of an in-person Invention Convention after two years of virtual programming.
Out of 1,290 young inventors who competed in regional STEM competitions across the state of Michigan, 150 were selected to participate in Invention Convention Michigan. / Photo by Purple Frog Photography
The atmosphere was electric as students in grades 3 through 12 presented their original inventions on the floor of Henry Ford Museum of American Innovation alongside some of the greatest innovations in American history. The young inventors were buzzing with nervous energy when it came time for judging, but once the pressure was off, they felt a rush of accomplishment and were free to explore the museum, garnering more inspirational energy for the year ahead.
Students pitch their inventions to volunteer judges and share their process, from identifying a problem to developing a solution and designing a prototype. / Photos by Purple Frog Photography
During their lunch break, students were given the opportunity to participate in the Innovation Passport Zone. Traveling from booth to booth around the plaza, inventors learned about some of ICM’s sponsors—including Hagerty, Michigan Soybean Committee, and presenting sponsor Delta Dental of Michigan—and got their “passports stamped” for a chance to win a hefty grand prize of donations offered by the sponsors.
Students interact with representatives from Delta Dental of Michigan, Hagerty, and Michigan Soybean Committee in the Innovation Passport Zone. / Photos by Purple Frog Photography
After the scores had been tabulated, students gathered under the DC3 for the awards ceremony, which began with a special word from the president of The Henry Ford, Patricia Mooradian, and a keynote address by Kwane Watson, inventor of the mobile dental unit.
Students enjoyed interacting with Dazzle, mascot for Delta Dental of Michigan, and The Henry Ford’s own Mike Moseley served as emcee for the event. / Photos by Purple Frog Photography
In all, over $3,500 in cash prizes was awarded to 21 of Michigan’s student inventors. Of these, 13 students were selected to advance to the Raytheon Technologies Invention Convention U.S. Nationals taking place at The Henry Ford June 1-3. To watch a replay of the awards ceremony, click here.
Congratulations to these 21 student inventors, who were recognized with awards during the awards ceremony. / Photo by Purple Frog Photography
A special congratulations goes out to Meera R., who was the Grand Prize Winner, presented by Delta Dental of Michigan, as well as the winner of the Make the World Award, presented by Stanley Black & Decker; the Originality Award, presented by Hagerty; and the Safety Award, presented by Hitachi Astemo. Meera will also be among the 13 inventors selected to represent Michigan at U.S. Nationals in June. / Photo by Purple Frog Photography
It was wonderful to see the museum plaza filled with passionate and joyous students, along with proud families and educators. We look forward to experiencing the thrill of Invention Convention U.S. Nationals in a few weeks and want to congratulate all of our student inventors once again for all of their hard work.
Katie Dallos is Program Coordinator, Invention Convention Michigan, at The Henry Ford and Samantha Rhoads is inHub Marketing Specialist at The Henry Ford.
During the filming of a segment on tintype photography in September 2019, the film crew of The Henry Ford's Innovation Nation had their own tintype taken in Greenfield Village. / THF141945
This week, we are happy to celebrate the 200th episode of our television show, The Henry Ford’s Innovation Nation! In honor of this milestone, we wanted to share some fun trivia that even our superfans might not know, reveal some of the behind-the-scenes work that goes into the show, and point viewers to additional resources to allow them to further explore the buildings, artifacts, and stories shared on each and every episode.
When did The Henry Ford’s Innovation Nation first air?
Patricia Mooradian, President & CEO of The Henry Ford, first announced the new show on June 4, 2014. The very first episode aired on CBS that fall: September 27, 2014.
What was featured on the very first episode?
The first episode featured a special steering wheel to prevent distracted driving, the ways in which drones are becoming part of our everyday lives, micro windmills, and The Henry Ford’s own Menlo Park Laboratory, where Thomas Edison once worked. Check out the trailer for the first episode below—or watch the whole episode for free (and without an account) on PlutoTV.
Dan Winters surveys a shifting landscape—his own backyard. On a mid-August morning, the 59-year-old photographer, author, and filmmaker is in the kitchen of his Austin, Texas, home, detailing the impending relocation of his studio and workshop (headquartered in a converted post office, general store, and Texaco station 25 miles south in unincorporated Driftwood) to just steps from his front porch. Anyone who has worked with Winters—presidents, astronauts, publishers of the country’s most influential publications—could grasp the challenge, given Winters’ lifelong accumulation of equipment, archives, and personal collections, which range from apiaries (beehives) to pieces of Apollo spacecraft.
The shuffling of workspaces feels natural, almost expected, given the rotational history of his surroundings. Winters’ home, which he; his wife, Kathryn; and son, Dylan, moved to from Los Angeles in 2000, was built in downtown Austin in 1938 and later transported to this quiet enclave on the north side of town circa 1975. Their detached garage will soon supplant the Driftwood studio. It was originally Winters’ model-building workshop, but that migrated a decade ago to a pitched-roof room on the second floor. The model shop is a place of refuge cocooned in paint sets, kit parts, and books on the artistry of 2001: A Space Odyssey.
Dan Winters’ first serious profession was that of a motion picture special effects model builder. He still builds miniatures today, finding the act of creating for the sake of creating rewarding. / Photo by Dan Winters
Winters vividly recalls the first model he ever built (a British SE5a biplane), around age 6, with his father, Larry Winters—a welder from Ohio who moved the family to Ventura, California, in 1959. “I would ask him to draw me something, an airplane or a rocket, and it would be on the breakfast table when I’d get up in the morning for school,” Winters said from his own breakfast table. “He would also make little spaceships out of wine corks and put screws in them or paper clips for skids. He’d leave them as little surprises.”
Model-building has been a constant in Winters’ life. “When you start a model,” he explained, “the only thing that exists is your intent and whatever tools and materials you need. You work through the thing, create it, and then it exists. You will it into being. There’s an unbelievable satisfaction in that. In the ability to see what the model is going to be before it gets to a point of unification.”
Growing up, Winters remembers the yard on the working farm where he was raised as always strewn with spare parts, and he was often tasked with repurposing them. “The engine in our Volkswagen threw a rod, and we had to rebuild the whole thing,” he recalled. He assisted his father on nights and weekends, staving off resentment for missing idle time with his friends. “I remember the weekend we put the motor back in. We had it on a jack, and my dad slid it in, and I had to balance it until it speared the spline of the transaxle. He got in and pushed the clutch and it started up—I mean, right up. We took it for a drive, even though the bumper and deck lid were off. I remember driving down the street and reflecting on what it took to do that. As a kid, it was way out of my wheelhouse. But seeing that it was possible to do that was massive.”
In 1978, Winters’ father drove his 16-year-old son 50 miles to Van Nuys to visit Apogee, a special-effects company operated by John Dykstra, the Oscar-winning effects supervisor on Star Wars. Winters had cold-called Steve Sperling, who ran the office, and sent several photographs of his model spaceships by mail. A tour with Grant McCune, chief model maker on Star Wars and Battlestar Galactica, was arranged. As Winters wrote in his 2014 book, Road to Seeing, “Once inside, it was surreal to see the same model shop firsthand that I’d studied in dozens of photographs published in movie magazines. I was captivated by the artistry I witnessed at every turn…. I cannot describe the profound inspiration and affirmation this visit gave me.”
Road to Seeing by Dan Winters explores his journey to becoming a photographer and significant moments in his career.
In the months that followed, Winters’ mailbox remained packed with special-order plastics, and his fleet of scratch-built spaceships grew. The photos of his progress eventually led two Apogee veterans to recommend him for employment at Design Setters, an effects house in Burbank. Through a work-experience program during his senior year, Winters attended two classes in the morning, then drove to the San Fernando Valley to build models, including one for the Neil Young film Human Highway. It was a creative utopia disguised as a pass/fail.
This portrait of actor Denzel Washington, seated in a set singlehandedly constructed by Dan Winters and published in the New York Times Magazine in 1992, was an inflection point in Winters’ career, opening the door to decades of world-class editorial and portrait work. / Photo by Dan Winters
After attending college at Moorpark, studying abroad in Munich, and assisting for photographer Chris Callis in New York City, Winters began incorporating his skills as a model builder and production designer into his portraiture, creating fictitious worlds unique to each image. An assignment to photograph Denzel Washington for the New York Times Magazine in 1992 was instrumental. Winters stayed up through the night and singlehandedly built a forced-perspective set that evoked the rural outposts documented by photographer Walker Evans during the Depression. The set also emphasized the body position of a seated Washington, whose hands were resting against his dark suit, causing his fingertips to pop. The secret, in a sense, was the human touch.
Winters’ subjects have included Ryan Gosling (above), the Dalai Lama, Tupac Shakur, Helen Mirren, and Fred Rogers, who, according to Winters, “treated the photo shoot sacredly.” He’s also photographed two presidents, George W. Bush and Barack Obama; his portrait of Obama is featured prominently as the back jacket of the president’s memoir, A Promised Land. / Photo by Dan Winters
This approach carries through Winters’ latest and most immersive project, the film Tone, which he wrote, directed, and photographed. It’s a love story set in a dystopian future where a laborer—the eponymous Tone, whose vocal cords have been stripped by a surveillance state—returns to Earth from Mars and helps heal another broken soul. At nearly 40 minutes, the project far exceeds the scope of Winters’ previous short-subject documentaries and music videos, and visualizing both the earthbound and cosmic elements of the story demanded extensive model and miniature work.
The majority of those Mars miniatures, both piecemeal and whole, still reside in Winters’ Driftwood studio. (Before driving from his home for a studio tour, he cautioned not to crush a box of spare plastics on the car seat, which a hobby shop owner had recently reserved for him. It was an F/A-18C Hornet kit affixed with a handwritten Post-it note that read: WINTERS DAN PARTS GIFT.) Built in 1903 as a post office and general store, the sandstone building in Driftwood expanded in 1942 to accommodate a feed store. A subsequent owner extended that addition, turning a water cistern out back into an interior structure, surrounded by closets, one of which Winters converted to a darkroom. The facade is adorned with a defunct fire-engine-red Texaco gravity pump, occasionally confusing gas-strapped passers-by on the highway.
A Photographer’s Thoughts on a Photograph
Portrait of Charles Batchelor, "First Photograph Made with Incandescent Light," 1880 / THF253728
“As a practitioner of the craft of photography, I frequently employ the use of artificial light when making my photographs, the distinction being that the light emanates from a manmade source and not from the sun.
One artifact among The Henry Ford’s vast holdings that I feel a kinship to is an otherworldly black-and-white portrait of Thomas Edison’s longtime collaborator Charles Batchelor. The text on the border of the photograph informs us that it is the first-ever photograph taken using an incandescent bulb.
Though it is widely thought that the incandescent bulb was Edison’s invention, his work stood firmly on the shoulders of over 20 inventors who had success in the development of the light bulb before him; however, none to the degree Edison achieved. The use of incandescent light in photography would eventually prove to be almost as significant a tool as film and camera. As the technology evolved and higher-output lighting was developed, filmmakers and photographers alike would discover the benefits of their ability to control not only where they could make images but also when.”
— Dan Winters
Inside, Winters stands beside a bay of humming computer monitors with a Topo Chico. The cold bottle of sparkling water is perfect for slaking thirst and, as tradition holds, providing the next building block in a backyard pile of empties he’s dubbed Mount Topo. Through hundreds of annual deposits, the glass mountain now hosts a rotating colony of pill bugs, snakes, silverfish, and eleodes (beetles). It’s another world within worlds on the studio grounds, where nature and Winters’ collection of artifacts from nearly two centuries of photographic history meet the realities of an increasingly digitized future.
The encroachment of the elements proved calamitous in 2020, when winds clocking 75 mph tore at the metal roof and rainfall destroyed thousands of negatives in storage lockers below. While taking solace that well over a million negatives were safe, including those amassed from anonymous collections he’d found at junk stores and paper-goods shows, the incident nonetheless prompted the decampment for his Austin backyard, where proximity alleviates the increasing sense of vulnerability.
With another Topo tossed to the beetles out back, Winters begins detailing the international origins of the books on the shelves lining the original exterior wall of the post office. It called to mind the 1931 essay “Unpacking My Library,” in which German theorist Walter Benjamin wrote, “I have made my most memorable purchases on trips, as a transient.… How many cities have revealed themselves to me in the marches I undertook in the pursuit of books!”
Winters settles on Photography Album 1, edited by Pierre de Fenoyl, purchased at 23 while biking across Australia. “There’s amazing work in it, work that made me feel like photography was boundless,” Winters said. “I was riding from Sydney to Adelaide, and I had two panniers on my bike for storage. I rode that book for 1,300 miles, in a brown paper bag. I still have the bike; it’s at the house.” A casual flip through the book revealed a preserved leaf tucked inside. “We want to have a memory,” Winters added. “Certain objects will anchor us to a place and time.”
Dan Winters considers his desk, an old drafting table, the anchor of his studio. Littered with objects collected over time, he said of this space, “Sitting at the desk provides a connection to my history.” / Photo by Dan Winters
The undisputed anchor of the studio is Winters’ work desk, an old drafting table festooned with his full range of interests. “Sitting at the desk provides a connection to my history,” he said. “I’m inspired by the intrinsic value of these objects. Some have historical significance, certainly, and some are significant to me and my own path in life. Oftentimes they’re just beautiful objects I like to contemplate. One of the drawbacks of the collection is I feel it would be pretty quickly marginalized by whoever was settling my estate. At first glance, it probably looks like junk.”
According to theorist Benjamin, “the most distinguished trait of a collection will always be its transmissibility.” Winters senses the necessity of cataloging these objects in the moment and imparting their meaning. There’s the National Supply badge that belonged to his grandfather, whose company made transmissions for Sherman tanks. Or a rivet from the Golden Gate Bridge, flecks of international orange paint still visible. (Ironworkers presented the rivet ceremoniously to Winters after a photo shoot.)
Lost in Space
Photo by Dan Winters
Photo by Dan Winters
Among Dan Winters’ desktop mementos are two pieces of equipment from the Apollo program: a pressure transducer (left above) and an RCS check valve assembly, still bagged (right above. Both were procured from a Los Angeles scrap dealer who capitalized on the closure of a Van Nuys plant operated by Rocketdyne, manufacturer of the Saturn V engines. The keepsakes have remained within reach ever since.
Winters’ childhood love of the space program carried over into his career as a photographer, beginning with a portrait in the late 1990s of Harrison Schmitt, the first geologist on the moon. Other subjects include Roald Sagdeev, former director of the Soviet Space Research Institute; American astronauts Buzz Aldrin and Pete Conrad; Neil Armstrong’s spacesuit for Smithsonian Magazine; and a package of images for National Geographic’s 50th anniversary celebration of the Apollo program, which included a trip to Kazakhstan in 2019 to photograph a Soyuz spaceflight to the International Space Station.
Winters was granted close-range access by NASA to document the final launches of Discovery, Atlantis, and Endeavour, all captured in his 2012 book Last Launch. His contributions to the literature and historical record of space exploration began humbly, with a childhood fixation on Ham, the first chimpanzee in space, which he spotted on the cover of a back issue of Life published the year before his birth.
There’s also a swab attached to a wine cork, which is in fact a vital tool, one that facilitated a series of portraits for National Geographic that quickly became among Winters’ most widely seen images. Published in May 2021 and intended to draw attention to World Bee Day, the subject was actress Angelina Jolie covered in bees. Before the shoot, Winters and friend Konrad Bouffard contacted Ronald Fischer, an entomologist now in his 90s, who was “bearded” in bees for an iconic Richard Avedon portrait in Davis, California, in 1981. They also reached Avedon’s on-set beekeeper, who still had the cork swab he’d used to dot Fischer’s skin with queen-bee pheromone, thus attracting a swarm. As a lifelong beekeeper, Winters was honored to use the very same swab for his shoot and to be told he could keep the cork among his treasures.
It was hard not to draw a line to the cork-and-paper-clip spaceships Winters’ father left for him in the mornings, the ones that inspired him both to build and to collect. Asked if a cork ship was docked on his desk, Winter was convinced, though he couldn’t pinpoint one. “I know I have one in these boxes,” he said, sifting through cardboard stacks. He reminded himself to check later. For now, the day was still young, and the sun was out. In the shadow of Mount Topo, this message in a bottle would remain open, awaiting its cork.
Anne Parsons (at right), then-President of the Detroit Symphony Orchestra, with Patricia Mooradian, President and CEO of The Henry Ford, at Salute to America in 2017.
We are saddened by the passing of Anne Parsons, President Emeritus of the Detroit Symphony Orchestra (DSO). Parsons was the longest-serving executive leader in the DSO's modern era, and she was a tremendous friend to The Henry Ford. We’ve had the great honor and privilege of working with Anne and her teams for more than 25 years with our Salute to America concerts in Greenfield Village.
Please join us in thoughts and prayers for Parsons' family, her friends, and the entire DSO community.
From left: Inventors Claire Kinnaman, Anna Gareau, and Cooper Dyson are Team Scandicapped, the winner of the President’s Choice award at the 2019 Invention Convention U.S. Nationals. The team was led by Nancy Ernstes, Cobb County Schools K-12 InVenture, in Georgia. / Photo by Nick Hagen
Invention Convention Worldwide invites students to solve problems and invent through hands-on, real-world, project-based learning activities. In 2019, more than 100,000 K-12 inventors competed at the school level. Winners advanced to state competitions, hoping to be one of the 492 granted access to Henry Ford Museum of American Innovation for Invention Convention U.S. Nationals. A trio of young inventors and their invention, Scandicapped, won the competition’s coveted 2019 President’s Choice award from The Henry Ford’s President and CEO Patricia Mooradian.
Scandicapped, invented by fifth-graders Anna Gareau, Claire Kinnaman, and Cooper Dyson, has a simple premise. Using an accessible parking sign fitted with LED lights and RFID technology found in pet microchips, drivers would be discouraged from illegally parking in reserved spaces.
According to the trio, it’s an idea that came to life in their classroom at Cheatham Hill Elementary in Marietta, Georgia. First proposed by Anna, Scandicapped’s inspiration is personal, a problem she identified within her own family, since her sister has hydrocephalus and uses a wheelchair. Her family’s frustration in parking lots is constant, Anna said.
For five months, the three fifth-graders brainstormed after school to define the problem and outline their design solution and concepts—all under their teacher’s guidance. Final iterations of Scandicapped allow a fitted solar-powered sign to read a chip embedded in a driver’s placard or license plate. When the plate’s chip is verified, the parking sign’s LED lights glow green to indicate legal parking. When a car is parked illegally, the sign’s LED lights glow red to alert drivers of their mistake. If ignored, the continued red flashes also alert the public and law enforcement of the infraction.
The team’s research shows those infractions would get noticed. Within just 35 minutes of observing their elementary school’s retrofitted accessible parking signs one school morning, nine violations occurred. “They were mostly younger, teenagers,” said Claire. “They don’t really know how much their actions can affect people.” What’s also interesting about their test, she added, was how half of drivers who did park illegally moved their vehicle when the prototype sign glowed red.
Team Scandicapped followed much of the protocol The Henry Ford has applied to its own innovation learning framework, Model i, when working on their ideation. Model i connects habits of innovators and actions of innovation to provide an interdisciplinary language and approach to learning. Habits such as empathy and collaboration, along with actions such as defining the problem, designing solutions, and optimizing through feedback and iteration, are within the framework. All of these practices and processes were a major reason why the Scandicapped inventors won the competition’s President’s Choice award. “I was shocked and amazed,” said Cooper of the honor.
Leadership at The Henry Ford was equally amazed at the resourcefulness of Team Scandicapped. “The work of Cooper, Claire and Anna so closely embodies the mission of this great institution,” said Patricia Mooradian, president and CEO of The Henry Ford, “reflecting on the fact that 10 percent of the population is disabled in some way and we have to do what we can to make the world more accessible to everyone.”
Since 2019, the Invention Convention Worldwide program has grown to support 147,000 K-12 student inventors. To ensure the safety of students, their families, and everyone involved, the competition was hosted virtually in 2020 and 2021. After two years, Invention Convention Worldwide is excited to welcome students back to The Henry Ford June 1–3, 2022, for Raytheon Technologies Invention Convention U.S. Nationals 2022. We are looking forward to celebrating the creativity and ingenuity of these students this summer!
You’ve probably heard this one before, and maybe you’ve even wondered it yourself: Are race car drivers really athletes? After all, isn’t the car doing all of the work? And how much different can it be than driving down the interstate, if only a lot faster?
Anyone in the business of motorsports will answer unequivocally “yes” to the first question and a resounding “no” to the second. So, too, will just about anyone who has spent time driving a race car or go-kart at speed on a racetrack.
Jim Leo, the founder and owner of PitFit Training in Indianapolis, is one of those who wholeheartedly endorses the fact that race car drivers are indeed athletes; however, his arrival at that answer came in a very methodical and hands-on way.
Leo has a degree in exercise physiology and biomechanics and early in his postgraduate career set up a health and wellness program for the employees of Detroit Diesel (now Detroit) in the early 1990s. At the time, the majority shareholder and CEO of Detroit Diesel was one Roger Penske of Penske Racing fame and an 18-time winner of the Indianapolis 500 as a team owner. At the time, Leo was not involved with motorsports and had only a passing interest in them when he approached Penske about creating a fitness regimen for his race teams—specifically, the pit crew members.
Soon after, PitFit Training was born, and Leo found himself training not only the Penske Racing crew members but crew members from other teams as well. This coincided with an increased emphasis on athletes across nearly every sport training more scientifically and specifically for the demands of their particular sport. It wasn’t long after that that drivers were coming to Leo for advanced fitness training.
Driver James Hinchcliffe (left) training. At PitFit, it’s common practice for physical exercise to be immediately followed by mental acuity challenges. / Photo by Walter Kuhn
Now, after more than 20 years in the sector, Leo has honed and refined the techniques he uses to keep drivers physically and mentally performing at their peak. “There’s no question that race car drivers are athletes,” said Leo. “But I’ll take it one step further and say that they are more akin to fighter pilots.”
“If you look at a driver’s physical requirements, such as the elevated heart and breath rates, enduring g-forces (the force of gravity or acceleration on a body) and near-instantaneous reflexes in addition to the high demand on cognitive ability, they align closely to the traits of combat pilots. Every athlete has to make split-second decisions on the field of play that have ramifications that may end in a game-losing situation, which is true of race car drivers as well. But drivers have the added weight that their decisions can not only affect the outcome of their race result but could also cause themselves or a fellow competitor potentially grave harm or their team hundreds of thousands of dollars’ worth of car damage.”
At PitFit, driver James Hinchcliffe (right) completes strength training for his shoulders and arms, key areas of concentration for Indy car drivers since they endure high cornering g-forces without the benefit of power steering. / Photo by Walter Kuhn
Added Leo for further clarification: “Physiologically, we know that a driver’s blood lactate levels rise while in the car as well as cardiovascular demands that are similar to running a 10K at an elite pace.”
Jim Leo likens the cognitive prowess, aka mind conditioning, of a race car driver to that of a combat pilot. It makes sense. Like a fighter pilot, a race car driver must be able to withstand the effects of sustained g-forces on the human body for long periods of time. Consider: An Indy 500 race can sometimes last up to five hours, with drivers often experiencing g’s spiking to three or more. And these drivers, like those pilots, consistently need to have unbelievably quick reaction times and sensorimotor functions, not only to succeed in their mission but to survive.
For a race car driver, reaction times and mental focus are paramount. Driver Charlie Kimball (sitting) tries to keep up with randomized light patterns during a training session at the PitFit facility. / Photo by Walter Kuhn
Imagine yourself having to react to a car that crosses your path at more than 200 miles per hour or to be constantly battered by continuous braking and accelerating forces in a cockpit where temperatures are likely above 100 degrees. Due to the high speeds and g’s alone, the average human on a racing oval would black out.
Where PitFit takes its motorsports training to the next level, and further parallels combat pilot training, is with its approach to incorporating neurocognitive (having to do with the ability to think and reason) elements with physical fitness. PitFit’s brain training is three-pronged, targeting vision, reaction time, and sensorimotor functions to give racing’s athletes the greatest developmental improvements that will lead to success on the tracks.
PitFit incorporates Senaptec’s strobe glasses as part of its neurocognitive exercises. Using liquid crystal technology, the lenses flicker between clear and opaque, removing visual information and forcing an individual to process more efficiently. / Photo courtesy Senaptec
That means workouts are often a combination of neck-centric strengthening exercises matched with ladder-type movements to improve hand-eye-foot coordination that are then paired with high-end virtual- and augmented-reality games and tasks based upon advanced biometrics, artificial intelligence, and data analytics.
PitFit has a custom-built sensory station, for example, created by Oregon-based Senaptec, a startup that’s bringing new visual training technologies to market that are specific to improving eye-to-brain connectivity. (Senaptec has the New York Yankees, Red Bull, and the Air Force on its client list.) PitFit’s station requires drivers to interact with moving images on a screen through activities that an article on thedrive.com compared to the arcade game Whac-A-Mole. Skill levels are then measured to help indicate the driver’s ability to make quick decisions under pressure.
Through high-end virtual and augmented reality games and tasks at the sensory station, you can assess your hand’s reactions to visual signals and find out how well you can see through distractions, judge depth, and track multiple objects in space. / Photo courtesy Senaptec
Race Trainer, another PitFit exclusive, is a homemade steering-resistance machine centered around a weighted steering wheel paired to pedals. A lighted control board behind the wheel prompts the driver to simulate a turn on the track, which then prompts the trainer to pull on resistance bands strapped to weighted headgear worn by the athlete. The exercise, according to PitFit, mimics the effects of those lateral g’s.
The light on PitFit’s Race Trainer serves as a reaction trainer—green means turn now—and it’s all about how the driver responds when the steering wheel and headgear are weighted. / Photo by Walter Kuhn
There are also low-tech training exercises. For instance, a trainer drops playing cards from chest height, and the driver has to try and grab one before the card hits the ground. The cards may fall in different directions, and this builds reaction-time skills that result in better, safer results on the track.
Mind + Matter
To get a sense of what a race car driver deals with, imagine this: You are out in the parking lot of your local shopping center in full sun at high noon in July wearing a pair of thick flannel sweatpants and sweatshirt, with gloves, shoes, and socks, atop an exercise bicycle that you must pedal hard enough to maintain a heart rate above 130 beats per minute. On your head is a helmet that has bungee cords attached, pulling your head randomly in four directions. With your left hand, you’re doing 15-pound bicep curls, while with your right hand you are throwing darts at a board every two seconds and each must hit the bull’s-eye. Meanwhile, a tennis ball machine is firing balls at you from 10 feet away, so you must duck out of the way to avoid being hit. To top it all off, through a set of earphones, you are being fed complex math problems that you must solve instantly or face the possibility of an electric shock if you answer incorrectly or if you miss the bullseye.
Taken as a whole, this hypothetical may border on the absurd, but each element gives us a sense, through ordinary tasks that we can all identify with, of the physical, reflexive, and mental rigors of driving a race car, along with the physical jeopardy that can result from bad decision-making.
“Drivers are always analyzing what they see on track or what information they are being fed from a spotter about track position or an engineer about strategy,” said Leo. “We spend a lot of time training a driver’s neuropathways to better cope with the physical and cognitive demands of racing by having them train at specific intensities, immediately followed by a cognitive skills test like repeating a pattern on a light board or visual recognition test, even sometimes adding some kind of auditory distraction to really create a chaotic environment while their heart and breath rates are still high.
Driver Zach Veach spends time at PitFit doing exercises designed to perfect hand-eye-foot coordination, which is part of the program’s brain training to improve success on the track. / Photo by Walter Kuhn
“The idea is to have them practice focusing on the task at hand to push beyond the physical stress,” elaborated Leo. “This trains a driver to cope with both the physical and mental demands they are required to exercise on track in competition.”
Consistency Is Key
That kind of focus may not be apparent to the spectator trackside or on television, but one need only look at the consistency of a top driver’s lap times to get the real picture. Over the course of a race, discounting laps where there is a yellow flag or a pit stop, it’s common to see a string of 25 or more lap times that never vary by more than half a second—the equivalent of throwing 25 darts in quick succession all within the bullseye.
While the romantic lore around a race car driver may be of a brazen daredevil driving by the seat of his or her pants, the reality is far from it. Drivers are highly fit athletes with astounding cognitive ability—meaning there is far more to winning a race than standing on the gas.
A Fitting Connection
Early in 2019, Matt Anderson, Curator of Transportation for The Henry Ford, along with other staffers, was on the phone with racing legend Lyn St. James. They were talking about themes and stories for Driven to Win: Racing in America, The Henry Ford’s permanent racing exhibition, then in progress. St. James, a longtime supporter and partner of The Henry Ford, was an integral source of ideas and insights related to Driven to Win since its conception—and she is one of the drivers showcased within the exhibit.
Lyn St. James (left), photographed by Michelle Andonian, instructs a student at her Complete Driver Academy in 2008. / THF58776
It was during this call that St. James recommended The Henry Ford investigate Jim Leo’s story of entrepreneurship and innovation. A who’s-who of auto racing had been having great success on the tracks using Leo’s PitFit Training approach, including drivers such as Scott Dixon, Tony Kanaan, Dario Franchitti, Will Power, Kasey Kahne, Sam Hornish, Jr., Larry Dixon, Morgan Lucas, Pippa Mann, Levi Jones, and James Hinchcliffe.
Soon after that call, Anderson and team were in Indianapolis, meeting Leo and touring his industry-leading motorsports training facility. “Jim couldn’t have been friendlier. He opened his doors and gave us an up-close look at his methods and machines,” noted Anderson, who admitted to being a bit starstruck when driver Pippa Mann walked into Leo’s gym to work out while The Henry Ford team was on-site.
“Jim had us try some of the physical and mental workouts,” Anderson continued. “We did our best, but, needless to say, none of us will be starting in the Indy 500 anytime soon.” The team decided then and there to incorporate elements of the PitFit program into the exhibition. Leo enthusiastically agreed to help adapt some of the training machines he uses into interactives for visitors to experience in Driven to Win. We also received assistance from Senaptec, who customized their app specifically for museum visitors.
“Our visitors will be able to use some of the same training machines, and some of the same sensory performance devices, that top drivers use,” Anderson said. “Once you realize the physical strength and mental acuity required of these racers, you’ll never doubt their athletic abilities again.”
Drifting is one of the fastest growing forms of motorsports in the world. It is the sport of losing traction, a driving technique where a driver purposely oversteers and causes the rear tires (or sometimes all the tires) to lose grip on the road. A car is said to be drifting when the rear slip angle is greater than the front slip angle, and the front wheels are pointing in the opposite direction to the turn. Basically, the car is turning left, but the wheels are pointed right. What’s extreme here is that the driver is controlling these factors the entire time. Drifters don’t cause a car to drift and then try to straighten things out. They just over-counter so the car goes into another drift. That’s the whole point.
Drifter Vaughn Gittin, Jr., demonstrates skill and showmanship in his No. 25 Mustang during the 2019 Formula Drift championship series. / Photo by Larry Chen
In a drift turn, the frictional force acts centripetally, meaning that it pulls the car in a circular motion, precisely the motion that is required to maneuver a turn. During a drift, you essentially make a turn too fast, causing the rear tires to lose their grip on the road. As a result, the rear tires over-rotate in the direction of the turn, which makes them go into a spin. To compensate for this over-rotation and spinning of the rear tires, you have to turn the front tires in the opposite direction of the turn that you were originally making. Drifters balance the amount of traction they lose on the rear wheels by constantly balancing the wheel speed and the slide.
Drifting. / Illustration by T.M. Detwiler
Drifting is not about being the fastest or crossing the finish line first. Drifting is all about skill and showmanship, with each driver being assessed and awarded points for things like speed, angle, line, and personality X factor.
One of those drifter personalities, Vaughn Gittin, Jr., is living a gearhead’s dream. The 2010 Formula D champion is a regular winner on the drifting circuit in his Monster Energy Nitto Tire Ford Mustang RTR. He has expanded his motorsports activities into road racing and off-road racing, where he won the 2018 Ultra4 4500 East Coast Championship. The star of viral videos, television, and video games, Gittin also became involved in the 2000s in the creation of custom Mustangs under the RTR—Ready to Rock—brand. In late 2019, The Henry Ford Magazine interrupted his busy schedule to get the answers to some burning questions.
Vaughn Gittin, Jr. (right), with RTR Motorsports teammate and fellow Spec 5-D driver Chelsea DeNofa at Formula Drift New Jersey 2019. Gittin finished fourth. / Photo by Larry Chen
1) How did you first become attracted to drifting and what makes you so good?
Vaughn Gittin, Jr.: My love for cars in general stems back to being a child. My dad was a used-car salesman, and he was a warm-blooded hotrodder. He was always bringing unique, cool cars home. At four years old, I got a go-kart. I vividly remember going out, going as fast as I could and pulling the little brake and making the go-kart slide. Fast forward through skateboarding, riding BMX, motocross…. When I was 18, I got my first rear-wheel-drive car, and I would go to the industrial parks and parking lots where I used to ride my go-kart and do donuts, burnouts, powerslides. Eventually, I saw videos of this sport called drifting, and my perspective was that it was about showing your style and personality with really awesome cars. It was something I just really, really enjoyed.
Right about that time, drifting was coming to the U.S. from Japan. I went to my first organized drift event in 2001 or 2002 and immediately realized that all these things I’ve done—the playing around, the motocross, the skateboarding—really taught me good car control. And I was pretty good, naturally, at drifting. I fell in love with the culture, the scene, the people, and the camaraderie.
2) You describe yourself as a “professional fun haver.” What is a professional fun haver?
Vaughn Gittin, Jr.: To me, fun and fun-having is a mindset. We all have our bad days, and we all have the things we have to do that we don’t necessarily want to do to achieve our goals and dreams.
But I always find something fun in just about everything I’m doing. It’s very similar to what kind of person you are: an optimist or a pessimist? Is the glass half full or half empty? I think a fun haver always looks at life and challenges with the glass half full and creates fun out of it. I truly believe that my purpose is to put smiles on faces and hopefully inspire people to have fun on a daily basis because I think it’s important. And anybody can be a fun haver. I’ve dubbed myself a professional one, but it’s a very inclusive movement and something the world needs more of.
Drifter Vaughn Gittin, Jr., with tire model Christen Dye. / Photo by Larry Chen
3) What’s next for you in motorsports?
Vaughn Gittin, Jr.: I’m really torn because I have only so much time, and there are so many cool opportunities and things that I’m excited to be a part of. You’re going to continue seeing me having some fun in drifting and competing. I’m definitely focused on doing more festival events, like GRIDLIFE, where I can go and get my fix on the track and have fun and perform and then chat with fans and get people in the passenger seat. Certainly, I have taken a liking to off-road, not just the racing, but the culture and being outdoors. Ultra4 is what I’ve kind of just fallen into the last couple of years, and my perspective is that it’s the most challenging type of off-road racing there is. You race in the desert, you race on the short course, you’re going over massive boulders and driving up waterfalls. It’s an absolutely incredible challenge, and it’s so beautiful when you’re out there.
4) Where do drifting and racing come together?
Vaughn Gittin, Jr.: Drifting is the epitome of car control, arguably one of the most challenging sports—the precision required and the commitment and the mental capacity to be the absolute best you have ever been in your life in that moment, because there are no chances to make mistakes. When you take that focus that has been built from drifting, and the car control and the feeling of the vehicle, it really translates to just about every other single motorsport or anything you could ever do that involves managing the vehicle, managing weight, and pushing yourself outside perceived limits.
Drifter Vaughn Gittin, Jr., demonstrates skill and showmanship in his No. 25 Mustang during the 2019 Formula Drift championship series. / Photo by Larry Chen
5) What’s harder, being behind the wheel or in front of the camera?
Vaughn Gittin, Jr.: I’ve always been in front of the camera. My mom used to have a camera on us all the time, and I was always a little ham with it. I was never shy of the camera and love being in the car. I would say both are equally as easy!
6) What led to your love of and loyalty to Ford?
Vaughn Gittin, Jr.: Growing up, I wouldn’t have considered myself a Ford guy; I was an import guy. But when Ford came out with that ’05 Mustang, I just fell in love with the look. I thought: “Man, I’d love to bring some American muscle into this import-dominated sport.” I’ve been working with Ford since 2007, and I beat the door down for a couple of years before I got an answer. Since then, I’ve met some really great people that speak my language and love the things that I do.
Vaughn Gittin, Jr.’s Mustang RTR race car. / Photo by Larry Chen
7)How did you come to launch your own brand of customized Mustang?
Vaughn Gittin, Jr.: When I first got into Mustangs in 2005, I was looking for a way to customize it and personalize it, but there was nothing that spoke to me. It inspired me to launch a new generation of Mustang. Ford was doing a phenomenal job building cars for everybody, and I wanted to build something that was for me. That’s when I conceptualized the idea of RTR. I wanted to have a Mustang that was Ready to Rock—it was representative of me from the exterior, and the performance was ready for anything I might want to do.
Take a side-by-side look at what more than 50 years of evolution and a passion for high performance can bring to an iconic vehicle brand. We’re comparing, spec for spec, the 1965 Ford Mustang Convertible Serial Number One, which is part of The Henry Ford’s collections, against Vaughn Gittin, Jr.’s 2019 Mustang RTR Spec 3.
8) Do you have any advice for those who would like to follow your path?
Vaughn Gittin, Jr.: I think it’s very important to keep your reality and passion in check. These things that we’re passionate about can very easily suck us in and make us forget reality. I maxed out credit cards that took me years to pay off. I think it’s important to pay attention and enjoy your passion, but always keep your reality one foot forward so you don’t get yourself in trouble. Most importantly, have fun!