One day last fall, I encountered—by pure chance and good timing—a collection of early 20th century tattooing materials credited to “Professor Percy Waters” in the Benson Ford Research Center. The box had yet to be re-shelved, left over from a visiting school group earlier in the day. I was lucky to overhear my colleagues talking about the “tattoo collection,” and when they showed it to me, I was drawn to the contents like a moth to a flame. I had a hard time containing my excitement, showing the staff how some of my own traditional tattoos compared with the “flash” designs the box contained. This collection had an effect on me—a sort of giddy feeling of recognition—like I’d just been reunited with an old friend.
Last year, the Institute of Museum and Library Services (IMLS) awarded a two-year “Museums for America” grant to The Henry Ford to conserve, catalog, photograph, and rehouse some of our communications collections. We are nearing the halfway point of the grant, and have digitized more than 400 grant objects so far. Many items we’ve uncovered through this project have been one of a kind prototypes and innovations, but many others, like the pink Princess phone digitized this week, are mass market phenomena. Browse our collections website for radio receivers, computers and peripherals, loudspeakers, vacuum tubes, and calculators, many of which were digitized through this grant. You can also learn more about the grant and see some of the behind-the-scenes work it entails over on our blog, or peruse some of Curator of Communication and Information Technology Kristen Gallerneaux’s favorites here.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
Marion Served as Manager of The Henry Ford's First Educational Television Department
In the early days of television, we became a pioneer in producing TV shows for use in the classroom. It was a way to spark students' interest in the past, assist American history teachers, and fulfill our museum's educational mission. The first show, "Window to the Past" was broadcast by WTVS-Detroit television station beginning in the fall of 1955. A weekly 15-minute program shown live in the afternoon on television sets in Detroit Public School classrooms, it was also captured on kinescope film and made available to schools nationally. The museum's manager of educational television, Marion Corwell in a brochure described the programs as "designed to bring living American history into your classroom." She planned the programs based on objects in the museum and village chosen for their important historical themes. She then wrote the scripts, produced the program and performed as the on-air "storyteller" for the televised show. By 1956 she also co-produced and hosted a 30-minute program designed for an adult audience and broadcast by WSPD-Toledo, "Yesterday Lives Today".
Following the final "Window to the Past" show in 1959 Marion Corwell developed several new television programs, including a quiz show, "You Name It". She moderated this program which she described on-air as "a completely unrehearsed, unrigged quiz game built around objects of the Henry Ford Museum and Greenfield Village which have played an important part in the development of our country." It featured two teams of 5th through 8th grade girls versus boys, competing to name the objects one at a time by asking questions that helped them come up with the correct name. Can you guess what the object is in the photo shown above?
The calendar tells me that summer ended on September 23 this year. I know better. It really ended with the conclusion of our September 6-7 Old Car Festival, the traditional finish to The Henry Ford’s busy summer event season. But now that it’s fall by anyone’s measure, it seems like a good time to look back on this year’s show.
Approximately 900 cars, trucks and bicycles, none newer than 1932, turned Greenfield Village into a veritable motor museum – and one where most of the vehicles operated, at that! Steam and electric vehicles -- along with a few obscure marques -- offered variety, while the mass of Model Ts and Model As reminded us of how popular those Fords were in their time.
This week on “The Henry Ford’s Innovation Nation” you’ll learn about Rosa Parks and the Rosa Parks Bus. Want to learn more about Rosa Parks and the Civil Rights Movement? Take a look below.
By the end of the 19th century technological miracles were commonplace. Railroad trains routinely traveled a-mile-a-minute. Electric lights could turn night into day. Voices traveled over wires. Pictures could be set into motion. Lighter-than-air balloons and dirigibles even offered access to the sky. But the age-old dream of flying with wings like birds still seemed like a fantasy. In a simple bicycle shop now located in Greenfield Village, two brothers from Dayton, Ohio, turned the fantasy of heavier-than-air flight into reality.
Earlier this week we shared another set of items that were recently digitized for our online collections: football artifacts to supplement our latest traveling exhibit, Gridiron Glory: The Best of the Pro Football Hall of Fame. One of those items is Edsel Ford’s 1934 season pass to home games of the Detroit Lions, which is actually on display inside the exhibit. In the picture of the pass you'll see that "Cancelled" is written in one of the top corners. After we shared the photo on Twitter yesterday Dave Birkett sent us this Tweet:
Anyone have any idea why "cancelled" would be written on that pass? @thehenryford
The explanation wasn't included in the online narrative for the pass and actually had several of us scratching our own heads - why was the pass cancelled? Thanks to Brian Wilson, Digital Processing Archivist at The Henry Ford, we found the answer.Here's Brian's report as he took a trip to our archives. - Lish Dorset Social Media Manager, The Henry Ford.Continue Reading
"You know me, Barney Oldfield," was the classic catchphrase of one of America's earliest celebrity sports figures, and during the nascent period of the automobile, most every American knew Berna Eli Oldfield. He became the best-known racecar driver at a time when the motor buggy was catching the imagination and passion of a rapidly changing society. Oldfield would cut a populist swath across turn-of-the century American society and in the process help define an emerging cult of celebrity.
One of the consistent themes of Oldfield's early life was a restlessness and desire for bigger, brighter, and better things in life. As a teenager, Oldfield worked odd jobs in Toledo, Ohio earning money to buy his own bicycle to ride in local and regional road and endurance races. An attempt at professional boxing ended after contracting typhoid fever and Oldfield returned to racing for company-sponsored bicycle teams and selling parts in the off-season. Throughout the 1890s, Oldfield was part of a team of riders barnstorming across the Midwest and racing in the new "wood bowl" tracks that were sprouting up across the region. Oldfield quickly realized the need to appeal to the audience beyond the track, promoting himself as the "Bicycle Racing Champion of Ohio" and promoting a "keen formula for winning" by wearing a bottle of bourbon around his neck during races but telling reporters the liquid inside was vinegar.
Americans were fascinated with the quirky and expensive auto cars, and the boxy, carriage-like vehicles appealed to American’s desire for new, loud, audacious, and fast entertainments. During the winter of 1899, Oldfield reconnected with an old racing companion, Tom Cooper, who had just returned from England with a motorized two-wheeler (an early motorcycle). Cooper was going to demonstrate the vehicle at a race in Grosse Point, Mich., in October 1901 and asked Oldfield to come along. Cooper and Oldfield were a preliminary exhibition before the main event: a race between local "chauffeur" Henry Ford and the most well-known and successful automobile manufacturer of the day, Alexander Winton.
After the Grosse Point event, Oldfield and Cooper's attempt at mining in Colorado ended in failure and Cooper headed back to Detroit to pursue working with automobiles. Oldfield took the motorized cycle on a circuit of Western bicycle tracks, setting records along the way before returning to Detroit in the fall of 1902 at the request of Tom Cooper to drive his racecar. "The Race" between Cooper's 999, recently purchased from Henry Ford and driven by Oldfield, and Alexander Winton's "Bullet," captured the imaginations of not only Detroit's automotive elite, but the general population as well. When Oldfield piloted the 999 to victory over Winton's sputtering Bullet, the news spread like wildfire across Detroit, the Midwest, and eventually the nation. Beyond the immediate thrill of the race itself, Barney Oldfield, the "everyman" bicycle racer from the heartland, appealed to a much wider, less elite segment of American society rushing to embrace the motor car. As the Detroit News-Tribune reported after the race, "The auto replaced the horse on the track and in the carriage shed. Society sanctioned yesterday's races. And not only society, but the general public, turned out until more than five thousand persons had passed the gatekeepers.” Barney Oldfield became the face of racing for the "general public" and helped to democratize not only racing entertainment, but also automobiles in general, as the vehicles moved out of the carriage house and into backyard sheds.
Over the next 15 years, Barney Oldfield established multiple world speed records and gained notoriety wherever he went. He added an iconic unlit cigar to his racing persona and perfected the roguish image of a daredevil everyman. After a brief stint driving for Winton, Oldfield took the wheel of the Peerless "Green Dragon" and established himself as America's premier driver.
By 1904, Oldfield held world records in the 1, 9, 10, 25, and 50-mile speed categories. In 1907, Oldfield tried his hand at stage acting when he signed on to appear in a new musical called The Vanderbilt Cup. For 10 weeks and a brief road tour, Barney, as himself, raced his old friend Tom Cooper in stationary cars as backdrops whirled behind them and stagehands blew dirt into the front rows of the theater. The following year, Oldfield took on the open road race circuit and quickly added to his legend by sparking a feud with one of the emerging stars of the day, Ralph De Palma. In March 1910, Oldfield added the title "Speed King of the World" to his resume driving the "Blitzen Benz" to an astonishing 131.7 miles per hour on Daytona Beach.
Oldfield flouted the conventions of his time both on and off the track. He was notorious for his post-race celebrations, womanizing, and bar fights. His rebellious streak kept him under the scrutiny of the American Automobile Association, and in 1910, he was suspended for going on with a spectacle race against the heavy weight-boxing champion Jack Johnson, becoming the first true "outlaw" driver. He and his manager set up dates at county and state fairs across the country, holding three-heat matches against a traveling stable of paid drivers. Oldfield padded his reputation by adding an element of drama to these events by losing the first match, barely winning the second, and after theatrical tweaking and cajoling of his engine, winning the third match. During this period, Oldfield also became a product spokesman ("My only life insurance, Firestone Tires") and began racing a fellow showman and aerial barnstormer Lincoln Beachy in matches pitting "the Dare Devil of the Earth versus the Demon of the Skies for the Championship of the Universe."
Towards the end of his driving career, Oldfield made one more splash in the racing world by driving the Harry Miller-built "Golden Submarine" and established dirt-track records from one to 100 miles. In addition, Oldfield drove the Golden Sub in a series of matches on dirt and wood tracks against his old rival Ralph De Palma throughout the 1917 season, eventually winning four out of the seven races. Oldfield retired from competition racing in 1918 after winning two matches in Independence, Missouri. In typical Oldfield fashion, his final race was under suspension by the AAA after he participated in an unsanctioned event at the Michigan State Fairground.
Oldfield continued to keep himself at the fore of America's sports entertainment culture. In addition to ceremonial "referee" jobs at various races, he rubbed elbows with American movie, stage and music stars and continued his rambunctious lifestyle. Between 1913 and 1945, Oldfield appeared in six movies, usually as himself, and also tried his hand as a road tester for Hudson Motor Company, salesman, bartender, club owner and spokesman. Finally, in an attempt to raise funds to build another land-speed racer with Harry Miller, Oldfield staged a publicity and fundraising event by driving an Allis-Chalmers tractor outside Dallas, Texas and reaching a record 64.1 miles per hour.
Fittingly, Barney Oldfield's last public appearance was at the May 1946 Golden Jubilee of the Automobile Industry held in Detroit. Oldfield was fêted for his foundational role in what was then one of the largest industries in the nation. Oldfield shared the main speaker's table with automotive icons including Henry Ford, Ransom Olds, and Frank Duryea and accepted a "trophy of progress" for his role in automotive history. Barney Oldfield passed away in October 1946 having lived “such a life as men should know.”
On Friday, a new traveling exhibition will open at The Henry Ford—Gridiron Glory: The Best of the Pro Hall of Fame. As an online supplement to the exhibit, we have digitized selections from our collections related to football, including photos of football playing students from the Edison Institute Schools as well as Henry Ford Trade School; Mercury advertising photographs with a football theme; and assorted other items. One hidden gem that we uncovered during this project is Edsel Ford’s 1934 season pass to home games of the Detroit Lions, which will be on display along with the exhibition. Check out all of our digitized football collections on our collections website, then come visit Gridiron Glory in Henry Ford Museum.
Ellice Engdahl is Digital Collections and Content Manager at The Henry Ford.