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

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

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

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


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

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

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

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

Additional Readings:

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

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

recipes, food

by Janice Warju, Invention Convention Worldwide, power, educational resources, innovation learning

If you’re ready to bring more innovative thinking, collaboration and can-do spirit to your virtual meetings? These background images will help you conduct your meeting in the original environments that are part of The Henry Ford collections and experiences. They include Thomas Edison’s lab, the Wright Brothers Cycle Shop, Mathematica, Dymaxion House, an 18th-century farmhouse, railroad roundhouse and a real automotive factory. 

You can download additional backgrounds from our digital collections. 

Here are the instructions to set the images below as your background on Zoom or Microsoft Teams. 

Continue Reading

Ford Rouge Factory Complex, Henry Ford Museum, Greenfield Village

Take a look at segments from "The Henry Ford's Innovation Nation" exploring power and energy.

Continue Reading

Thomas Edison, engines, alternative fuel vehicles, Ford Motor Company, cars, railroads, Greenfield Village buildings, Greenfield Village, Henry Ford Museum, power, The Henry Ford's Innovation Nation

Do you raise vegetables to feed yourself? If the answer is “Yes,” you are not alone. The National Gardening Survey reported that 77 percent of American households gardened in 2018, and the number of young gardeners (ages 18 to 34) increased exponentially from previous years. Why? Concern about food sources, an interest in healthy eating, and a DIY approach to problem solving motivate most to take up the trowel.

The process of raising vegetables to feed yourself carries with it a sense of urgency that many of us with kitchen cabinets full of canned goods cannot fathom. Farm families planted, cultivated, harvested, processed and consumed their own garden produce into the 20^th century. This was hard but required work to satisfy their needs.


Two members of the Lancaster Unit of the Woman’s National Farm and Garden Association digging potatoes, 1918. THF 288960

Seed Sources
Gardeners need seeds. Before the mid-19^th century, home gardeners saved their own seeds for the next year’s crop. If a disaster destroyed the next year’s seeds, home gardeners had to purchase seeds.

Commercial seed sales began as early as 1790 in the community of Shakers at Watervliet, New York. The Mt. Lebanon, New York, Shaker community established the Shaker Seed Company in 1794. The Watervliet Shakers first sold pre-packaged seeds in 1835, but the Mt. Lebanon community dominated the garden seed business until 1891. They marketed prepackaged seeds in boxes like this directly to store owners who sold to customers.


Shakers Genuine Garden Seeds Box, 1861-1895. THF 173513

Satisfying the demand for garden seeds became big business. Entrepreneurs established seed farms and warehouses in cities where laborers cultivated, cleaned, stored and packaged seeds. The D.M. Ferry & Co. provides a good example.


D.M. Ferry & Company Headquarters and Warehouse, Detroit, Michigan, circa 1880. THF76854

Entrepreneurs invested earnings into this lucrative industry.

Hiram Sibley, who made a fortune in telegraphy, and spent 16 years as president of the Western Union Telegraph Company, claimed to have the largest seed farm in the world, and an international production and distribution system based in Rochester, New York, and Chicago, Illinois. Though the company name changed, the techniques of prepackaging seeds developed by the Shakers at Watervliet and direct marketing of filled boxes to store owners remained an industry standard.


Hiram Sibley & Co. Seed Box, Used in the C.W. Barnes Store, 1882-1888. THF181542

Planting gardens requires prepackaged seeds (unless you save your own!). These little packets tell big stories about ingenuity and resourcefulness. We acquired this 1880s Sibley & Co. seed box from the Barnes Store in Rock Stream, NY in 1929.

The original Sibley seed papers and packets are on view in a replica Hiram Sibley & Co seed box in the J.R. Jones General Store in Greenfield Village, which our members and guests will be able to enjoy once again when we reopen. Until then, take a virtual trip to the store by way of Mo Rocca and Innovation Nation.

Looking for gardening inspiration? Historic seed and flower packets can provide plenty! Survey the hundreds of seed packets dated 1880s to the present in our digital collections and create your own virtual garden.

The variety might astound you, from the mangelwurzel (raised for livestock feed) to the Early Acme Tomato and the Giant Rocca Onion.


Hiram Sibley & Co. “Beet Long Red Mangelwurtzel” Seed Packet, Used in the C.W. Barnes Store, 1882-1888. THF181520


Hiram Sibley & Co. “Tomato Early Acme” Seed Packet, Used in the C.W. Barnes Store, 1882-1888. THF278980


Hiram Sibley & Co. “Onion Giant Rocca” Seed Packet, Used in the C.W. Barnes Store, 1882-1888. THF279020

Families in cities often did not have land to cultivate, so they relied on the public markets and green grocers as the source of their vegetables.

Canned goods changed the relationships between gardeners and their responsibility for meeting their own food needs. Affordable and available canned goods made it easy for most to hang up their garden trowels. As a result, raising vegetables became a lifestyle choice rather than a necessity for most Americans by the 1930s.


Can Label, “Butterfly Brand Stringless Beans,” circa 1880. THF293949

Times of crisis increase both personal interest and public investment in home-grown vegetables, as the national Victory Garden movements of the 20^th century confirm.

Victory Gardens


Man Inspecting Tomato Plant in Victory Garden, June 1944. THF273191

Victory Gardens, a patriotic act during World War I and World War II, provide important examples of food resourcefulness and ingenuity.

You can find your own inspiration from Victory Garden items in our collections – from 1918 posters to Ford Motor Company gardens during the 1930s, and home-front mobilization during World War II here.


Woman's National Farm and Garden Association at Dedham Square Truck Market, 1918. THF288964

But the “fruits” of the garden didn’t just stay at home. Entrepreneurial-minded Americans took their goods to market, like these members of the Woman's National Farm & Garden Association and their "pop-up" curbside market in Dedham, Massachusetts, in 1918.


Clara Ford with a Model of the Roadside Market She Designed, circa 1930. THF117982

Clara Ford, at one time a president of the Women’s National Farm and Garden Association, also believed in the importance of eating local. Read more about her involvement with roadside markets here.

Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford.

food, agriculture, gardening, #THFCuratorChat, by Debra A. Reid

communication, technology, Model i, innovation learning, educational resources

A LINC console built by Jerry Cox at the Central Institute for the Deaf, 1964.

There are many opinions about which device should be awarded the title of "the first personal computer." Contenders range from the well-known to the relatively obscure: the Kenbak-1 (1971), Micral N (1973), Xerox Alto (1973), Altair 8800 (1974), Apple 1 (1976), and a few other rarities that failed to reach market saturation. The "Laboratory INstrument Computer" (aka the LINC) is also counted among this group of "firsts." Two original examples of the main console for the LINC are now part of The Henry Ford's collection of computing history.

The LINC is an early transistorized computer designed for use in medical and scientific laboratories, created in the early-1960s at the MIT Lincoln Laboratory by Wesley A. Clark with Charles Molnar. It was one of the first machines that made it possible for individual researchers to sit in front of a computer in their own lab with a keyboard and screen in front of them. Researchers could directly program and receive instant visual feedback without the need to deal with punch cards or massive timeshare systems.

These features of the LINC certainly make a case for its illustrious position in the annals of personal computing history. For a computer to be considered "personal," the device must have had a keyboard, monitor, data storage, and ports for peripherals. The computer had to be a stand-alone device, and above all, it had to be intended for use by individuals, rather than the large "timeshare" systems often found in universities and large corporations.


The inside of a LINC console, showing a network of hand-wired and assembled components.

Prototyping
In 1961, Clark disappeared from the Lincoln Lab for three weeks and returned with a LINC prototype to show his managers. His ideal vision for the machine was centered on user friendliness. Clark wanted his machine to cost less than $25,000, which was the threshold a typical lab director could spend without needing higher approval. Unfortunately, Clark’s budget goal wasn’t reached—when commercially released in 1964, each full unit cost $43,000 dollars.

The first twelve LINCs were assembled in the summer of 1963 and placed in biomedical research labs across the country as part of a National Institute of Health-sponsored evaluation program. The future owners of the machines—known as the LINC Evaluation Program—travelled to MIT to take part in a one-month intensive training workshop where they would learn to build and maintain the computer themselves.

Once home, the flagship group of scientists, biologists, and medical researchers used this new technology to do things like interpret real-time data from EEG tests, measure nervous system signals and blood flow in the brain, and to collect date from acoustic tests. Experiments with early medical chatbots and medical analysis also happened on the LINC.

In 1964, a computer scientist named Jerry Cox arranged for the core LINC team to move from MIT to his newly formed Biomedical Computing Laboratory at Washington University at St. Louis. The two devices in The Henry Ford's recent acquisition were built in 1963 by Cox himself while he was working at the Central Institute for the Deaf. Cox was part of the original LINC Evaluation Board and received the "spare parts" leftover from the summer workshop directly from Wesley Clark.


Mary Allen Wilkes and her LINC "home computer." In addition to the main console, the LINC’s modular options included dual tape drives, an expanded register display, and an oscilloscope interface. Image courtesy of Rex B. Wilkes.

Mary Allen Wilkes
Mary Allen Wilkes made important contributions to the operating system for the LINC. After graduating from Wellesley College in 1960, Wilkes showed up at MIT to inquire about jobs and walked away with a position as a computer programmer. She translated her interest in “symbolic logic” philosophy into computer-based logic. Wilkes was assigned to the LINC project during its prototype phase and created the computer's Assembly Program. This allowed people to do things like create computer-aided medical analyses and design medical chatbots.  In 1964, when the LINC project moved from MIT to the Washington University in St. Louis, rather than relocate, Wilkes chose to finish her programming on a LINC that she took home to her parent’s living room in Baltimore. Technically, you could say Wilkes was one of the first people in the world to have a personal computer in her own home.


Wesley Clark (left) and Bob Arnzen (right) with the "TOWTMTEWP" computer, circa 1972.

Wesley Clark
Wesley Clark's contributions to the history of computing began much earlier, in 1952, when he launched his career at the MIT Lincoln Laboratory. There, he worked as part of the Project Whirlwind team—the first real time digital computer, created as a flight simulator for the US Navy. At the Lincoln Lab, he also helped create the first fully transistorized computer, the TX-0, and was chief architect for the TX-2.

Throughout his career, Clark demonstrated an interest in helping to advance the interface capabilities between human and machine, while also dabbling in early artificial intelligence. In 2017, The Henry Ford acquired another one of Clark's inventions called "The Only Working Turing Machine There Ever Was Probably" (aka the "TOWTMTEWP")—a delightfully quirky machine that was meant to demonstrate basic computing theory for Clark's students.

Whether it was the “actual first” or not, it is undeniable that the LINC represents a philosophical shift as one of the world’s first “user friendly” interactive minicomputers with consolidated interfaces that took up a small footprint. Addressing the “first” argument, Clark once said: "What excited us was not just the idea of a personal computer. It was the promise of a new departure from what everyone else seemed to think computers were all about."

Kristen Gallerneaux is Curator of Communication & Information Technology at The Henry Ford.

Missouri, women's history, technology, Massachusetts, computers, by Kristen Gallerneaux, 20th century, 1960s, #THFCuratorChat

The Jazz Bowl, originally called The New Yorker, about 1930. THF88363

Cowan Pottery of Rocky River, Ohio, was teetering on the edge of bankruptcy in early 1930 when a commission arrived from a New York gallery for a New York City-themed punch bowl. The client -- who preferred to remain unknown -- wanted the design to capture the essence of the vibrant city.

The assignment went to 24-year-old ceramic artist Viktor Schreckengost. His design would become an icon of America’s “Jazz Age” of the 1920s and 1930s.

The Artist and His Design
The cosmopolitan Viktor Schreckengost was a perfect choice for this special commission. Schreckengost (1906-2008), born in Sebring, Ohio, had studied ceramics at the Cleveland Institute of Art in the late 1920s. He then spent a year in Vienna, where he was introduced to cutting-edge ideas in European art and design. When Schreckengost returned to Ohio, he took a part-time teaching position at his alma mater and spent the balance of his time as a designer at Cowan Pottery.

A jazz musician as well as an artist, Schreckengost had firsthand knowledge of New York, where he frequented jazz clubs during visits. To Schreckengost, jazz music represented the spirit of New York. He wanted to capture its excitement and energy in visual form on his bowl. Schreckengost later recalled: “I thought back to a magical night when a friend and I went to see [Cab] Calloway at the Cotton Club [in Harlem] ... the city, the jazz, the Cotton Club, everything ... I knew I had to get it all on the bowl.”


During its heyday in the 1920s and 30s, the Cotton Club was the place to listen to jazz in New York. THF125266


A “Jazz”-inscribed drumhead surrounded by musical instruments symbolize the Cotton Club. Organ pipes represent the grand theater organs that graced New York City’s movie palaces during the 1920s and 1930s. Schreckengost recalled that he was especially fond of Radio City Music Hall’s Wurlitzer organ. THF88363


A show in progress at Radio City Music Hall auditorium, 1936. THF125259

The images on the Jazz Bowl, then, may be read as a night on the town in New York City, starting out in bustling Times Square; then on to Radio City Music Hall to enjoy a show; next, a stroll uptown past a group of soaring skyscrapers to take in a sweeping view of the Hudson River; afterward, a stop at a cocktail party; and finally--topping off the evening with a visit to the famous Cotton Club.


Times Square, circa 1930. THF125262i


The blinking traffic signals, and "Follies" and "Dance" signs on the Jazz Bowl portray the vitality of Times Square at night. THF88358

Schreckengost decorated the punch bowl with a deep turquoise blue background he described as “Egyptian,” since it recalled the shade found on ancient Egyptian pottery. According to Schreckengost, the penetrating blue immerses the viewer in the glow of the night air--and the sensation of mystery and magic of a night on the town.


This is the view of the New York skyline and the Hudson River that Schreckengost saw on his trips to the city and later interpreted in the Jazz Bowl. THF125264g


Skyscrapers, a luxury ocean liner, cocktails on a tray, and liquor bottles represent a night on the town. THF88364

The Famous Client
In early 1931, the finished bowl was delivered to New York. The pleased patron who had commissioned it immediately ordered two additional punch bowls. To Schreckengost’s delight, the patron turned out to be Eleanor Roosevelt, then First Lady of New York State. Mrs. Roosevelt had commissioned the bowl to celebrate her husband Franklin D. Roosevelt’s 1930 reelection as governor. She presumably placed one bowl in the Governor’s Residence in Albany, one in the Roosevelts’ home in Hyde Park, and one in their Manhattan apartment. When the Roosevelts moved into the White House in 1933, after Franklin D. Roosevelt’s election as President, one of the bowls made its way there as well.


Eleanor Roosevelt commissioned the Jazz Bowl to celebrate her husband’s 1930 reelection as governor of New York. THF208655

Mass Producing the Jazz Bowl?
Immediately after the Jazz Bowl was delivered to Eleanor Roosevelt, the New York City gallery placed an order for fifty identical bowls. Unfortunately, Schreckengost’s process was laborious--it took Cowan Pottery’s artisans an entire day to produce the incised decoration on Mrs. Roosevelt’s version. Cowan Pottery sought to mass produce the punch bowl, simplifying the original design to create a second and third version the company originally marketed as “The New Yorker.”

The Henry Ford’s bowl is the third version, known informally as “The Poor Man’s Jazz Bowl.” It is slightly smaller than the original and the decoration is raised, rather than scratched into the surface. No one knows exactly, but perhaps fifty of the original version, only a few of the unsuccessful second version, and possibly twenty of the third version of the Jazz Bowl were made in total. The whereabouts of many of the Jazz Bowls are not known, though they appear periodically on the art market and are acquired by eager collectors. Even the present location of the bowls made for Eleanor Roosevelt seems to be a mystery.

Jazz Bowl as Icon
The “Poor Man’s Jazz Bowl” didn’t save the Cowan Pottery from the ravages of the Great Depression -- by the end of 1931, the company folded. Viktor Schreckengost moved on, continuing to teach at the Cleveland Institute of Art and pursuing freelance design for several firms. His Jazz Bowl would come to be recognized as a visual icon of the Jazz Age in America.

Charles Sable is Curator of Decorative Arts at The Henry Ford. This post originally ran as part of our Pic of the Month series.

New York, 20th century, 1930s, 1920s, presidents, music, manufacturing, making, Henry Ford Museum, furnishings, decorative arts, by Charles Sable, art

THF129649

What are the icons of the Industrial Revolution—steam engines, printing presses, combine harvesters, textile machinery? Any such list would surely include Ford’s Model T.  Like the other machines that would make the grade it too was a complex mechanism, but it was also a beloved consumer product rooted in personal practical everyday use, and it was a design icon—in its day a symbol of absolute modernity.

The T’s success came about through two revolutions within the Industrial Revolution—those of power generation and distribution, and precision production manufacturing.  Developments in the electrical industry liberated Henry Ford and his production experts from the constraints of mechanical power distribution. Earlier systems dictated where machinery was placed based on long straight runs of shafts and associated pulleys.  Electric motors powering first groups and then individual machines enabled Ford’s engineers to position machine tools where the production process dictated.  It was the incredible machines developed specifically for that process that were crucial to the speed and quality of Model T production.

Henry Ford and his assistants developed a system of mass production at Ford Motor Company’s Highland Park plant that was based on moving components through a refined sequence of manufacturing, machining and assembly steps.  Launched in October 1913, Ford’s new system ultimately reduced the time of producing Model Ts from about 12½ man-hours to only 1½ man-hours.

Model Ts contained more than ten thousand parts. Ford’s moving assembly line required that each one of these parts be manufactured to exacting tolerances (the acceptable amount of variation) and be fully interchangeable with any other part of its kind. By organizing the automobile’s construction into a series of distinct small steps and using precision machinery, the assembly line generated enormous gains in productivity. 


This is the only survivor of the vast range of custom-designed high-production machine tools used at Ford’s Highland Park plant. THF129616

Machines like this 1912 Ingersoll milling machine were crucial to the high production levels attained at Highland Park.  Milling machines are machine tools that rotate cutters to plane or shape surfaces.  Teams of Ford specialists collaborated with machine tool designers to develop and continually improve machinery for Highland Park, resulting in milling machines that were capable of undertaking highly accurate, multiple cutting operations on many components at the same time.

One of six similar machines in a careful arrangement of machine tools in Highland Park’s cylinder finishing shop, this planer-type milling machine – both a vertical and a horizontal miller – simultaneously milled the underside and main bearing holders of Model T engine blocks.  Cutters on the horizontal spindle shaped the bearing holders, while large cutters on vertical spindles milled the bottom surface of the blocks flat.  The machine could mill 15 engine blocks in one batch—loaded and unloaded by semi-skilled labor.  The work was physically demanding, and while it did not demand the skills of a trained machinist, it did require dexterity and attention to detail in addition to stamina. 

cars, Ford Motor Company, Made in America, Henry Ford Museum, Model Ts, manufacturing