Past Forward

Activating The Henry Ford Archive of Innovation

The Henry Ford just returned from the Pebble Beach Concours d'Elegance, on California’s Monterey Peninsula, where our 1950 Lincoln Presidential Limousine took part in this year’s spotlight on Lincoln custom coachwork. As a curator, I was gratified by the strong reaction the crowd had to the limo, used by Presidents Truman, Eisenhower and Kennedy. Pebble Beach regularly features some of the most beautiful cars in the world, so the Lincoln’s popularity speaks highly about the power in that car’s story. (My single favorite reaction was from a man who turned to his friend and, with genuine awe, stated, “The Supreme Commander of the Allied Expeditionary Force sat in that very seat!” Clearly, he likes Ike.)

While the concours is the centerpiece, Pebble Beach is in fact a week-long celebration of all things automotive. In the days leading up to the show, car makers and insurers host receptions and displays; nearby Mazda Raceway Leguna Seca stages competitions for vintage race cars; and auction houses sell exceptional vehicles at equally impressive prices. (This year a rare 1967 Ferrari sold for a cool $27.5 million – an all-time record for a car at a U.S. auction.)

For me, the highlight of the pre-concours events was a visit to The Quail. This motorsports gathering, which marked its 11th year, brings together the rarest and most exclusive automobiles in the world. While the Pebble Beach concours glitters with Lincolns and Packards, along with Porsches and Ferraris, The Quail adds names like Bugatti, Maserati and Lamborghini to the mix. It’s truly the best of the best.

It is a great treat for any automobile fan to visit the Pebble Beach Concours d’Elegance, and even more so to participate with a car. I’m so pleased that we were able to share a part of The Henry Ford’s matchless collection at what may be motoring’s foremost event.

By Matt Anderson, Curator of Transportation

antique cars, Car Shows, classic cars

Today, on Aug. 28, 2013, we commemorate the 50th anniversary of the March on Washington.

Of all the events that occurred that day 50 years ago, it is Martin Luther King, Jr.’s “I Have a Dream” speech that is most often remembered today. That speech—which went far beyond what King had initially planned—has been considered one of the most inspiring and powerful speeches of all time.

But what else happened that day?

Take a closer look at the March on Washington through these five artifacts from the collections of The Henry Ford.

Pennant, March on Washington for Jobs and Freedom, 1963 (Object ID: 2000.32.4)

As this pennant shows, the March on Washington was not solely a Civil Rights demonstration. It actually started as a march for jobs. This march was the brainchild of A. Philip Randolph, 73-year-old founder of the famous black union for Pullman porters, the Brotherhood of Sleeping Car Porters. He had talked of staging a march similar to this one back in 1941, to protest the lack of military defense jobs for African Americans. Now, 22 years later, African Americans had still not made much progress, in either employment opportunities or equitable wages. When Martin Luther King, Jr. and other Civil Rights leaders decided to combine forces with Randolph, the march took on the broader meaning that we associate with it today.

Handbill, "March on Washington, Wednesday August 28," 1963 (Object ID: 2001.48.10)

Once they decided to join forces, several black Civil Rights organizations came together to plan the Aug. 28, 1963, March on Washington. Each group had different outlooks, agendas, and reasons for being there. But, working together, they created the list of demands on this handbill. While all the leaders could rally around the new Civil Rights bill that President Kennedy had just introduced to Congress, most of them wanted more—more assurance of jobs, reasonable wages, and an end to segregation and discrimination. Handbills like this one were posted in local communities to inspire people to attend the March.

LP Record, "March on Washington: The Official Album," 1963 (Object ID: 2001.142.52)

The organizers of the March had hoped for 100,000 marchers to show up. But, by 11:00 the morning of Aug. 28, some 250,000 marchers had arrived in Washington, D.C., having come by bus, train, foot, bicycle, and even on roller skates. Many had traveled hundreds, even thousands, of miles to get there. Most had paid their own way. The March was held on a Wednesday, so many people had to miss a day or more of work. While most in attendance were African American, there was a strong contingent of white marchers as well. The photograph that appears on the front of this record album depicts just a small segment of the hundreds of thousands of marchers that attended that day. Leaders of the event can be seen spanning the row in the foreground.

March on Washington for Jobs and Freedom, August 28, 1963. Lincoln Memorial Program (Object ID: 2000.32.58)

This program is a fascinating document of the day’s events. Speakers from each of the Civil Rights organizations who had helped plan the March offered remarks, as did labor leader Walter Reuther and members of Catholic, Protestant, and Jewish organizations. A “Tribute to Negro Women Fighters for Freedom” included Rosa Parks. After about two hours of speeches, King’s “I Have a Dream” speech ignited the hot, tired crowd. Then, A. Philip Randolph—the original instigator of the March—read the words of a pledge that the marchers were to agree to, raising their voices in the affirmative. The words of this pledge still ring with the hope and determination that defined that day 50 years ago. The following is an excerpt:

I pledge to carry the message of the March to my friends and neighbors back home and arouse them to an equal commitment and equal effort. I will march and I will write letters. I will demonstrate and I will vote. I will work to make sure that my voice and those of my brothers ring clear and determined from every corner of our land.

I pledge my heart and my mind and my body unequivocally and without regard to personal sacrifice to the achievement of social peace through social justice.

In acknowledgement of the 50th anniversary of the March, a 20-minute film produced by the National Archives featuring historic footage will run on a loop throughout the day by "Your Place in Time" in Henry Ford Museum. From the U.S. Information Agency:

Experience the American Journey through our country's visual heritage in this historical recording provided by the National Archives of the United States. Scenes from the Civil Rights March in Washington, D.C., August 1963 includes footage featuring people walking up sidewalk; gathering on Mall, standing, and singing. It also includes people marching with signs, people at the speaker's podium, men with guitars, and crowds outside of the White House. A number of speakers are featured, including Rev. Martin Luther King, Jr. Also included are women at the podium singing "We Shall Overcome."

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

Civil Rights

This is the inaugural post of a new regular feature on The Henry Ford’s blog showcasing an item from the physical collections of The Henry Ford that has been recently added to our digital collections. In addition to an image, we’ll provide a brief bit of background information and links or hints for searching. A lot of the objects we’re digitizing are not currently on display, so in many cases the digital collections are the only way to see them. Please enjoy, and let us know if you have any questions about our digitization efforts.

This week we’ve just added an object that may look familiar to our visitors—this eighteenth-century daybed is currently on display in Henry Ford Museum in the “Fully Furnished” exhibit. View the daybed and over 270 pieces of furniture and related items by visiting our collections website. Let us know if your favorite piece from “Fully Furnished” has been added yet!

artifacts

Last November, I made a trip to the Benson Ford Research Library to see a small (8-by-6.75-inch) album of watercolor drawings made by Lewis Miller, a Pennsylvania German carpenter who lived from the time of the American Revolution to the Centennial. I have long been intrigued by his drawings, which have provided me with great material for the history of American landscape design, my specialization as an art historian.

Over the years I had seen hundreds of Miller’s drawings, which are primarily in two collections: the York Heritage Center, York, Penn., and the Abby Aldrich Rockefeller Museum, Williamsburg, Va. There are about 2,000 of his drawings in these collections. The album, however, is alone in Dearborn and how it got there is an interesting story.

Donald Shelley, former executive director of Henry Ford Museum was himself from York, and knew well “the Chronicler” of his hometown. When Miller’s album appeared on the market in New York in the 1960s, Shelley purchased it for The Henry Ford collection. In his introduction to the only major work on Miller, (Miller, Lewis. Lewis Miller, Sketches and Chronicles: The Reflections of a Nineteenth Century Pennsylvania German Folk Artist. York, Pa: Historical Society of York County, 1966) Shelley said Miller’s work was unmatched by that of any other American folk artist.

Woman on Horseback, Page 12, THF221830.

When the opportunity arose to write an online article for Nineteenth-Century Art Worldwide, my colleagues, Kathryn Barush, Emily Pugh, and I immediately saw that Miller, whose large body of work had not been seriously studied in almost fifty years, was an ideal topic. The Dearborn album is a guide to Central Park, the greatest public urban park in America. It offered a focused entry into both Miller’s worldview and into the study of the most important landscape undertaking of the nineteenth century, New York City's first public park. The 54 leaves are filled with watercolors of the park’s earliest features and structures and inscribed with English and German poems and commentary.

"Outlet and Gate." Note the German text and the figure sketching, perhaps a self-portrait, Page 45, THF221863.

Upon seeing the album, my first reaction, after delighting in its bright colors and charm that are lost in reproductions, was to query, what is this object? Why did this folk artist make it? How does it relate to the rest of his work? Kathryn Barush undertook the identification of all the texts that filled the sketchbook, English and German. That was the first breakthrough in terms of understanding the breadth of Miller’s literary appetite: William Cullen Bryant, Shakespeare, Martin Luther--a miscellany of poems, fiction, and travel literature as well as botanical lists. Then the images, once analyzed, compared and decoded, revealed a wealth of pictorial sources that drew from newspapers, magazines and again, travel literature. Miller was not the naive folk artist we took him to be, but rather a man of his times, and his works were an omnium-gatherum of visual culture.

"Bridge Over the Lake, In the Central park." Page 28, THF221846.

"Bridge near Gate – 59th Street, 7th Avenue." Note the figure sketching, again, perhaps a self portrait, Page 33, THF221851.

This study has taught us a great deal about the penetration of the new pictorial press, especially in the middle decades of the 19th century, when innovations in printing and photographic technology revolutionized popular publishing. It is fitting that today’s innovations in online publishing has made it possible to bring the Miller album to the Web in a multifaceted digital facsimile. The online article designed by Emily Pugh unifies traditional scholarly interpretation with new tools and links to rich digital resources. Thus, the Dearborn album is important for two reasons. First, its study provided a model for how digital humanities can be a tool to enhance scholarly communication. More significantly, it has provided a key to writing a new interpretation of Miller’s lifetime of drawing and writing, one which sees him not as an exponent of a closed tradition but as a person partaking very much in contemporary life, where the deluge of visual and textual culture impressed and shaped his worldview. This is just the beginning of a new history of Lewis Miller.

"The Musical Temple." Page 47, THF221865.

Therese O'Malley is associate dean at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, D.C. She oversees the Center's publications and scholarly programs. Her scholarly publications have focused on the history of landscape architecture and garden design, from the eighteenth to twentieth centuries, concentrating on the transatlantic exchange of plants, ideas, and people.

Her recent publications include Keywords in American Landscape Design (Yale University Press), The Art of Natural History, co-edited with Amy W. Meyers (National Gallery of Art), and several articles on aspects of the early profession of landscape design and the history of botanic gardens.

Central Park, drawings, guidebooks

How can historians use the clues hidden in the floor plans of houses to piece together the past?

The Adams House floor plan in 1937 (left) at the time of The Henry Ford’s purchase, and the layout depicting 1878 (right), The Henry Ford’s chosen date of interpretation, are similar but have noticeable differences.

Every home is a reflection of the people who once resided there, at once a testament to the past and a projection into the future. In few cases is this more evident than in the George Matthew Adams House in Greenfield Village. Originally built in Saline, Michigan, in 1846, the house was moved to the Village in 1937 and reconstructed on the crest of a hill, not unlike many other houses in Greenfield Village. Fast forward to the 21st century, and it became apparent that the home was slowly sliding down. This of course signaled the beginning of a battle against time and gravity to save the Adams House; every problem that arises, however, brings with it new opportunities to try different approaches and put the latest scholarship into practice.

The recent work on the Adams House (also called the Adams Family Home) has given researchers a chance to look at the old house from a fresh perspective. When houses are renovated, historians do their best with the available sources to ensure the house in question is as close to the original plan as possible. Precision can prove to be difficult, as some important information is often absent from the written record. This is when logic and deduction come into play, much like detective work. Historians can use photographs and floor plans to discover the truth and uncover the mysteries hidden in the house.

This 1937 picture of the Adams House before relocation is exhibitive of changes to the house, including a stucco covering, a rear addition, and the window to the far left. The window’s lack of uniformity with the others suggests that it was added at a later date. This image and others shown here come from The Henry Ford's Greenfield Village buildings records collection (http://bit.ly/18Mx2qw), accumulated records documenting the history of each individual building in Greenfield Village, and colloquially known as the "Building Box collection."

Houses are rarely static objects. As the years go by, people change, families grow, and structures pass into different ownership. Homes are adapted to meet the needs of their residents, and in doing so, those same dwellings are able to share their secrets with those that have a discerning eye. Consider, for example, this picture of the front entryway of Adams House, looking into the kitchen. The way to the kitchen is open, just as it is at Greenfield Village, but what about the opening to the left, immediately in front of the kitchen door? When we study the blueprint, it appears that this passage would lead into the sitting room, although it is not depicted in the 1876 interpretation of the Adams House in the Village. It is entirely possible that this passage was open, and the doorway to the kitchen solid wall, when the home was built in 1846, more than three decades before George Matthew Adams. The kitchen of the 1840s was a far cry from the kitchen of today. While modern kitchens are open and inviting, often combined with or indistinguishable from the dining room, antebellum kitchens were usually cut off from the rest of the house, a place that the family never exhibited and where guests were rarely allowed. In fact, it was more likely to have a passage from the main hallway lead into the sitting room than the kitchen. It might be the case that the door to the kitchen was added many years later, when homeowners insisted on a greater degree of convenience and changing domestic patterns made the kitchen into more of a social and familial gathering place.

From the hall. The openings to the kitchen (straight ahead) and to the sitting room (to the left) may not have been built at the same time.

Looking into the kitchen from another angle, even more interesting features can be spotted. The wall with the doorway in the picture below shows a division in the kitchen, which in all likelihood was a pantry. So while it is unclear if the pantry wall in the picture is original to the house, there are several clues to help scholars determine a rough chronology. Many kitchens in the early Victorian era had no need for a pantry. After the Civil War, however, mass production and an increase in commercial products led to a need to store food and keep it organized. The Adams House as it stands today does indeed have a pantry, although not in the same location as the one depicted here. Like the other walls in the picture, the wall in question is made using plaster applied to strips of lath. This is the 19th-century equivalent of the beams and drywall system of today. All of the strips in the house are split laths rather than sawn laths, indicating that the interior wall is close to the rest of the house in terms of construction date. Laths that were sawn off of logs rather than stripped would illustrate a date closer to the 20th century and an increase in sawmill technology, when there was greater uniformity both in the form of houses and the materials that were used to make them. The pantry wall, with its construction indistinguishable from the rest of the original structure, could be original to the house or, if not built right away, a very quick addition afterwards.

The laths in this interior wall help to show its age relative to the rest of the house.

Using the evidence discovered from viewing old photographs and other floor plans, historians at The Henry Ford outlined this conjectural layout of the George Matthew Adams House at the time of its construction in 1846.

Like the foundation of the Adams House, the floor plan has shifted and fluctuated. The great gap in years, as well as the gap in the written and photographic record, makes piecing together the layout of the Adams House a daunting task. By using a combination of photographs, blueprints, and oral histories, employees at The Henry Ford have been able to conjecturally construct the history of the George Matthew Adams House. With this fresh and logical outlook, it is easier than ever to see the changes in the home between its construction in 1846, George Matthew Adams’ birth in 1878, and the purchase of the house by The Henry Ford in 1937. These changes over the years show how the role of the house evolved to meet the needs of new families and domestic ideals. The recent study on the Adams House layout has helped uncover not only what features of the house had been modified, but also how and why those alterations took place when they did.

Jacob Thomas is one of the 2013 Simmons Graduate Interns at The Henry Ford.

Greenfield Village buildings

Dennis Hoyt is a wood sculptor who lives in Oregon and specializes in automotive art. He starts with a large trunk from a native basswood tree and carves until, as he puts it "finds a car." At this year's Automotive Fine Art Society exhibit in the Pebble Beach Concours d'Elegance, Hoyt exhibited "Seven," a tribute to Michael Shumacher's seven Formula 1 racing World Championship titles.

Schumacher started his career with Benetton and the suggested rear of the car is reminiscent of the United Colors of Benetton brand in 1994, the same year he won his first World Championship. The rest of the intricately carved sculpture dynamically turns into a red Formula 1 car, which illustrates his years with Ferrari up to his seventh World Championship title in 2004. Hoyt captures the flow, rhythm and harmony of Schumacher's driving and the performance of Formula 1 racing. As Hoyt says, "he found Schumacher and his car in the wood."

Car Shows

Dawn patrol.

Dawn patrol waiting for the arrival of the Pebble Beach Concours cars at The Lodge on the 28th Fairway

At The Quail Motorsports Gathering one of our favorite pre-war sports cars was this 1911 Hudson Speedster.

Car Shows

Our team at Pebble Beach Concours d'Elegance is capturing some of their favorite moments from this weekend's events. Today the team enjoyed the sights at The Quail Motorsports Gathering. Executive Vice President Christian Overland checks in.

The Henry Team just arrived at The Quail Motorsport Gathering in Carmel, Calif.

Our final car of the day at The Quail is a Bugatti T57G the same model that won the 24 Hours at Le Mans in 1937 and 1939.

Car Shows

Where in the world is The Henry Ford this weekend? Pebble Beach, Calif.!

Pebble Beach Concours d’Elegance has invited The Henry Ford to showcase our 1950 Lincoln “Bubbletop” Presidential Limousine in its 63rd showing. As part of this stellar automotive event, we appear as one of the select cars on the famed 18th fairway of the Pebble Beach Golf Links.

This year’s show field focuses on one-off custom-bodied Lincolns. After Ford Motor Company purchased Lincoln in 1922, Edsel Ford further defined it with superior styling and elegant custom coachwork. Long one of America’s elite luxury cars, Lincoln served as the official vehicle for presidents from Franklin D. Roosevelt to John F. Kennedy and George H.W. Bush.

This isn't the first time the Bubbletop has been on display outside of the museum. In 2012, The Henry Ford proudly exhibited our Bubbletop in England during the Diamond Jubilee celebration of Queen Elizabeth.

The car's bubbletop

Secret Service agent platform

What else should you know about the Bubbletop?

  • Built for President Harry S. Truman in 1950, and used by President Dwight D. Eisenhowser
  • Presidents John F. Kennedy and Lyndon B. Johnson also used this car as a spare until its retirement in 1967
  • Assembled by the Ford Motor Company in Detroit
  • Special bodywork done by Raymond Dietrich, Dietrich Creative Industries, Grand Rapids, Mich
  • Engine: V-8 L-head
  • Horsepower: 152
  • Displacement: 336.7 cubic inches
  • Weight: 6,500 pounds
  • Total of 10 limousines built at a cost of $500,000
  • President Eisenhowser added the distinctive plastic "bubbletop," which is removable so presidents could be seen during parades in all weather
  • A folding bug shield protects the president's face when standing during parades
  • A platform in back holds Secrete Service agents
  • Lish Dorset is Social Media Manager at The Henry Ford.

    Car Shows

    “We’re going to let people try and hack the museum?!”

    When I first heard this a few months back, my jaw dropped. Hack the museum?! What?! Are you serious? What museum would even think of doing such a thing? Well, The Henry Ford would. We were indeed opening ourselves up to hacking, but not like you would first think.

    hackathonlogoAs part of Maker Faire Detroit 2013, our partners at Compuware came up with the great idea to host our first-ever hackathon inside Henry Ford Museum with the challenge of “creating an application which combines The Henry Ford’s digital collection with the imagination and power that are an essential part of the mobile culture today.” We were opening ourselves up to hacking, but by way of APIs used with our digital collections.

    Nestled above the “Heroes of the Sky” exhibit toward the back of the museum, six teams worked all day Saturday trying to create the most unique app for us possible. Nineteen participants, some local, some from out of town, consumed a lot of caffeinated beverages and wrote a lot of code as the faire happened around them.

    Mike Butman, our Chief Information Officer at The Henry Ford, worked with the teams on how best to access the collections’ APIs throughout the day. For Mike, the hackathon was not only a way to see new ideas, but a source of inspiration and personal challenge.

    “It was extremely invigorating,” Mike told me. “Not just to see the technical components, but to see the outside perspective and how these individuals could develop something for our guests to interact with.”

    With their work done at the end of the day on Saturday, all that was left was a presentation to our team of judges. The six teams presented their ideas and made their cases in front of our judges. The judges that had the tough job of selecting just one winner included:

  • Matthew David, Chief Digital Strategist at Compuware
  • Eric Weinhoffer, Product Development Engineer at MAKE
  • Bruce Elenbogen, Associate Professor of Computer Information Systems at UofM Dearborn
  • Lauren Ann Davies, Deadline Detroit
  • Marilyn Zoidis, Director of Historical Resources at The Henry Ford
  • In the end, we had one winner and two runners-up (I said it was a tough choice). Team 42 and Chi-Ackers took second place with Sam Harrell of Team Sam taking home top honors. What was the app that wowed our judges so much?

    Hackathon App

    The app used image recognition with computer vision, kind of like augmented reality.

    Hackathon App

    Guests take the app and move it across a sign. The app recognizes points on the sign and pulls related information from the digital collections of The Henry Ford.

    Spanish

    The app can then also translate the information into dozens of languages. It’s easy to use. Instead of looking for information on multiple web pages within your mobile browser, all related items are pulled together all in one place.

    Sam had been thinking of an app like this for a while. The hackathon, with the access to our APIs, was just what he needed to pull it all together.

    “I loved the thrill of starting something from scratch and building it out,” he said.

    Will you see the app anytime soon? There’s consideration here at the institution of being able to make something out of the results from the hackathons, like the one at Maker Faire Detroit, in the future.

    For Compuware’s Matthew David, suggesting a hackathon as part of their Maker Faire Detroit sponsorship was a natural idea. Hackathons all across the globe continue to gain popularity. For small groups of people, a hackathon often gives them the opportunity to not only be developers but also entrepreneurs. Did you know that the Facebook “Like” button was the result of a Facebook hackathon?!

    “When you work on emerging technology, you’re so very passionate about it,” Matthew said. “Being up to your eyeballs in code, racing against the clock for a fun prize... people are doing it for the honor of winning. They light up Silicon Valley passions outside of Silicon Valley. Folks really can do something. These solutions emerging and then happening? That’s pretty fantastic.”

    Digital Collections Initiative Manager Ellice Engdahl proudly watched the presentations the next day on Sunday. To the leader of the team creating and publishing our digital collections, the idea of allowing outside developers access to our raw data meant a lot.

    “The true purpose of digitizing our collections, both on the floor and in storage, is to make them available. If our digital assets aren’t used, there’s no point in creating them,” Ellice said. “It was fabulous to see creative programmers find new ways to share our materials.”

    Ellice also really appreciated the thoughtful way each team approached the challenge and brought their own perspective to it.

    “Team 42 was interested in engaging diverse audiences, Team Chi-Ackers wanted to encourage learning through collections-related gaming, Team CIA encouraged easy sharing from the museum to visitors and from visitors to visitors, Team Handsome Quartet encouraged users to gain social badges through viewing collections objects, Team Sam thought about how the existing labels on the Museum floor could be improved and enhanced, and Team Wambatech incorporated outside videos and images alongside our own assets,” she said. “It was great to see such a variety of results coming out of the teams’ original goals and perspectives, and exciting to think of the diverse audiences that would appreciate all the teams’ efforts.”

    While the hackathon has come and gone for 2013, the enthusiasm is here to stay. You can keep up to date with Maker Faire Detroit updates on our website and through our enthusiast channel, OnMaking.

    If you had a chance to create an app for The Henry Ford, what would you make?

    Maker Faire Detroit 2013 Hack the Museum Participants

    Team Sam

  • Sam Harrell - Chief Hacker
  • Team 42

  • David Wilhelm - Developer; HTML/CSS, Javascript & PHP
  • John Leftwich - HTML/CSS/design - Education Consultant
  • Katherine Scott - Interaction Engineer/IMAGINEER
  • Jennifer A. Scroggins - Front-end design and dev; HTML/CSS; all-around idea person museum junkie
  • Chi-Ackers

  • Jeff Molsen - Development
  • Cody Greene - Robotics and Development
  • Dennis J. Schleicher, Jr. - User Experience
  • The Handsome Quartet

  • Jon Radon - Moral Support
  • Robert Muhic - Core Operations Development Engineer, Manager of Nightly key Enterprise Yodeling
  • Eric Panek - Senior IT Director of Enterprise Code Monkey Operations Architect and Human Resources II
  • Peter Richards - Developer & Senior Caffeine Acquisition Officer
  • Creative Innovators Achievers (CIA)

  • Mukesh Gupta - Lead
  • Krishna Mudiraj - Developer/Designer
  • Reda Bouaichi - Developer/Designer
  • Vijay Vardhan - Architect
  • Wambatech

  • Jason Rodriguez - Designer
  • Shane O’Dell - Developer
  • Jeff Goergen - Developer
  • Nathaniel Plane - Developer/Team Lead
  • Lish Dorset is Social Media Manager at The Henry Ford.

    computers, hacking, Maker Faire Detroit, making