Usually a copy of a copy isn’t always a great thing. But if this copy happens to be a copy of a “A Domestic Cook Book,” written by America’s first African-American cookbook author Malinda Russell, it IS a great thing.
As the beginning of Janice’s introduction reveals, Malinda was a free woman of color in the 1800s. At the age of 19 she was to travel to Liberia, but after having money stolen from her she had to stay in Virginia. She worked as a cook and traveled as a companion, serving as a nurse. After her husband’s death, Malinda moved to Tennessee and kept a pastry shop. A second robbery forced her out of Tennessee into Paw Paw, Michigan, “...the garden of the west.” As Janice notes, the “receipts” in her book are incredibly diverse on account of her travels near and far. Malinda’s personal account of her life’s story takes you back into history, making you realize just how important her life’s work was then and is now.
Not only does the facsimile contain more than 250 recipes from Malinda, but it also houses medical and household hints, too. In the Clements Library at the university, the preserved original copy joins the ranks of other early African-American cookbooks, including “What Mrs. Fisher Knows About Old Southern Cooking,” a name very familiar to guests at Greenfield Village.
Like so many of the historic recipes found in the collections here at The Henry Ford, this copy of A Domestic Cook Book provides great inspiration for our programming team in Greenfield Village. Cathy Cwiek, Manager of Historic Foodways and Domestic Life Programs at The Henry Ford, especially enjoys pouring over the book reading about Malinda’s fascinating story and her favorite recipes. Here are two of Cathy’s favorite recipes from the book, shared just as Malinda wrote them, that you can try at home.
A Domestic Cook Book: Containing a Careful Selection of Useful Receipts for the Kitchen
By Malinda Russell, an experienced cook.
Printed by T.O. Ward at the “True Northerner” Office
Paw Paw, Mich., 1866
Ginger Pop Beer
Five and a half gallons water, 3-4ths lb ginger root bruised, half ounce tartaric acid, two and 3-4ths lbs white sugar, whites of three eggs well beaten, one teaspoonful lemon oil, one gill yeast. Boil the root thirty minutes in one gallon of water. Strain off and put the oil in while hot. Make over night; in the morning kim and bottle, keeping out the sediment.
Take the shank bone, boil until tender; chop fine, potatoes, onions, and cabbage, and boil until done; season with salt, pepper, parsley, rosemary, or sweet margery. Rub the yolk of one egg into the three tablespoons flour, rubbed into rolls and dropped into the soup to boil.
Lish Dorset is Social Media Manager at The Henry Ford.
Nearly as long as there have been automobiles, dealers and enthusiasts have been decorating them with hood ornaments. As you might suspect, the collections of The Henry Ford contain a few hood ornaments, and we’ve just added a number of them to our digital collections. View this Lalique dragonfly and other hood ornaments by visiting our online collections.
Jeanne Theoharis’ definitive political biography of Rosa Parks sets out to correct the popular myth of Rosa Parks as the quiet, tired seamstress who refused to give up her seat on Montgomery City Lines Bus #2857. Through extensive and intricate research, Theoharis asserts that Rosa Parks spent years working courageously for civil rights. She prepared herself with an assured readiness, which she could rely on when an opportunity occurred as it did on the bus on December 1, 1955.
As Theoharis points out, Parks started her political activist career at an early age, decades before she refused to give up her bus seat. Parks and husband Raymond, who met in 1931, shared a passion for taking action against segregation laws. She joined the Montgomery NAACP in 1943 as a volunteer advocate organizing black youth groups and trying to bring justice for young black women raped by white men. A few years later, she became the secretary of the NAACP — working with E.D. Nixon, president of the Montgomery NAACP chapter — to advocate for anti-lynching laws and overcoming the formidable process of registering black people to vote.
Rosa Parks also was a strong advocate for integrating whites and blacks. In 1947, the Freedom Train, carrying historic copies of the Declaration of Independence, Constitution, Bill of Rights and the original Gettysburg Address and Emancipation Proclamation, “was scheduled to stop in Montgomery and Parks published a report objecting to Montgomery’s all-white train committee,” according to Theoharis. The national requirement that the exhibit be racially integrated was highly controversial in Montgomery, Birmingham and Memphis. Parks and her colleagues were instrumental in bringing the Freedom Train to Montgomery as they pressured city officials to ensure all children would actually enter on a first-come, first-served basis. As the Montgomery NAACP secretary, she created several campaigns for racial integration, wrote numerous press releases countering white arguments for segregation and continued to mount successive and tireless campaigns for black voter registration.
Theoharis brings us through six decades of Parks’ courageous life as a political activist, which had serious consequences for her and her family. Great economic stress, constant harassment and people threatening physical harm and even death were now part of her life. Despite the private toll, Parks continued to publicly urge perseverance for the civil rights movement, never retiring as an advocate for racial justice.
Theoharis’ The Rebellious Life of Mrs. Rosa Parks is an exceptional scholarly work that offers a great story for its readers and should be part of every library and classroom. This work provides a new awareness of the importance of an American icon whose real history is better and far more relevant to move our society forward than the myth of a tired seamstress.
Review by Christian W. Øverland, Executive Vice President of The Henry Ford.
In early 1964, young Beatles fans might have listened for their favorite hits with an inexpensive, hand-held transistor radio like this “Zenette” model, made by the Zenith Radio Corporation. THF102582
For those who had been paying attention, the groundwork for the Beatles’ conquest of America had actually been laid before President Kennedy’s assassination in November. Through the summer and fall of 1963, the Beatles had slowly gained a following. A few radio deejays, intrigued by the Beatles’ sound and the attention they were getting over in Europe, occasionally managed to veer from the usual playlist to sneak in an airing of an imported copy of one of their British hits.
At the end of 1963, listener interest reached a crescendo with airplay of the Beatles’ British hit, “I Want to Hold Your Hand.” Taking notice, Capitol Records decided to move up its own U.S. release date of this record. Rather than mid-January 1964 (to coincide with the Beatles’ Ed Sullivan Show appearances), Capitol debuted this single on December 26, 1963. The timing was perfect. In New York City alone, this single sold 10,000 copies every hour over the first three days of its release! In only 10 days, a million copies of it had been sold. Four additional Beatles singles and two albums were hastily produced and were flying off the record shelves just in time for the Beatles’ visit.
A Day in the Life
Certainly the most memorable and significant part of the Beatles’ visit to America in February 1964 was their appearance on “The Ed Sullivan Show.” As story has it, Sullivan, who had great instincts as a talent scout, happened to be at London’s Heathrow Airport on October 31, 1963, when the Beatles returned from Stockholm, Sweden, to a mass of screaming fans. Intrigued, he investigated further and ended up negotiating with the Beatles’ manager Brian Epstein for not just one, but three shows.
The first of these aired live on Sunday, February 9 in New York City. An estimated 74 million viewers turned on their TVs to watch Ed Sullivan’s show that night—the largest recorded audience for an American television program to date! While Beatles music was becoming familiar to the public through both the radio and their records, television had the power to add visuals—and to bring these visuals directly into people’s living rooms.
And what visuals they were! The Beatles were like no other performers Americans had ever seen. They dressed and acted like courtly gentlemen, wearing matching suits with collarless jackets and bowing together at the end of each song. But their defining feature was their shockingly long hair, which shook and bounced around their faces as they sang.
The American press was not kind to the Beatles after that first Ed Sullivan Show appearance. An article in The New York Times called them “young men with heads like unmade beds.” The audience was “filled with wild-eyed girls” who “bounced like dervishes and began a wild screaming as if Dracula had just appeared on stage.” But, not surprisingly, young people—especially girls—thought very differently about the experience. Historian Susan Douglas, who—as a teenager—had watched the Beatles on TV during that first Ed Sullivan Show, captured the thoughts of many like her:
While I didn’t scream (because I was recording them on my dad’s reel-to-reel tape recorder), I sure felt like it. I was elated—actually filled with joy. I couldn’t stop smiling while they performed. They made me so happy, the kind of happy that overflows all the breakers in your neural system and makes you feel free. This was a happiness I could barely contain, the kind that made me want to shake my best friends and jump for joy.
The Beatles’ second appearance on “The Ed Sullivan Show” took place the following Sunday, February 16—live from the Deauville Hotel’s Napoleon Ballroom in Miami Beach, Florida. It drew an estimated 70 million television viewers. During this show, Ed Sullivan described the Beatles as “four of the nicest youngsters we’ve ever had on the show.”
Their final appearance on “The Ed Sullivan Show” was back in New York City on February 23, a show pre-recorded on February 9. By this time, the Beatles had already returned home to England.
The Beatles’ 15-day visit to America also included press conferences, rehearsals, and concerts. At their first American concert—which took place in the Coliseum in Washington, D.C.—the Beatles had to turn and reorient themselves after every few songs because the stage was at the center. At their two concerts in New York City’s Carnegie Hall—considered America’s great shrine to classical music—they appropriately started off with Chuck Berry’s “Roll Over Beethoven.”
This souvenir button was purchased by Stephen Majher, who happened to share an elevator with the Beatles at the Deauville Hotel in Miami Beach, Florida, during their stay there to prepare for their second appearance on “The Ed Sullivan Show.” Stephen Majher was in Miami attending a convention and was unaware of the famous quartet's identity until the elevator landed and the Beatles were met by screaming fans. He commemorated the occasion by purchasing some Beatles-related souvenirs—including this button—to take home to his 14- and 7-year old daughters back in Bay City, Michigan. THF8627
Here, There and Everywhere
The Beatles’ conquest of America in February 1964 was, in fact, thoroughly planned and strategized—even if the Beatles themselves were pleasantly surprised by it all. In the end, victory was soundly declared.
But during their brief visit, the Beatles had opened a door that would forever change American musical tastes, fashion, group behavior in public places, and teen culture. The conquest was complete. But the invasion had just begun.
Donna R. Braden is Curator of Public Life at The Henry Ford.
Was there a group better than The Beach Boys to write so longingly about the automobile? (Object ID: 87.170.1)February is upon us and, with Valentine’s Day in the offing, our thoughts turn to love. Red roses and paper hearts are fine, but to me nothing is quite as romantic as a love song. Whether it’s from an old master of the Berlin-Gershwin-Porter variety, or from one of today’s stars, a simple love song communicates emotion in a wholly unique way. Anyone who has explored the “Car Tunes” activity in Driving America knows that automobiles have been a staple in popular songs from the start. It was inevitable, then, that the car song and the love song would blend. In the spirit of the holiday, I thought I’d share a few of my favorites.
Many words have been written on the automobile’s effects on our courtship rituals. (See John Heitmann’s The Automobile in American Life for a good discussion.) Prior to the car, a young man “called” on a young woman at her home under her mother’s watchful eyes. The couple might find a few moments of privacy on the front porch, but that was about it. The automobile threw the old rules out the window and gave couples a literal escape from the confines of the home. It either took them somewhere where they could, ahem, be affectionate, or was itself the place for their amorous activities.
Kenny Roberts, the Yodeling Cowboy, voices this shift in his 1949 hit “I Never See Maggie Alone.” As the title suggests, Kenny can’t get a private moment with Maggie – her large family is always there. He buys a car for a little seclusion, takes Maggie for a ride, but… Well, I won’t spoil it for you, but you probably know what happens. Fast forward 30 years and you’ll find Robbie Dupree covering the same ground in “Hot Rod Hearts” from 1980. Times have changed, though. While Kenny and Maggie were merely “huggin’ and kissin,” Robbie has “young love born in a backseat.” One suspects there’s more than innocent necking at play.
How do you listen to your favorite song in your car today? (Zenith "Zenette" Transistor Radio, 1960-1963, Object ID: 92.46.2).
When the car isn’t providing young lovers with a means to get away together, it’s often the means to bring them together. Many tunes tell of someone driving through the night to reach a significant other. Cyndi Lauper made a big hit out of this very scenario with 1989’s “I Drove All Night.” It’s been an enduring song, with subsequent hit versions from Roy Orbison and Celine Dion. (Celine’s version even backed a series of Chrysler commercials in the early 2000s.)
Classic Rock fans recognize the “drive to romance” concept from Golden Earring’s 1973 smash “Radar Love.” While the title refers to the lovers’ seemingly telepathic connection, the opening couplet is pure road song: “I’ve been drivin’ all night, my hands wet on the wheel / there’s a voice in my head that drives my heel.” Country fans, meanwhile, might be reminded of Dave Dudley’s 1963 cut “Six Days On the Road.” In this case, the narrator is a professional truck driver longing to get home, but the sentiment is the same: “Well it seems like a month since I kissed my baby goodbye… My hometown’s comin’ in sight / If you think I’m happy you’re right / Six days on the road and I’m a gonna make it home tonight.”
Tom Waits puts a nice spin on the situation with his 1973 song “Ol’ 55” (memorably covered by the Eagles in 1974). Instead of driving his car to his lover, he’s driving back home from his lover. So warm is the afterglow that traffic is a “parade” as he rides “with lady luck.” In the song itself, Waits never identifies his vehicle beyond a model year. In subsequent interviews, he’s pegged it as a 1955 Buick Roadmaster, but I still picture a Chevrolet.
Chuck Berry is often cited as “rock and roll’s poet laureate.” His witty lyrics helped to establish rock’s very structure during the formative 1950s. It’s no surprise that Berry created some memorable car songs. His very first hit, 1955’s “Maybellene,” is one of the genre’s best. We find Chuck cruising in his hot rod Ford V-8 when he spies the eponymous Maybellene in her Cadillac Coupe de Ville. They race down the highway, “bumper to bumper, rollin’ side to side.” An overheated engine threatens to end Chuck’s race, but a well-timed cloudburst cools his flathead and allows him to catch the Caddy at 110 miles per hour. While the race goes Chuck’s way, the “Why can’t you be true” chorus suggests that the romantic relationship doesn’t work out so well.
Brian Wilson and the Beach Boys are rightfully credited as the masters of the car song. They gave us “Little Deuce Coupe,” “I Get Around,” “Custom Machine,” “This Car of Mine,” “Shut Down” and a host of other hot rod hits. (And really, who else but the masters could have written a song – and a good one at that – inspired by engine displacement?) But Wilson & Co.’s genius with the genre is perhaps most evident in the haunting “Don’t Worry Baby.” Casual listeners will hear the oft-told tale of a man who draws strength and support from his significant other. Those who listen more closely, though, will hear a song about… a car race! Brian boasts about his car, talks himself into a race, and shares his apprehensions with his love. She reassures him – makes him come alive, makes him want to drive – when she shares the titular advice. One of my favorite things about the song – apart from that deft modulation from E to F# between verse and chorus – is the ambiguity in the ending. We never do find out if Brian wins his race, but I suppose that’s beside the point. “Don’t Worry Baby” is the rare track that thick-skinned gear heads and sensitive poets can both embrace.
Among the most atmospheric car/love songs has to be 1984’s “Drive” by the Cars. (And, by the way, how’s that for title/artist synergy?) While the song is open to wide interpretation, I think of it as being about a relationship strained by chemical dependency. The central question, “Who’s gonna drive you home,” is rhetorical. The narrator pleads that his lover “can’t go on / thinkin’ nothing’s wrong” as he watches her self-destruct. If he leaves, then who will be left to care for her? “Drive” isn’t a roll-down-the-windows and rock-down-the-highway hit, but it is a reminder that car songs can be subtle.
Maybe the best twist on the car song/love song style is when the car itself is the object of the singer’s affections. Dan Seals’s 1985 country hit, “My Old Yellow Car,” is the perfect example. It’s a sentimental ballad in which, despite all of his fame and fortune (he’s “got a Mercedes-Benz with a TV and bar”), the thing Dan pines for most is his first car. Even though “she weren’t much to look at / she weren’t much to ride,” this yellow car made young Dan the king of the world: “There was no road too winding / there was nowhere too far / with two bucks of gas in my old yellow car.” It’s emotional stuff, and by the end of the song we realize just what that first car represents. It’s more than empowerment and independence; it’s a talisman of lost youth. There’s a reason we all get nostalgic about our first rides, no matter how humble they were.
Enjoy your Valentine’s Day everyone. Light a few candles, open a bottle of wine, and put together your own playlist of favorite car-related love songs. It’ll put you in a romantic mood – and tide you over until its time to pull the classic out of winter storage.
Like the songs you heard here? Watch them on YouTube or log into Hypster and listen to the whole list.
Matt Anderson is Curator of Transportation at The Henry Ford
The collections of The Henry Ford contain not only much of the history of the Ford Motor Company and Henry and Clara Ford, but also records related to Henry’s son, Edsel, as well as Edsel’s children. We’ve just digitized a number of photographs of one of Henry’s grandchildren, William Clay Ford, Sr. Before he retired from Ford Motor Company in 1989, William Clay Ford was involved in many capacities with the company his grandfather founded, and also served as Chairman of the Board of Trustees of The Edison Institute (e.g., The Henry Ford) for nearly 40 years, plus 25 years as our Chairman Emeritus. In addition, he has also had a controlling interest in the Detroit Lions NFL football team for the past 50 years. In this photo, young William walks among moss-covered trees at Richmond Hill, Georgia, with his grandmother, Clara. See more images and objects related to William Clay Ford, Sr., in our online collections.
At the 50th anniversary of President Kennedy’s death last year, The Henry Ford honored his legacy with the help of news legend Dan Rather, best-selling author James L. Swanson, former Secret Service agent Clint Hill, and two sold-out crowds determined to remember 1,000 brilliant days, 20,000 days on.
On November 18, Rather sat with Swanson mere feet from the Kennedy Presidential Limousine, housed at The Henry Ford since 1978. One of the first to break news of President Kennedy’s death, Rather noted how three years before, Senator Kennedy won over those who saw him as too young, too rich and too Catholic with articulate idealism, self-deprecating wit, and an unprecedented understanding of politics-as-theatre.
But JFK had an additional asset – his wife. Young and chic, with a shrewd intellect and a romantic understanding of America’s past, Jacqueline Kennedy was an immensely popular first lady. The front and back covers of Swanson’s new book on JFK’s assassination shows Mrs. Kennedy wearing the shocking pink and stark black in which pop artist Andy Warhol would immortalize her image.
It was Swanson who noted the irony of Jacqueline Kennedy’s pervasive aesthetic influence, citing an essay the future style icon wrote as a college senior, in which she expressed an interest in being an “overall Art Director of the Twentieth Century”.
On November 19, it was Mrs. Kennedy’s Secret Service agent, Clint Hill, who left the museum in silence. Also standing feet from the presidential limo, Hill recalled for journalist Lisa McCubbin the friendly crowds that met President and Mrs. Kennedy in San Antonio and Houston on their first day in Texas, the unexpectedly warm welcome shown them in Dallas, and his lingering guilt over not getting to the president in time to save his life.
But Hill took no credit for potentially saving the first lady’s life, in her last moments as first lady. Hill saw Mrs. Kennedy crawl onto the trunk of the Lincoln, reaching for a piece of her husband’s skull, just before the car’s hand-built, 350-horsepower, 430 cubic inch V8 deployed it with full force toward Parkland Hospital. It’s Hill seen in the now sadly familiar images, racing forward, jumping aboard, and shielding Mrs. Kennedy from the unknown with his own body.
Touchingly, Hill also revealed many of the small, human moments Swanson alluded to the prior evening – details sadly overshadowed by decades of myth and conjecture: of a father promising a child he’d be home in just a few days; of a husband taking his wife’s hand in a jostling crowd; of a wife clinging protectively to a husband she already knew belonged to history.
By inviting Rather, Swanson and Hill to share these stories and these moments, The Henry Ford did what museums do best – ensure that nothing is lost to time as one generation fades into the next. For those whose lives were changed forever a half-century ago, it was a lovely remembrance. For President Kennedy, whose life was shaped by the heroes and glories of the past, there could be no more fitting tribute.
Justin Mularski is a writer based in Detroit. He occasionally forsakes his laptop to read of times long past, cheer for the Tigers, or make lists of home improvement projects he’ll never actually complete.
On October 23, 1934, the husband-and-wife team of Jean and Jeannette Piccard navigated a balloon as high as 10.9 miles above the earth, starting from Dearborn, Michigan, and landing many hours later hundreds of miles away in Ohio. This flight reached the stratosphere, and set the women’s altitude record for Jeanette, which she held until the early 1960s. The Henry Ford has digitized about 40 photographs and documents related to the flight, including this quirky photo of Charles Roscoe Miles, a Lincoln portrayer visiting Dearborn at the invitation of Henry Ford, examining the gondola a few days before the flight. Find more material documenting the adventure before, during, and after the flight on The Henry Ford’s collections website. (If you want even more, browse additional Piccard material in the digital collections of the Detroit Historical Society, and read their accompanying blog post.)
Andy Williams was off by a month. Auto industry insiders and enthusiasts know that January is the most wonderful time of the year, as it brings the annual North American International Auto Show (NAIAS). Since 1907, automakers have used the event to showcase fresh designs and innovative technologies. New models are introduced with suitable razzmatazz, and concept cars tantalize us with possibilities for the future. I set out to Cobo Center this year excited for everything, but with three particular must-sees on my checklist.
Chevrolet wowed crowds last year with the return of the Corvette Stingray (it took “Car of the Year” honors at this year’s event). For the 2014 show, the Bow Tie gives us the 2015 Corvette Stingray Z06. With 625 horsepower surging from its 6.2 liter V-8, the Z06 is a legitimate supercar. No, it’s not going to sell in any significant quantity, but these halo dream machines are what make NAIAS so much fun.
Chrysler is making headlines with its introduction of the next generation 200. This car could be a coup for the Pentastar. There’s a lot of money to be made in the mid-sized segment, and Chrysler wants to increase its take. The 200 also builds on shared design and technology from parent Fiat – efficiencies that can help the company thrive. Analysts will keep a close eye on the 200’s sales, but what really caught my eye is the 200’s rotary dial transmission shifter. I’m a fan of the traditional floor-mounted lever, but buttons and paddles have their supporters, so why not a dial?
Ford made its 2015 Mustang splash last month, so its NAIAS presence is heavily focused on the aluminum-bodied F-150. This is a big play by the Blue Oval. The venerable F-150 has been the best-selling vehicle in the United States for close to 20 years (and the best-selling pickup forever – well, at 43 years, practically so!). But fuel efficiency is vital for environmental and economic reasons. With the 2015 F-150, Ford improves gas mileage by converting much of the truck’s body structure from steel to aluminum and dropping 700 pounds of curb weight in the process. It’s a breakthrough, but it surely takes courage to invest in expensive new metalwork and try major experiments on your most popular product.
The F-150 gets the headlines, but don’t think that the Mustang is ignored. Prototypes of the 2015 model are there for ogling, and The Henry Ford’s own 1962 Mustang I concept car and 1965 Mustang Serial Number One production car are on prominent display. Best of all, though, Ford has created a sort of museum to Mustang’s place in popular culture. Head upstairs into the gallery and you’ll find everything from die-cast models, to Avon cologne bottles, to movie posters. (Yes, Bullitt is there.) There’s trivia too. Who knew, for example, that “Mustang” is one of the most popular computer passwords? Or that a Mustang was one of the original 16 Hot Wheels cars? My favorite display consisted of a jukebox playing nothing but Mustang-related songs, from Wilson Pickett to Vanilla Ice. “Rollin’ in my 5.0” indeed.
On a final note, there is a real treat in seeing Cobo Center itself this year. The new atrium and Grand Riverview Ballroom (fashioned from the old Cobo Area) are absolutely breathtaking. Detroit has much to be proud of this year – on both sides of the NAIAS showroom doors.
Matt Anderson is Curator of Transportation at The Henry Ford