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The Henry Ford’s archives contain a great deal of material about radio and television shows produced or sponsored by Henry Ford and Ford Motor Company. Here is just a small sampling of the types of items and shows covered.

Henry Ford began broadcasting over his WWI radio station in 1922. Early broadcasts featured musical acts from company bands, such as the Ford Motor Company Band and the Ford Hungarian Gypsy Orchestra. Later broadcasts expanded the talent pool to acts across the United States, including singers, bands, soloists, and even the California Bird Man.

Men sit at desks with typewriters and equipment
Ford Motor Company Radio Station WWI, Dearborn, Michigan, February 1924. / THF134739

The Ford Sunday Evening Hour was a popular radio show produced by Ford. This show was broadcast from 1934–1942 (and then again from 1945–1946). The show was performed live in Detroit, first at Orchestra Hall and then at the Masonic Temple, and broadcast over the CBS radio network. Musical pieces were played by 75 members of the Detroit Symphony Orchestra under the name the Ford Symphony Orchestra, with each show featuring guest star soloists and singers.

Page with text
Ford Sunday Evening Hour program, October 7, 1934. / THF137776

Display with image of orchestra on stage above a car dashboard, including radio; also contains text
Ford Sunday Evening Hour Dealer Display, 1938. The program was broadcast across the U.S. and was advertised by Ford dealers all over the country. / THF269154

In the summer, the Ford Summer Hour offered lighter, more popular tunes. This program used a smaller 32-piece orchestra and sometimes featured Ford employee bands such as the River Rouge Ramblers and the Champion Pipe Band.

Poster with images of three people's heads and text of varying sizes/colors, against a backdrop of a silhouetted orchestra with conductor; also contains musical notes
The Ford Summer Hour poster, 1939. / THF111542

Yellow sheet with text
Ford Summer Hour program, August 24, 1941. / THF134690

Ford Motor Company sponsored their share of television programs in the 1940s and 1950s as well. The Lincoln-Mercury division sponsored Toast of the Town, later The Ed Sullivan Show. The archives holds this scrapbook of reviews of the first season of the show (or shew) in 1948.

Teal-colored cover with curved text "Toast of the Town"
Teal colored page with TV Guide cover and page pasted onto it
Toast of the Town scrapbook, 1948-1949. / THF622224, THF622504

The 50th anniversary of Ford Motor Company in 1953 was a big celebration. Paintings were commissioned by Norman Rockwell to depict the company history, calendars were assembled, banquets and celebrations were planned worldwide, and the company put together a TV special to celebrate its 50-year history.

Page containing text, some of it arranged in a spiral, with small image of three faces
Advertisement, "Ford 50th Anniversary Show," June 15, 1953 / THF622247

The TV program featured many well-known performers, many of whom signed Benson Ford’s personal copy of the script.

Page with a small amount of typewritten text and many signatures
Page with typewritten text
Script for the Ford Motor Company 50th Anniversary TV Show, Broadcast June 15, 1953
/ THF622239, THF622240

These are only a few of the radio and TV shows produced or sponsored by Ford over the years. The archive at the Benson Ford Research Center has additional material, including scripts, ratings, and public relations analysis reports, for several of these shows. Some of these items may be viewed in our Digital Collections, while others have yet to be digitized. While the reading room at the Benson Ford Research Center remains closed at present for research, if you have any questions, please feel free to email us at research.center@thehenryford.org.


Kathy Makas is Reference Archivist at The Henry Ford. This post is based on a February 2021 presentation of History Outside the Box as a story on The Henry Ford’s Instagram channel.

Dearborn, Michigan, Detroit, archives, TV, music, radio, Ford Motor Company, by Kathy Makas, History Outside the Box

Winter weather means winter sports and activities: skiing, ice racing, ice boating, sledding, ice hockey, and even snowball fights. Throughout the archival collections in The Henry Ford’s Benson Ford Research Center, images, brochures, pamphlets, and books shed light on the various activities people participate in during the cold months of the year. Below are some of the highlights from January’s virtual History Outside the Box, which was featured on The Henry Ford’s Instagram and Facebook Stories.

Street scene looking down sidewalk lined with a row of delicate snow-covered trees on either side; houses in a row down one side
Winter morning at the corner of Canfield Avenue and Second Avenue in Detroit, Michigan, circa 1905 / THF110432

Grayling, Michigan, became a winter sports destination in the 1920s and 1930s, with toboggan runs, a hockey rink, and a ski jump dotting the landscape. A yearly carnival was held, with the crowning of a winter Sports Queen. This image shows the 1939 Winter Sports Queen, holding snowshoes, standing next to a Mercury V-8.

Woman, holding two snowshoes, stands next to a car with a snowy hill (perhaps a ski slope) in the background and a long low wooden building to one side
Grayling Winter Sports Queen with Mercury V-8, January 1939 / THF271673

Skiing, and ski jumping, have been popular in Iron Mountain, Michigan, for over 100 years.

People on steep, snow-covered ski slope, with crowds on either side and more crowds and a car in the foreground
8th Annual Kiwanis Ski Club Tournament, Iron Mountain, Michigan, February 1941 / THF272300

Ice skating has been a popular wintertime activity for over 150 years. And yes, even Henry Ford would get in on the fun.

Man in cardigan with collar turned up, hat, knickers, and ice skates, on ice with trees and buildings in background
Henry Ford ice skating, 1918 / THF97906

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Michigan, History Outside the Box, photographs, archives, sports, winter, by Janice Unger

Shelves packed with gray boxes with yellow labels receding into the distance

As part of American Archives Month in October, staff from The Henry Ford's archives developed some quiz questions about our holdings, which they shared on Twitter. We thought at the end of the year, that our fans might want to check their own knowledge around our archival collections. Try your luck at the ten-question quiz below--or if it does not appear for you, access it directly here.

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by Ellice Engdahl, by Kathy Makas, archives

Dark background containing white line drawings, notations and text

By the early 1950s, Ford Motor Company’s engineers had made over one million technical drawings of the parts used to make Ford cars and trucks. In 1949 alone, they used 13 million square feet of blueprint paper!

Large room full of tables, some of which have men standing near, leaning on, or lying on them with pencils or pens in hand
Ford Motor Company engineers at work, circa 1952. / THF125069

The drawings were being stashed away wherever room could be found. Since many of the drawings were for parts that were still in production, there was concern that the company’s operations would come to a halt if drawings were lost to a fire, a flood, or worse. Plans were made to microfilm the drawings so they could be stored more securely.

Sheet with text that notes among other things “top security for its records in the event of a bombing attack”
Paragraph from a 1951 brochure detailing the microfilming project. Cold War tensions were running high. / detail from THF135511

Three women in room with small filing cabinets along the walls and desks in the center
Eleven fireproof storage safes, holding one million microfilmed drawings, 1951. / THF123713

To save space, most of the original paper blueprints were destroyed after the drawings were copied onto microfilm. But a few can still be found in our Miscellaneous Ford Motor Company Blueprint and Drawings Collection.

Blueprint with blue background containing line drawings with notations and text
Blueprint showing part TT-7851-R for a Ford Model TT Truck. / THF138486

Dark background containing white line drawings, notations and text
70 mm microfilm copy of the same drawing. / THF406917

The Ford Motor Company Part Drawing Collection consists of over one million Ford engineering drawings from 1903–1957, on 70 mm microfilm. Each piece of film measures approximately 2.625 x 3.5 inches, and is in a manila envelope that shows the part number and the drawing’s latest revision date.

Manila envelope with handwritten numbers and red check mark
Envelope for drawing TT-7851-R, dated August 25, 1926. / THF406916

As of this writing, about 3,000 Ford part drawings can be seen on our Digital Collections website. Only 997,000 to go!

So, why don’t we “just” digitize them all?

The first challenge is the size of the film. Most high-speed scanners on the market now are not equipped to hold 70 mm film. And because each frame of film was cut from its roll and placed in a separate envelope, the film cannot simply be run through a machine.

We image the film using an Epson Perfection V850 Scanner with built-in Transparency Unit (a light inside the lid that allows it to scan film). Each piece of film measures just under 3 x 4 inches, so a scanning resolution of 1200 dpi (3600 x 4800 pixels) will usually suffice … but we go higher if a drawing looks like it will be difficult to read.

Three sheets with intricate drawings, notations and text
Larger blueprints, like this one for a V-8 Cylinder Block, were microfilmed in segments. / THF401366

After the film has been scanned, the images are straightened and cropped, and adjustments may be made to the brightness and contrast. If the film is a negative, we also create an additional, positive version of the digital image.

Line drawings, notations and text on light background
This version of the digital image can be printed without using as much toner. / THF406918

However, the bigger challenge is the data entry. Even the best digital image is useless if nobody can find it. To that end, it is necessary to transcribe the part number, the date of the drawing, and the title of the drawing from each piece of film. And many of the drawings include more than one part number!

Handwritten text reading in part “A-18254-B” followed by “A-18255-B”
If parts are symmetrical opposites, there is only one drawing for the pair. / detail from THF400831

Handwritten text in tabular format with numbers, dates, and initials
The revision history appears in the upper right corner of each drawing. This drawing is dated December 3, 1930 … but earlier versions may also exist. / detail from THF400831

If you are interested in researching the Ford Motor Company Part Drawings Collection, our Popular Research Topics page includes an FAQ and information about how to get started. Inquiries can be sent to research.center@thehenryford.org.

The Henry Ford is facing unprecedented financial challenges due to the impact of our 16-week closure and reduced operations. We need your help in securing our future. Love the Henry Ford? Please support all that we treasure—including our digitization program. Longtime supporters of The Henry Ford will match your donation dollar for dollar, so your contribution will have double the impact.
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archives, #Behind The Scenes @ The Henry Ford, #digitization100K, digitization, drawings, by Jim Orr, cars, Ford Motor Company

Factory topped with several smokestacks and a water tower, with cars driving by in front

Exterior View, Ford Highland Park Plant, 30 March 1932; Object P.833.56894.1 / THF237509

When Ford Motor Company engineers developed the assembly line at the Highland Park Plant back in 1913, they were seeking to increase production volume in order to provide more automobiles to the general public at a reasonable cost, and in a reasonable time.

Move ahead more than 100 years to 2020, where the staff of The Henry Ford and the Benson Ford Research Center (BFRC) are operating a modern assembly line to digitize images and documents from our collections and make them available online.

By some estimates, The Henry Ford holds roughly 26 million 2D and 3D objects, with the majority of that total – some 25 million items – contained within the archival collections at the BFRC. Clearly, there’s a lot to move down our “assembly line”!

As is the case with auto assembly, there are a number of stations along our line, beginning with material selection, then material retrieval, cataloging, imaging, storage, import, export, and finally ending with online display. Improvements made to the speed and efficiency at each of these stations can lead to gains in the production rate of the entire line.

Graphic with text
This graphic shows where Rapid Capture imaging fits into The Henry Ford's overall digitization process.

To bring that speed and efficiency to archival imaging, the BFRC uses a process we refer to as Rapid Capture digitization. Developed by several institutions as an approach to increasing the scale of digitization, Rapid Capture is part technology, part process, and part philosophy.

Technically, Rapid Capture is rather simple. The equipment consists of a copy stand, lighting, a digital single lens reflex (DSLR) camera, and a computer equipped with photo editing software.

Photograph lying on black fabric with lights on either side and a camera pointed downward at it
Rapid Capture station.

The important feature of the camera is its full-frame sensor, which can create a 400-pixel-per-inch image of an item as large as 9 × 14 inches, allowing us to provide users with high-quality images for the majority of our archival materials, which can be easily viewed, downloaded, and used for presentations or reports.

At the click of the shutter button, the camera can record an entire image – perhaps an 8 × 10 photographic print – without the cycle time of a more traditional flatbed scanner. If you’ve used a digital camera or a camera phone to take personal photographs, then you know how quickly you can take tens or even hundreds of snapshots. The same holds true for Rapid Capture, with the limit on imaging rate being the safe and proper handling of the archival material, not the time spent waiting for the scanner to make a pass.

On certain projects, we are able to capture both sides of a photographic print in less than 60 seconds, translating to nearly 500 prints imaged in a single day. Our flatbed scanner can produce 10-12 images per hour, or both sides of just 48 prints per day. Starting with a single Rapid Capture workstation in February 2011 and now utilizing two workstations, we have produced nearly 100,000 production images since the launching the process.

Process, or efficiency in process, is also an important part of Rapid Capture. For example, since material handling is one of the keys to the speed of Rapid Capture, we work to select and schedule material in groups having similar sizes or formats and that are located together physically, such as the box of 8 × 10 photographic prints shown below.

box standing vertically; folder open in front of it with photo lying on top
8 x 10 photographs from our collection foldered within an archival box.

Another example occurs in the post-processing of images, which can also be done in a batch manner, including exposure correction, cropping, and derivative image creation. By using automated scripts, much of this work can be done unattended, and in the case of large batches, performed in the overnight hours.

Finally, Rapid Capture is in some ways a philosophy. Rapid Capture puts a premium on user access to large numbers of images, and in doing so forces trade-offs in areas such as perceived image quality and image resolution. An example of this trade-off can be seen in some of our Rapid Capture images, which appear slightly tilted, such as this image from the Detroit Publishing Company Collection.

Photo of train with steam coming from it at tentpole-like station with a number of people standing around
Railway Station at Haines Corners, Catskill Mountains, New York, circa 1902; Object P.DPC.014510 / THF204908

Rather than spend additional time on each image to create a perfect alignment, we’ve chosen to spend that additional time producing more images, with the assumption that you, our users, would want to see more “stuff,” and can accept some imperfection.

A second compromise involves image resolution. While the camera can produce images sufficient for online viewing and use in presentations, the images may not be adequate for advertising or commercial publication. We’ve accepted that a certain number of items may need to be reimaged at some point for publication use, but that the potential rescanning effort is outweighed by the ability to both produce and store more lower-resolution images.

Our implementation of Rapid Capture has proven to be very successful. In nearly 10 years of operation, we’ve created a large number of images that meet our goals for quality, usefulness, production time, and cost. And, as we celebrate our #digitization100K milestone of 100,000 digitized objects on our Digital Collections, we can also point to the more than 38,500 objects that are illustrated using Rapid Capture images as another measure of that success.

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digital collections, by Brian Wilson, #Behind The Scenes @ The Henry Ford, #digitization100K, digitization, archives, photography, technology

My name is Shannon Rossi, and I’m a Collections Specialist, Cataloger, for archival items. I started at The Henry Ford as a Simmons Intern in 2018, and have been a Collections Specialist since March 2019. Anyone who knows me knows that I love The Wizard of Oz. It is my favorite film. I collect Oz memorabilia and am a member of The International Wizard of Oz Club.

The artifact I’m going to talk about here is related to The Wizard of Oz. But it’s not the artifact you might expect.

Green, red, and beige cover with illustration of lion and text
The Wonderful Wizard of Oz, first edition, 1900 / THF135495

On my second day as a Simmons intern in 2018, Sarah Andrus, Librarian at The Henry Ford, showed me a beautiful first edition of The Wonderful Wizard of Oz by L. Frank Baum. The little girl who used to dance around the house singing “We’re Off to See the Wizard” rejoiced when I was able to hold that book in my hands. In my own collection of Oz memorabilia, I have a 1939 edition, but this was another experience entirely.

Last year marked the 80th anniversary of the 1939 musical starring Judy Garland. I signed up to do a History Outside the Box presentation to commemorate the anniversary. History Outside the Box allows us to showcase some of our archival items that visitors to The Henry Ford might not otherwise get a chance to see. In addition to the first edition book, I knew we had some fantastic Oz artifacts in our collection. We have copies of the special edition TV Guides that came out in July 2000, each with one of the main characters on the cover. We have sheet music for “We’re Off to See the Wizard” and “Over the Rainbow,” a coloring book from the 1950s, an original 1939 advertisement for the film an issue of Life magazine, and a photograph of Bert Lahr (the Cowardly Lion) when he visited Greenfield Village in the 1960s.

Older man in hat and sweater with three boys
Bert Lahr Signing Autographs during a Visit to Greenfield Village, August 22, 1966 / THF128032

The artifact I want to talk about isn’t as famous or recognizable as anything I listed above. You pretty much have to be a diehard Oz fan (or have worked on acquiring, cataloging, or digitizing this item—which I did not) to even associate much meaning with it.

While browsing our collections for archival items to use in my History Outside the Box presentation, I found a theater program from the 1903 musical production of The Wizard of Oz at the Boston Theatre. (Be honest, how many of you knew that the 1939 film wasn’t the first musical production of Oz?)

Program cover with text, image of lion, floral border
Theater Program, "The Wizard of Oz," Boston Theatre, Boston, Massachusetts, 1903 / THF93092

We’ve established that I am a huge Oz fan. I knew about this production, as well as several of the early film productions (check them out if you get a chance!), but I had never seen a program from the show. This program is not visually spectacular. It is black and white. The vivid colors and magical illustrations from W.W. Denslow that are featured in the Oz first edition are conspicuously absent. In fact, the only illustration that anyone might associate with Oz is on the cover, which features a beautiful illustration of the Cowardly Lion about to fall asleep among a field of poppies that create a border around the page.

The story and lyrics for this musical adaptation was written by L. Frank Baum, but not all of it would seem familiar. We’d see, of course, Dorothy, the Scarecrow, Tin Man, and the Wizard. The Cowardly Lion, however, cannot speak, as he does in the book and almost every later adaption, nor does he ever befriend Dorothy. Dorothy’s house doesn’t land on any Wicked Witch. Nor does she receive any magical slippers (silver, as in the book, or ruby, as in the movie). Even our favorite precocious Cairn Terrier, Toto, is missing from this story. Toto is replaced by a cow named Imogene, who serves as Dorothy’s Kansas companion.

Two pages with "List of Characters, Act I," and ads with images and text
The cast list for Act I in the program includes Dorothy Gale and “Dorothy’s playmate,” the cow Imogene. / THF141760

The action in Oz has to do with political tensions between the Wizard and Pastoria, the King of Oz (who does appear in later Oz books). In fact, even real-life politicians and notable members of society at the time, including Theodore Roosevelt and John D. Rockefeller, were mentioned in the script.

The Boston Theatre production that audiences saw in November 1903 featured songs by composer Paul Tietjens, who had approached L. Frank Baum about creating an Oz musical as early as March 1901. Tietjens wasn’t exactly famous, but the play did feature some well-known actors of the early 20th century.

Most importantly, there are two names in the program that stand out: Fred Stone and David Montgomery. The two actors were paired on stage in many vaudeville shows. The pair played the Scarecrow and Tin Man in this musical adaptation. Later, when Ray Bolger was cast as the Scarecrow in the 1939 musical, he would credit Stone with inspiring his “boneless” style of dance and movement as the character.

Program with text and ads with text and/or images
Page seven of the program lists actors Fred A. Stone as the Scarecrow and David C. Montgomery as the Tin Woodman / THF141761

I’m grateful that this artifact was digitized. It’s not something you see or hear about very often, but it has a lot of power for Oz fans like me. That’s the power of digitization—the impact of a digitized artifact doesn’t have to reach huge audiences, if it reaches a smaller but enthusiastic audience. Digitization can allow us to marvel (slight pun about Professor Marvel in the 1939 musical definitely intended…) at an object we know exists somewhere out in the world, but have never seen before.

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actors, acting, popular culture, archives, books, #digitization100K, digital collections, digitization, by Shannon Rossi


Graphic containing textual images and #AskAnArchivist hashtag
Promotional image for #AskAnArchivist Day 2020 from the Society of American Archivists.

One day every October (American Archives Month), archivists flock to Twitter for #AskAnArchivist Day. The event, organized by the Society of American Archivists (SAA), allows archivists to explain what they do and answer questions from the public in real-time.

This year, four representatives from our Archives--Sr. Manager, Archives & Library, Brian Wilson; Reference Archivist Kathy Makas; Processing Archivist Janice Unger; and Processing Archivist Hilary Severyn--took shifts answering questions from The Henry Ford's Twitter account. Between the four of them, they covered topics ranging from the availability of research assistance during the COVID-19 pandemic to our Ford Motor Company records to mustache-related puns. Below are some highlights from the day's Q&A.


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research, by Ellice Engdahl, archives, #Behind The Scenes @ The Henry Ford

THF403026

As you might expect, a car company with as long a life and as many different vehicles in production at various times as Ford Motor Company needed to document down to individual nuts and bolts each part of each vehicle. Over the 50 years between 1903 and 1957, Ford produced more than one million parts drawings, a comprehensive microfiche set of which now reside in The Henry Ford’s Benson Ford Research Center. We’ve just digitized several hundred of these parts drawings, including a couple dozen, like this one, that cover Model T ambulances built by Ford to be used during World War I. 

Go online to learn more about our parts drawings holdings, or browse all the digitized Ford parts drawings in our Digital Collections.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

World War I, by Ellice Engdahl, model ts, Ford Motor Company, drawings, digital collections, cars, archives

whitecastle2

White Castle System eating house operators Abie Best and Don Dunivent pose for their photograph outside -THF98358 - and at the counter - THF98355 - in Kansas City, Missouri, probably 1927.

Alvin Alonzo Dunivent, nicknamed "Don" by his coworkers, began working in a Kansas City, Missouri, White Castle restaurant in July 1927. He flipped burgers and worked the counter of this small fast food restaurant. The White Castle System of Eating Houses, Corporation called his position an operator for the Kansas City Plant. Employment included corporate training in customer service and pride of a job well done in this emerging industry. It was a good career move for Don.

Hamburgers were considered an inferior “poor man’s food” until fry cook Walter Anderson improved their reputation by coming up with a secret new cooking method. In 1921, he and partner Edgar Waldo “Billy” Ingram opened a chain of hamburger eating houses—compact, castle-like structures they called “White Castles.” From the architecture to the menu to the workers’ appearances, White Castle set a new standard for cleanliness and uniformity. Continue Reading

home life, archives, popular culture, by Cynthia Read Miller, food, restaurants

It's usually a safe bet that when someone asks us, "Do you have FILL IN THE BLANK in the collections at The Henry Ford?" odds are pretty good that we do. Today is #NationalSpaceDay and, as you guessed it, we've got space-related artifacts in our collections to share. Digital Access & Preservation Archivist Brian Wilson took a look in our archives and found these designs from Sundberg-Ferar. Take a look. - Lish Dorset is Social Media Manager at The Henry Ford.

Object: 95.1.1788.10, Image: THF228604

In the early 1980s, Detroit-area industrial design firm Sundberg-Ferar, Inc. worked with the Lockheed Corporation and NASA to develop concepts for a manned space station.

Through a series of drawings, including those shown here, Sundberg-Ferar illustrated what life in space could be like for astronauts aboard the station.

Object: 95.1.1788.4, Image: THF228598

Object: 95.1.1788.15, Image: THF228619

The designers considered how the astronauts would perform normal earthbound tasks in the tight quarters of the space station, including the need to exercise, bathe and sleep, and how a near-zero gravity environment would affect those tasks. For example, the shower design features a retractable toe restraint in the floor, while the treadmill uses a waist belt to keep the user in place.

In addition to the space station renderings, our collection of Sundberg-Ferar material includes their work on designs for a variety of other transportation and travel vehicles dating from the 1960s-1980s, including supersonic transport and large passenger jet planes, commuter trains, and rapid transit rail cars used in San Francisco, Washington D.C. and Atlanta.

Brian Wilson is Digital Access & Preservation Archivist at The Henry Ford.

archives, drawings, design, space