Banners with vintage Lincoln artwork welcomed visitors to the 2022 Old Car Festival at Greenfield Village. / Photo by RuAnne Phillips
We observed a beloved late-summer tradition September 10–11, 2022, with Old Car Festival, our annual celebration of automobiles built between the 1890s and 1932. First held in 1951, Old Car Festival is the longest-running antique automobile show in the United States. (Though we should probably put an asterisk on that, thanks to 2020, when Old Car Festival—like most events—was canceled.)
Luxury was often synonymous with a higher cylinder count. Cadillac delivered with this 1915 V-8 touring car. / Photo by Matt Anderson
Each year, we turn our spotlight on a special make, model, individual, or theme. February 2022 brought the 100th anniversary of Ford Motor Company’s acquisition of Lincoln Motor Company, so it seemed fitting to feature the broader subject of “Early American Luxury.” (We’d already celebrated Lincoln specifically at this year’s Motor Muster.) Certainly, this theme includes Lincoln, but it also encompasses names like Packard, Cadillac, LaSalle, Pierce-Arrow, and Peerless. These are the marques that defined the very term “luxury car” in the early decades of the 20th century.
Detroit Central Market housed a selection of luxury vehicles from show participants and from The Henry Ford’s own collection. / Photo by Matt Anderson
This year was our first opportunity to incorporate the Detroit Central Market building into Old Car Festival activities. We took advantage of the spacious new structure to show select upmarket American cars drawn from show participants and from The Henry Ford’s own collection. Among the museum’s cars on view were a 1915 Cadillac Type 51 touring car, representing the first mass-produced V-8 automobile, and a 1923 Lincoln Model L touring car that once belonged to Thomas Edison. We also showed our 1922 Detroit Electric coupe. The little coupe might not have seemed so impressive alongside the big touring cars, but there was a time when electric automobiles were purposely marketed to well-to-do women.
This 1915 Packard Twin Six (Packard’s term for its V-12 engine) embodies our “Early American Luxury” theme. / Photo by Matt Anderson
Several magnificent participant cars rounded out our Central Market display. From Packard, we had a 1915 Twin Six touring car and a 1927 Series 626 sedan. From Franklin, we had a 1931 Series 151 sedan. Auburn—part of E.L. Cord’s Auburn-Cord-Duesenberg empire—was represented by a pair of beautiful 1929 models, including a cabriolet and one of the company’s beloved boat-tail speedsters. Our special exhibit wasn’t limited to exclusive marques. Luxury cars for customers of (relatively) more modest means were represented by a 1928 Studebaker President sedan and a 1930 LaSalle coupe.
Model T cars, wagons and trucks were everywhere at Old Car Festival, including this 1924 depot hack parked near Sarah Jordan Boarding House. / Photo by RuAnne Phillips
We had more than 730 vehicles registered for this year’s show. Automobiles, station wagons, trucks, bicycles, and even a few military vehicles were spread throughout Greenfield Village over the weekend. Visitors could enjoy the sights and sounds of a 1910s ragtime street fair along Washington Boulevard. They could attend a 1920s-era community garden party near Ackley Covered Bridge. They could watch the Canadian Model T assembly team put together a Ford automobile in mere minutes. Or they could hear about wartime struggles on the Western Front outside Cotswold Cottage. At the Ford Home, near the village entrance, Old Car Festival visitors could take in an exhibition of tractors and internal-combustion engines that took some of the backbreaking labor out of early-20th-century farming. For festival participants in a matrimonial mood, our friends at Hagerty arranged a Drive-Thru Vow Renewals experience. Registered show-car owners could drive their antique vehicles past the makeshift altar in front of Edison Illuminating Company’s Station A and “re-light” their nuptials.
Martha-Mary Chapel provided an inspiring backdrop for cars on the Village Green. It also housed a series of special programs throughout the weekend. / Photo by RuAnne Phillips
Speaking of altars, Martha-Mary Chapel hosted several programs and presentations during Old Car Festival. Tom Cotter, author and host of the popular web series Barn Find Hunter, presented twice during the weekend. On Saturday, he went behind the scenes of his car-seeking show with “A Barn-Finding Life.” On Sunday, Cotter recalled the 3,000-mile journey chronicled in his book Ford Model T Coast to Coast. On both days, longtime festival participant Daniel Hershberger discussed early auto touring and roadside camping. Hershberger dedicated his talks to the memory of Randy Mason, a former curator of transportation at The Henry Ford who passed away earlier this year. Also on both days, historian Joseph Boggs looked at the fascinating relationship between automobiles and 1920s Prohibition. Cars factored into both sides of the equation—used by rumrunners and law enforcement officers alike.
Of special interest were two panel discussions on early American luxury cars, held on Saturday and Sunday. Through the generous support of the Margaret Dunning Foundation, we brought together three experts in the field: Bob Casey, retired curator of transportation at The Henry Ford; David Schultz, president of the Lincoln Owners Club; and Matt Short, former curator at the Auburn-Cord-Duesenberg Automobile Museum and former director of America’s Packard Museum. Our panelists discussed the innovators, manufacturers, and automobiles that defined luxury motoring into the 1930s. Their Sunday session was livestreamed and can be viewed here on The Henry Ford’s Facebook page.
Select participating vehicles at Old Car Festival were judged for various class awards. From those winners, one grand champion was selected each day. / Photo by RuAnne Phillips
Visitors may not be aware of a special distinction (apart from chronology) that separates Old Car Festival from our Motor Muster show. Participants at Old Car Festival can choose to have their vehicles judged by a team of vintage-automobile experts. The judges determine Vehicle Class Awards based on authenticity, quality of the restoration work, and care with which each car is maintained. First-, second-, and third-place prizes are awarded in 11 different classes. One overall Grand Champion is selected on each day of the festival. Additionally, two Curator’s Choice Awards are presented to unrestored vehicles, and guests and participants are invited to vote for their favorites in the People’s Choice Awards. The full list of our 2022 award winners may be viewed here.
Old Car Festival includes trucks, too. Commercial vehicles line Christie Street during the event. / Photo by RuAnne Phillips
Great crowds, good weather, and impressive vehicles made for a perfect show in 2022. While it’s always hard to say goodbye to summer, Old Car Festival is certainly a fine way to do it. We look forward to next year’s event already.
Lincoln was in our Motor Muster spotlight, but that didn’t mean we couldn’t enjoy this beautiful 1953 Cadillac Series 62 convertible. Perfect weather added to the show’s success. / Photo by Matt Anderson
It was a Motor Muster to remember as more than 600 cars, trucks, motorcycles, and bicycles—all dating from 1933 to 1978—gathered in Greenfield Village over the weekend of June 18–19, 2022. We couldn’t have asked for better weather, with both Saturday and Sunday boasting sunny skies and mild temperatures in the mid-70s.
It’s been a century since Ford purchased Lincoln—a perfect time to bring out two Lincoln Continentals from The Henry Ford’s collection: a 1941 convertible and a 1964 limousine. / Photo by Matt Anderson
Detroit Central Market featured Lincoln Continentals from every styling generation within Motor Muster’s 1933–1978 time period. / Photo by Matt Anderson
This was our first Motor Muster with the Detroit Central Market building, which opened earlier this year. We took full advantage of the beautiful structure, using it as a showcase for our Lincoln Motor Company theme. With generous assistance from some of our participants, and by drawing on The Henry Ford’s own collections, we assembled a complete set of at least one Lincoln Continental from every styling generation produced in our Motor Muster time frame of 1933 to 1978. Highlights included our 1941 Lincoln Continental convertible—a personal car of Edsel Ford who, with designer Bob Gregorie, created the original Continental—and our 1964 Lincoln Continental stretch limousine modified for Pope Paul VI. Other special vehicles included a full set of Lincoln’s top-of-the-line Mark-series Continentals representing the Mark III, VI, and V models. For good measure, we also included a couple of Continental Mark II cars—even though, strictly speaking, they’re not Lincolns.
This 1977 Ford Bronco looked just fine posed in front of the Logan County Courthouse where—speaking of Lincolns—Abraham Lincoln tried cases in the 1840s. / Photo by Matt Anderson
Our familiar decade vignettes returned for 2022. We recognized the 1930s with a re-created Civilian Conservation Corps camp, cooking demonstrations, and a wonderful selection of blues music by singer-guitarist Robert Jones. For the 1940s, we honored American efforts during World War II with a re-created wartime scrap drive and a horse-drawn milk delivery wagon—an appropriate fuel-saving measure and a reminder of days when the local dairy delivered right to your doorstep.
Outboard boat motors—and even a few boats—highlighted the “Tailfins and Two-Tones” boating display at Suwanee Lagoon. / Photo by Matt Anderson
The 1950s and 1960s had three interesting expressions at Motor Muster this year. We had our suburbia-inspired selection of vintage lawn mowers, as well as regular musical performances of ’50s hits by the Village Cruisers. New for 2022 was our “Tailfins and Two-Tones: Outboard Boating’s Golden Age” display on the banks of Suwanee Lagoon. Some of our show participants staged a selection of vintage outboard boat motors, along with a small flotilla of (trailered) motorboats exhibiting the same bright colors and tall tailfins seen on automobiles of the time.
Something truly unusual: a 1978 VAZ 21011 sedan built in the Soviet Union—but flying Ukrainian flags in support of that besieged nation. / Photo by Matt Anderson
We celebrated the 1970s with another trio of programs. Costumed participants enjoyed a 1976 Bicentennial picnic near Ackley Covered Bridge. The band Classic Gold provided mini concerts of classic rock hits at the nearby gazebo. And, at the Herschell-Spillman Carousel, the vintage band organ pumped out music of a different vintage as it played hits by ’70s Swedish pop phenom ABBA throughout the weekend.
Regular pass-in-review programs provided expert commentary on participating cars, like this 1955 Pontiac Star Chief. / Photo by Matt Anderson
As always, Motor Muster visitors could choose to walk throughout Greenfield Village to see the cars arranged in chronological groupings, or they could find a seat in the bleachers on Main Street and let the cars come to them. Our pass-in-review programs, held throughout the weekend, had participant cars parading past the reviewing stand where expert narrators provided commentary on the various vehicles—design elements, engineering achievements, and personal stories from the collectors who shared their cars with us at the show.
After a couple of unusual years, it was good to be back at a Motor Muster that felt so close to normal. We’ve missed the cars for sure, but we’ve missed the camaraderie even more. Ask any of the show’s participants—the cars might draw us into this hobby, but it’s the stories and the friendships that keep us hooked.
On April 30, The Henry Ford was thrilled to welcome 150 student inventors from across the state to participate in the state finals of Invention Convention Michigan (ICM), the Michigan affiliate for Invention Convention Worldwide. The event marked the return of an in-person Invention Convention after two years of virtual programming.
Out of 1,290 young inventors who competed in regional STEM competitions across the state of Michigan, 150 were selected to participate in Invention Convention Michigan. / Photo by Purple Frog Photography
The atmosphere was electric as students in grades 3 through 12 presented their original inventions on the floor of Henry Ford Museum of American Innovation alongside some of the greatest innovations in American history. The young inventors were buzzing with nervous energy when it came time for judging, but once the pressure was off, they felt a rush of accomplishment and were free to explore the museum, garnering more inspirational energy for the year ahead.
Students pitch their inventions to volunteer judges and share their process, from identifying a problem to developing a solution and designing a prototype. / Photos by Purple Frog Photography
During their lunch break, students were given the opportunity to participate in the Innovation Passport Zone. Traveling from booth to booth around the plaza, inventors learned about some of ICM’s sponsors—including Hagerty, Michigan Soybean Committee, and presenting sponsor Delta Dental of Michigan—and got their “passports stamped” for a chance to win a hefty grand prize of donations offered by the sponsors.
Students interact with representatives from Delta Dental of Michigan, Hagerty, and Michigan Soybean Committee in the Innovation Passport Zone. / Photos by Purple Frog Photography
After the scores had been tabulated, students gathered under the DC3 for the awards ceremony, which began with a special word from the president of The Henry Ford, Patricia Mooradian, and a keynote address by Kwane Watson, inventor of the mobile dental unit.
Students enjoyed interacting with Dazzle, mascot for Delta Dental of Michigan, and The Henry Ford’s own Mike Moseley served as emcee for the event. / Photos by Purple Frog Photography
In all, over $3,500 in cash prizes was awarded to 21 of Michigan’s student inventors. Of these, 13 students were selected to advance to the Raytheon Technologies Invention Convention U.S. Nationals taking place at The Henry Ford June 1-3. To watch a replay of the awards ceremony, click here.
Congratulations to these 21 student inventors, who were recognized with awards during the awards ceremony. / Photo by Purple Frog Photography
A special congratulations goes out to Meera R., who was the Grand Prize Winner, presented by Delta Dental of Michigan, as well as the winner of the Make the World Award, presented by Stanley Black & Decker; the Originality Award, presented by Hagerty; and the Safety Award, presented by Hitachi Astemo. Meera will also be among the 13 inventors selected to represent Michigan at U.S. Nationals in June. / Photo by Purple Frog Photography
It was wonderful to see the museum plaza filled with passionate and joyous students, along with proud families and educators. We look forward to experiencing the thrill of Invention Convention U.S. Nationals in a few weeks and want to congratulate all of our student inventors once again for all of their hard work.
Katie Dallos is Program Coordinator, Invention Convention Michigan, at The Henry Ford and Samantha Rhoads is inHub Marketing Specialist at The Henry Ford.
Anne Parsons (at right), then-President of the Detroit Symphony Orchestra, with Patricia Mooradian, President and CEO of The Henry Ford, at Salute to America in 2017.
We are saddened by the passing of Anne Parsons, President Emeritus of the Detroit Symphony Orchestra (DSO). Parsons was the longest-serving executive leader in the DSO's modern era, and she was a tremendous friend to The Henry Ford. We’ve had the great honor and privilege of working with Anne and her teams for more than 25 years with our Salute to America concerts in Greenfield Village.
Please join us in thoughts and prayers for Parsons' family, her friends, and the entire DSO community.
In 1993, inspired by a handful of century-old newspaper references, nine employees volunteered to form The Henry Ford’s first historic base ball club. What started small has become a grand and beloved Greenfield Village tradition, guided—as it was from the beginning—by a passion for authenticity.
The Greenfield Village Lah-De-Dahs and the general store that spurred the club’s formation, 1994. / THF136301
It all began with Greenfield Village’s general store. New research in the 1990s initiated a more accurate historical interpretation of the J.R. Jones General Store as it existed in Waterford, Michigan, during the 1880s. It also turned up references to a local amateur base ball club—the Lah-De-Dahs—in period newspapers. Employees eagerly set about reviving the Lah-De-Dahs as a historic base ball club. A clue about the original uniform came from a colorful report on the Lah-De-Dahs’ poor showing in a summer 1887 game:
As the contest went on, slowly but surely dawned upon the minds of all the truth that a fine uniform does not constitute a fine pitcher, nor La-de-dahs in their mammas’ red stockings make swift, unerring fielders. —Pontiac Bill Poster, September 14, 1887
The revived Lah-De-Dahs of Greenfield Village wore white base ball shirts with a red script “L” and, at first, nondescript white painter’s pants. (The Henry Ford’s period clothing studio soon produced matching, knickers-style bottoms.) That first season, the Lah-De-Dahs played a handful of matches with rules pieced together from various historical interpretations. At Firestone Farm, the club challenged farmhands in the harvested wheat field before whatever crowd gathered along the lane. The Lah-De-Dahs also hosted a few outside historic base ball clubs at their future home field, Walnut Grove.
Historic base ball in Greenfield Village quickly assumed a more structured form that incorporated thoughtful details rooted in history—beginning with the name of the sport itself. Virtually all of the earliest references to this style of bat-and-ball game in England and the United States used the hyphenated name, “base-ball.” By the late 1830s and into the 1840s, likely due to simple changes in typesetting practices, the two-word spelling, "base ball," had begun to replace "base-ball." Conventions continued to shift, with the hyphenated version reemerging in the mid-late 19th century and receiving formal backing from the U.S. Government Printing Office in 1896. But years earlier, in 1884, the New York Times had explicitly changed its style guide away from "base-ball" to "baseball"—an early move toward the one-word convention that would stick. To highlight overlapping customs in the sport’s formative decades, The Henry Ford emphasizes the two-word spelling in its historic base ball program.
Henry Chadwick’s 1867 Base Ball Player's Book of Reference, the first reference book designed to teach the game of base ball, from which the current rules of play in Greenfield Village were drawn. / THF214794
For demonstration in Greenfield Village outside of Lah-De-Dahs matches, a set of rules, known as “Town Ball” or “Massachusetts Rules,” was selected from the 1860 Beadle’s Dime Base Ball Player. Written by Henry Chadwick, a sports journalist and leading promoter of base ball, this book included early rules of the game we know today, as well as the alternative “Massachusetts Rules” version of the game. This early version of baseball requires minimal equipment, calls for a soft ball, and features chaotic rules, making it a perfect choice for guests of Greenfield Village to try.
Elements added for the comfort and enjoyment of spectators on Walnut Grove appropriately reflect the 1860s setting. On select dates, the Dodworth Saxhorn Band provides musical accompaniment representing that of a period brass band. (Much of the music commonly associated with the professional game of baseball in America—including its unofficial anthem, “Take Me Out to the Ball Game”—was published two generations later.) Refreshments are served from contextual, temporary structures fitting the rural environments where 1860s base ball was played. And a uniquely designed sound system—disguised by several strategically placed waste receptacles—allows the umpire and scorekeeper to present a real-time account of the game via concealed cordless microphones. The live music and play-by-play, combined with the unpredictability of the game, make for an entertaining afternoon.
The Lah-De-Dahs’ roster grew to 25 players over the club’s second and third seasons. They wore handmade uniforms for matches, which were held whenever visiting clubs could make the trip to Greenfield Village. By 2002, the season consisted of a dozen games played on select Saturdays throughout the summer. After nearly a decade of play, the Lah-De-Dahs had attracted a dedicated fan base, and spectators increasingly requested a regular schedule with more games.
The reopening of Greenfield Village in 2003 after a massive restoration project heightened expectations for the historic base ball program. With financial support from Edsel and Cynthia Ford, The Henry Ford delivered an entire summer of base ball with expanded offerings: daily period base ball demonstrations, formal games on Saturdays and Sundays—now played by the “New York rules” specified in Henry Chadwick’s 1867 Base Ball Player's Book of Reference (which were more familiar to spectators than the Massachusetts Rules game)—and the development of the World Tournament of Historic Base Ball.
The Henry Ford’s World Tournament of Historic Base Ball pays homage to the original “World's Tournament of Base Ball” hosted in August 1867 by the Detroit Base Ball Club. Though organizers ultimately failed to attract the world-famous clubs of the day, they managed to stage a remarkable, one-of-a-kind event. The trophy bat awarded to the Unknown Base Ball Club of Jackson, Michigan—winners of the first-class division of the 1867 tournament—is now in The Henry Ford’s collections. It is displayed each year in Greenfield Village during the World Tournament of Historic Base Ball.
Trophy bat awarded at the 1867 World's Tournament of Base Ball. / THF8654
For 2004, the Lah-De-Dahs’ season expanded from 12 to 30 games, and its roster swelled to 42 players. To make sure they always had an opponent, The Henry Ford created a second club. The National Base Ball Club takes its name from a competitor in the 1867 World's Tournament of Base Ball. New uniforms purchased for both clubs added to the already vibrant atmosphere during matches, with the Lah-De-Dahs in their now-familiar red and white and the Nationals in striking dark blue and gold. At first, many considered the Lah-De-Dahs to be Greenfield Village’s “home” club, but displays of sportsmanship and close games going to either side have endeared fans to both.
One of the close plays that have helped endear fans to both Greenfield Village clubs.
Over time, baseball became “America’s pastime,” an enduring cultural touchstone—and a multibillion-dollar business. Historic Base Ball in Greenfield Village (and also played in many other venues around the country) showcases an early form of the sport, from a time when amateurs played for recreation and innocent amusement—for the love of the game!
Guests of Henry Ford Museum of American Innovation and Greenfield Village have been captivated by our various dramatic programs for decades at The Henry Ford. And Anthony Lucas’ performances as an historical actor have been essential in bringing our stories to life throughout many time periods and historical contexts. I had the honor of sitting down with Anthony, 2010 winner of The Henry Ford’s Steven Hamp Award, to chat about his 20 years of theatrical work at The Henry Ford.
You’ve been performing at The Henry Ford since the fall of 2000. What was your first project here?
I started as a replacement actor when another actor was out sick, and I performed in a program called “Gullah Tales” near the Hermitage Slave Quarters. After this, they called me back to do more performances.
How did you get into acting and what inspired you to act?
My interest to become an actor goes back to when I was five years old, believe it or not. I used to watch a gentleman named Bill Kennedy, a local TV host in Detroit who would show a lot of black-and-white Hollywood movies on Sunday afternoons. I would watch actors like James Cagney, and I said in my mind: “Wow, I want to do that!” I have a lot of favorite actors, but James Cagney was the first one because of his energy and his versatility. He could play a lot of different roles other than playing the bad guy. All the movies I watched on Bill Kennedy at the Movies were very entertaining, and they made a big impression upon me, including all the musicals and the films that starred Shirley Temple, Humphrey Bogart, Edward G. Robinson, and Bette Davis—the Golden Age of Hollywood.
What were your first theatrical roles and when did you perform them?
I really didn't get the opportunity to act until at the end of the 11th grade in high school. The following year, I did two plays. One was kind of a historical play dealing with Black history. It was called “In White America,” and it was a series of vignettes and monologues about civil rights and the Black struggle for freedom in the United States. And the other play was a kind of comedy farce called “Day of Absence.” The story took place in the South, and it dealt with what would happen if one day all the Black folks had suddenly disappeared. My performances took place in the early 1970s. We were coming right out of the sixties with the civil rights movement and the Black power movement. And so that was my start. I went on to study theater at Western Michigan University and performed in various shows with Detroit Repertory Theatre and Plowshares Theatre Company.
“Elijah: The Real McCoy” program in the museum. / Photograph by Kristina Sikora (KMS Photography)
You’ve performed in several programs at The Henry Ford, which we’ll get into in a moment. But first, which one stands out as your favorite?
I love all the shows that I do, but one of my most favorite programs is “Elijah: The Real McCoy,” which I performed in both the village and museum. Elaine Kaiser, who has since retired [as Manager of Dramatic Programs at The Henry Ford], wrote it brilliantly. She wrote it for me to perform at Discovery Camp. Every show was very rewarding, and I just loved working with the kids during camp and seeing them at shows. The story starts with Elijah McCoy as a young kid, and the scenes travel through his achievements and struggles until he reaches his success as an inventor, and then into his old age. I loved to perform each stage of his life and see the kids’ reactions.
Photograph by Kristina Sikora (KMS Photography)
Have there been any challenges you’ve encountered while performing?
Well, here’s a story that’s kind of funny. One summer in the village, I was very busy. While I was at Town Hall doing a couple of Elijah McCoy shows, I would need to change into a different period costume and get to Susquehanna Plantation to do “North Star Tales” as fast as I could. And then I would hurry up and go back to Town Hall, change, and do another Elijah McCoy. Thankfully, Elaine Kaiser loaned me her bike, so I could ride it between shows. So, it was quite exciting!
“How I Got Over” program at Susquehanna Plantation. / Photograph by Roy Ritchie
I’ve attended your performances at Susquehanna Plantation many times and have always been inspired when participating with other guests as we jumped from the porch steps yelling, “Freedom!” How long have you been performing at Susquehanna, and are there any other similar programs you perform in?
There were a few different shows we did at Susquehanna, and they go back to 2003, right after the renovation of the village. There is “How I Got Over,” “Tally’s Tales,” and a newer version called “North Star Tales,” which were all themed around the stories of slavery and endurance on the plantation. Last year in 2021, I narrated the North Star Gospel Chorale’s performance on the porch of Susquehanna as part of Salute to America: Summer Stroll. That was the first year, and it was really a great experience. We really enjoyed that. It's really a powerful show and I was happy to be a part of that. The Chorale also performed in the museum in February 2020, right before the pandemic, which was livestreamed on Facebook.
You are also a big part of the “Minds on Freedom” program in the museum. When did that start and how did it develop?
Yes, this program started in 2004, and it was a combination of two shows—a musical act, and then a dialogue part about the Civil Rights Movement. It was merged into one show called “Minds on Freedom,” which was performed in the museum around our Celebrate Black History program in February. There was also our special celebration of the Emancipation Proclamation in June 2011, which I enjoyed being a part of. And during the National Day of Courage, celebrating Rosa Parks’ 100th birthday on February 4, 2013, I performed Martin Luther King, Jr.’s “I’ve Seen the Mountain Top” speech. That's always an honor any time I get a chance to express the words of Dr. King. He was a great man, a great orator, a great minister, and a great leader. And he gave his life for us to believe them. So any time you try to deliver his speeches, you’re never going to be like Dr. King. But I use my own approach and try my best to get the spirit across.
“Elijah: The Real McCoy” program in the museum. / Photographs by Kristina Sikora (KMS Photography)
Many guests are familiar with your performances at our Hallowe’en in Greenfield Village and Holiday Nights in Greenfield Village events. How and when did these roles begin?
Oh, yeah, performing “The Tell-Tale Heart” by Edgar Allen Poe goes way back with me, because it was one of the first dramatic readings I recited in high school. My mother coached me. I think if my mother had pursued acting, she may have been a pretty good actress. She helped me bring the story to life. Around 2003, Elaine Kaiser asked me to dramatize this short story for Hallowe’en from the point of view of a murderer descending into paranoia, haunted by the thumping sound of the murdered man’s heart. The program is different from Holiday Nights, because I have set times for shows. So I usually don't have a chance to interact with the audience in-between shows as much as I would like. Interacting with the audience afterwards whenever possible is a special part of being there. I'm not there just because I'm an actor to do shows. I'm there to be a part of The Henry Ford and to interact with the guests and help create that experience for them. It’s very special, unique, and moving to interact with the guests. So that's how I approach it.
I started performing at Holiday Nights just before I performed at the Hallowe’en event. Initially around 2003, I was working with a few other actors, and we were moving around the village doing a variety of poems and Christmas carols. And it was around 2004, I performed Clement Clarke Moore’s “A Visit from Saint Nick,” which we generally call “The Night Before Christmas.” I performed it as a solo act and was relocated outside of Town Hall and later to a warming fire. It’s developed into a very special event because of how guests react. There was one guy who proposed to his girlfriend at my warming fire. There are so many people with stories of their own, making Holiday Nights and the village a big part of their lives. Holiday Nights is a whole story in itself. I started adding an introduction to the performance rather than just solely dramatizing the poem. I started talking about Christmas in early America. And then I would ask guests about all the different holiday foods and dishes they like, and finally I would ask: Do you like Christmas cookies? I would then ask the big question: Do you have any with you tonight?
After this, guests started bringing me Christmas cookies every year. I come home with all sorts of cookies, sugar cookies, and chocolate chip cookies and all. Oh, yeah, it's funny. But it's great, though, because people come year after year and sometimes they tell me they used to bring their children and now they're all grown up. I'm like, wow, this is a reminder of how long I've been doing it. And it's so rewarding; sometimes I look out and see people that are moved. They get emotional and so it's wonderful. And the children are the best, they can just make you feel like a million bucks. In December 2020, I recited “The Night Before Christmas” for a video during the pandemic. That was a real different take on it because they had me come in and sit down and have a storybook in my hand. So I had to rework it so it could fit that format. And I like that too. It was very comfortable and warm. That was a real nice change of pace.
“The Tell-Tale Heart” program at Hallowe’en in Greenfield Village. / Photograph by Kristina Sikora (KMS Photography)
Do you have any other stories about interacting with guests you’d like to share?
Sure. I was performing Elijah McCoy at the Town Hall one day, and there is a point where I would walk up the steps of the stage. I was playing the elderly Elijah, and I asked for volunteers from the audience to help me up the steps. So, this one little girl came up to me and she said: your tie is crooked. And she starts straightening my tie. Sometimes you just have to roll with it. That was a beautiful moment.
Another time, there was this couple that followed my shows. They took pictures of me performing Elijah McCoy in the village and “Minds on Freedom” in the museum, and other performances. The wife put together a scrapbook of their photos, and it had all these pictures and a beautiful cover. They gave it to me as a gift. I was just so speechless, you know, that they took time to create it over several months, putting this book together. I was very moved by it.
Amy Nasir is Digital Marketing Specialist and former Historical Presenter in Greenfield Village at The Henry Ford.
Scotch Settlement School in Greenfield Village. / Photo courtesy of Jeanine Miller
Holiday Nights in Greenfield Village offers an engaging look into the ways Americans celebrated Christmas in the past. At Scotch Settlement School, the holiday vignette reflects the Christmas programs that took place in the thousands of one-room schoolhouses that once dotted the landscape of rural America.
Students and teacher pose outside their rural one-room school in Summerville, South Carolina, about 1903. / THF115900
The schoolhouse—often the only public building in the neighborhood—was a center of community life in rural areas. It was not only a place where children learned to read, write, and do arithmetic, but might also serve as a place to attend church services, go to Grange meetings, vote in elections, or listen to a debate.
Students dressed in patriotic costumes for a school program, pageant, or parade, about 1905. / THF700057
People in rural communities particularly looked forward to the programs put on by the students who attended these schools—local boys and girls who ranged in age from about seven to the mid-teens. School programs were often presented throughout the year for occasions such as George Washington and Abraham Lincoln’s birthdays, Arbor Day, Halloween, Thanksgiving, Christmas, and eighth-grade graduation. People came from miles around to country schools to attend these events.
Handwritten Christmas program from Blair School, Webster County, Iowa, December 23, 1914. / THF700097, THF700098
Among the most anticipated events that took place at the schoolhouse was the Christmas program—it was a highlight of the rural winter social season. Preparations usually started right after Thanksgiving as students began learning poems and other recitations, rehearsing a play, or practicing songs. Every child was included. Students might have their first experience in public speaking or singing before an audience at these school programs.
Interior of Scotch Settlement School during Holiday Nights in Greenfield Village. / Photo courtesy of Jeanine Miller.
The schoolroom was often decorated for the occasion, sometimes with a Christmas tree. During the late 1800s, when the presence of Christmas trees was not yet a widespread tradition, many children saw their first Christmas tree at the school Christmas program. Presents like candy, nuts, fruit, or mittens—provided by parents or other members of the community—were often part of the event. Growing up in 1870s frontier Iowa, writer Hamlin Garland recalled the local minister bringing a Christmas tree to the schoolhouse one Christmas—a tree with few candles or shiny decorations, but one loaded with presents. Forty years later, Garland vividly remembered the bag of popcorn he received that day.
Teachers were often required to organize at least two programs a year. Teachers who put on unsuccessful programs might soon find themselves out of a teaching position. Teachers in rural schools usually came from a similar background to their students—often from the same farming community—so an observant teacher would have understood the kind of school program that would please students, parents, and the community.
Children at times performed in buildings so crowded that audience members had to stand along the edges of the classroom. Sometimes there wasn’t room for everyone to squeeze in. To see their parents and so many other members of the community in the audience helped make these children aware that the adults in their lives valued their schoolwork. This encouraged many of the students to appreciate their opportunity for education—even if they didn’t fully realize it until years later. Some children might even have been aware of how these programs contributed to a sense of community.
Postcard with the handwritten message, “Our school have [sic] a tree & exercises at the Church across from the schoolhouse & we all have a part in it,” from 11-year-old Ivan Colman of Tuscola County, Michigan, December 1913. / THF146214
These simple Christmas programs—filled with recitations, songs, and modest gifts—created cherished lifelong memories for countless children.
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford. Many thanks to Sophia Kloc, Office Administrator for Historical Resources at The Henry Ford, for editorial preparation assistance with this post.
Those who decorated for Christian holidays made the gathering of evergreens a ritual. Families and friends ventured into the woods and cut conifers and other wintergreens to festoon churches, ballrooms, and private homes. This post focuses on the process of acquiring the iconic Christmas tree, a conifer or cone-bearing tree, evergreen because it retained its foliage throughout the winter season and prized for its shape, color, aroma, and association with gift-giving.
The native ranges of conifers affected personal preferences for Christmas trees.
Eastern red cedar (Juniperus virginiana), the perch for a female and male cedar waxwing (Bombycilla cedrorum), drawn by John Jay Audubon (1785–1851) in Cincinnati, Ohio, April 1811, reproduced by the New York Historical Society in 1966. / THF251903
Across the southern and eastern United States, the eastern red cedar (really, a juniper) proved a popular tree choice for those who could cut their own. The tree grew rapidly along the edges of woods, encroaching into fields and pastures. Thus, removing a few trees to deck the halls at Christmas time also served the purpose of containing the juniper and retaining arable land and pasture.
The balsam fir (Abies balsamea) appealed to landowners for many of the same reasons. A report in the Detroit Free Press (December 10, 1901) explained that in Maine, the “young firs, which are almost exclusively used for Christmas trees, are good for nothing else—in many sections being considered a nuisance, as they grow like burdocks and crowd out better trees.” Harvesting the trees for urban markets became a festive occasion as the reporter explained, with “whole families going into the woods and taking their dinners along.”
Print made from a watercolor sketch of “Alpine Fir” by Mary Vaux Walcott (1860–1940), printed by William Edmund Rudge, Inc., 1925. / THF125075
The subalpine fir (Abies lasiocarpa), also known as the Alpine fir, grew in the high-elevation forests of the Canadian Rockies and western United States. It was much less easily accessible for families harvesting their Christmas tree, but its tall profile and stout branches appealed to Christmas tree shoppers none the less.
Bringing evergreens into private and public spaces during the darkest days of the year (the winter solstice) offered hope for the next growing season. Germanic people receive credit for adding light to the conifer. An 1836 illustration, “Christmas Eve,” showed a Christmas tree with candles aglow. The editor explained this as a well-known German tradition “that almost every family has its Christmas tree covered with a hundred lights and many beautiful gifts, and surrounded generally by a little group of happy beings” (The Stranger’s Gift: A Christmas and New Year’s Present, edited by Hermann Bokum and published in Boston by Light & Horton in 1836, page 9).
The hand-tinted lithograph below, of a boy carrying a tree and a girl carrying a bundle of greens, printed in Hamburg, reinforced a tradition that increasing numbers of German immigrants brought with them to America during the mid-19th century.
Color Lithograph, "The Christmas Tree," printed by Gustav W. Seitz, Hamburg, 1856–1866. / THF108194
By 1867, “the pleasant Germanic custom of gathering the family round a Christmas tree ... has become thoroughly domesticated in this country.” So declared Harper’s Weekly (December 18, 1867) in a brief explanation of the reasons why families no longer hung stockings ‘neath the chimney with care, but instead hung presents from Christmas trees. A full-page illustration of “The Christmas Tree” further emphasized the point.
Christmas tree decorated with candles, popcorn strings, and toys, circa 1900./ THF290114
The bucolic imagery of bringing a Christmas tree home through snowy fields to a rural farmhouse contrasted with the risky business of tree markets.
Hallmark "Memories of Christmas" Christmas ornament, 1998./ THF186978
Families invested their labor in tree harvests. “A man cuts the trees close to the roots and a boy or a strong girl clips away with a sharp hatchet the few dead branches near the base. Women and boys tie the trees into bundles of a dozen each, binding them with strong cords, and then the harvest is piled into hayricks and taken to the nearest railroad station.” Often middlemen stepped in. As the New York World reported (reprinted in the Detroit Free Press, December 10, 1901), “the evergreen harvests are generally bought by men who make a business in winter of supplying the holiday green markets of large cities.”
Families cutting conifers for urban markets, middlemen trying to sell them, and customers trying to buy them all relied on railroads to move the perishable cargo. This seasonal business was no holiday (to borrow colleague Matt Anderson’s turn of phrase in his blog post, “Winter Railroading was No Holiday”).
Christmas Tree Market, New York City, Detroit Publishing Company, circa 1903. Another view of this market at Barclay Street Station shows smaller trees in bundles to the left of the taller trees. These fit more closely the trees bound up by Maine families and shipped by train to the city, as described in the New York World article mentioned elsewhere in this post. / THF144363
Urban customers had little time to waste because trees arrived close to Christmas day. The Detroit Free Press reported that “Christmas trees, that is to say evergreens, are up in the market” (December 21, 1879). This arrival a few days before the holy day/holiday remained fairly consistent during the 19th century. A decade later (December 20, 1889), the Free Press reported, “Christmas trees have appeared on the market.”
What did these conifers cost? During December 1901, prices depended on tree height: “For trees five to six feet tall the buyers in Maine pay five cents, and for trees six to ten feet tall ten to fifteen cents. In the city these trees bring twenty-five cents to $1” (New York World reprinted in the Detroit Free Press, December 10, 1901). Note that these prices are likely per foot, not per tree.
Customers looking for Christmas evergreen goods in Detroit a week later (December 18, 1901) could expect to pay eight cents per foot for an “Xmas tree” as reported by the Free Press. The market price for a 20-yard roll of “evergreen” was 85 cents to $1 and for a holly and evergreen wreath, $1 per dozen. In 2021 prices, that’s an average of $1.63 to $2.60 per foot for a six-foot tree, and $27.66 to $32.54 for a 20-yard roll of evergreen.
Whether families cut their own or paid market price for their conifer, photographs of home interiors indicate the ways they decorated.
First electrically lighted Christmas tree, home of Edward H. Johnson, vice-president of Edison Electric Light Company, December 1882. / THF69137
A magnifying glass and close inspection of the original print could confirm the tree type that Edward Hibberd Johnson, wife Margaret, and their three children (Edward H. Jr., Edna, and Lillian) enjoyed as of December 22, 1882. Subscribers to the Detroit Post and Tribune could read about this first tree lit with electric lights—80 red, white, and blue bulbs, hand wired—as reported by journalist William Augustus Croffut. The Johnson family (or their staff) also strung electric lights in the garland running from window treatments to the ceiling light fixture. Readers of Croffut’s article might even have anticipated the possibilities in Detroit, because the Western Edison Light Company had just offered an Edison incandescent light plant for use at Detroit’s Central Market. Detroit’s Committee on Gas was considering the proposal (Detroit Free Press, December 6, 1882).
Artificial illumination of the Christmas tree became standard practice quickly.
Christmas greens at Holiday Nights, December 5, 2021. / Photograph by Debra A. Reid
Santa Claus employs the latest in transportation technology to share his greetings in this Christmas postcard, 1910. / THF93052
During the first two decades of the 20th century, people were likely to find colorful Christmas postcards when they reached into their mailboxes as the holiday neared. Americans were experiencing a postcard craze!
A New Idea: Sending Holiday Greetings
A pre-postcard era Christmas card by Louis Prang & Company of Boston, 1880. During the mid-1870s, Prang began publishing Christmas and other greeting cards, creating a highly successful Christmas card industry. / THF16646
It’s not that people didn’t send Christmas cards before that time. They did, especially during the 1870s and 1880s as Christmas became more widely celebrated in homes and in the community. Sending a Christmas greeting card was a way to keep in touch with distant family and friends. In the decades following the Civil War, as Congress increasingly standardized delivery, mail traveled more rapidly, dependably, and cheaply than it had before, transporting Christmas cards and other mail throughout the nation.
Post office in the small town of Hoxie, Kansas, about 1913. / THF700079
Yet interest in giving or sending printed holiday greetings through the mail had waned somewhat by the 1890s. That is, until circumstances—lower postal rates and improved delivery service to all areas of the country—helped create a postcard boom for urban and rural residents alike and encouraged a Christmas card revival.
The Postman Brings Postcard Cheer
n 1898, the United States Post Office reduced the cost of mailing privately printed postcards to one cent. As postcards caught the public’s fancy in the first decade of the 20th century, these cards blossomed with colorful images, humorous messages, or holiday greetings. Postcards quickly became an attractive and ready means of inexpensive communication, with room for a personal message on the reverse.
During the “Golden Age” of postcards, from about 1900 to 1914, people bought and mailed billions. In 1904, the New York City post office alone handled about 30,000 cards per day. Many of these billions of postcards were holiday-themed—Christmas postcards were the most popular.
United States Post Office delivery trucks, Ardmore, Pennsylvania, 1908. / THF700044
By 1902, rural mail routes had become a permanent part of the postal service. Instead of having to make a trip into town to the post office to retrieve their mail, rural residents now had the same advantage as city dwellers—mail was delivered directly to their homes.
Rural Free Delivery in a horse-drawn mail delivery wagon, 1895–1920. / THF143935
Christmas Postcard Greetings—Inexpensive and Colorful
Postcard advertising the Souvenir Post Card Company’s line of Christmas postcards, about 1910. / THF700082 and THF700083
These colorful seasonal greetings were not only affordable, they were attractive and appealing.
The time was right. Between 1900 and 1910, entrepreneurs established most of the American greeting card companies, including Hallmark Cards, American Greetings, Rust Craft, and the Gibson Art Company. Many of the colorful postcards companies sold to their American customers were printed in Germany—American printing technology lagged behind that of the Germans.
German-made postcard of Santa and reindeer and sleeping child, 1907-1910. / THF136483
The postcards displayed a range of what we now think of as symbols of Christmas, including Santa Claus, children with toys, Christmas trees, houses and churches in the snow, ice skating, bells, holly, and angels.
This postcard combines holly with a snowy landscape. / THF6869
Postcards sporting images of Santa with reindeer, 1907–1910, and a child with toys, 1905–1910. / THF136481 and THF4503
Christmas postcards—with a snow-covered church, holly, and bells, and with an angel holding a Christmas tree, 1910 and 1915. / THF700046 and THF700048
Up-to-date technology made its appearance in these Christmas postcards as well.
A child uses the telephone, rather than a letter, to communicate her wish list to Santa, 1907. / THF135741
Images of automobiles often appeared on Christmas cards of the era, 1907–1910 and 1910. / THF135815 and THF143923
Santa tries out motorcycle delivery of presents rather than reindeer-powered transportation, 1910–1920. / THF4508
The postcard craze peaked between 1907 and 1910—it was particularly popular among rural and small-town women in the northern United States.Some 700 million postcards were mailed during the year ending June 30, 1908, alone.
Yet the postcard craze would soon ebb. In 1909, a tariff was placed on imported postcards, making the German-printed imports more expensive. The quality of available postcards began to fall. Public interest waned and artistic tastes changed. In 1914, World War I further disrupted the postcard industry, as German-produced cards and high-quality dyes used for ink became unavailable. As the war continued, many companies shifted to greeting card—rather than postcard—production. The telephone probably contributed as well, as more households had phones to reach family and friends more quickly. The “Golden Age” of postcards was drawing to a close.
Step into Christmas Postcards Past
Phoenixville Post Office in Greenfield Village during Holiday Nights. / Photo courtesy of Jeanine Miller
Today, strolling past the Phoenixville Post Office during Holiday Nights in Greenfield Village offers a glimpse into this slice of Christmas postal history.
Photos courtesy of Jeanine Miller and Glenn Miller.
Visitors can experience the early 20th century postcard craze for themselves by posing behind enlarged versions of Christmas postcards placed near the Phoenixville Post Office—and then act as digital “postal carriers” by sending these images to family and friends by text or email.
Photo courtesy of Jeanine Miller.
From a curator’s point of view, it’s a wonderful to see these postcards of Christmas Past become part of Christmas Present! You can take a “peek” into Christmas mailboxes of the past by clicking here to see additional early-20th-century postcards in our collection.
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford. Many thanks to Sophia Kloc, Office Administrator for Historical Resources at The Henry Ford, for editorial preparation assistance with this post.
“Women at the Wheel,” like the duster-clad driver at the controls of this 1907 Cadillac Model K, were spotlighted at this year’s Old Car Festival.
After a longer-than-usual pause, Old Car Festival returned to Greenfield Village on September 11–12, 2021. Our celebration of early American motoring included more than 700 registered cars, trucks, motorcycles, and bicycles dating from the 1890s to 1932.
Each year we shine our spotlight on a particular make, model, or theme. For 2021, we celebrated “women at the wheel” in commemoration of the 101st anniversary of the ratification of the 19th Amendment, which gave American women the right to vote. The automobile played a significant part in the fight for women’s suffrage. Cars expanded the range and reach of suffragists, allowing them to spread their message to smaller villages and hamlets located away from railroads. The automobile also provided a prominent mobile platform on which to hang signs and banners, and a traveling stage from which to make speeches and calls to action.
Ford Motor Company advertisements promoted the Model T as a source of freedom for American women.
From the start, automakers appealed specifically to women with targeted advertisements and booklets. Makers of early electric cars made a special point of advertising to well-to-do female buyers. Unlike early gasoline cars, electrics were clean, quiet, and required no crank starting or gear shifting. But many women weren’t bothered in the least by the gasoline car’s disadvantages. Alice Huyler Ramsey drove a gas-powered Maxwell across the United States in 1909, becoming the first woman to make the coast-to-coast road trip.
This 1912 Baker Electric was used by five First Ladies of the United States. / THF67884
Dancing under the streetlights, to the music of the River Raisin Ragtime Review, capped off Saturday evening.
Show participants and guests enjoyed a variety of activities built around the three decades represented by Old Car Festival’s vehicles. From the 1900s, we had a group of aged Civil War veterans enjoying a Grand Army of the Republic picnic. From the 1910s, we had a Ragtime Street Fair with music and dancing up and down Washington Boulevard. We had a few American doughboys stationed near Cotswold Cottage as well, lest we forget the Great War and its impact on daily life and industrial production. We commemorated the Roaring ’20s with a community garden party near the Bandstand, and—in keeping with our theme—with a presentation by historian Joseph Boggs on the “New Woman,” who challenged traditional gender norms during that exciting decade.
Expert narrators commented on cars, like this rare 1907 Richmond Merry Widow built by Wayne Works, during Pass-in-Review.
Naturally, those who came for the cars weren’t disappointed. We had everything from Auburns to Willys-Knights parked on every patch of open grass in Greenfield Village. As usual, our team of expert historians was on hand to narrate Pass-in-Review parades that included everything from 19th-century bicycles (brought by the always entertaining Michigan Wheelmen) to commercial trucks, wreckers and depot hacks. (If you weren’t able to see the Pass-in-Review in person, or would like to catch something again, you can watch the early vehicles, commercial vehicles, and bicycles parades on our Facebook page.) We finished off on Saturday evening with the gaslight tour. Anyone who’s experienced it will agree that watching those early autos parade through the village with their flickering gas and early electric lamps is a magical sight.
Old Car Festival attracts a variety of motive power, but steam cars like this 1909 White Model O are always a hit.
There’s just something special about Old Car Festival. Several participants have told me that the show is the highlight of the year for them—bigger than birthdays and holidays. I think we all found a little extra joy this time out, resuming a beloved tradition that’s been a part of Greenfield Village for 70 years. We’ll look forward to seeing all our friends again in 2022.